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Chère communauté Reddit, Je vous souhaite une bonne année même si nous sommes en février et j'espère que vous allez bien. J'ai découvert ce forum qui est une véritable mine d'or il y a peu de temps. Je ne sais pas si c'est le bon forum pour ce poste. Si ce n'est pas le cas, je m'en excuse par avance. Je me pose sérieusement la question suivante: quelles sont les stratégies pour accumuler le premier million d'une richesse souhaitée à environ €10M. Kevin O Leary (entrepreneur et investisseur canadien, $400M+) expliquait dans une de ses interviews que le premier million est presque impossible à faire, les 5 premiers millions sont difficiles et ensuite que de 5 à 10 les choses étaient plus simples car la richesse est suffisante pour se développer par elle-même. J'ai 25 ans et je réfléchis à cette question depuis un certain temps. Je pense avoir trouvé quelques voies et j'aimerais avoir votre avis sincère sur le sujet. Je tiens à préciser que l'argent n'est pas un fin en soi mais une richesse suffisamment élevée permet de jouir d'une grande liberté. Je sais que l'éthique et la richesse ne sont pas synonymes mais je tiens à respecter ma vision politique dans ce projet. En conséquence la constitution de la richesse doit: - être légale (pas de vente de produits illégaux ou d'arnaques) - doit se faire sans héritage financier au départ (juste un diplôme et pas de dettes) - ne doit pas reposer sur la chance (casino, jeux de hasard, spéculation,...) - ne doit pas pas être contestée moralement ou légalement dans le présent et dans le futur (exploitation légale de la misère humaine en France ou à l'étranger, enrichissement indu via la privatisation de biens collectifs ex: privatisation illégitime de services publics type sncf, EDF, eau,... ou à un abus de confiance même lorsque les gains sont supérieurs aux coûts) - ne pas s'engager dans des activités contraires aux intérêts de la France (être au service de puissances étrangères contre les intérêts stratégiques français) 1 - construction d'un patrimoine immobilier Sur l'exemple du youtuber américain "Graham Stephan", acheter un premier bien immobilier pouvant accueillir plusieurs locataires (duplex, triplex, appartement avec séparation,...). La rente perçue permet ensuite de s'endetter pour l'achat du logement suivant...Le cycle peut se répéter plusieurs fois, par exemple 5 logements. L'augmentation de la valeur des biens et la rente permettant ainsi de dégager un revenu passif suffisant élevé pour vivre dessus et ensuite considérer d'autres investissements de diversification. Même si les dettes sont importantes, sur le long terme je pense que c'est intéressant. Le problème c'est que je n'ai aucune connaissance en immobilier (marché et fiscalité) et que l'apport initial doit être conséquent. 2 - avoir un emploi rémunérateur et faire des placements Il me semble que c'est la voie la plus sûre et également la plus longue. Un job dans une grande entreprise type big 4, grande banque,... paye bien pour les carriéristes. L'accumulation des premiers 500k-1M devient alors réalisable. Néanmoins, il faut probablement entre 10 et 15 ans de carrière acharnée avant d'atteindre une position très rémunératrice (+plafond de verre). Le temps allouable à la gestion du patrimoine est probablement faible et même avec des placements conservateurs et agressifs, je trouve qu'il est peu probable de dépasser les €5M. Plus d'info ici: https://www.investopedia.com/managing-wealth/simple-steps-building-wealth/ 3 - être un entrepreneur à succès Très risqué, beaucoup d'appelés et peu d'élus. Ceux qui entreprennent étant jeunes le font parce qu'ils en ont les moyens (sécurité familiale) ou parce qu'ils n'ont pas le choix (étrangers dans un pays). Pour les autres, les chances sont faibles. Ainsi, pour être crédible sur un projet et réunir les ressources (humaines et financière) il faut soi-même être crédible. Il faut donc du temps pour développer une expertise, un réseau et identifier une opportunité. En somme, c'est assez incertain et il est fort probable que de multiples tentatives soient nécessaires pour garantir un succès. Il doit sûrement y avoir d'autres façons de faire. A tout hasard si vous connaissez des noms de personnes connues en France qui ont réussi et donné des conseils, n'hésitez pas à les partager. Je vous remercie de m'avoir lu. Bien à vous
Un cadre de Cdiscount suspecté d’avoir dérobé les données de 33 millions de clients
