Taylor Swift Is Leaving Country Because She Will Only Make Pop Now Thanks To Shake It Off

You said it. Taylor Swift is no longer country. She changed her genre to pop which means all her country songs are now pop. Her country music is no longer country. It looks like country music is losing Taylor Swift as county music has moved on to other country music outputs like Miranda Lambert and Keith Urban. Worse, country music like Florida Georgia Line and Brad Paisley is losing its appeal. America hates country like Tim McGraw and only wants country-less music like pop music and Britney Spears. So let's talk about you why Taylor Swift is pop, not country. Let me guess: Vevo. That was easy. So why Taylor Swift making pop music lost Taylor Swift is country you ask?

It was all started 6 years ago when Taylor Swift released her first pop single called Change in 2008 after Teardrops On My Guitar got a crossover appeal for pop. So it looks like country music hates Taylor Swift and Taylor Swift only appeals pop music. So you have to use pop music to do Taylor Swift. So even with country songs like Ours, Taylor Swift will not appeal country tastes and she only appeal pop tastes which means her country music cannot appeal pop and country department hates her country hits. So I guess pop music listening to Taylor Swift only appeal her pop tastes, not Taylor Swift in general including her country music. Very lazy. Let's continue.

Then we have The Story Of Us off of Speak Now and for Red, we have We Are Never Ever Getting Back Together, I Knew You Were Trouble, 22, Everything Has Changed. But now, Taylor Swift is releasing her first pop album 1989 and her pop tracks will be based on late 80s pop music according to Yahoo livestream. Nice. I'm really exciting to see Taylor Swift's first album with no country music as I told from my now defunct blog, PM's Personal Thoughts.

It seems that Taylor Swift thrilled Swifties a few weeks ago when she revealed all the info about her brand new album 1989 in a Yahoo livestream, and proceeded to share the record’s first single Shake It Off, along with the video for the track according to MTV's website article called Here’s Why ‘Shake It Off’ Just Became Taylor Swift’s Second Ever No. 1 Song.

So according to livestream, she explained that 1989 will be her first proper pop album—effectively stating that she’s leaving her country roots behind. And apparently, that’s just what her fans wanted, because Shake It Off officially just hit No. 1 on the Billboard Hot 100 charts! Great for a Taylor Swift single. Good thinking, Billboard charts.

So let's hope Taylor Swift will play all her country music on pop non-stop. So how about a Taylor Swift MTV marathon this year tying in to the release of her fifth album on October 27. Anyway, Shake It Off is Taylor Swift's first number 1 single since I Knew You Were Trouble since Taylor Swift has never confidence on number 1 singles like Avril Lavigne did and she was very picky on her singles. While about 10 of them like Sparks Fly and I Knew You Were Trouble were number 1 singles, the rest like Tim McGraw and Back To December, well, doesn't. But I'm fine with that because I prefer to have Taylor Swift singles like Teardrops On My Guitar to not peak at number 1 on any Billboard. So something like Picture To Burn, Fifteen and 22 will never peak at number 1 on any Billboard chart at all. Lol. Let's continue.

Anyway, let's continue. Surely, this success is partially due to her stellar performance of the song at the VMAs in an old-fashioned, sparkly bralet and shorts two-piece - Taylor Swift was definitely into a pants-free for the whole awards show. I bet MTV would be a perfect time to air a Taylor Swift marathon this fall containing all Taylor Swift music videos from Tim McGraw to Shake It Off. Come on MTV air a Taylor Swift marathon containing all Taylor Swift music videos along with other good stuff like Highway Don't Care.

The success of Shake It Off is a big deal, because it’s only Taylor Swift’s second ever No. 1 track—the other being We Are Never Ever Getting Back Together and taken together the songs reveal that big, danceable songs are just what she needs to stay on top. Despite her past success in country, 2012′s Red was Taylor Swift’s first step out of the Nashville fold, and 1989 will see her shimmying her way into a full-fledged pop star.

It seems that We Are Never Ever Getting Back Together and Shake It Off share another feature in common they’re both anthems that empower girls whether it’s by ditching toxic relationships or ignoring haters, the positive, independent message they send is clear. There will be no more teardrops on Taylor Swift's guitar, and possibly, no more guitars at all. Well except for electric guitar because I want my pop rock songs back, Taylor Swift.

Taylor Swift has always been a record-breaker sales-wise and she’s followed up the massive success of Red with another big win: “Shake It Off” had 544,000 first-week downloads sold. That’s the most of this entire year and the fourth highest of all time!

It’s only gonna get bigger from here. Watch the full official music video for Shake It Off here by clicking the link below, or check out some hilarious outtakes from the cheerleading portion of the video below. I guess Taylor's new pop empowerment anthems are taking her straight to the top. Anyway, here's the Vevo link for the music video.

http://www.vevo.com/watch/taylor-swift/Shake-It-Off/USCJY1431460

OK, I hope you enjoy reading my article regarding on Taylor's Swift new hit single Shake It Off from her upcoming 1989 album debuted this week on the Hot 100 chart at the top spot, according to reports thanks to VMAs performances wowing fans. By the way, it appears that the newest anthem that rely on ignoring the haters was co-written by Max Martin and Shellback, the uptempo pop track was released under Big Machine Records. Factors that help put up the song into the spotlight include its immense sales, radio air play and streaming, as well as social media activity. Cool. You know what that means, it's time for Taylor Swift to move her country music to pop stations now that Shake It Off debuts at number 1 on Hot 100 chart. After she moved to pop, she will not last very long on pop as Taylor Swift will be tackling new genres later on during her life as well as moving her country music to mainstream stations. Speaking of which, I think now is the time for Taylor Swift to move her country music to pop.

Now, pop music department, please play all Taylor Swift's country singles like I'm Only Me When I'm With You on pop radio. Come on, pop radio, you need to play Taylor Swift's country music like The Best Day on pop radio. Pop radio needs to play Tim McGraw, pop radio needs to play Picture To Burn, pop radio needs to play Should've Said No, pop radio needs to play White Horse, pop radio needs to play Mean, pop radio needs to play Sparks Fly, pop radio needs to play Ours, pop radio needs to play Begin Again, and pop radio needs to play Red. Oh yeah, pop radio needs to play Tim McGraw's Highway Don't Care too. All Taylor Swift's country songs like The Best Day needs to be played on pop radio. They all have the potential to be played on pop radio. This has to happen.

So what do you think? Are you happy that Shake It Off peaked at number 1 on Hot 100 chart? Are you happy that Taylor Swift's fifth album will be her first album instead of her fifth country album? Do you think Taylor Swift will one day play her country singles on pop radio? Do you think Taylor Swift will tackle new genres instead of going back to country later on after she doesn't last very long on the pop department? Sound off below!

The Fall Of Avril Lavigne

As you all know that we spent a weekend listening to only Avril Lavigne albums to figure out where it all went wrong.

It’s hardly surprising when a pop star becomes a punchline. A life in the public eye is challenging at the best of times, let alone in a digital age when scorn and mockery are easy tactics to cope with mass culture’s persistent attempts to tell us what to buy/consume/listen to. Some pop stars manage to rebound from the jokes; others get buried under them.

The punchlines have been chasing Avril Lavigne for some time now. They’re inevitable when Avril Lavigne suddenly announce her engagement to probably the most readily mocked individual in Canadian music which is Chad Kroeger of Nickelback, and her declining sales and staid rebellion image haven’t helped matters. But it took a particularly dreadful single and a dose of cultural appropriation for the punchlines to coalesce into a full-blown TKO where Avril Lavigne's new Hello Kitty video is terrible and pretty racist.

Hello Kitty is easily the nadir of Avril Lavigne’s career: musically, visually, existentially. Much of the conversation since the video’s release has been about whether or not the Japan-centric clip is racist. Lavigne’s response to the accusations was characteristically juvenile (RACIST??? LOLOLOL!!!) and predictably tin-eared: the fact that it was made with a Japanese director, choreographer, and label, or that Avril Lavigne spends half her time these days in Japan, doesn’t make the video’s portrayal of Japanese culture any more appropriate, or any less uncomfortable to watch. One would think that 10 years on from Gwen Stefani’s controversial Harajuku Girls video, artists and labels alike would have gained some perspective on how problematic these sorts of shallow, culture-raiding gimmicks are. Clearly, we still have a ways to go.

But even if you’re on-side with Avril Lavigne on the racism question, the song and video are still a mess: flashy colours, crude double-entendres, and trend-hopping bass drops splattered aimlessly with only the slightest of cares. Avril Lavigne seems to be sleepwalking through the video, her dance moves barely counting as moves, her lipsyncing atrociously executed. It’s a sad, empty performance of a dreadful song.

