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A gargantuan "oof," in all facets. Off to a rough start in this comeback era for Katy.
It's like she thought "what is the worst possible decision I can make" at every turn:
  • having Dr. Luke handle production [yikes]
    • resulting instrumental is bland for 2024 standards
  • having five other writers (four of who are men) be involved
  • performative feminist message made completely null and void because of first decision
  • low effort lyrics that could pass off as a chatGPT result
  • music video with content depicting what an immature 12 year old boy might view as girlpower
    • actually directed by a male, for a song titled "Woman's World"

 
A gargantuan "oof," in all facets. Off to a rough start in this comeback era for Katy.
It's like she thought "what is the worst possible decision I can make" at every turn:
  • having Dr. Luke handle production [yikes]
    • resulting instrumental is bland for 2024 standards
  • having five other writers (four of who are men) be involved
  • performative feminist message made completely null and void because of first decision
  • low effort lyrics that could pass off as a chatGPT result
  • music video with content depicting what an immature 12 year old boy might view as girlpower
    • actually directed by a male, for a song titled "Woman's World"


I have actively chosen not to give this song or video the time of day since it's come out, so maybe it's a bit unfair for me to comment on it. However, I feel like the choice to tap Dr. Luke of all people for your big female empowerment comeback anthem tells me everything I need to know about Perry's motives and headspace for putting this out. Her now attempting to defend it as "satire" just solidifies to me she has completely lost the plot and is scrambling to pull the "you can't criticize me if what I'm doing is already insincere and ironic!" card. But like... that was the whole problem to begin with? That it didn't feel like a genuine statement?

I like a great number of Katy Perry singles and I typically hope for artists like her to pull through and surprise everyone with a solid comeback. In my opinion, "Never Really Over" should have been a hit for her and was good enough that it should and could have easily catapulted her back to stardom, but it just didn't catch on for whatever reason. I'd feel worse that it seems like Katy can't get people interested in her music anymore (at least not for the right reasons), but the decision to willingly work with Dr. Luke again is pretty unforgivable and doomed this project before it even fully got off the ground.

The only silver lining to all this is that at the same time Katy and Luke are flailing on the charts, Kesha's first release as an independent artist is apparently outperforming it. I'm far from a chart-watcher and I loathe stan culture with a passion, but that was a headline I was glad to see. Regardless of my own feelings on "Joyride" (it's... alright), I'd much rather it be given the spotlight than whatever schlock this new fake-deep "activist" version of Katy Perry is going to try and sell us.
 
I have actively chosen not to give this song or video the time of day since it's come out, so maybe it's a bit unfair for me to comment on it. However, I feel like the choice to tap Dr. Luke of all people for your big female empowerment comeback anthem tells me everything I need to know about Perry's motives and headspace for putting this out. Her now attempting to defend it as "satire" just solidifies to me she has completely lost the plot and is scrambling to pull the "you can't criticize me if what I'm doing is already insincere and ironic!" card. But like... that was the whole problem to begin with? That it didn't feel like a genuine statement?

I like a great number of Katy Perry singles and I typically hope for artists like her to pull through and surprise everyone with a solid comeback. In my opinion, "Never Really Over" should have been a hit for her and was good enough that it should and could have easily catapulted her back to stardom, but it just didn't catch on for whatever reason. I'd feel worse that it seems like Katy can't get people interested in her music anymore (at least not for the right reasons), but the decision to willingly work with Dr. Luke again is pretty unforgivable and doomed this project before it even fully got off the ground.

The only silver lining to all this is that at the same time Katy and Luke are flailing on the charts, Kesha's first release as an independent artist is apparently outperforming it. I'm far from a chart-watcher and I loathe stan culture with a passion, but that was a headline I was glad to see. Regardless of my own feelings on "Joyride" (it's... alright), I'd much rather it be given the spotlight than whatever schlock this new fake-deep "activist" version of Katy Perry is going to try and sell us.
Yes, yes, and yes.

In terms of the vinyl world, there are six known variants (all with both unique cover artwork and LP color). The official store exclusive is signed...which is still available as of the timestamp of this comment. It's going to be another Adele 30 situation, with overstock from all avenues being available for $5 in a year's time.

Looking like 2024 is the year that a handful of artists popular during my high school years are receiving a shock to their systems. Joining an ongoing list that includes Justin Timberlake, Jennifer Lopez, and a few others struggling to reclaim the spotlight in an era they once dominated a decade ago. Like you, I don't feel sorry for them.
 
Yeah, I want to like Katy Perry and I feel like that “Woman’s World” song is pretty catchy, but I don’t really get why she was working with Dr. Luke on it, when artists like Kesha and Kelly Clarkson have been so outspoken about their extremely negative experience working with him. The lyrics are pretty meh as well, but I’ve always felt that way about her songs - she goes for melodies and hooks and impressive vocals, but the lyrics are an afterthought.

