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Thread: 2017 ACM Awards

  1. #1361
    Carrie Fans Legend teesharky's Avatar
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    Quote Originally Posted by Josh View Post
    I don't understand how she didn't make it in the top 50.
    Probably because she lost and was not even nominated for her album sadly.

    But The Fighter got a HUGE bump and was no2-no5 all genre on itunes for a few days. So her performance got a nice bump for the song. Just not her album as she was snubbed for her album sadly.

    When you win an award on tv for best album-- you get a huge bump as everyone flocks to buy it thinking it must be good. Sadly, if your amazing album is snubbed like Storyteller, you get diddly squat.

  • #1362
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    I kind of get frustrated seeing Carrie Underwood get snubbed and not selling the amount she should be. The production on Storyteller was pretty great so people are missing out.
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  • #1363
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    Quote Originally Posted by Farawayhills View Post
    I can understand people being frustrated over awards - but, at the same time, I think some of the posts are heavily influenced by those frustrations, and tend to overlook other aspects of the way the business functions. Agencies help promote their clients - that's their job.

    These agencies have a long history of feeding off each other and absorbing each others' staff. That tends to imply that they operate in similar ways. William Morris is the longest established (by far). CAA was founded by staff breaking away from WM. Ari Emmanuel (the currently dominant agency mogul) trained at CAA, and broke away from them to form his own Endeavor Agency. Endeavor ended up taking over WM. Emmanuel has primarily Hollywood links, and his strength in Country tends to stem from taking over other agencies. He is a strong believer in media consolidation - his power today in the Country industry owes a lot to the ties he's developed between WME and Live Nation - which gives him a strong position in touring.

    Artists may choose an agency for various reasons - but touring is probably the main one, followed by other media opportunities. Awards, despite the fan focus on them, are unlikely to be a main reason for an artist to choose or leave an agency. (Most artists never win awards, and realistically are never likely to - it's more important to their careers to get good bookings and media opportunities.) Artists can also end up with an agency more or less by chance, rather than deliberate choice - and I think that applies to both Carrie and Miranda. (Carrie is probably with CAA mainly because Simon Fuller had close ties with that agency).

    Miranda has a record of sticking with her team, even when circumstances change. For example, when her personal manager, Marian Kraft, left Simon Renshaw's organization to found her own Shopkeeper Management, Miranda went with her. Similarly, her long term agent is Joey Lee, whom she's been with since she was 16 - when his agency was taken over by WME, Miranda stuck with him and thereby became a client of the larger organization. I don't think she has any regular personal contact with anyone else there. Her main business team in the wider public sphere is the three people she thanked in her speech, Joey Lee at the agency, and Marian and Crystal at Shopkeeper Management.

    I think the main reason WME took over Joey Lee's agency was to gain traction in the main Country format outside Nashville. (Most of the artists on his books were from Texas, and included Lee Ann Womack, Wade Bowen, Josh Abbott, Randy Rogers and Whiskey Myers.) Miranda had already won personal and album awards at the ACM (no others in that group were currently winning) - and her acceptance speech for Crazy Ex-Girlfriend had said "Thanks to the industry for accepting me so much when I'm a little left of centre". I'm sure that the WME chiefs would have looked at the client list, and they may have seen in her a chance to acquire growing appeal in parts of the market not well covered by the main agencies, but I don't think personal "head hunting" would have been the main consideration - that would be putting too much stress on one artist. It's likely that general agency expansion was the main motive, which was consistent with their broader growth policy.

    Agencies are principally involved in booking and tour arrangements, but they can also assist management with things like negotiating product endorsements, getting TV spots, interviews and magazine spreads. As long as things like that are going well - the agency will be thought of as doing its job. In Miranda's case, I think an important aspect of the WME-Live Nation link has been the opportunity to participate in larger joint tours (which often run parallel with her own tours.)


    It is pretty clear that no one here has a problem with agencies promoting their clients, since that's obviously their job, as long as such promotion is clean and fair, like it's supposed to be.
    But it is a completely different story when an agency manipulates music awards in order to promote and give their artists a status they clearly don't have.