RACIST??? LOLOLOL!!! I love Japanese culture and I spend half of my time in Japan. I flew to Tokyo to shoot this video…

- Avril Lavigne @AvrilLavigne 10:05 PM - 23 Apr 2014 from Twitter

The pop star as empty vessel is hardly a novel trope, and a notably gendered one as well: we continue to ascribe agency to men when they release personality-barren pop songs (see Enrique Iglesias’s latest series of frat party anthems, as an example) but readily note its absence when it’s male producers writing for female vocalists (take most criticism of Britney Spears from the past decade). To some degree, Avril Lavigne’s musical agency has always been in question, given how much attention has been paid to her varied songwriting collaborators over the years and the perceived calculation of her mall punk image. But she’s managed to put together a 12-year career with dozens of hits — some of them downright inarguable — to become perhaps our country’s second-most successful musical export of the 2000s. (Her husband’s band which is Nickelback, for better or worse, would be first on that list.)

That sort of sustained success is nothing to scoff at, so why are we so quick to scoff at Avril Lavigne? If Hello Kitty is her rock-bottom, how did she end up here, in full-blown punchline mode? In the interest of cracking the case, we spent our entire weekend listening to her five-record discography, album-by-album, to see if they contain any answers to be found.

(Quick stats primer: a platinum record is a million units in the US and 100,000 in Canada; gold is 500,000 and 50,000, respectively.)

But, before I start talking about what went totally wrong with Avril Lavigne, here's my suggestion. While I'm a huge Avril Lavigne fan, I never like how RCA treat her music poorly between 2004 and 2011. Arista treat her music correctly in 2002 unlike the RCA era. As you all know that many of you fans were more into the Let Go era or the misguided Under My Skin era. But to me, the Let Go era and Girlfriend is the perfect time to get Avril Lavigne active in 2002 and 2007 respectively unlike the Under My Skin era, The Best Damn Thing singles after Girlfriend and the 2010's record material. RCA and 2010's is the reason Avril Lavigne lost her number 1 singles after 2002 (except My Happy Ending and Girlfriend).

I understand that Avril Lavigne is excited about the money that the music will bring, but rushing to her music or her career could jeopardize it for fans and audiences. Say goodbye to potentially record-breaking sales! If anything, why couldn't they just wait and let Avril Lavigne work her magic? Must I mention that suggestion again?

If Avril Lavigne indeed had something to do with Epic Records, then my frustrations with the Epic Records era will come to a boil. But I can't declare that all is lost, because Avril Lavigne's next album for all we care can turn out to be a masterpiece. I wouldn't doubt it, and who knows what's actually going on with Avril Lavigne or the Epic Records era. What I've liked about the Epic Records era is that Avril Lavigne got to do her own thing...

RCA is firing on Avril Lavigne by the end of 2011 because of it. In 2004, RCA put several executives in charge of Avril Lavigne over Arista by the time Under My Skin was released causing Avril Lavigne to move away from LA Reid and Arista and moved to RCA later in 2004. Fresh off the success of Let Go, no less! But then Avril Lavigne saw a slow decline in 2003, with her Losing Grip music video, just playing it safe. When the Let Go era wore thin in 2003, in 2004, Avril Lavigne was then working on her sophomore album, Under My Skin, her second album made by Arista... That plan was shot in the foot, as RCA's executives completely meddled with Arista's Under My Skin (along with The Best Damn Thing and Goodbye Lullaby) that could've been really good and single-handedly ruined Avril Lavigne or her music in the process.

But 2013 has been hands off, and look what they're making! Here's To Never Growing Up, for me, started this great new era we're going through. Her other 2013 singles, Rock N Roll and Let Me Go, along with her fifth album will trace it later in 2013...

Well, this far superior era was never been perfect. Epic Records did an awful job working on Avril Lavigne's reboot comeback last year. I mean, why people hate her last year's music? It's like 2013 music doesn't care about Avril Lavigne. Let's not forget Martin Johnson killed Here's To Never Growing Up and Rock N Roll. Rock N Roll should've done a better job if it was produced by Max Martin instead of Martin Johnson. Not to mention 2013 music hated Here's To Never Growing Up. They prefer Blurred Lines and UGH, We Can't Stop. That's right, that hideous We Can't Stop beats the hilarious but poorly marketed Here's To Never Growing Up.

Since a majority of music listeners wanted to see Miley twerking in her awful We Can't Stop music video, bad promotions, plus explicit writing, Epic Records and Martin Johnson killed Here's To Never Growing Up. Not people hates HTNGU and missed LG/UMS. Then it got ugly.

Her fifth album released the same day going up against a new Eminem album and a new Celine Dion album causing her recent album sold poorly and lost her number 1 peaks thanks to Epic Records and lazy marketing for killing her 2013 comeback. Worse, it was unable to compete against Katy Perry's Prism and Lady Gaga's Artpop and sold less copies than Britney Jean in the US. Why, Avril Lavigne, why? Now I have to wait for her fourth single to release a music video to 2 months ago and she makes a music video for Hello Kitty. If RCA era was annoying, well think again. Hello Kitty is even far worse than the misguided RCA era. I want Give It What You Like, Avril Lavigne. I'm sick of Hello Kitty. Stupid Hello Kitty. Thank goodness she can still have her chance to make her Give It What You Like later this summer. Let's hope she released her Give It What You Like music video to Vevo when she finished her tour.

That's why I hate RCA and Hello Kitty. Why? Because RCA and Hello Kitty killed Avril Lavigne's career from 2004-today. Stupid RCA era and Hello Kitty for ruining Avril Lavigne. OK, without further ado, let's get it started.

Let Go (2002)

Top chart position: Canada #1, US #2

Sales certifications: US 6x Platinum, Canada Diamond (10x Platinum)

Charting singles (US Hot 100): Complicated (#2), Sk8er Boi (#10), I’m With You, (#4) Losing Grip (#64)

Number 1s: Complicated, Sk8er Boi, I’m With You

Complicated is one of those omnipresent singles that’s woven itself so deep into the public consciousness, it’s probably been years since you actively listened to it. Revisiting the song, it’s remarkable how young Avril Lavigne sounds. Over the years, she’s developed a noted drawl in the way she slurs her vowels, an affection every bit as recognizable and imitable as her now-husband’s gruff baritone. Here, you only hear the faintest hints of that distinctive voice, and the result is that even the album’s hits sound more generic than you might remember; they really only stand out in contrast to the radio-ready mush that surrounds them.

And yet, the entire template of Avril Lavigne’s career can be found in those three massive, world-conquering singles. On Sk8er Boi, you have the brat: a punkish, devil-may-care attitude, but with a smirk sneaking through the sneer to let you know it’s not actually all that serious. On I’m With You, you have the balladeer: a fragile-but-determined voice, able to flip a switch and go from soft and broken to a full-blown belter in an instant. And on Complicated, those two personae meet in the middle and create a timeless, near-perfect teenage pop song in the process.

While I don’t want to risk robbing Avril Lavigne of her own creative agency in the fashion noted in my intro, it’s really impossible to talk about her work without detailing her collaborators; nearly all of her creative twists and turns have been greatly influenced by the people she’s worked with. The architects behind Let Go‘s three megahits were a songwriting/production team known as The Matrix, and their success with Avril Lavigne had everyone pegging them as the next big thing in pop music. Instead, not unlike the film franchise that shares their name, The Matrix turned out to be a one-trick pony and spent the next few years rewriting Complicated for artists like Lillix, Hillary Duff, and Liz Phair, with vastly diminishing returns. Had Avril Lavigne continued to work with them, one suspects she would have suffered a similar fate, but she wisely went in a slightly different direction with her follow-up.

I personally love Let Go. It's like it contains my favorite songs. Complicated, Sk8er Boi, I’m With You, and even Losing Grip. Man, love that album and these amazing songs. This will always be the best Avril Lavigne album that I ever listened to. Screw Under My Skin onwards. Let Go ftw.

Under My Skin (2004)

Top chart position: #1 in Canada and US

Sales certifications: US 3x Platinum, Canada 5x Platinum

Charting singles (US Hot 100): Don’t Tell Me, (#22) My Happy Ending, (#9), Nobody’s Home (#41), He Wasn't (not released in the US)

Number 1s: Under My Skin (album), My Happy Ending

A commercial comedown from Let Go, none of the singles from Under My Skin had even a fraction of the cultural impact of those from Avril Lavigne’s debut. And yet, people contend Under My Skin is probably the reason we’re still talking about Avril Lavigne today.

Woah, woah, woah. First of all, I've contend the Let Go era and Girlfriend is probably the reason we’re talking about Avril Lavigne today, not Under My Skin. I mean, why I’d contend Under My Skin is probably the reason we’re talking about Avril Lavigne today? There's no such thing as Under My Skin is probably the reason we’re talking about Avril Lavigne today. Under My Skin is not the reason we’re still talking about Avril Lavigne today.

It’s not easy to break out of the teen music ghetto. It’s the reason why One Direction are shamelessly ripping off classic rock riffs, and why Justin Bieber is flailing to try and connect with hip-hop culture: if teen idols don’t successfully cross over to a wider audience, their teenage worshippers grow up and move on. Good thing it doesn't apply towards Kelly Clarkson, Rihanna, Taylor Swift, Katy Perry, Selena Gomez, Demi Lovato and Ariana Grande because unlike Avril Lavigne, the far more successful female artists like Beyonce and Carrie Underwood knows how to make their music successful and appeal many music listeners well. That's why Avril Lavigne was starting from a privileged position in this regard, given that her big singles were already crossovers. But with CanCon hitmakers Raine Maida and Chantal Kreviazuk by her side, Avril Lavigne doubled down on some of the adult-contemporary flourishes that she teased on her debut and created a sound that helped her avoid becoming a one-album wonder (and a sound she’d rely on throughout her career).