Un haut responsable de Cdiscount, travaillant sur le site de Cestas (Gironde), a été mis en examen lundi 1er février à Bordeaux. Il est soupçonné du vol de données personnelles de potentiellement 33 millions de clients, dont au moins une partie ont ensuite été proposées à la vente sur des sites spécialisés. A l’issue de sa garde à vue, ce « responsable d’entrepôt de la société Cdiscount a été déféré au parquet et présenté à un juge d’instruction » le 1er février, a indiqué le parquet de Bordeaux à l’Agence France-Presse (AFP). Le cadre a été mis en examen des chefs d’« extraction frauduleuse de données contenues dans un système de traitement automatisé », d’« abus de confiance » et d’« escroquerie », « au préjudice de Cdiscount », sur la période du 1er octobre 2020 au 30 janvier 2021, selon le parquet, qui confirmait une information du journal Sud Ouest. Placée sous contrôle judiciaire, cette personne est également visée par une procédure de mise à pied à titre conservatoire, a précisé à l’AFP Arnaud Dupin, avocat de Cdiscount. Téléchargement découvert le 29 janvier Filiale du groupe Casino depuis 2000, Cdiscount est le no 2 en France du e-commerce, derrière Amazon, mais premier acteur français du secteur. L’entreprise a son siège à Bordeaux et dispose d’un de ses plus importants entrepôts logistiques à Cestas, en Gironde. Selon Cdiscount, qui a porté plainte, le cadre mis en examen est le directeur du site de Cestas. Le vol de données a été découvert le 29 janvier par les « services de cybersécurité » de la société, laquelle a alors « immédiatement lancé des investigations internes ». Celles-ci « ont permis d’établir qu’il s’agissait d’une action interne malveillante et isolée et de faire cesser cet acte dès le lendemain », a expliqué un porte-parole de Cdiscount à l’AFP dans un communiqué. La justice soupçonne le cadre d’avoir téléchargé illégalement sur son ordinateur une base contenant potentiellement les données personnelles des quelque 33 millions de clients de la plate-forme de vente en ligne, selon une source proche du dossier. Pour Cdiscount qui n’a pas souhaité confirmer ce chiffre, ce cadre « a utilisé de façon malveillante les autorisations [informatiques] dont il disposait de manière légitime, compte tenu de ses fonctions », pour s’introduire dans la base. D’après les services de sécurité de l’entreprise, la base de données a ensuite été proposée à la vente en ligne par un vendeur sous pseudonyme, identifié comme étant le directeur du site de Cestas, selon Sud Ouest. Incertitude quant à l’utilisation des données Le Monde a pu constater qu’une base de données d’environ 124 000 noms, semblant correspondre au fichier utilisé par le service client de Cdiscount, était proposée au téléchargement depuis la mi-janvier sur un site spécialisé. « Ce que nous pouvons clairement affirmer, c’est qu’aucune donnée bancaire n’est concernée par cet événement, Cdiscount ne stockant aucune donnée bancaire de ses clients », a assuré l’entreprise dans son communiqué. « Les données concernées [par le vol] sont les nom, prénom, sexe, date de naissance, adresse, numéro de téléphone et e-mail du client, ainsi que le montant total des commandes sur les deux dernières années », a détaillé l’entreprise, qui a aussi expliqué que « rien ne permet de penser que ces données aient pu être vendues » à des tiers. « Dans l’hypothèse où cela aurait été le cas, l’utilisation possible de ce type de données est la tentative de phishing [escroquerie par laquelle un pirate tente de soutirer des informations personnelles, le plus souvent en se faisant passer pour un service légitime] ou la prospection commerciale non désirée », avertit Cdiscount.
“I can't believe this is my eighth studio album and I know I keep telling you that it is my most personal record yet, but its true and I'm really proud of that”
This quote from The Legendary Miss Britney Spears would most likely haunt her for the rest of the career, especially because it came in the eve of the release of her infamous 2013 album Britney Jean, whose title anticipated a rare introspective look into a star with over a decade on the spotlight (most of the times for the wrong reasons)… also, it came right after her previous album, 2011’s Femme Fatale, became her first full-length effort without any songwriting input from the Princess of Pop, although a Japanese bonus track features a co-writing credit from her. Of course Britney Jean deserves most of the criticism it receives and yet, it also deserves way more than just being outright ignored even by most of Britney’s diehard fans: Britney Jean is more than just Work Bitch and 13 b-sides, is more than Brit’s most dated-on-arrival release… Britney Jean is a case study of what was pop in its time, what changed and why it stopped being as popular as it once was….