    What WME has done this past eight years is illegal and unfair. They have completely taken over the Academy and the Association in order to literally buy awards to their clients and use that a selling tool, since awards mean status and status leads to sales, as the public would assume such artists have something special ("wow, they won major awards, gotta check them out!").

    A legal strategy to promote artists is through radio, internet, TV shows etc. That's how artists should earn fame and the public's interest, and, as a result, the success and status and, finally, the awards. That's how all agencies work.
    However, WME has done the opposite way, as I stated in the previous paragraph.

    Miranda is the ultimate example of this dirty strategy WME has created. Up until early 2010, she had had mediocre success and public recognition. It wasn't until she started winning ACMs and CMAs that year that she caught the public's eyes and started selling well. Hell, she even started being played well on radio and got her first #1 in the process. WME bought her a status, and that's what most people don't accept. "Multiple ACM and CMA Award-winning artist, get the new music now. Radio: maxi spins now". They made Miranda happen through awards.
    Same thing happened to Chris Stapleton, and now they are trying to make Brothers Osborne happen.

    I'll never accept that kind of strategy, and most people won't either. If you're OK with that, fine, but don't try to make it look OK, because it will never be.
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  • #1364
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    That's the top 50 albums all genre. Her albums been out over a year and half, she wasn't nominated for it, she didn't perform a whole song from it, she didn't win, not a big surprise she isn't in the top 50 all genre.
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  • #1365
    Ultimate Carrie Fan HuiZ's Avatar
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    Quote Originally Posted by DizzyDollyDee View Post
    In the past when she has lost she manages to smile but if you watch the tape from the ACM's when they announced Miranda's win and she immediately headed over to Carrie I saw Carrie's face look soooo sad. I believe Miranda even saw it too as when she started her thank you I thought she was going to cry (for Carrie). Yes I saw the happiness that others have pointed out and I think Carrie really works hard to focus on that - thats the normal carrie - a happy person but its sad not to have others acknowledge your hard work - not matter if she has already had a lot of accolades - this tour was just that over the top awesome - not like the guys that just stand on a stage and sing
    It's just a personal guess though. We will never know if she's even thinking about the awards on that night. For all we know, there might be other things on her mind, maybe she's not well etc etc. Plenty of possibilities.

    I'd prefer to not draw conclusions of her feelings just because we ourselves are frustrated with WME...
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    Carrie addicted: Perfectly sums it up for me......
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  • #1367
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    Quote Originally Posted by CarrieAddicted View Post
    It is pretty clear that no one here has a problem with agencies promoting their clients, since that's obviously their job, as long as such promotion is clean and fair, like it's supposed to be.
    But it is a completely different story when an agency manipulates music awards in order to promote and give their artists a status they clearly don't have.

    What WME has done this past eight years is illegal and unfair. They have completely taken over the Academy and the Association in order to literally buy awards to their clients and use that a selling tool, since awards mean status and status leads to sales, as the public would assume such artists have something special ("wow, they won major awards, gotta check them out!").

    A legal strategy to promote artists is through radio, internet, TV shows etc. That's how artists should earn fame and the public's interest, and, as a result, the success and status and, finally, the awards. That's how all agencies work.
    However, WME has done the opposite way, as I stated in the previous paragraph.

    Miranda is the ultimate example of this dirty strategy WME has created. Up until early 2010, she had had mediocre success and public recognition. It wasn't until she started winning ACMs and CMAs that year that she caught the public's eyes and started selling well. Hell, she even started being played well on radio and got her first #1 in the process. WME bought her a status, and that's what most people don't accept. "Multiple ACM and CMA Award-winning artist, get the new music now. Radio: maxi spins now". They made Miranda happen through awards.
    Same thing happened to Chris Stapleton, and now they are trying to make Brothers Osborne happen.

    I'll never accept that kind of strategy, and most people won't either. If you're OK with that, fine, but don't try to make it look OK, because it will never be.
    Your attitude toward Miranda personally is why many of us feel that Miranda and her team should have spoke up at least 3 years ago to say, enough is enough. Some may think it would be impossible or difficult to change. But I don't actually.