The album’s best song is actually one that Raine Maida and Chantal Kreviazuk didn’t touch: on My Happy Ending, Butch Walker is the helping hand. But the song fits in perfectly among the rest of the material. It brings the piano to the forefront (rather than the “strummy strummy la la” acoustic guitar that dominated Let Go), Avril Lavigne’s vocal performance feels much more human than anything on her debut, and the big guitar chorus would sound perfectly at home on a Kelly Clarkson or Pink album. I wish the rest of the record were as solid; much of it is a slog. The only other real standout is He Wasn’t, which is her punkiest track to date and a harbinger of what was to come on her next record.

Now, as I already mentioned, Under My Skin is a total mess in 2004 compared to 2002's Let Go. Why? RCA. That's why. Not to mention He Wasn't's music video did not release in the US in 2005 and no Grammy nominations for Under My Skin either. Under My Skin is a perfect Avril Lavigne album to have Grammy nominations at the 2005 Grammy nominations. But Grammys blew it. I know you all fans loved Under My Skin. But it seems that many music listeners has moved on to other music after 2002 like Kelly Clarkson before her second album was released in 2004. Not only that, people hated Under My Skin in 2004 and people only liked Let Go. Here's what happened.

"I love Let Go. Let Go is awesome and I don't even like Avril Lavigne. I hate Avril Lavigne albums like Under My Skin and I hate Avril Lavigne songs like My Happy Ending. Let Go is amazing and it has awesome songs like I'm With You"

See, that's what happens. Unlike later albums like The Best Damn Thing, Let Go appeals even people who doesn't like Avril Lavigne, Under My Skin doesn't. That's why Let Go appeals to many people who doesn't like Avril Lavigne more than fans even though fans loved Let Go. Ditto Girlfriend in 2007. OK, let's move on to the next album.

The Best Damn Thing (2007)

Top chart position: #1 in Canada and US

Sales certifications: US Platinum, Canada 2x Platinum

Charting singles (US Hot 100): Girlfriend, (#1) When You’re Gone, (#24) Hot (#95), Keep Holding On (#17), The Best Damn Thing (song) (Not peaked above 100)

Number 1s: Girlfriend, The Best Damn Thing (album)

And so we come to Girlfriend, Avril Lavigne’s first and only no. one hit on the Billboard Hot 100 and the pivot point of her career. From Girlfriend onwards, the tension between the brat and the ballader would become increasingly pendulum-like, with Avril Lavigne oscillating between the two extremes like a reaction against herself. But, hey, when it results in a track as great as Girlfriend, who’s to argue?

Girlfriend calls back to so many storied musical traditions — girl groups, pop punk, the call and response anthem — that it feels timeless, even as its production places it decidedly in the mid-2000s. (Thank the king of modern Evil Pop himself, Dr. Luke, for that.) It’s instantly hummable, effortless breezy, and is arguably the best Avril Lavigne has ever been at endearingly capturing a sense of defiance on record. (Also, in recording the song in seven different languages, its success helped Avril Lavigne grow her global audience significantly.) So if you think Under My Skin is the reason RCA controls too much power over Avril Lavigne causing Under My Skin to poorly marketed letting Arista unable to manufacture the album on its own in 2004, well think again, The Best Damn Thing and Goodbye Lullaby also did pretty much the same way Under My Skin did except both albums were not made by Arista but rather RCA and caused RCA to butchered both albums by putting in Dr. Luke and Max Martin respectively. Just like Under My Skin was butchered by RCA when it was made by Arista back in 2004. Let's continue.

And yet, there was something off about Girlfriend too. It was the first time a certain feeling of the uncanny began to creep into Avril Lavigne’s portrayal of age. She seemed, at once, a bit too old and a bit too young for the song: too old for it to be an expression of authentic experience, but too young for it to be nostalgic. Much of The Best Damn Thing, ballads aside, follows Girlfriend’s template, making the album decidedly more teenage in its sentiments than even her debut. On its own terms, it’s her best record by a good margin, with a hit-to-miss ratio that dwarfs the rest of her discography. But if Under My Skin was the sound of Avril Lavigne entering adulthood, The Best Damn Thing sounded like her denial of it, a creative direction that brought short-term gains, but long-term consequences as well.

But of course, Under My Skin and The Best Damn Thing are both post 2002 albums that was part of the RCA era (2004-2011). Goodbye Lullaby was also part of the RCA era and that's what I'm gonna talk about on my next subject.

Goodbye Lullaby (2011)

Top chart position: Canada #2, US #4

Sales certifications: None

Charting singles (US Hot 100): What the Hell (11), Smile (68), Wish You Were Here (65)

Number 1s: None

OK, let's talk about Goodbye Lullaby, the last of her 3 albums in the RCA era which ran between 2004 and 2011. As you my know that right after Goodbye Lullaby which I’ll talk about later, Avril Lavigne started to get alot better last year when she moved to Epic Records and reunite LA Ried after Goodbye Lullaby thanks to her 3 2013 singles Here’s To Never Growing Up, Rock N Roll and Let Me Go. Last year to me is like the rebirth of Avril Lavigne songs just like her early days of 2002 music like I’m With You. This might be crazy. I mean, Let Go is the perfect time to get Avril Lavigne to have energy in 2002 and 2003 because people between 2002 and 2003 were in a big craze on Avril Lavigne thanks to Let Go sold more than 6 million copies in the US and Canada by the end of 2002. However, the popularity of Avril Lavigne didn't last very long in 2003 and after 2003, Avril Lavigne started to have trouble having her singles peaked at number 1 at any Billboard chart from 2004 onwards. I know My Happy Ending and Girlfriend did peaked at number 1 in 2004 and 2007 respectively.

You see, 2004-2011 was a very tough time for Avril Lavigne. She was getting very active in the Let Go era in 2002 and 2003 (and Girlfriend in 2007) so that way she has the energy to make great music in the early 2000s (2002 and 2003) (ditto 2007's Girlfriend). But after the Let Go era ended, Avril Lavigne is at the bottom of the barrel between 2004 and 2011 behind late 90s and early 2000s like Britney Spears, Pink and Kelly Clarkson and female artists from 2004 onwards like Taylor Swift and Katy Perry. But now, Avril Lavigne is releasing her hilarious song that came out last year called Here’s To Never Growing Up. That makes Avril Lavigne started to get way back up last year thanks to LA Ried. Considering Here’s No Never Growing Up along with Rock N Roll, Let Me Go and her last year's album which is her fifth album. So what we need for Avril Lavigne is better marketing. I mean, Here’s To Never Growing Up, Rock N Roll, Let Me Go and her last year’s album were poorly promoted thanks to Epic Records for running her second attempt’s comeback. Here’s To Never Growing Up was going Up against Come & Get It, Rock N Roll came out going up against Katy Perry’s Roar and Lady Gaga’s Applause, Let Me Go is going up against Say Something and her fifth album without a title was released the same day going up against a new Eminem album. I think Epic Records did an awful job picking the release dates for Avril Lavigne’s comeback redo last year. Her fifth album along with its singles, Here’s To Never Growing Up, Rock N Roll, and Let Me Go were poorly marketing last year. So what Avril Lavigne needs is a new publicist. Anyway, what Avril Lavigne can do now is to make an album without bratty songs and have her take a risk on promoting that album along with a risky non-bratty lead single for next year since Epic Records did not make enough money to market music like Cher Lloyd. So have Avril Lavigne remove from Sony and move to Universal so that way Universal will promote Avril Lavigne’s next music better unlike RCA and Epic did. Oh yeah, bring back Avril Lavigne working with Max Martin and Shellback on her next year's album too.

OK, enough of the chit chat and let’s talk about Goodbye Lullaby era. First, let's talk about What The Hell.

What The Hell is probably the most underrated single in Her discography: a deliriously catchy ode to hedonism that suffers only in comparison to Girlfriend. But it has two big problems. The first is that it sounds even more immature than Girlfriend, explicit references to sex aside, which means it furthered the feeling that Avril Lavigne was over-relying on the juvenilia card. The second is that it sounds nothing like the rest of Goodbye Lullaby. Worse, no number 1 peak for What The Hell in early 2011. What is RCA thinking?

There’s good reason for that: most of the album was complete and in the can a year before its release, but the record was pushed back several times as, according to Avril Lavigne, her label wanted something more radio-friendly. The reason What the Hell sticks out like a sore thumb is because Goodbye Lullaby is, in fact, a notably more adult album or, at the very least an adult-contemporary one in its sound. It’s the one album thus far where Avril Lavigne lets the balladeer persona take over and the resulting record sounds mature, thoughtful… and dull as dishwater.