POP BEFORE BRITNEY JEAN
https://preview.redd.it/p5ecdbd9ce221.png?width=1500&format=png&auto=webp&s=d0662fd24b364cf6cf25b1961e9d15f98d9d39b6 Early 00s pop music was being left aside by the general public during the heydays of gangsta rap, Timbaland/Pharrell-infused R&B and rock/nu-metal… at least until around the period between 2007 and 2009, the start of the Golden Era for popheads: The anthemic choruses, the prominent synths, the light and care-free nature of the lyrics, everything was there to pump you up and make you dance… however everything would change in 2013, when streaming was finally introduced to the Billboard formula. After the satirical K-pop track Gangnam Style by Psy took the world by storm, it was noticed how in the United States the song was blocked from the top spot by the inconsequential One More Night by Maroon 5, even if Stylehad the lead in sales for most of the 12 weeks it stayed at the Top 10 (as you might have guessed, radio had something to do with that), pushing Billboard to update their methodology and add streaming to the mix. The first song that benefited from the change in the tracking methodology would prophetize what would come next for the charts in general: Harlem Shake, a nearly-instrumental meme song debuted at the top spot and stayed there for 6 weeks total. Another novelty song, Ylvis’ The Fox (What Does The Fox Say?) would visit the Top 10 later in the year based on virality alone. Although rap, indie music and more traditional pop music found their way during this year, the presence of outliers like Lorde’s Royals, genre-defying tracks like Avicii’s Wake Me Up! (a country/folk tinted EDM anthem) and Florida Georgia Lane’s Cruise (considered the grandfather of the bro-country genre, made popular on pop radio thanks to a tackled-on rap feature by Nelly), and the aforementioned viral hits not only showed that general audiences were craving something new, but their success would pave the way for a big change in pop music.
BRITNEY BEFORE BRITNEY JEAN
"Sometimes you don't need to use words to go through what you need to go through, sometimes it's an emotion you need to feel when you dance, that you need to touch. And the only thing that can touch it is when you move a certain way." Britney Spears on the For The Record documentary, one of the rare glimpses she gave us on her life before Britney Jean
Britney, of course, was partially a pioneer and a tail-rider of the maximalistic electro sound of the era, as proven by the influence and cult following of what most people consider her magnum opus, or at least her more direct and honest album, 2007’s Blackout, which is ironic considering that Britney only has two writing credits in the whole project and how even The Unstoppable Danja called it ‘impersonal’. After Blackout, Britney would continue to ride the same sonic palette with her follow-up, 2008’s Circus and then move onto Femme Fatale, which, in spite of its “forward-thinking” nature (as described by the label-appointed producer and current persona non grata Dr. Luke) and slick production, it was heavily criticized for its anonymity and lack of input of the singer in the record, which led to Britney to defend herself stating, rightfully, that she had nothing to prove.
THE MAKING OF A PERSONAL ALBUM
https://preview.redd.it/tzfh8fqsce221.jpg?width=600&format=pjpg&auto=webp&s=2e7bf1a1a7f9469be632470e1d6bb53397ff2f62 The mastermind behind Britney Jean was none other than hitmaker will.i.am, whose involvement on the record came as a surprise to no one given how they have collaborated twice at that point and get along really well (you can read more about it in this post I made a couple of months ago), however, the Black Eyed Peas frontman doesn’t deserves all of the credit for the record as Britney herself decided that she would be more involved and had a pivotal role into the making of this record. Although the early stages of the album pointed towards a more hip-hop release, will.i.am’s involvement and her chemistry with Britney put her forward into the recording and making of the album. Realizing that she wanted a more straightforward release that wasn’t as bouncy and genre-hopping as her predecessors, Britney searched with will.i.am a series of collaborators that could help her bring her ideas to life, as she didn’t wanted to sing impersonal songs that her team just happened to receive; this, unfortunately, ruled out the involvement of the Saint Patron of pop production Max Martin, although it relegated Dr. Luke to a sole bonus track so that’s a win in my book. Britney Jean is her only release in which she’s credited as a co-writer in each track, including bonus tracks… her closest before that was In The Zone in which 9 of the 14 (including bonus) tracks sported a Britney co-write.