I’m also curious why an artist like Kim Petras chooses to work with Dr Luke consistently. It seems kind of baffling but maybe he still holds a lot of power in the music industry with record labels? It makes me wonder how much power Katy Perry and Kim Petras actually have over who produces their music. If their experience working with him is anything like what Kesha and Kelly Clarkson have described, it’s hard for me to believe that Katy Perry and Kim Petras would enjoy working with him, but maybe they have a different kind of relationship with him somehow.
 
Yeah, I want to like Katy Perry and I feel like that “Woman’s World” song is pretty catchy, but I don’t really get why she was working with Dr. Luke on it, when artists like Kesha and Kelly Clarkson have been so outspoken about their extremely negative experience working with him. The lyrics are pretty meh as well, but I’ve always felt that way about her songs - she goes for melodies and hooks and impressive vocals, but the lyrics are an afterthought.

I’m also curious why an artist like Kim Petras chooses to work with Dr Luke consistently. It seems kind of baffling but maybe he still holds a lot of power in the music industry with record labels? It makes me wonder how much power Katy Perry and Kim Petras actually have over who produces their music. If their experience working with him is anything like what Kesha and Kelly Clarkson have described, it’s hard for me to believe that Katy Perry and Kim Petras would enjoy working with him, but maybe they have a different kind of relationship with him somehow.
There's obviously no way for us to know for sure without being inside the industry ourselves, but it's largely speculated that for a handful of artists - Kim Petras, Doja Cat, formerly Kesha - the connection to Dr. Luke is purely out of contractual obligation to work with him and his label. (FWIW, I've also heard that Kim Petras isn't actually under any obligation to work with him, so I'm not sure what the truth is in her case.) What I do know that Katy specifically is not under any kind of contract with Luke like that and does not have to work with him if she doesn't want to, which can only mean her choice to link him up with him for "Woman's World" was a mutual decision and makes said decision all the more baffling and egregious.

We partially know this because Katy previously dropped Luke from her roster of producers around the time she was making Witness in 2017, which was notably when the allegations against Luke were getting impossible to avoid and also at the time when Katy was trying to reinvent her image to be more socially conscious and feminist-minded. She seemed to have the foresight then to realize that trying to have messages in her music to uplift women while simultaneously hiring an abuser to bring that message to life was not a good look, but recent events seem to suggest she was more worried about the potential backlash she would get from associating with him publicly than anything.

Not for nothing - and this is pure conspiracy - but Dr. Luke is known to use aliases nowadays, and some have suggested there's some names credited on Witness that are actually Dr. Luke using a fake name. Whether that's true or not, I don't know, but him secretly being in the background the whole time makes more sense to me than Katy suddenly welcoming him back with open arms after making a point not to work with him. Again, though, that's pure conjecture, and I think the real issue isn't just that Katy is working with Dr. Luke, but that she hired him to work on a song ("satire" or not) with feminist messaging in it that was clearly meant to be a big, grand comeback statement. It immediately exposes what she's doing as, at best, misguided social commentary by someone who probably shouldn't be trying to make social commentary, and at worst, a hollow and cynical play for brownie points.

I honestly think that if this single has been your typical fun summery Katy Perry party jam, the association with Dr. Luke wouldn't have been at the forefront of every article and review written about it. There still would have been controversy and backlash, sure, but I think she might have had a chance to recover in the public eye. Now, though, unless the rest of the album is twelve "Teenage Dream"s stacked back to back to back, I think that ship has sailed.

Even if the music is good, I'm skeptical that it will do much to reverse her fortunes. Like I detailed in my post the other day, people just don't seem to be looking for new music from Katy Perry. I think her time in the spotlight has faded, but she's not okay with that, so maybe it was desperation that brought her and Luke back together? I really don't have the answers, but I think that unfortunately in the music industry, a track record of hits speaks louder to some than a track record of assaults, and without speaking on Katy Perry's judgment of character too much, it looks to me like she was mostly concerned with getting eyes back on her work no matter what. Though now that she's seen what kind of publicity that mindset gets her, I wonder if she'll reconsider.
 
A gargantuan "oof," in all facets. Off to a rough start in this comeback era for Katy.
It's like she thought "what is the worst possible decision I can make" at every turn:
  • having Dr. Luke handle production [yikes]
    • resulting instrumental is bland for 2024 standards
  • having five other writers (four of who are men) be involved
  • performative feminist message made completely null and void because of first decision
  • low effort lyrics that could pass off as a chatGPT result
  • music video with content depicting what an immature 12 year old boy might view as girlpower
    • actually directed by a male, for a song titled "Woman's World"


You forgot, and when people say they hate it, claim its satire.
 