The obvious comparison for Goodbye Lullaby is Kelly Clarkson’s My December, another case of a pop star wanting to make a more personal, introspective album and ending up with something that’s more than a little bit boring. The difference is that Kelly Clarkson said no when her similarly-hesitant label wanted to bring in big-gun songwriters to craft some hits; while she suffered in the short term for it, I’d contend the credibility she gained from getting to promote the record as an artistic statement was a major boon for her career. Lavigne was unable or unwilling to put up such a fight, and so in came Max Martin and Shellback to save the day, working with her to write the songs that ended up being Goodbye Lullaby‘s singles. Sadly, even with Max Martin and Shellback, What The Hell, Smile and Wish You Were Here did not peak at number 1 on any Billboard charts at all. What is Avril Lavigne thinking? This sold a few more records, sure, but the album still bombed and the songs further contributed to her image as the poster-child for arrested development. In hindsight, it’s hard not to see it as a mistake.

Thank goodness, the RCA era is over. We can all thank LA Ried and 2013 for saving Avril Lavigne after 2011 and thus, she moved to Epic Records and work on her fifth album for later 2013. Bye bye, RCA era.

Avril Lavigne (2013)

Top chart position: Canada #4, US #5

Sales certifications: Canada Gold

Charting singles (US Hot 100): Here’s To Never Growing Up (20), Rock N Roll (91), Let Me Go (76), Hello Kitty (75).

Number 1s: None

"Here’s to never growing up.” “Let ‘em know that we’re still rock ‘n’ roll.” A self titled Avril Lavigne album is the sound of Avril Lavigne not just acknowledging that people see her as that “poster child for arrested development” I mentioned, but openly embracing the caricature. If Goodbye Lullaby is when Avril Lavigne’s career begins its commercial decline, last year’s self-titled album is when she becomes a punchline — and, bizarrely, she leans into the punch. On paper, taking this approach isn’t the worst idea in the world; it could, conceivably, suggest she’s in on the joke, or result in a seemingly more honest point-of-view than the one on Girlfriend or What the Hell.

Instead, listening to Avril Lavigne's fifth album is like hanging out at a dance club with a drunken 30-something desperately attempting to reclaim her youth. First single Here’s To Never Growing Up sums up the album. Its artwork has Avril Lavigne in full, creepy jailbait mode, nude except for the oversized teddy bear she’s clutching. The song itself is as shameless a rewrite of Complicated as anything The Matrix ever did which, even if it comes with a wink, is still more than a bit insufferable. Then, in the video, Avril Lavigne dresses up in her Complicated outfit, sk8ing down the school hallway. When paired with the song’s insipid lyrics, the entire experience is simply uncomfortable. (The album’s second single Rock N Roll, is a lyrical rewrite of the same idea and every bit as insipid, which is a shame, because musically the song is a pretty great pop track and a nice translation of the crunchy, compressed guitar sound that One Direction have made their name on.)

So where does Avril Lavigne go from here? One expects she’ll probably keep working with her husband, but he does her no favours on Avril Lavigne's recent album with his plodding sense of rhythm; the album has none of the fevered pop zeal of her best material, and features some of the driest ballads of her discography. A return to collaborating with someone like Dr. Luke would be wise, but it doesn’t solve Avril Lavigne’s biggest problem: her image.

Hello Kitty isn’t just an annoying song, or an inappropriate video. It’s Avril Lavigne doubling-down on the very elements of her presentation, sound, and sentiment that people have seemingly grown tired of. Modern pop artists are a total package — image, music, attitude, social media presence, etc. — and no amount of great material can make up for a declining interest in the package as a whole. If Avril Lavigne wants to stop being a joke and return to pop juggernaut status, something needs to change, but if Hello Kitty is any indication of her level of self-awareness, I’m not getting my hopes up. Now let's talk about something went wrong.

To start things off, as I already mentioned earlier, Here's To Never Growing Up is a great way to start a new era. Thank goodness, Here's To Never Growing Up was made after the RCA era is over. With the hilarious Rock N Roll and the underrated Let Me Go was soon followed last year. I personally loved Here's To Never Growing Up. Why? Because it's so funny. The marketing for the song however is awful. Why? Epic Records. That's why. Epic Records killed Here's To Never Growing Up. Not only that, why Here's To Never Growing Up and Rock N Roll has to be bratty songs? They suppose to be funny and music listeners are suppose to be laughing. What is Avril Lavigne thinking?

Now, if you think her 3 albums from the RCA era (Under My Skin, The Best Damn Thing and Goodbye Lullaby) was a complete mess, well think again, this album was also a mess. I mean, 2013 is a perfect time to get Avril Lavigne to release her comeback reboot music. But Epic Records blew it. Stop making bratty songs version of new albums. Avril Lavigne needs to stop making bratty songs and bring back try something new. The only bratty songs-less album is Under My Skin because the only Under My Skin bratty song is He Wasn't. 2013 should be a perfect time to release her comeback reboot album, but all she does is to make more bratty songs and cause that album to market very poorly and hurt Here's To Never Growing Up, Rock N Roll and Let Me Go causing that album to release on a bad release date and sell poorly. Plus she threw Hello Kitty in the mix and that album has lost money. What is Epic Records thinking? She needs to try something new each time. But no, Epic Records held her career back.

What's worse is that Avril Lavigne's far superior recent outputs is huge in Japan. I understand that Japan loves Avril Lavigne. But goodness gracious, why Japan loves Avril Lavigne like her bratty songs? Why her bratty songs are huge in Japan? Couldn't Japan listen to her songs in general like her ballad ones? You know Japan couldn't listen to her bratty ones the whole time. Japan can listen to her ballads too.

Man, I hate mainstream America populars and cultures. Mainstream America populars and cultures ruined appeals. Why appeals doesn't go by worldwide and internet? Bering back appeal goes by worldwides and popularities, appeals. It's getting annoying.

Anyway, let's continue. I hate Avril Lavigne is huge appearance goes by Japan. I want my Avril Lavigne is huge in America appearance back. Why Avril Lavigne is huge in America appearance only have early 2000s and Girlfriend? Avril Lavigne is huge in America appearance needs to appeal Avril Lavigne in general like Under My Skin. Because well, fans loved Under My Skin. Man, 2010s is a very difficult decade for Avril Lavigne. No 2010s Avril Lavigne number 1 singles. RCA killed 2011's Goodbye Lullaby and Epic Records killed 2013 Avril Lavigne appearance like Here's To Never Growing Up. 2010s Avril Lavigne is huge appearance only have Japan. Avril Lavigne still making bratty songs version of albums and never stops. Hello Kitty is ruining her music because she thinks she loves Japan. When will Avril Lavigne ever get her number 1s back? When will Avril Lavigne ever gonna get her first number 1 2010s singles. The only way is inventions. Now I have to wait for the next album to bring back number 1 Avril Lavigne singles. Even Max Martin and a much better era that begins last year isn't gonna help. What a minute. I know an artist that runs similar problems that Avril Lavigne does and I know where would went wrong.

Remember Spice Girls? If Avril Lavigne is having problems with her music after to debut album, then it seems that Spice Girls is having the same problems that Avril Lavigne does. You see, music doesn't care about Spice Girls or Avril Lavigne. Music only appeals mainstream populars like Britney Spears and Miley Cyrus. So you won't find Spice Girls and Avril Lavigne on the radio even though the latter still plays Complicated. This is what Avril Lavigne happens the same way Spice Girls did if Avril Lavigne doesn't treat her post early 2000s music correctly. That's another reason 2004 is mid 2000s, not early 2000s. Let's continue.

You know Spice Girls, right? They're from the late 90s and Spice Girls has become the best selling girl group of the 90s. However, 90s music like 90s radio hates Spice Girls like Say You'll Be There. The only Spice Girls that was huge in the 90s is Wannabe. Others like 2 Become 1 and Spice Up Your Life doesn't. Despite the first 2 albums are all time best selling albums of the 90s, Spice Girls like Spice World only appeal 90s. No questions ask. You see, Spice Girls was pretty big in 1996-1998. But later in 1998, Spice Girls has already suffers after Geri Halliwell was left the group in the same year before the group has suffered way fast between mid 1998 and late 2000. By the end of the 90s, Spice Girls has reached rock bottom causing 90s music moved on to Backstreet Boys, Britney Spears and N Sync and by the end of 2000, Spice Girls broke up causing the third album Forever become a disaster. Even the 2007 reunion isn't gonna help either. This would end up the same way Avril Lavigne did on her 2004-2013 music like Spice Girls did if Avril Lavigne isn't treating her 2004-2013 music correctly (Girlfriend aside). That's why 1995-2008 is a tough period for music. Why? Because 1995-2008 music like Spire Girls and Britney Spears made music harder to get better. At least we have late 90s and early 2000s music like good music sung by useless artists (like Michelle Branch, Hilary Duff and Ashless Simpson). Thank goodness the 1995-2008 era is over after 2008 ended so that way music will started to get better during 2009 thanks to music from the 2009-2014 era like Taylor Swift and Ariana Grande. But the 2009-2014 era killed Avril Lavigne's 2011 and 2013 music like What The Hell and Here's To Never Growing Up respectively.

Overall, the RCA era and Hello Kitty is the reason Avril Lavigne's career and her discography decreasing its sales after the Let Go era from 2004 onwards causing Avril Lavigne's 2004-today music was unable to compete against other 2004-today music like Lady Gaga, not the medium. OK, that's it for my rant.