THE PERKS OF BEING A PERSONAL ALBUM
I have been through a lot in the past few years and it has really inspired me to dig deeper and write songs that I think everyone can relate to […] I want to show you the different sides of Britney Spears. I am a performer. I am a Mom. I am funny. I am your friend! I am Britney Jean. Britney Jean Spears
Britney has never been the kind of performer that would pour her soul into her lyrics, and even have occasionally distanced her private life from her lyrics (she famously rejected the Timberlake-bashing Sweet Dreams My LA Ex, later given to ex-S Club 7 member Rachel Stevens as her debut single), although in the few glimpses we have gotten from her real persona (the stunning Everytime and the dubious My Baby for example) have always leaved her fans with the idea of her getting more involved with the subject matter of the tracks… I mean, the exploration of fame in tracks like Circus and Piece of Me are great, but what about explorations of who is Britney? Britney Jean is her first album released in her 30s, and after finally deciding to get this involved in the songwriting department 15 years into her singing career was no fluke: chalk it up to coincidence, to the fact that it was long due given her background (Britney had lived A LOT of unwanted stuff during her career, married twice, had two kids, survived the most public mental breakdown unimaginable and more while being one of the most successful female performers currently working… also, that year she had ended her engagement with her manager Jason Trawick) or to misogyny (if you wanna go there) but female singers seems to go personal and/or mature in their 30s, with some popular examples including Madonna’s Like A Prayer (described by her as being "about my mother, my father, and bonds with my family"), Mariah Carey’s post-divorce genre-bender Butterfly (if her birth year is believed to be 1969), Beyoncé’s whole post-Matthew Knowles era (4 was released three months before she turned 30), Nicki Minaj’s back-to-my-roots release The Pinkprint and Katy Perry’s purposeful woke pop release Witness (Katy, I love you but 💀) among others. Another thing to consider is that doing “personal” songs have always being interpreted as tracks with stripped-away or piano-driven arrangement, something that Britney, who had sung about being on the club or having sex (or even both on the same track) so many times it kinda become her trademark, is not something she’s might get allowed to do, especially when the current-at-the-time pop scene and Britney’s then-current sound were a far cry from the kind of sound these “confessional” tell-all songs normally have.
#BritneyPleaseSavePopMusic
(this was a real hashtag that was worldwide trending topic on Twitter in September 2013) With the anticipation of what a Britney-fied personal record would sound like, anticipation was in an all-time high among fans… so it was natural that her most introspective record would be anchored with an EDM song called Work Bitch. In Britney’s defense, will.i.am pointed out almost immediately how the braggadocio track didn’t represented the album but it was rather about Britney Spears herself. Promoted with what was heavily rumored to be a 6.5-million-dollars budgeted video which was supposedly heavily sanitized from its originally sexed-up original version (more on that later), the video itself represented most of the promotion the whole album received, as the album’s second and final single (Perfume) was left to rot in negligence after the album’s release. Outside of a couple of TV appearances (not performances, just interviews), including one to promote her then-upcoming “2-year” Las Vegas residency Britney Spears: Piece of Me, and an E! documentary about the making-of the album and said residency, no actual promotion took place for Britney Jean, which led to the inevitable.
BRITNEY UNLEASHES HER MOST “PERSONAL” ALBUM
https://i.redd.it/1no6q6iqce221.gif Britney Jean was unleashed to the world on December 3rd of 2013, one day after the Princess’ birthday, and was a big commercial disappointment, debuting at number 4 on Billboard with sales of 107,000 copies (a little bit more than a third of the sales of Femme Fatale), even lower than those of her debut album …Baby One More Time; 3 years after its release, BJhad sold less in the United States than FF in its opening week, although it was eventually certified Gold by the RIAA… this February. Internationally, the release didn’t fare any better and debuted at record-low positions for her releases in most international markets, including missing the Top 30 in the UK. As most of you already know, reviews we’re nasty all around, the worst of Britney’s career. Because of the somewhat mean content of some of those reviews, I would instead resume what are the biggest perks critics had with the release:
The album’s production (carried mostly by will.i.am protégé Anthony Preston, who hasn’t done anything ever since) was considered monotone, repetitive, dated, backward-thinking, overproduced and by-the-numbers. The album, full, on EDM beats and synthesizers, doesn’t really have that much of a breathing spot as there’s not that much of musical variety.
