Kim Petras - Slut Pop Miami

Well

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Usually a popstar saying "I'm devastated" and "I just want to quit" would make me feel incredibly sad, but I have zero sympathy. If she couldn't find it in her heart to be devastated about what happened to Kesha and the resultant trauma (people who have been sexually abused never truly recover; it is beyond devastating), I don't see why I should give a fuck about her ruined career.
 
It’s a shitty situation for any artist, but is she really gonna act like everyone wasn’t warning her of exactly this happening for years? Like surely she can’t be that surprised.

Were there people around her who weren't basically L*ke's lackeys though? Genuinely curious on the company she's kept only because it feels like she's deliberately entrenched herself in his world and into that echo chamber of his supporters. Regardless, she had plenty of resources/evidence to decide and act otherwise, more so asking as the seven album deal has always seemed particularly egregious to me regardless of the parties involved.
 

matthew.

Staff member
He/Him
I'll never understand at this point, post leak, post fan-awareness that the label doesn't just unceremoniously plop the project on streaming to recoup something. There are certainly enough poppers-fried gays to stream this and its certainly no less of an absolute disaster that Slut Pop was.

But she is a Bad Person who deserves a comeuppance so if the only thing that comes out of this is some introspection and reevaluation, perhaps it was all worth it.
 
I'll never understand at this point, post leak, post fan-awareness that the label doesn't just unceremoniously plop the project on streaming to recoup something. There are certainly enough poppers-fried gays to stream this and its certainly no less of an absolute disaster that Slut Pop was.

But she is a Bad Person who deserves a comeuppance so if the only thing that comes out of this is some introspection and reevaluation, perhaps it was all worth it.

[insert the "it's not realistic" meme]
 
he/him
I'll never understand at this point, post leak, post fan-awareness that the label doesn't just unceremoniously plop the project on streaming to recoup something. There are certainly enough poppers-fried gays to stream this and its certainly no less of an absolute disaster that Slut Pop was.

But she is a Bad Person who deserves a comeuppance so if the only thing that comes out of this is some introspection and reevaluation, perhaps it was all worth it.
In these situations I always assume that a lot of people will need to be paid if they go through with the release. Especially with a major label involved, that producer man is probably not being so generous this time around. I think most record deals even stipulate that the label has to provide a reasonable amount of promotion to their artist’s projects. It’s probably cheaper to not go forward with releasing it.
 

Inland Empire

Staff member
he/she/they
Truly can't think of anything more poetic than her career ending with a re-release of the songs that (debatably) helped start the trend she's utterly failed to keep up with. Half these songs predate Pop 2 - at that time it honestly looked like Charli could be over and Kim was possibly about to take the mantle. Well now Charli's completely turned it around and scored a UK #1 album and multiple top 40 hits, whereas Kim's only brush with the UK charts has been...an Amazon-payola cover of Running Up that Hill which peaked at #100. Slayyyter and Rina are arguably more successful in 2022 (or at least have a far stronger fanbase) despite not even being signed to major labels. Her career has been a Monkey's Paw story from the very beginning and this is its final act.
 
Were there people around her who weren't basically L*ke's lackeys though? Genuinely curious on the company she's kept only because it feels like she's deliberately entrenched herself in his world and into that echo chamber of his supporters. Regardless, she had plenty of resources/evidence to decide and act otherwise, more so asking as the seven album deal has always seemed particularly egregious to me regardless of the parties involved.

Yeah, Aaron Joseph who she fell out with recently is still working with Luke and has vehemently defended him over the last 5 years.
 
Her own shitty issues aside, I just don’t understand what exactly the label is expecting out of her? Like, it sucks but I just can’t see an openly trans artist become legitimately huge right now. That’s awful of course but I feel like that’s the (unfortunate) reality. They should have let her cultivate a devoted, niche base like Charli and then, later on give her the big push. Again, she’s obviously got her own personal shit she really needs to sort out, but it feels like the odds were stacked against her as soon as she signed with them. And given the aforementioned personal issues, I don’t know that she can come back from this whether she’s on a label or not.
 
Wasn't Malibu and Reminds Me meant to be part of another scrapped album in 2020 to?

They could of just thrown out this collection of flops months ago, then moved onto TOTL 3 and forget it ever happened...
 
Yeah, Aaron Joseph who she fell out with recently is still working with Luke and has vehemently defended him over the last 5 years.

He's asking if there were people who weren't Luke defenders around her basically to get in her ear about not aligning herself with him, I believe. Which to me, the writing was on the wall and how she's described it and the whole situation has rung grossly the whole time. I could understand someone like Ethel Cain basically being like "look, I didn't know and I needed the money, what's done is done." but that's not how Kim has framed everything at all.
 
Truly can't think of anything more poetic than her career ending with a re-release of the songs that (debatably) helped start the trend she's utterly failed to keep up with. Half these songs predate Pop 2 - at that time it honestly looked like Charli could be over and Kim was possibly about to take the mantle.
No offense to Kim (okay, a lot of offense to Kim), but the idea of Kim "starting the trend" of the hyper-pop girls or "was about to take the mantle" from Charli is just plain revisionist when barely anyone knew who Kim was until she featured on Pop 2. Kim had a cute viral moment on Spotify with I Don't Want It At All but it was hardly some career-making, genre-shaping hit. And before Pop 2, Charli had already released Vroom Vroom and Number 1 Angel so it wasn't like she was inspired by Kim in any way.
 
What confuses me most about her situation with this record, and countless other artists, is how it even gets to this point in the first place. The process for most artists, sans those who are stratosphere-level stars, seems to be that they have to present the label with a nearly finished product ahead of a release schedule being set. Does it not benefit everyone involved to like…check in periodically throughout recording instead? That way if the material isn’t doing it for the label they can intervene sooner?

That may sound incredibly naive to how things actually work, but it just seems quite common for labels to listen to a nearly completed body of work and be like “Nah, throw a couple more in and we’ll see where that gets us!”. Followed by more recording, more delays, rinse and repeat. It feels maddening from an outside prospective, but maybe these feedback sessions occur more frequently than it appears.
 

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