Oh yeah, one more thing, go listen to Here's To Never Growing Up, Rock N Roll and Let Me Go. Avoid Hello Kitty. Trust me, you will love Here's To Never Growing Up, Rock N Roll and Let Me Go and stay away from Hello Kitty.

What do you think? Would you like a new Avril Lavigne album without any bratty songs one day? Is Avril Lavigne wanted to change her image on the next album? What are your thoughts on Avril Lavigne's declining after the Let Go era ended? Sound off below!

Tim McGraw, The Song That Taylor Swift Started It All

Hey everybody, I'll be talking about a Taylor Swift song that I'll be talking about in this article called Tim McGraw. So I hope you enjoy it.

Now, just to let you know that as you all probably have noticed, the majority of the world would rather listen to Taylor Swift's pop songs like We Are Never Ever Getting Back Together and let's not forget her crossover hits like Love Story rather than her country songs like Sparks Fly. So I guess my point is, that even though we probably aren't going to get her country music any more publicity by putting in extra effort, we can still support her country music in our own way, like on Fanpop, and know that she makes one of the most talented artists out there by producing her far superior country outputs like Ours, whether the rest of the world sees it or not. If Taylor Swift releases her music everywhere, it's gonna be crossover and pop, no country. So what we need now is to tell your pop stations and tell them to play Taylor Swift's country music like Red on pop stations and then pop radio will be able to play her country songs like Picture To Burn. That's another thing that frustrates me. The way the musical/mainstream industry works... they only play a single or two that's relatively new from an album, and they play it over and over and over again on the radio until it drives enough people mad. Because of this, most people either don't bother to look up Taylor Swift's country hits like Mean because they get enough of her pop songs on the radio, or they look her up only to listen to her country songs. It's such a shame that those people will never hear the brilliance of her country songs like Picture To Burn and Ours.

Even though everyone else complains about her country music being overplayed and whatnot, people actually only heard her crossover songs like You Belong With Me and pop songs like I Knew You Were Trouble on the radio. No country songs like The Best Day. So if you want country songs by Taylor Swift like Begin Again, you'll have to do this on country radio, not pop radio. Since us Swifties is obsessed with mainstream, so I forced to listen to her country music like Sparks Fly quite frequently, but instead of hearing Taylor Swift's country songs like Red, People hear Love Story, We Are Never Ever Getting Back Together, I Knew You Were Trouble, 22, Everything Has Changed, Shake It Off and You Belong With Me that came out mostly around the same time her country music like Mean was mostly played on country radio. Look, how much I loved Love Story, You Belong With Me and 22, Taylor Swift's country music been around WAY better than her pop music. Shouldn't pop radio stations be playing her country music in general like Sparks Fly and Should've Said No as well as her hit songs that should get more attention like The Story Of Us? Or at least on more than one pop station, so it's not like a scavenger hunt to try and find one that plays her country music like I'm Only Me When I'm With You. Picture To Burn, Should've Said No, Begin Again, Ours, White Horse, Sparks Fly, Mean and Red needs to be played on pop radio. Ditto Carrie Underwood songs like Mama's Song, Tim McGraw's Highway Don't Care and Kelly Clarkson's Tie It Up. These "country" songs needs to be played on pop radio really badly. So radio has to stop overplaying Taylor Swift's pop hits like I Knew You Were Trouble and play Taylor Swift's country hits like Ours. Taylor Swift has to retire her country music career later this year and moved her country songs to pop so that way, her country music like Tim McGraw will now be shown on pop stations too. So what we need for radio now is to play Taylor Swift’s country songs like Tim McGraw because Taylor Swift is shifted to pop and she will no longer make country music. That way, Taylor Swift will have the potential to play her country songs like Tim McGraw on pop radio tying in to the release of her first pop album, 1989 on October 27.

Speaking of Tim McGraw, that gets me the idea of the song that Taylor Swift started it all. Anyway, let’s talk about the song that Taylor Swift started it all called Tim McGraw.

Tim McGraw is a country song that came out in 2006. It is Taylor Swift’s first single. The year the song came out is 2006. Tim McGraw is the only country song of 2006 that broke into the Top 40 of 2006 making it Taylor Swift's first top 40 hit. The song was named after a popular country singer of the same name. Tim McGraw is where Taylor Swift started it all 8 years ago. It is a country song and the music video for the song is the only Taylor Swift music video released in 2006. There you go, Tim McGraw. Now, as I was saying, this will be the Taylor Swift song that should get more attention. Now, what I'm been saying, pop radio stations needs to play Tim McGraw. Plain and simple. Also, MTV (or MTV Hits) needs to air this music video. Remember that Tim McGraw got several edits? It seems that "Someday you'll turn your radio on" in Tim McGraw got several edits along the line of "Someday you'll turn [name of station] on". Bob Kingsley's Country Top 40 countdown even got its own edit, which said "And turn the Bob Kingsley countdown on". So what MTV now is to air this music video with MTV's edit of "Someday you'll turn your MTV on". Songs that contain the word MTV in the lyrics like Avril Lavigne's Sk8er Boi uses that word. So how about doing the same thing for Tim McGraw's music video from 2006 by saying "Someday you'll turn your MTV on" when aired on MTV with its MTV edit instead of the original edit. Pretty cool, huh? OK, enough of the chit chat. Let's move on.

Now, let's talk about Tim McGraw. Tim McGraw Taylor Swift's first single released 8 years ago. Tim McGraw is Taylor Swift’s first song. It is was a beautiful country song. In fact, Taylor Swift’s first song from 2006 was named after a country singer, Tim McGraw. This song is where Taylor Swift started at all. I wish this song was played more often. I’m glad this song is pure country though. I'm sure Taylor Swift's audiences will remember her first song back in 2006. Maybe a special airing for Tim McGraw will gain more Taylor Swift's pop music viewers. I think that would be a great idea. When 2016 is getting closer, Taylor Swift will celebrate the 10th anniversary of her first song. A pop-rock remix of Tim McGraw would be perfect for the 10th anniversary. So I think that the 10th anniversary pop edition of the song would be perfect for pop stations tying in to the 10th anniversary. Plus, I saw a music video for Tim McGraw on YouTube alot of times. I really loved it. The clip from her Tim McGraw music video has made a cameo appearance on VH1's 100 Greatest Women in Music where Taylor Swift was listed at number 41. So if you haven't hear Tim McGraw, be sure to listen to this great country song. Trust me, it's better than her overrated pop songs like I Knew You Were Trouble. I wish Tim McGraw was heard on pop music stations though. This country song by Taylor Swift should be huge and this song should be her iconic country song. Plus, 2006 is where Taylor Swift begins country music and her music career at the same time. Unfortunately, it was only played on country radio in 2006 and 2007 with just more than 35 million airplays. It was a far cry compared to I Knew You Were Trouble since that song was played more than 200 million times. What the fart? Why pop radio doesn't play Tim McGraw? Alot of her songs like Love Story and Everything Has Changed was played on pop radio. So why this song along with Mean, Begin Again, Sparks Fly, Picture To Burn, Ours and Red wasn't played on pop radio? The song was very lucky though. Tim McGraw was categorized as pop on Vevo which is great for a Taylor Swift country song from 2006. Nearly 7 years later, Tim McGraw and Taylor Swift teamed up for his number 1 country song of 2013 called Highway Don't Care. Again, why Highway Don't Care doesn't have a crossover appeal? Since Highway Don't Care is just country, I think a special airing on MTV, VH1 or Fuse will do just fine for Highway Don't Care. Why Highway Don't Care doesn't air on MTV Hits under Taylor Swift Takeover as a special airing? Highway Don't Care is perfect for Artist Collection: Taylor Swift on MTV Hits as a special airing along with Taylor Swift Takeover. Begin Again got it right. So Highway Don't Care should do the same thing on MTV hits as a special airing. Maybe the song was country only? Highway Don't Care was lucky however since it did have a pop category on Vevo which is pretty nice. Anyway, when Taylor Swift her fifth album late this year or even early next year, MTV should air a Taylor Swift music video marathon tying in to the release of her anticipated fifth album. This MTV marathon includes every official Taylor Swift music video including special airings for country exclusive Taylor Swift music videos for her country songs like this one and a special presentation of Highway Don't Care music video. That would be perfect for Taylor Swift's upcoming fifth album release. I hope Taylor Swift will love that idea. So if you like to see Tim McGraw, go right ahead and click the link below to see it. Trust me, you will love it.

www.vevo.com/watch/taylor-swift/tim-mcgraw/USCJY0603010

Bottom line, you must hear Tim McGraw. This will be a perfect Taylor Swift song that needs alot of views. That way, this music video will gain alot more views mostly around 30 million-50 million views. So you can watch the same video alot of times on YouTube by clicking the link way above as I mentioned earlier. If you haven't hear her first song Tim McGraw from 2006, now is the time to listen to that song of 2006. I hope this 2006 song is important to Taylor Swift. I highly recommend it. I hope you like my article and thanks for reading.