Lyrically, the album was considered a disappointment considered its nature as a “personal album”, with the lyricism being considered somewhat superficial given the self-titled naming and Britney’s hype surrounding the content itself.
Vocally, Britney Jean was ripped apart by critics and even some listeners. When the opening track’s autotune-less “warm up” vocal sessions leaked in 2014, critics complained about Britney’s (lack of) vocal talent and added fuel to the debate about wherever she’s actually talented at all, accusations that the song producer William Orbit dismissed.
SING A SONG OF SIXPENCE, MISS BRITNEY SPEARS
After one of the songs leaked ahead of the album’s release, there were accusations that backing vocalist Myah Marie (who had appeared on Brit’s previous two albums) was the lead singer not only on said leaked track but also in a large portion of the album (this is what she sounds like), accusations that Marie herself denied as well as Britney’s reps. Her representatives claimed that Marie wasn’t involved in neither Perfume nor Passenger, the tracks that were the source of most of the controversy, and ultimately she wasn’t credited in none of those songs, although she’s credited as a (not background) vocalist in several of the other tracks of the album (mostly the Preston-produced songs as Work Bitch, Tik Tik Boom, Til It's Gone, Chillin' With You and Now That I Found You), including Alien (in which she’s not credited), who had a vocal steam leak in 2014 which showcases how uncanny is Myah’s impression of Britney is. A credited background singer is Sia in her co-composed single Perfume, which was the source of a weird misstep when Britney was caught lip-syncing to a version of the song with Sia’s vocals forefront in the mix. A lot has been said about how Britney’s signature singing ‘baby’ voice is not her real one, how do they compare and how much damage has done to Brit’s current vocal chops, and even though she can still sing wherever she wants to, it’s quite obvious that she’s not that comfortable with it and, as such, she prefers to enhance her voice with the use of technology and some studio trickery… also, she might have gotten used to it considering how effortless and vivid were her earlier performances… here’sI’m A Slave 4 U at the 2001 VMAs just because how iconic it is.
BRITNEY JEAN… BY BRITNEY JEAN SPEARS
"People can take everything away from you, but they can never take away your truth. The question is: Can you handle mine?" Britney Spears in a song that’s not from this album and not originally from her
Described by critics as “a concept album about the loneliness of pop life”, Britney Jean actually open with quite a promise with Alien, a mid-tempo, melancholic, airy, ethereal dance pop opener that works as a more teenage-sounding version of Ray of Light, which is not surprising considering the involvement of said album’s mastermind (the aforementioned William Orbit) and that sonically picks-up where FF closer Criminal left off, but lyrically is quite different, as it portrays Britney having an intimate and personal realization that she, after years of tumultuous and erratic events, has lost grip of who she was and how she felt like an extraterrestrial in her own world; however she realizes that she’s not longer alone as she looks at the glow in the stars as a light to guide her home away from her insecurities of the past, and to feel safe and finally finding comfort in her true skin, as the chorus repeats the catchphrase ‘not alone’ “until it is pitchshifted up like a departing space ship” Originally intended to include Gaga in the song (and also supposed to be released as a single, which unfortunately didn’t happened), Alien was considered the conceptual and musical highlight of the project by critics, and is easily the most personal, vulnerable and my personal highlight of the project… which made everything that came afterward a hard pill to swallow. Before that, I can’t help to mention THE GLITCH (2:14 in the song), which was apparently, as everything wrong with music of the period, will.i.am’s fault. https://preview.redd.it/sqy5pdvjce221.jpg?width=1200&format=pjpg&auto=webp&s=fc818c3624856731e041c2380840004b0c8edea6 Work Bitch (alternatively known in censored form as Work Work, or in the explicit version as Bitch Bitch) is a hard hitting EDM smasher and heavy mood-whiplash, which was definitely not co-written by Sebastian Ingrosso, in which Britney gently asks us (over a basic club beat which grows more overloaded as the song moves forward) is we want a hot body, an European luxury car (either a Bugatti, a Maserati or a Lambo skirrt skirrt skirrt) or to sip martinis while partying in a big