    At some point, as these awards wrack up to such a ridiculous rate, you will have more and more people feeling disconnected to this "winning streak" and ultimately looking back and seeing a wide casm of disparency. I think that is a really bad idea for her in the end. At some point it is going to stop but at what point? How ridiculous is it going to have to get?

    If what WME is trying to do is make Miranda look good it is going to ultimately back fire as more people develop the attitude towards her personally that you have.......

    For those who think it will not affect her negatively, I have to ask you how far are you comfortable with this going? How many years? How many others ignored? How many of her albums are the actual best albums of every single year? How many years of vocalists who were not as good as Miranda? 10 years? 13 years? 15 years? .... can you imagine where we are going with this?

    Are you comfortable with Miranda being the only woman ever recognized as we move from one entire generation to another?

    I think Miranda should do something about it...... I really do. Not for Carrie, for Miranda!! The day is coming where someone is going to have to say "enough, we can't keep doing this..". And I think it is better that it come from Miranda instead of someone having to step in and have it appear that she would have loved to just accept it for as long as they are willing to hand it to her.
    ITs just not flattering for her at all.....

  • #1368
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    Quote Originally Posted by pklongbeach View Post
    Your attitude toward Miranda personally is why many of us feel that Miranda and her team should have spoke up at least 3 years ago to say, enough is enough. Some may think it would be impossible or difficult to change. But I don't actually.

    At some point, as these awards wrack up to such a ridiculous rate, you will have more and more people feeling disconnected to this "winning streak" and ultimately looking back and seeing a wide casm of disparency. I think that is a really bad idea for her in the end. At some point it is going to stop but at what point? How ridiculous is it going to have to get?

    If what WME is trying to do is make Miranda look good it is going to ultimately back fire as more people develop the attitude towards her personally that you have.......

    For those who think it will not affect her negatively, I have to ask you how far are you comfortable with this going? How many years? How many others ignored? How many of her albums are the actual best albums of every single year? How many years of vocalists who were not as good as Miranda? 10 years? 13 years? 15 years? .... can you imagine where we are going with this?

    Are you comfortable with Miranda being the only woman ever recognized as we move from one entire generation to another?

    I think Miranda should do something about it...... I really do. Not for Carrie, for Miranda!! The day is coming where someone is going to have to say "enough, we can't keep doing this..". And I think it is better that it come from Miranda instead of someone having to step in and have it appear that she would have loved to just accept it for as long as they are willing to hand it to her.
    ITs just not flattering for her at all.....

    What? Why did you quote me? Like... seriously?!
    Did you really think I was somehow "defending" Miranda? Did really read my last post or any of my previous ones here? That's the impression you got for them? Seriously, read them again.
    Because everyone here knows how verbal I am towards WME and Miranda accepting what they do for her.

  • #1369
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    Quote Originally Posted by pklongbeach View Post
    Your attitude toward Miranda personally is why many of us feel that Miranda and her team should have spoke up at least 3 years ago to say, enough is enough. Some may think it would be impossible or difficult to change. But I don't actually.

    At some point, as these awards wrack up to such a ridiculous rate, you will have more and more people feeling disconnected to this "winning streak" and ultimately looking back and seeing a wide casm of disparency. I think that is a really bad idea for her in the end. At some point it is going to stop but at what point? How ridiculous is it going to have to get?

    If what WME is trying to do is make Miranda look good it is going to ultimately back fire as more people develop the attitude towards her personally that you have.......

    For those who think it will not affect her negatively, I have to ask you how far are you comfortable with this going? How many years? How many others ignored? How many of her albums are the actual best albums of every single year? How many years of vocalists who were not as good as Miranda? 10 years? 13 years? 15 years? .... can you imagine where we are going with this?

    Are you comfortable with Miranda being the only woman ever recognized as we move from one entire generation to another?