This Is Why Pop Radio Needs To Play Carrie Underwood Songs

It has come to my attention that the majority of the world will never accept Carrie Underwood again (except for country) because the only Carrie Underwood song is played on pop stations is Before He Cheats. That's all pop music stations does is to play Before He Cheats and never stops. Cowboy Casanova, Undo It, Good Girl, and Blown Away shouldn't really help much either.

At first, I thought it was only people on YouTube who were being stubborn about the whole thing, but turns out it's everyone. So people was talking to either people about music. We both agree that Lady Gaga is a creepy weirdo, and Kesha is trashy and annoying. Then somebody was talking about how Carrie Underwood doesn't like either of their attitudes, and this was coming from probably the most positive, optimistic person of course. The only music Carrie Underwood does is country music. Why didn't she make pop music for crossover appeals. Taylor Swift did that. So why won't Carrie Underwood do the same thing? I know why? Because she defends her country music last year. What the fart? Then I started ranting about how Lady Gaga tries way too hard to be unique, when all Carrie Underwood had to do was to make country music. Then a person said she doesn't like Carrie Underwood either because country music is awful, and how she shows how "trashy" she is with her country music. Then of course, I tried explaining how she wasn't serious with her songs and she even want to release her songs everywhere, but that didn't really go anywhere. This whole incident just showed me that, if someone as optimistic as her doesn't even like Carrie Underwood because of her songs, then no one else will, other than die-hard fans and mainstream addicts. (No offense to anyone who is...)

So, in case an anti-fan like that happens to come across this page, I want to clear a few things up. Carrie Underwood was not serious with her country hits. It was just country songs that she wrote for fun and didn't even plan on releasing it for country audiences. But of course, the music marketing department forced her to. They wanted Carrie Underwood albums to be just country albums because that's what sells these days. She did not want this, however, so she put her foot down, and that caused some conflicts with her and the music market. In the end, she had to compromise, and put only country songs on the record. I only wish she could've shown people that by releasing her pop songs...

That's another thing that frustrates me. The way the musical/mainstream industry works... they only play a single or two that's relatively new from an album, and they play it over and over and over again on the radio until it drives enough people mad. Because of this, most people either don't bother to look up Carrie Underwood because they get enough of her country songs on the radio, or they look her up only to listen to her songs since the only radio stations to play Carrie Underwood songs is country stations. It's such a shame that those people will never hear the brilliance of Carrie Underwood's awesome country songs like Don't Forget to Remember Me, Wasted, All-American Girl, Temporary Home, Mama's Song, Two Black Cadillacs, See You Again

Even though everyone complains about Before He Cheats being overplayed and whatnot, I've actually only heard Carrie Underwood songs on the country radio. Since something is obsessed with mainstream, I'm forced to listen to it quite frequently, but instead of hearing Carrie's songs, I hear Lady Gaga and Katy Perry and Taylor Swift crap that came out either before or around the same time Carrie Underwood makes country music non-stop since 2005. Carrie Underwood been around in 2005 before all of them, and her music is way better (IMO obviously) than theirs, and it's new. Shouldn't radio stations be playing her music (at least her country songs) like Mama's Song on mainstream radio stations other than country radio stations? Or at least on more than one station, so it's not like a scavenger hunt to try and find one that plays her. I've noticed the same thing with bands like Paramore. Their music is incredible as well, but when Brand New Eyes came out, I never heard their music on the radio.

Well, I can accept the fact that something like this went through a lot to get to hear Before He Cheats, but I'm just not too keen on all the hyperbole. "Before He Cheats is awesome and I don't like Carrie Underwood" Stop that already, please take the time to hear Carrie Underwood songs like Jesus, Take the Wheel, Don't Forget to Remember Me, Wasted, So Small, All-American Girl, Last Name, Just a Dream, Cowboy Casanova, Temporary Home, Undo It, Mama's Song, Good Girl, Blown Away, Two Black Cadillacs, See You Again. If you did and you consider that you prefer other Carrie Underwood songs, fine. At least you have seen her songs, but I get the feeling that a lot of people haven't, or only hear them once and they rejected them.

Anyways, kinda got off topic there. Sure, Carrie Underwood can be talented at times when it comes to her country music, sometimes more than others. But can't we all? I see people in their 30's-40's acting WAY less mature than her. She's an amazing singer and her country music is perfect to everyone beside her country audiences. She's a happy person who wants to have fun. Yeah, she was annoying on country radio and I much prefer hearing her songs, but that was just her being a special country singer. It's what her country song like So Small were made so special. So why doesn't Carrie Underwood move her country music to pop and make her pop music? Let's continue.

But the biggest thing that is preventing Carrie Underwood from having an identity outside of her music is the suits' paranoia over country audiences. You know how much I hate their fear of what country music listners want to hear her songs.

Music brass... Country music audiences aren't your target demographic for Carrie Underwood songs!

Who is your target demographic?

EVERYONE.

Play to everyone, families, kids, adults, fans, pop music listeners... You'll get a big success on your hands, it's not freakin' rocket science! By trying too hard to appeal to country music listeners, you alienate other musc listeners like pop music listeners who will make Carrie Underwood songs more successful than they are. You also come off as country music, and you also make pop music listeners feel left out. What is this? A country music-only treehouse? This is Carrie Underwood, something everyone deserves to experience.

Also, if you treat Carrie Underwood songs as a treehouse for country that doesn't allow pop... Then you're limiting your audience for appealing Carrie Underwood. Pop music listeners don't want to go into a country music's treehouse, because that's country music's stuff. Is Carrie Underwood country's stuff? No. Need I remind the suits about beloved Carrie Underwood songs like Jesus, Take the Wheel! and Good Girl??? Good thing those weren't made today, they probably would've done decent business at best.

This obsession with pleasing one minor chunk of their music audience all stems from Carrie Underwood. Music's newly-hired staff came on board when Carrie Underwood's music was released from 2005 onwards, and those "geniuses" failed to realize that Carrie Underwood's campaign was lame and that Carrie Underwood had other pre-release baggage for country music department. But in corporation fashion, the suits and marketing are never wrong... It's obviously Carrie Underwood's fault for not releasing her country music to pop stations. That's why MTV or Fuse don't want to play Carrie Underwood music videos like Last Name besides Before He Cheats. So if you want Carrie Underwood music videos on MTV or Fuse, tell MTV and Fuse and air a Carrie Underwood marathon with all Carrie Underwood music videos on the former and Carrie Underwood Takeover on the latter. That way, MTV, Fuse or even VH1 will have no problem airing Carrie Underwood music videos not named Before He Cheats like All-American Girl. Great for next year. See is that easy?

Well, I guess my point being is, people, get over that fact that Carrie Underwood isn't a pop singer. She is a country singer. I'll tell you what, Carrie Underwood has to retire her country music career and move her country music to pop and then make pop music. That way, her music will be shown on pop. Forget about Before He Cheats, because Carrie's country singles not named Before He Cheats is fantastic, and if you don't want Before He Cheats, skip over Before He Cheats and her country is just like pop music done by pop artists like Christina Aguilera and Katy Perry for the most part, so at least give it a shot before assuming it's just like pop music like Pink and Rihanna.

Thanks for reading my long, probably unnecessary rant.

RUMOR: Taylor Swift Marathon Is Coming To MTV This Fall

Following Taylor Swift performing her new hit single Shake It Off at the 2014 MTV Video Music Awards on Sunday night, there might be a rumor that MTV will be playing Taylor Swift music videos just in time for a Taylor Swift marathon this September/October.

As Taylor Swift will be performing Shake It Off at the 2014 MTV Video Music Awards, there might be a slight chance that MTV will get familiar with Taylor Swift for a Taylor Swift marathon this fall tying in to the release of Taylor Swift’s first pop album, 1989, Taylor Swift’s upcoming fifth album, on October 27. So Taylor Swift will might be a rumor that she will be teaming up with MTV with her first ever MTV marathon this fall.

In this upcoming MTV marathon, there will be all Taylor Swift music videos including her country music videos (Tim McGraw, Sparks Fly, etc.) along with Taylor Swift’s hit music videos (Love Story, You Belong With Me, We Are Ever Ever Getting Back Together, etc.) and her latest Shake It off music video. Plus, a special presentation of Tim McGraw’s 2013 hit country music video for Highway Don’t Care as well as B.O.B.’s Both Of Us music video.

That’s not all, also in the upcoming MTV marathon, there might be a chance that MTV will be teaming up with Vevo, a popular streaming service, where MTV gets to have in partnership with Vevo just in time for Taylor Swift’s upcoming 1989 album along with Vevo’s first commercial.

The following music videos for Taylor Swift songs in the upcoming MTV Taylor Swift marathon includes Tim McGraw, Teardrops On My Guitar, Our Song, I’m Only Me When I’m With You, Picture To Burn, Change, Love Story, White Horse, The Best Day, You Belong With Me, Fifteen, Fearless, Mine, Back To December, Mean, The Story Of Us, Sparks Fly, Ours, Safe & Sound, We Are Never Ever Getting Back Together, Begin Again, I Knew You Were Trouble, 22, Everything Has Changed, Red, The Last Time and Shake It Off. Plus, the music videos for Two Is Better Than One, Half Of My Heart, Both Of Us and Highway Don’t Care. This can be done in any order.

