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Found 2,654 results

  1. http://bit.ly/35M0MaT Queen of having a flop year while still getting legend awards a few main pop girls can't relate
  2. the music video is coming for 100 Million as well:
  3. Finally she's getting the recognition she deserves!
  4. 1,000,000,000 streams on Spotify.
  5. She’s performing at Gillette Stadium next year and the dates sold out within hours under only a pre-sale (general sale usually intended for the GP hasn’t even started yet) with 17,000+ people still in the queue Apparently more tickets are to be added, but maybe she should be doing more than 4 stadium dates in the US she’s gonna outgross some girls’ entire US tour legs with these shows and once again won’t fully capitalize on the demand I guess Context: the queue caps out at 2,000 even when there are more people waiting. Some fans used inspect element to find out the real number of fans in the queue and it was upwards of 35,000 at a later time than the 17,000 number, even after the date practically sold out the 360 stage is quite smart since they really are going to need those extra tickets!
  6. Norman Fucking Rockwell!, Lana Del Rey’s fifth and finest album, begins with a breakup and ends with self-affirmation and hope. In between, she takes on wide-lens topics—climate change, gun violence, depression, death—with effortless cool. (She even manages to seamlessly fit in a Sublime cover.) Her indelible pop melodies are strung together with the grace of a tragic ballet. Lana worked on the record with Jack Antonoff, a producer known for encouraging pop artists to indulge their most theatrical, bombastic sides. Del Rey, however, encourages a more somber atmosphere, defined by muted piano, acoustic guitars, and layered harmonies that pair with her angsty, existential stories—’70s in spirit and ’90s in frame of mind, to paraphrase a lyric. If Lana’s music once sounded like a collage of her heroes’ greatest hits, then here is where she lapsed into her own language entirely. –Sam Sodomsky Entire list: https://pitchfork.com/features/lists-and-guides/the-200-best-albums-of-the-2010s/
  7. HMV CD pre-order: https://store.hmv.com/music/cd/artpop-(1) HMV Vinyl pre-order: https://store.hmv.com/music/vinyl/artpop-(1)
  8. 59. Taylor Swift: Red (2012) Red is a portrait of a young woman eager to feel everything on her way to the top. Its songs are self-aware enough to be funny and guileless enough to be honest, capturing the temptation of risk-taking, the rush of memory and disappointment, and the transformative power of grown-up romantic love felt for the first time. The album gave Taylor Swift her first No. 1 hit (the irresistible “We Are Never Ever Getting Back Together”) and inaugurated many of her famously over-the-top marketing tactics: commemorative Keds sneakers, Papa John’s pizza boxes, weaponized tabloid gossip. Aside from her pop leanings, the chipper breakup-to-makeup story “Stay Stay Stay” and melancholic renewal ballad “Begin Again” would be some of her final acoustic-forward recordings of the decade. Soon after Red, nobody in America could ever again plausibly ask, “Who’s Taylor Swift, anyway?” –Anna Gaca 57. Taylor Swift: “All Too Well” (2012) ”All Too Well,” the hidden gem of Taylor Swift’s Red, captures everything that makes her a world-class songwriter: her emotional intelligence, her candor, her economy of words, her ability to find beauty in vulnerability. Swift tells a big story by freezing time and honing in on small details, the kind that could seem like background noise to others: the scarf that her ex (reportedly, Jake Gyllenhaal) kept as a memento, the refrigerator light that illuminated midnight dance parties. All these hyper-specifics, rigorously chronicled, protect Swift’s pain so she can tend to it; when she sings, “It was rare/I was there,” she asserts her own experience against those who would trivialize it. As the song builds, its initially mild-mannered guitar gains energy, cymbals begin to crash, and Swift’s voice steadily rises. But she doesn’t really need volume to convey the magnitude of the damage. It’s the quietest moments that serve this story best—they make you lean in close enough to see every tiny fissure in her broken heart. –Olivia Horn Honestly surprised they included anything by her at all slay, I guess!
  9. and the Enjoy Yourself 30th Anniversary celebration continues! Here's the full Enjoy Yourself concert in Sydney for those who haven't seen it yet!
  10. I can't believe i'm alive to witness that. Each music video is uploaded once now (they deleted double uploaded live performances too ). She lost 200 million from her total views tho but idc, she will gain them faster now that the views aren't going to get splitted. https://www.youtube.com/user/madonna/videos?view=0&sort=p&flow=grid Now they need to update some thumbnails, i don't expect them to update the quality of the videos anytime soon so idc.