    I think Miranda should do something about it...... I really do. Not for Carrie, for Miranda!! The day is coming where someone is going to have to say "enough, we can't keep doing this..". And I think it is better that it come from Miranda instead of someone having to step in and have it appear that she would have loved to just accept it for as long as they are willing to hand it to her.
    ITs just not flattering for her at all.....
    I agree.. people also need to think about say 30 years down the road, is Miranda ever going to be mentioned in the same sentence as a Loretta, Dolly or reba. Or even a Faith or Martina, I don't think so. So they can give her all of these awards but it isn't going to change anything which is she will never have radio success or be considered a queen of country music.

  • #1370
    Carrie Guru pklongbeach's Avatar
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    Quote Originally Posted by CarrieAddicted View Post
    What? Why did you quote me? Like... seriously?!
    Did you really think I was somehow "defending" Miranda? Did really read my last post or any of my previous ones here? That's the impression you got for them? Seriously, read them again.
    Because everyone here knows how verbal I am towards WME and Miranda accepting what they do for her.
    Sorry, I think you misunderstand my post. I agree with your post! And I used your post as an example of why WME better change their strategy or your feelings towards Miranda are going to be the feelings of a lot of peoples!
    I know how you feel. I have read and supported your opinion many times. Sorry if my post seemed condemning in any way. I am actually in support of what you said!

  • #1371
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    Quote Originally Posted by pklongbeach View Post
    Sorry, I think you misunderstand my post. I agree with your post! And I used your post as an example of why WME better change their strategy or your feelings towards Miranda are going to be the feelings of a lot of peoples!
    I know how you feel. I have read and supported your opinion many times. Sorry if my post seemed condemning in any way. I am actually in support of what you said!
    Oh, got it. It was the usage of "you" that made me think that. "People", a more general word, woulda been better, lol
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  • #1372
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    Quote Originally Posted by CarrieAddicted View Post
    Oh, got it. It was the usage of "you" that made me think that. "People", a more general word, woulda been better, lol
    I was using you personally as an example cause I think you make your opinions very clear, and I think there are plenty of people who agree with you. And as we move forward, if WME does not figure this out, there are going to be a majority of people who feel that way, and it will not be flattering to Miranda in any way at all......

  • #1373
    Insane Carrie Fan Farawayhills's Avatar
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    Quote Originally Posted by CarrieAddicted View Post
    It is pretty clear that no one here has a problem with agencies promoting their clients, since that's obviously their job, as long as such promotion is clean and fair, like it's supposed to be.
    But it is a completely different story when an agency manipulates music awards in order to promote and give their artists a status they clearly don't have.

    What WME has done this past eight years is illegal and unfair. They have completely taken over the Academy and the Association in order to literally buy awards to their clients and use that a selling tool, since awards mean status and status leads to sales, as the public would assume such artists have something special ("wow, they won major awards, gotta check them out!").

    A legal strategy to promote artists is through radio, internet, TV shows etc. That's how artists should earn fame and the public's interest, and, as a result, the success and status and, finally, the awards. That's how all agencies work.
    However, WME has done the opposite way, as I stated in the previous paragraph.

    Miranda is the ultimate example of this dirty strategy WME has created. Up until early 2010, she had had mediocre success and public recognition. It wasn't until she started winning ACMs and CMAs that year that she caught the public's eyes and started selling well. Hell, she even started being played well on radio and got her first #1 in the process. WME bought her a status, and that's what most people don't accept. "Multiple ACM and CMA Award-winning artist, get the new music now. Radio: maxi spins now". They made Miranda happen through awards.
    Same thing happened to Chris Stapleton, and now they are trying to make Brothers Osborne happen.

    I'll never accept that kind of strategy, and most people won't either. If you're OK with that, fine, but don't try to make it look OK, because it will never be.
    Well, it seems that you and I are destined to make posts that often annoy each other!