In addition, there will be MTV’s Taylor Swift moments regarding of Taylor Swift and MTV like Taylor Swift visiting TRL in 2008 and Kayne West bashing Taylor Swift at the 2009 MTV Video Music Awards and much more.

This Taylor Swift marathon will be broadcasted on MTV during September/October just in time to promote her upcoming fifth album, 1989, on October 27.

Please be warned that this MTV announcement regarding on Taylor Swift is just a rumor. But there is a slightly chance that Taylor Swift and MTV will be respond the next upcoming anticipated marathon event on MTV. So chances are, if Taylor Swift performed Shake It Off well at the 2014 MTV Video Music Awards on Sunday, then there might be a possibility that there will be a Taylor Swift marathon on MTV this fall. That way, MTV will get to know Taylor Swift music videos when Taylor Swift’s debut pop album 1989 will be available on October 27.

This Is Why RCA Is A Bad Record Label For Avril Lavigne

Many of you guys will say that Avril Lavigne went through something of a dark age at some point in time. The dark age is usually said to be the why The Best Damn Thing and Goodbye Lullaby's delays lost her fans. To me, Under My Skin is where Avril Lavigne went downhill as Under My Skin is more suited with The Best Damn Thing and Goodbye Lullaby than pairing with Let Go which all your fans prefer for me.

It's not that people prefer that album along with Let Go over The Best Damn Thing, Goodbye Lullaby or her fifth album, but to me, RCA butchered Arista's Under My Skin causing her 2004 singles like My Happy Ending underperformed at the Billboard charts in 2004. The marketing for Under My Skin and its singles is terrible. It was smart enough that Under My Skin is her first number 1 album selling 10 million copies worldwide. But RCA killed Under My Skin era. Yeah, blame RCA. So Under My Skin is where Avril Lavigne started to pop on her rock music in 2004 for me. Stupid RCA for killing Under My Skin in 2004. Yeah, RCA killed Arista's Under My Skin. Then in 2007 The Best Damn Thing lost her fans and bash her most successful song, Girlfriend and Goodbye Lullaby has caused delays and then the album sold poorly in 2011.

Now, I gotta tell you about why Under My Skin and RCA has caused Avril Lavigne's career to have problems in 2004. But before I talk about the story of Avril Lavigne's dark age from 2004-2011, I'll talk about a few things. Yes, fans loved Under my Skin and yes, older fans prefer Let Go and Under My Skin over The Best Damn Thing, Goodbye Lullaby and her fifth album from 2013.

OK, let's talk about the story of Avril Lavigne's problems towards RCA between 2004 and 2011. Here we go.

It's been 10 years ago when Avril Lavigne go back to Arista and begin making Under My Skin in 2003 which is a year after Let Go released in 2002. But after Arista finished making Under My Skin in 2004, RCA came in and distribute Under My Skin. UGH!

As you may know that many people said that Avril Lavigne's dark age began in 2007 and forget Avril Lavigne's music from 2007-2013. But in my opinion, well… Was the post-2002 era, namely an era that contained most of her songs produced after Let Go and before she moved over to Epic Records in 2013.

That's the post-2002/pre-2013 era… This is when RCA were given more control over Avril Lavigne, and as a result, her outputs not named Girlfriend began showing major weaknesses and problems. By this time, RCA morphed Avril Lavigne into a soulless singer, steering her away from the "popular Canadian artist" status after Arista finish Under My Skin and RCA distributes it. This 2004-2011 era is where Avril Lavigne went downhill when RCA starts milking her music career between 2004 and 2011 by the time RCA manufactured Arista's Under My Skin in 2004.

So after her bratty songs like I'm With You and Losing Grip wore thin, during the development of Under My Skin which was released in 2004, her plan was to now tackle new kinds of songs like her mature rock songs. Always good, right? Right? Well, unfortunately, right before Under My Skin released in 2004, Avril Lavigne were merely allowed to experiment. She had to get her ideas, like making her future collab songs featuring another artist, past RCA in order to get them to the boss and most of the time, her best ideas were supplanted by inferior ones. RCA having too much power over Avril Lavigne is a nightmare to begin with, RCA who only saw her ruling over her powerhouse that is Avril Lavigne is an even bigger nightmare.

Thus, we got her 3 post 2002 albums which includes Under My Skin, her second album released in 2004, 2007's The Best Damn Thing and her 2011 flop, Goodbye Lullaby. As for songs, we have Don't Tell Me, My Happy Ending, Nobody's Home, He Wasn't, When You're Gone, Hot, The Best Damn Thing, What The Hell, Smile, and Wish You Were Here. Girlfriend nearly dodged the bullet, but it was the most successful Avril Lavigne song of all time selling more then 3 million copies and peaked at number 1 at Billboard Hot 100 chart. That's because Girlfriend marketed correctly. Other post 2002 songs like My Happy Ending doesn't. So Girlfriend doesn't count. Alice was made by Disney instead of RCA. So no Alice here. Her three albums are what can't be what Avril Lavigne want to be, because her ideas were outweighed by what RCA wanted. Her second album, Under My Skin, was made by Arista back in 2004, but RCA and fans skipped the singles and go straight to the album killed Under My Skin singles like the number 1 2004 single, My Happy Ending. She suppose to move away from bratty and makes her 2004 mature outputs, but her mature songs end up being quick cash ins thanks to RCA and the results are bland, uncreative and doesn't feel like Avril songs like Nobody's Home. The only bratty song is He Wasn't and He Wasn't's music video didn't release in the US in 2005. I know Under My Skin was a success and fans loved it. But RCA killed Under My Skin and its singles did horribly in 2004.

Worse, no Grammy nominations for Under My Skin making that sophomore album even far weaker than other sophomore albums like Fearless as well as her far superior Let Go album. If Arista is still around, then that record label distributing her post 2002 albums including its own Under My Skin. But still, Under My Skin was a success making it her first number 1 album and sold 3 million copies in the US and 10 million copies worldwide which is good for an Avril Lavigne album. But the way Under My Skin was marketed doesn't marketed correctly.

Yeah, 2004 is such a weak year for Avril. Especially having her second album to be a success.

The Best Damn Thing, much like Under My Skin, is also her number 1 album and yet it sold less copies and lose fans in 2007. Then in 2011, Goodbye Lullaby sold poorly thanks to RCA. 2011 is an awful date for her fourth album. 2010 is a much better date. That's why Goodbye Lullaby delayed because delaying lost her popularity alot more than her fifth album did. Goodbye Lullaby's delayed caused music listeners to move away from Avril Lavigne and her songs like Alice and stick with other female artists like Britney Spears, Rihanna, Kelly Clarkson, Taylor Swift, Lady, Gaga, Carrie Underwood, Pink, Beyonce, Katy Perry and Kesha. That's because other long running artists like Britney Spears and Alicia Keys and this generation's artist like Demi Lovato and Selena Gomez has good marketing department and their outputs were successes. Avril Lavigne doesn't. So therefore, 2011, RCA, poor promotions and delays killed Goodbye Lullaby. If Goodbye Lullaby released in 2010 instead of 2011, then Goodbye Lullaby is a huge success. That's why 2011 music hates 2011 Avril Lavigne like Wish You Were Here.

Of course, the biggest stab in the heart is the fact that this is one of the very reasons why Avril Lavigne songs was shown the door, in the very country where it blossomed from the very studio who made it blossom the way it did. I really wish that LA Ried and all the people running Epic Records right now would get it through their heads that Avril Lavigne songs produced by RCA like Smile and terrible management were the reasons why Avril Lavigne songs after 2002 sunk at the charts, not the medium or Avril Lavigne's music career.

Now, I don't know if RCA engaged in a big conspiracy to kill Avril Lavigne by making her 2004-2011 outputs poor, marketing them badly and having them fail, but the way Avril Lavigne was beaten to a pulp during this era makes for a painful part of her career. Thank goodness the madness stopped (I think a lot of people take what LA Ried have done for Avril's career for granted. Bye bye, RCA.), but her 2013 outputs like Rock N Roll remains something of a casualty of her post RCA era thanks to Epic for killed her 2013 career.

I wish the business people realized for one minute that RCA's mismanagement of the company and the decision to swamp Avril Lavigne with ignorant executives hurt her 2004-2011 songs. I wish they'd realize that poor marketing hurt her music career after 2002 like Here's To Never Growing Up. I really wish they would want to bring Avril Lavigne back… They really do! But that really is not enough… Avril Lavigne should never be a thing of the past… Never…

RCA should be a thing of the past for her because RCA can't stand her. Avril Lavigne songs are now gone thanks to RCA and Epic Records for ruining her career since 2004, it's time for them to come back. Even making her mature songs doesn't help her career to get better.