  11. 41. Beyoncé: Lemonade (2016) The first thing Lemonade delivers is wrath: Infidelity has ruptured not just marriage but a whole life. Beyoncé, the world’s most powerful woman, is gleeful to set streets on fire, throw off her wedding ring, shit-talk with her girls to abandon. If Lemonade’s first 10 minutes has a headline, it would be that Jay-Z, dummy that he is, really did cheat. But then everything builds to something more profound, more complete: a prayer about how love can fracture the self. Suddenly we’re in Texas, in stadiums, on plantations; a Led Zeppelin beat is next to a reggae sample. “SpottieOttieDopaliscious” appears next to a James Blake feature. Lemonade feels like an exercise in dissonance, the act of holding two warring ideas in your head and in your heart: You can love someone but also hate them, adore your father and also resent him, want to cry and twerk at the same time. One woman can feel all of this—and more—at once, Lemonade suggests, because that’s how confusing life and grief and history is. It exalts the mundane as profoundly spiritual: being black, being a woman, feeling confused, feeling grief, trying to forgive, feeling sexual. In all those, together, is the healing. –Hunter Harris 31. Beyoncé: 4 (2011) Before her albums were world-stopping cultural events, before a surprise release meant “pulling a Beyoncé,” there was 4. The superstar’s aptly named fourth album marked a return to hardcore R&B after 2008’s dispiritingly middle-of-the-road I Am...Sasha Fierce; it’s telling that nothing here cracked the Top 10 pop chart but several songs ran up the R&B/Hip-Hop chart. Beyoncé was done catering to visions of how her music should sound. The star power she enlisted was massive—Kanye and André 3000 cameoed, The-Dream and Tricky Stewart lent their songwriting chops (most notably on the perfect torch song “1+1”). And then there was a young Frank Ocean, who co-wrote the silken “I Miss You,” a song so powerful the demo allegedly made Beyoncé cry. But ultimately the marquee star of 4 was Beyoncé’s indefatigable work ethic. She turned in 72 songs for this project; 12 made the cut of the standard release. (On that note: Stick with 4’s original sequencing—the reconfigured tracklist on Spotify snuffs its slow burn and displaces “Countdown” from the climax position.) She gave us more key changes than we ever thought we needed. (“Love on Top” has four!) And she blew with a late-anthropocene gusto, quivering and shaking around words, interpreting by the syllable. –Rich Juzwiak 3. Beyoncé: Beyoncé (2013) “We be all night,” Beyoncé proclaimed on “Drunk in Love,” the most meme-ready track on her self-titled album. She was singing about riding her husband’s big body like a surfboardt, but she may as well have been referring to the way listeners gulped down Beyoncé, which dropped at midnight on a Thursday and seemed to envelop all of social media into the dawn hours while also revolutionizing how albums are conceived and released. The first major pop album to adapt to the way we listen to, and watch, music in the YouTube age, her first “visual album” couldn’t have worked if it weren’t Beyoncé at her absolute best. Over 14 tracks, she peels through her exhaustive musical vocabulary: married-woman trap bangers, ’80s-influenced roller-rink jams, grown-ass R&B, burlesque backseat scores, contemporary blues ballads. And then there was “Flawless,” which sampled Nigerian novelist Chimamanda Ngozi Adichie’s 2012 TEDX talk and helped establish Beyoncé as a fierce interpreter and purveyor of black feminist thought for the pop masses. It’s difficult to understate how enduringly Beyoncé shifted culture (“I woke up like this!”), reasserting the artist as a full-spectrum visionary who was also dreaming up the future, invigorating the industry, maturing in her marriage, and blossoming into first-time motherhood. There is no doubt we’ll still be discussing it for decades to come. –Julianne Escobedo Shepherd
  12. 12. Rihanna: ANTI (2016) With ANTI, Rihanna hopped off of the factory line, destroyed the mind-control machine, added some salt to the cafeteria’s chicken. She took risks and freed herself from mainstream pop expectations, cementing herself as a risk-taking, boundary-breaking godhead. Her eighth album moves from jarring, atonal rock to lackadaisical dancehall before switching up into sultry, sex-positive R&B. She bounces into a stoned torch song in which she’s all but crooning on top of a piano before, whiplash: a weird but brilliantly faithful cover of Tame Impala’s “New Person, Same Old Mistakes,” just because she can. Every left turn is delivered with her inimitable attitude and empowerment; every shrugged decision leads to a fascinating new journey. Upon ANTI’s release, the New York Times called it the “record you make when you don’t need to sell records” but, really, it’s the album Rihanna made when she no longer had to sell Rihanna. When it was released, she was enjoying the most freedom yet in her career: She’d been through her Saturn return, she’d swerved Drake, she’d jumped from Def Jam to Roc Nation and started her own imprint there. She’d acquired the masters of all the songs she’d recorded at Def Jam and was fully independent. She was ennobled to take a big, ambitious swing that could have broken at the seams, yet ANTI proved her modern rewriting of that old adage: Freedom’s just another word for no fucks left to give. –Allison P. Davis
  13. Billboard reported the date in Antwerp. Christina Aguilera Sportpaleis Antwerp, Belgium July 6, 2019 $547,752 8,416 / 8,416 1 / 1 $112.49, $39.37 Live Nation We love a sold out show
  14. The impact jumped out and in CGI now.
  15. Is her 3rd video to achieve this. She gained 95.000.000 in less than a half year! Almost 200.000.000 views if you count the second version.
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