    As you've quoted my post, as a launch pad for the points you wished to make, I'd like to explain some of the reasons why I do disagree with some of those points (In doing so, I'm not trying to convince you - let alone annoy you further - simply to show that it's possible to have a different perspective on those points)

    1. You argue that some methods of promotion (and you mention radio and the internet) are "fair and clean", while lobbying for awards is not. I can't accept that premise. Much of what major record labels promote is unfair to the range, breadth and depth of the Country genre as whole. Radio is a particular offender. Much of the material on its playlists leans heavily to Pop, and accepts many of the preferences of Pop - more emphasis on recognizable memorability than on lyrical depth, dependence on catchy hooks and powerful choruses, more emphasis on singing than instrumentation, and more on melody than musical variation. There's nothing wrong with that, in itself, and many people enjoy songs of that type - but if radio playlists became the main determinant of awards, the recognition the genre would give to its stylistic range would become narrower - something I would see as far from "fair". As it is, I believe awards can play some part in redressing the balance.

    2. I'll leave aside the unsupported charge of it being "illegal", but the main reason you seem to give in your post for award lobbying being "dirty" is that it doesn't give sufficient weight to commercial success - and you say that awards should "follow fame and success". They frequently do - and that connection is never likely to be broken (people tend to notice what other people are noticing - whether it be critics, fans, record companies, a professional association, or the general public). I would not agree , though, that awards should only, or even primarily rest on existing commercial success. If they did, they would be largely redundant - an accountant could work out where the the awards should go in an afternoon, and peer voting would be unnecessary. Commercial success, whether measured by sales or radio play, is a career benefit in itself - if it needs an award to commemorate it, on top of that, there are plenty available (gold discs for big sellers, medallions from the rights organization for radio play, Billboard awards for touring.) Commercial success, though does not correlate consistently with artistic depth, or with the genre's ethos. Sometimes it does, which is well and good - but to rely on it as the main consideration would often leave the genre poorer and stylistically less diverse.

    3. We also disagree on the extent to which artists have been "created" by awards - but as we've often argued over that before, I won't labour the point again. Suffice it to say that, for you, artists seem to be made to "happen" by commercial success, while I don't evaluate artists by their commercial success, or their awards - and a lot of successful or well awarded artists haven't "happened" for me at all. For me, if artists are going to "happen", it's usually because of what I've seen in the type of work they're producing, and its artistic quality, and critical recognition - and since that is virtually always there before enough of the award voters notice them, it follows that we're not basing our judgments on the same premises at all.

    4. A key point that illustrates our differences seems to be that you single out three artists as relatively undeserving - Miranda Lambert, Chris Stapleton, and the Brothers Osborne - who are all examples of people I very much think deserve to be awarded by a Country Music advocacy organization. These are all artists whose general stylistic leaning can be called Progressive Roots - and I think we both have to accept that a significant part of our differences arises from very different tastes in music, as well as from the importance of sales and radio play.

    5. Given those differences, it might be a consolation that, at least, we both like and admire Carrie - but, even there, the differences emerge. In other recent posts, you've expressed considerable disappointment with the "Storyteller" era (and with "Smoke Break" in particular), saying that, in effect, the era never happened for you - whereas for me, both the album and the song are among Carrie's best yet. Again, if I've read your posts correctly, your reasons are a mixture of stylistic taste, and relative disappointment at the level of commercial performance.

    In conclusion, we'll probably never see these aspects in the same light - but we do, I think it's fair to say, approach Country Music from very different perspectives - and that heavily colours what we see on many issues as more important. That Carrie can draw in such different types of fans is, after all, a tribute to her power and complexity as an artist.

  • #1374
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    Quote Originally Posted by Farawayhills View Post
    Well, it seems that you and I are destined to make posts that often annoy each other!

    As you've quoted my post, as a launch pad for the points you wished to make, I'd like to explain some of the reasons why I do disagree with some of those points (In doing so, I'm not trying to convince you - let alone annoy you further - simply to show that it's possible to have a different perspective on those points)

    1. You argue that some methods of promotion (and you mention radio and the internet) are "fair and clean", while lobbying for awards is not. I can't accept that premise. Much of what major record labels promote is unfair to the range, breadth and depth of the Country genre as whole. Radio is a particular offender. Much of the material on its playlists leans heavily to Pop, and accepts many of the preferences of Pop - more emphasis on recognizable memorability than on lyrical depth, dependence on catchy hooks and powerful choruses, more emphasis on singing than instrumentation, and more on melody than musical variation. There's nothing wrong with that, in itself, and many people enjoy songs of that type - but if radio playlists became the main determinant of awards, the recognition the genre would give to its stylistic range would become narrower - something I would see as far from "fair". As it is, I believe awards can play some part in redressing the balance.