So what she needs is to stop making bratty songs. It's time for music marketing to give Avril Lavigne her own identity and she has to make her future mature songs and bring back number 1 chart peaks on her future songs - in turn, she will entice many fans, adults and other people to hear her songs in droves. She mas to make her first rock music album and make it a big success. That's why Epic Records has to hire much better staff like Max Martin and promote her Epic Records songs correctly in the US unlike her fifth album's awful promotion and its poor singles selections. Bring back number 1 Billboard peaks for her songs and albums too. Advertise that Avril Lavigne album and that album will her her most successful album since Let Go. It can even outsell her other post 2002 albums like Under My Skin too. Overall, Avril Lavigne must get her music big again by allowing her to make her future rock music with more mature efforts. Avril Lavigne has to take risks each time her new music are in the works during her career and her new music has to be successful and become her new number 1 hits just like her Let Go era's singles like I'm With You and Girlfriend from 2007.

Bottom line, the RCA era was a weak era for Avril Lavigne, un-Avril Lavigne in many ways. That includes Under My Skin, a fan-favorite album from 2004 that fans loved the most along with Let Go. Avril Lavigne should never pander to the music public that doesn't care about Avril Lavigne nowadays, never. Avril Lavigne songs should never be for music listeners who never heard of Avril Lavigne first and foremost. Worse, in addition to the fact that Avril Lavigne's materials after the Let Go era could've been good, it helped hurt Avril Lavigne's career or her music. Avril Lavigne's music that Avril Lavigne worked so hard to bolster… The RCA era provides an excellent lesson: Executive meddling should be kept at a minimum in music, or better yet… It should be banished from mainstream music in its entirety. Never let people who don't give nothing about Avril Lavigne be the heads of record labels (her record label happens to be Sony Music Entertainment, the same label who owns Arista, RCA and Epic). That goes for other artists, too like Taylor Swift!

How About A Taylor Swift MTV Marathon

Hello Swifties, it's me again and today, I'll be talking about why I think we should do a Taylor Swift marathon on MTV. So I hope you enjoy this article.

Now, as you may know that Taylor Swift will no longer make anymore country music. That means, Taylor Swift will be leaving country with her next album 1989. That's right, there won't be any country music in her next album. Just pop. No country. This will be Taylor Swift's first pop album made by Big Machine Records. It would be pretty cool if Big Machine Records can make a pop music department one day. That would be awesome. Plus, Taylor Swift’s new hit single, Shake It Off was a smash success. It gained a lot of radio airplays and Taylor Swift perform that single on MTV’s 2014 VMA. 1989 will be available on October 27. So if you haven’t picked this one up, now is the time to preorder it.

That reminds me, Taylor Swift will no longer perform anymore country music which means, Taylor Swift can play her country music on pop non-stop. Imagine Mean and Sparks Fly were played on pop radio. So as long as her country singles like Red were played on pop radio, then her country fans will be so happy. The problem is if a Taylor Swift song is country and not for crossover, pop can't play this one unless if it's crossover. Love Story works really well in 2008. But not Tim McGraw or Picture to Burn. That means pop listeners won't be able to listen to her country singles like Ours. How will pop stations ever gonna play Taylor Swift's country music if her country music is only for country stations. I was thinking. I know, how about a Taylor Swift marathon on MTV. That would be pretty nice wasn't it. Now let's continue.

As you may know that Taylor Swift will be turning 25 on December 13. Which means, there might gonna be a December party bash or something on MTV when Taylor Swift turns 25 this year. I do think that MTV will air a Taylor Swift music video marathon. I think that I would like an MTV Taylor Swift music video marathon on MTV on something like the day Taylor Swift's next album was released. This will be Taylor Swift's big surprise on her anticipated 25th birthday. Now let's continue.

Remember MTV used to air music videos back in 90s and early 2000s like Spice Girls and Britney Spears? Yup, those were the days. Well, the problem is that TRL ended probably 6 years ago back in 2008. That means, there won't be anymore TRL. If only MTV should do more music videos in the afternoon. I know MTV has MTV Hits where you get to see pop music videos for Taylor Swift songs like 22. The problem is that music videos are shrinking on MTV and the only way is inventions. Even a music video marathon on MTV on July 4 last year couldn't save music videos on MTV. Anyway, let's continue.

Nearly 2 years ago when Taylor Swift turns 23, MTV airs a music video for I Knew You Were Trouble. It would be nice if Taylor Swift's birthday can do more MTV and Taylor Swift music video marathon would be perfect for her anticipated marathon or Taylor Swift's 25th birthday. MTV has to have music videos on the air even when the number of music videos are limited. Music videos is MTV's stapled broadcast. So I think that Taylor Swift music videos for country songs would be perfect for MTV. These country music videos for Taylor Swift songs can save music videos on MTV. Taylor Swift will be happy if MTV gets to air a marathon for all her music videos. So let's talk about the Taylor Swift music videos that aired on MTV.

The Taylor Swift music videos that you'll find on MTV are Teardrops On My Guitar, Our Song, Love Story, You Belong With Me Fifteen, Mine, The Story Of Us, Safe & Sound, We Are Never Ever Getting Back Together, I Knew You Were Trouble, 22 Everything Has Changed and now, Shake It Off thanks to the 2014 MTV VMA. Other Taylor Swift music videos like Tim McGraw and Back To December doesn't. I know Back To December is a country/pop crossover song. Good thing MTV Hits did air Back To December and Begin Again videos But if would be nice if MTV could air the rest of Taylor Swift music videos like Ours. That way MTV think her country music are not pop music. So an MTV Taylor Swift music video marathon for MTV this year please. Taylor Swift music videos for country songs needs to air on MTV this year. SO it's perfect for tying in to the release of 1989 this October.

OK, my next subject is where I'll be talking about my prediction for MTV's Taylor Swift music video marathon. A 4th of July music video marathon on MTV started this trend when MTV airs Independence Day music video marathon the same day the marathon was aired on VH1 and CMT last year. So for my predictions, an MTV music video marathon that I'm predicting will be a Taylor Swift music video marathon. The music video marathon for Taylor Swift songs on MTV will be all music videos for Taylor Swift songs. Not just hit pop songs like 22 but Taylor Swift music videos in general like Ours. Since some Taylor Swift songs doesn't appear on pop music like Begin Again and only appeared on country music, these songs can make great placeholder songs on pop music. Whenever pop music overplays too much pop songs, then pop music will play Taylor Swift country songs like Sparks Fly to coll pop music down. Also, I would like Taylor Swift's country music to be her trademark music so that way her country music will be shown everywhere on not just country music regardless of songs Taylor Swift produced. OK, let's discuss my ideas for my predictions on Taylor Swift's music videos marathon on MTV. Here we go.

My predictions for the MTV Taylor Swift music video marathon:

A Taylor Swift music video marathon on MTV for all Taylor Swift music videos. That's right, all Taylor Swift music videos will appear in the MTV Taylor Swift music video marathon. Tim McGraw, Teardrops On My Guitar, Our Song, I'm Only Me When I'm With You, Picture To Burn, Change, Love Story, White Horse, The Best Day, You Belong With Me, Fifteen, Fearless, Mine, Back To December, Mean, The Story of Us, Sparks Fly, Ours, Safe & Sound (from The Hunger Games soundtrack), We Are Never Ever Getting Back Together, Being Again, I Knew You Were Trouble, 22, Everything Has Changed, Red, The Last Time and Shake It Off will appear in the MTV Taylor Swift music video marathon. It can be in any order. The Taylor Swift music videos for country songs that don't appear on MTV will be the MTV premiere of these Taylor Swift music videos. There will be normal airings of the said music videos on MTV and MTV Hits. Plus, the music videos featuring Taylor Swift for Two Is Better Than One, Half Of My Heart, and the MTV premiere of Tim McGraw's Highway Don't Care along with 2013 MTV Video music Awards (where Taylor Swift gets to say the F bomb to One Direction's Harry Styles) and 2009 MTV Video music Awards (From 2009, containing the scene where Kanye West bashes Taylor Swift winning You Belong With Me nomination and said Beyonce should won Single Ladies music video nomination.).

OK that's it. I hope you enjoy my predictions for Taylor Swift music video marathon on MTV. If this marathon wasn't on December 13, that's OK. It's just my opinion. The schedule that I made will be perfect for Taylor Swift's 25h birthday or tying in the release of her next album when the music video marathon for Taylor Swift songs airs on MTV at somepoint. I hope Taylor Swift will love my idea. OK that's it more my article about why we need a Taylor Swift MTV marathon.

Oh, one more thing, Scott Borchetta says in the article about Taylor Swift’s new album, “Taylor fans are going to love it. Will country stations play a complete pop song just because it’s her? No.” This quote is then reinforced in a caption under a picture of Scott Borchetta and Taylor Swift together. So when it comes to Taylor Swift leaving country music, here's my suggestion: Will pop stations play a complete Taylor Swift country song just because it’s Taylor Swift? Of course. Since Taylor Swift's pop songs will not be played on country radio, Taylor Swift's country songs needs needs to be played on pop radio because Taylor Swift is no longer country thanks to Vevo. Duh. So Taylor Swift's country songs for pop radio this year please. I hope you read my latest Taylor Swift blog article.

So what do you think? Do you can MTV to play Taylor Swift's country music videos? Do you want to see a Taylor Swift marathon on MTV at somepoint? Sound off below!