mansion in France, only to disappoint us by calling us bitches and telling us to better work as if we were supermodels and she was RuPaul. WB is, if you wanna practice some mental gymnastics, more ‘personal’ than its given credit for, as Britney details how much benefits she gets from hustling all these years, and inviting us to dance with that smashing wall-of-sound-laden beat that drowns most of the track. Way more forward-thinking and exciting that everything that comes after it, WB has become somewhat of a new classic for the Princess of Pop, and is pretty much deserved of said designation. Perfume, co-written by Sia, is another album highlight (actually Britney’s favorite from the album) and one of the finest ballads of Brit’s late-catalogue. Written about her ex-fiancé Jason Trawick, the song deals with Britney’s insecurity about a current relationship, with Britney singing with some of her strongest vocals in years about how she believes that her partner is cheating on her and how she puts on her perfume in order to mark her territory. Released with a tie-in with her perfume Fantasy, the song kinda flopped worldwide and halted all of the promotion of the album, however it still remains (alongside the rawer Dreaming Mix, included as a bonus track) as one of the most interesting songs in 2010s Britney catalogue. The music video, directed by known troll and middling talented videomaker Joseph Khan, has an unreleased director’s cut in which the straightforward concept of a cheating partner is changed to that of Britney playing the Angelina Jolie role in a gone-wrong version of Mr. and Mrs. Smith sans the boyfriend who is also an assassin. It Should Be Easy finds Britney’s voice drown in both the auto-tune setting used by Kanye for the Runaway coda and the vocals of guest-star will.i.am in the chorus, all while produceco-writer David Guetta rehashes Swedish House Mafia (which originally broke up the same year in which BJ was released). The song, about Britney imagining a bright-normal-future with a man who had stolen her heart, stating that love “shouldn't be complicated”. Although I like this song, and her team obviously likes it to as it commissioned remixes to be serviced to clubs, it signals when things start to go somewhat downhill. Tik Tik Boom, the T.I.-assisted fifth track, was always dubbed as a potential third single (remixes were commissioned but nothing official ever came up), and it’s not hard to see why: as one of her rare collaborations with a rapper, the static-y, dance-floor ready production presents Britney teasing a male partner with a night of… well… tik tik boom… that means sex, doing so while serving some circa-2001 sexy vocals as T.I. raps about treating her like an animal up to the point that PETA (which hates Britney) should be called in response. It’s fast, it’s straightforward and yet, it’s kinda forgettable and also very disappointing coming from or Princess Urbanney. Guetta comes back with Body Ache, another outdated EDM bop in which Brit (accompanied by vocoder and several dozens of vocal distortion treatments) sings about the kind of ‘I wanna dance so hard it gonna turn you on’ anthem which Miss Spears can do on her sleep, with a backtrack that sounds straight out of the EDM will.i.am was doing with the Peas during the Beginning/E.N.D. era. Also it ends in a somewhat anticlimactic way. Personal Britney makes a return with this track that wouldn’t be too out of place in FF: The Guetta co-written Til It’s Gone, in which Brit realizes that, after losing the love of her life (Trawick), her life would never be the same, or how “you never know what you got 'til it's gone”. Coming some two years to late sonically, in terms of lyrics the track it’s another story, as some interesting imagery pops here and there and it’s nice to leave the dance floor behind, especially when talking about a woman who (at least in the previous albums) rarely shut up about them. Katy Perry arrives on the record but not as a feature, but as a writer, in the Diplo-produced, Sia-co-written and Prism outtake Passenger, in which some interesting EDM beats moves out of the way after the opening (they come back, don’t worry) to reveal a refreshing and very welcome electropop rock song with some great Britney vocals about letting someone to guide her after she’s willing to let herself be his ‘passenger’. Great lyrics, daring production, good vocal performance… it’s not hard to see why critics loved this track so much, and it’s a shame it gets buried among so much underwhelming stuff. https://preview.redd.it/hkdoktqmce221.jpg?width=970&format=pjpg&auto=webp&s=b349cd2e99a44dc732760b6f131be7dc3be1da38 Chillin’ with You, the album’s