    2. I'll leave aside the unsupported charge of it being "illegal", but the main reason you seem to give in your post for award lobbying being "dirty" is that it doesn't give sufficient weight to commercial success - and you say that awards should "follow fame and success". They frequently do - and that connection is never likely to be broken (people tend to notice what other people are noticing - whether it be critics, fans, record companies, a professional association, or the general public). I would not agree , though, that awards should only, or even primarily rest on existing commercial success. If they did, they would be largely redundant - an accountant could work out where the the awards should go in an afternoon, and peer voting would be unnecessary. Commercial success, whether measured by sales or radio play, is a career benefit in itself - if it needs an award to commemorate it, on top of that, there are plenty available (gold discs for big sellers, medallions from the rights organization for radio play, Billboard awards for touring.) Commercial success, though does not correlate consistently with artistic depth, or with the genre's ethos. Sometimes it does, which is well and good - but to rely on it as the main consideration would often leave the genre poorer and stylistically less diverse.

    3. We also disagree on the extent to which artists have been "created" by awards - but as we've often argued over that before, I won't labour the point again. Suffice it to say that, for you, artists seem to be made to "happen" by commercial success, while I don't evaluate artists by their commercial success, or their awards - and a lot of successful or well awarded artists haven't "happened" for me at all. For me, if artists are going to "happen", it's usually because of what I've seen in the type of work they're producing, and its artistic quality, and critical recognition - and since that is virtually always there before enough of the award voters notice them, it follows that we're not basing our judgments on the same premises at all.

    4. A key point that illustrates our differences seems to be that you single out three artists as relatively undeserving - Miranda Lambert, Chris Stapleton, and the Brothers Osborne - who are all examples of people I very much think deserve to be awarded by a Country Music advocacy organization. These are all artists whose general stylistic leaning can be called Progressive Roots - and I think we both have to accept that a significant part of our differences arises from very different tastes in music, as well as from the importance of sales and radio play.

    5. Given those differences, it might be a consolation that, at least, we both like and admire Carrie - but, even there, the differences emerge. In other recent posts, you've expressed considerable disappointment with the "Storyteller" era (and with "Smoke Break" in particular), saying that, in effect, the era never happened for you - whereas for me, both the album and the song are among Carrie's best yet. Again, if I've read your posts correctly, your reasons are a mixture of stylistic taste, and relative disappointment at the level of commercial performance.

    In conclusion, we'll probably never see these aspects in the same light - but we do, I think it's fair to say, approach Country Music from very different perspectives - and that heavily colours what we see on many issues as more important. That Carrie can draw in such different types of fans is, after all, a tribute to her power and complexity as an artist.

    Actually, your posts have never annoyed me by any means.
    I do think it's pretty healthy to see people with different opinions and points of view than me, as long as there is mutal respect.
    We both do have different points of view and we both have strong opinions, that's why our posts usually collide, but I truly respect you.
    It's like Prof. Xavier and Magneto in X-Men - two friends with different views but who respect one another.

    I'm not willing to further expand this WME/country awards discussion even more, because I'm trully tired of this. As I know the upcoming CMA Awards in November will bring back this dicussion once again, we can talk about it around that time. Sad, but true.
    For now, I'll reply the point you made that is not related to the discussion.


    5. Yes, if it wasn't for Carrie, we probably wouldn't know each other, because our music tastes largely vary. I come from the Mainstream (not just that, but, hell, I come from the Hip-Hop scene), while you, as you've stated multiple times, come from anything but that. Our love for Carrie is what unite us, and I truly admire that.
    I got to know Carrie through mainstream events and TV channels, and I fell in love with her music (here talking strictly about her music) because it sounded like what I love - mainstream. I love heavy beat, heavy production. I love seeing her defying herself on stage, pushing herself to the limit with a powerful performance. Not just with a heavy-produced song, but also a big-voiced ballad.
    So, when SB came out, with that "soft" sound and that "soft" image she was introducing at the beginning of the era, I was devasted because that wasn't her, you see? (again talking strictly about her as an artist) That wasn't the Carrie, the performer, I had been following and loving for 8 years. I know she is talented enough to do any kind of music/sound, but that song, the performances of that songs... sorry... Not Carrie.