I didn’t think the song was awful but the batshit video is really bad. Ties to Luke just make it unpalatable.
I would argue that it is the worst pop song of the year (so far). Dated '10s era production with no bridge that takes zero musical/vocal risks and a near robotic vocal performance in the verses. It wouldn't make the cut in the Prism era. Ultimately, her message is weak and MV notwithstanding she manages to say practically nothing at all. Pop music has left her behind because she has failed to adapt to the pop zeitgeist.
Sabrina, Chappell, and Charli are a few examples of how the summery, brighter sound of pop can still flourish while sounding fresh and engaging.

Is she MAGA now?
Katy endorsed Kamala shortly after Biden dropped out.
 
There's obviously no way for us to know for sure without being inside the industry ourselves, but it's largely speculated that for a handful of artists - Kim Petras, Doja Cat, formerly Kesha - the connection to Dr. Luke is purely out of contractual obligation to work with him and his label. (FWIW, I've also heard that Kim Petras isn't actually under any obligation to work with him, so I'm not sure what the truth is in her case.) What I do know that Katy specifically is not under any kind of contract with Luke like that and does not have to work with him if she doesn't want to, which can only mean her choice to link him up with him for "Woman's World" was a mutual decision and makes said decision all the more baffling and egregious.

We partially know this because Katy previously dropped Luke from her roster of producers around the time she was making Witness in 2017, which was notably when the allegations against Luke were getting impossible to avoid and also at the time when Katy was trying to reinvent her image to be more socially conscious and feminist-minded. She seemed to have the foresight then to realize that trying to have messages in her music to uplift women while simultaneously hiring an abuser to bring that message to life was not a good look, but recent events seem to suggest she was more worried about the potential backlash she would get from associating with him publicly than anything.

Not for nothing - and this is pure conspiracy - but Dr. Luke is known to use aliases nowadays, and some have suggested there's some names credited on Witness that are actually Dr. Luke using a fake name. Whether that's true or not, I don't know, but him secretly being in the background the whole time makes more sense to me than Katy suddenly welcoming him back with open arms after making a point not to work with him. Again, though, that's pure conjecture, and I think the real issue isn't just that Katy is working with Dr. Luke, but that she hired him to work on a song ("satire" or not) with feminist messaging in it that was clearly meant to be a big, grand comeback statement. It immediately exposes what she's doing as, at best, misguided social commentary by someone who probably shouldn't be trying to make social commentary, and at worst, a hollow and cynical play for brownie points.

I honestly think that if this single has been your typical fun summery Katy Perry party jam, the association with Dr. Luke wouldn't have been at the forefront of every article and review written about it. There still would have been controversy and backlash, sure, but I think she might have had a chance to recover in the public eye. Now, though, unless the rest of the album is twelve "Teenage Dream"s stacked back to back to back, I think that ship has sailed.

Even if the music is good, I'm skeptical that it will do much to reverse her fortunes. Like I detailed in my post the other day, people just don't seem to be looking for new music from Katy Perry. I think her time in the spotlight has faded, but she's not okay with that, so maybe it was desperation that brought her and Luke back together? I really don't have the answers, but I think that unfortunately in the music industry, a track record of hits speaks louder to some than a track record of assaults, and without speaking on Katy Perry's judgment of character too much, it looks to me like she was mostly concerned with getting eyes back on her work no matter what. Though now that she's seen what kind of publicity that mindset gets her, I wonder if she'll reconsider.
This makes a lot of sense. I just feel sad for her because I feel like she is a really solid performer with a great voice (that super bowl performance was top tier), but she seems to be making a lot of questionable decisions lately. I wonder if she had a savvier manager or someone to steer her career if she could be making better (or less embarrassing) music.

Dated '10s era production
Lol, that’s just savage, @Rip_City . The ‘10s were like a year or two ago, haha. Reminds me of these two:

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Like, Lorde with "girl, so confusing" in June, this is another excellent collab in the BRAT era. Billie's low-key vocal matches Charli's deadpan energy and feels appropriate tit for tat.




All that's missing now is a rework of "Talk Talk" w/Carly Rae Jepsen and the collabs from this era will be written in music history books 🤗🥰
 
While we are on the topic...
New KP single. Better than "Woman's World" though the bar was practically the floor. If you want a better version of this song, listen to "Walking On Air" released eleven years ago from Prism. Don't know why that wasn't a single...



It's fine. Kind of uninspired. Could see it getting radio play for a few months.
 
A welcome surprise! Hikki adds enough for me to return to this a few more times this year. The original from a decade ago (OMG) was enjoyable, and their chemistry is heartfelt.
I do wish Sam rerecorded their vocal lines.

 
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