    I was shocked, but I supported the hell out of the era, because I love her beyond her career or music. I love her like she is part of my family, my love for her is beyond words. But I was sad. Look, I LOVED Storyteller - the album itself. It does have the mainstream sound I love, it does feature the Carrie I love. It was just how she introduced the album to the public, you know? The image she used doesn't reflect the real album. At least, she dumped that image and got back to being the real Carrie with CB and DL. Anyway...
    But then the lackluster results of the era started to appear, and further depressed me even more, because I wasn't used to it. You've said you don't care about numbers, but we in Hip-Hop do care. Not just that, but when you love and support someone, you want to see them winning left and right. You can't even picture how devasted I was when it missed #1 on the Billboard 200 and she further missed the record she would set (only female country artist to have 4 #1 albums on that chart). Then, the poor sales numbers and all the rest... I was and still am SAD. That's why I don't even want to remember any of this.

    The only good thing the Storyteller era brought to me was the tour. THAT made me happy not only because of the success and production, but also because I attended it TWICE and...
    SHE TOOK MY PHONE AND TOOK A SELFIE WITH ME DURING THE CONCERT!!! Can you believe that?! After YEARS of an endless support, I achieved that.
    I have a selfie with my favorite artist. I have a photo with Carrie Underwood.
    And I'm forever greatful. Words can't describe.
    She makes it all worth, I can't even say anything else, just: here's to the new chapter with Universal.

  • #1375
    Insane Carrie Fan Farawayhills's Avatar
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    Thanks for that - I admire and respect your dedication and your musical knowledge. Carrie's ability to attract listeners whose musical tastes run across the musical spectrum is one of the great things about her.

    Differences in musical taste never annoy me - what does tend to get me going is when people run down artists they dislike. I would say that happens here rather less today than it did a few years ago - but when it does happen, it's always likely to attract defence.

    I never have listened to much Pop - I've been a Country Music enthusiast since a child. I do listen to other music - C17-C18 mid and late Baroque (the Vivaldi to Telemann era) used to be one of my passions, and I enjoy traditional World Music (Sufi Praise Music being an example)

    When it comes to Pop, I would say it's the showy, stagy, "celebrity" Pop that I tend to most dislike - and one unfortunate aspect is that when it comes into Country, that tends to be the type they go for. But I can support, for example, Carrie's "Clock Don't Stop", because it's more edgy and experimental (I've said before that it reminds me somewhat, stylistically, of Cyndi Lauper - who is a Pop artist I can admire)

    "Blue-eyed Soul" (as it's sometimes called) has always had links and connections with Country Music. Carrie could certainly explore aspects of that. Some here may recall that I'm a big admirer of Susan Tedeschi. Check this out, as an example:
    https://www.youtube.com/watch?v=xbOlgESKbIc

    I've defended Country Rap and "Hick Hop" (another of those rather awkward labels) on this board (and was one of the few who seemed to feel that way). I admire Nappy Roots, one of the groups who arguably started (or more accurately, re-started) modern Country Rap
    https://www.youtube.com/watch?v=QbN6VkleO48

    This is an example of solo work by a R & B artist I admire. I think there's plenty of room, If Carrie wanted to experiment in this style.




    For a Country artist, I think one key point is not whether they use "outside" influences - but how they use those influences. If they don't just imitate, and don't just completely crossover into the other influence - but blend it into a Country ethos, with musical, thematic and vocal references to their roots, I think it can enrich their style. For my part, Carrie has shown she can do that - and do it rather better than many of the chart acts - whose work too often seems to be little more than actual Pop, released to a Country format (and therefore classified as Country, more because of the artist's format identity than because of the actual song). Carrie has nearly always successfully avoided that trap.


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