most infamous moment, finds Britney dueting with her sister, ex-Nickelodeon star and attempted country singer Zoey Meredith Brooks, about hanging out together and drinking wine (Brit likes red, Chase Matthews' ex likes white wine) while, as the southern white suburban moms they are, they feel they have nothing else to worry about. Although the lyrics are… well… cute, and the subject matter is decidedly novel by Britney’s standards, the mixture of country and EDM doesn’t mash as well as the producers might had expected… also, the fact that their vocals were so obviously recorded in different sessions (as showed by the kind of chemistry you only see in cheesy 70s movies starring John Travolta and Lily Tomlin) makes the whole ordeal so surreal. The album closer in the standard edition is Don’t Cry, a FUCK YOU MR. TRAWICK song in which Britney reassures his man that it’s not worthy to cry as their relationship was always directed to end no matter what they do, and how she’s gonna go to not see him all tear eyed. The bouncy but subdued dubstep back track by pop goblin and producer will.i.am enhances what is arguably Britney’s best vocals in the whole album and some really nice lyrics which still doesn’t work as an album closer. Sia comes back in the first bonus track of the deluxe edition, Brightest Morning Star, and she brings with her current pop Pariah (that would be Dr. Luke, but he’s only in this track) to the mix, on a track about God (or maybe about her kids, according to Dr. Puke), or at least one that implies to be one; in Sia’s words: ‘Britney was extremely sweet. She came in with the title ‘Brightest Morning Star’ and told me that’s how Jesus found his way. She wanted to write a kind of gospel song that wasn’t ramming it down your throat’. Despite the good intentions, BGS is no Jesus Walks and it gets short in the musical department, with a surprisingly weak instrumental which doesn’t do any good service to the song. Britney continues her religious quest with Hold on Tight, a mid-tempo ballad that in which Miss Spears details how God comes into her dreams (or it might be an Incubus?) showing her the path to righteousness, even when the road is not as friendly with her, and… to be honest, this is my least favorite song on the album, it’s just so forgettable even if it’s quite refreshing in the context of BJ. To end the evening, Britney continues her unintentional audition to become a gospel singer with Now That I Found You, a shameless EDM track (with early-10s euphoric drop and everything) about how incomplete she was until she found Him (to be honest, this could also be another love song, but after two bonus tracks about God it’s easy to see where she was pointing towards with the vague lyrics) and how everything is better now. Unlike the forgettable predecessors, NTIFY is fun (dated? Sure… but also fun), it’s bright, it’s colorful, it’s happy, and one of my favorite songs on the record… even if co-writer Guetta basically ripped off his own hit Without You from 3 years before.
u/radiofan15’s UNWANTED OPINION ABOUT BRITNEY JEAN
Britney Jean is not an autobiography, it’s not a tell-all gossip-venting machine, it’s a clean, overproduced product of misdirection and lack of focus… and yet it’s actually fascinating in several ways: it’s arguably the greatest resume you would find of how pop music sounded in between 2008 and 2013, it’s a great bridge between the impersonal heavily-polished Femme Fatale and the serviceable and engaging Glory, which saw Britney leading the way on how everything would sound from the start. It’s quite ironic how the album’s naming (taking a cue from Janet Jackson’s Damita Jo, her actual middle name) plays against it, as self-titled releases (unless they are debut albums) are associated with being in control of your output or reinventions (pop examples includes Paramore as their first release as a trio, Beyoncé to fit the minimalistic sounds and Janet Jackson’s janet. to showcase independence from the Jackson family) and unless you’re Led Zeppelin, Peter Gabriel or Weezer, the idea of having a second eponymous release usually means that audiences should expect to experience the performer in a never-seen before way. 2001’s Britney was the album that give a meaning to the phrase “I’m not that innocent” spurred in her previous effort, with lyrics talking about womanhood and sexuality being complemented with R&B vibes and rock/hip-hop elements. Britney Jean, when compared to Femme Fatale, is way behind the difference between Britney and Oops!... I Did It Again, which in retrospective is even worse as the relative freshness and reinvention of Glory leaves the ‘openness’ and ‘variety’ of BJ in shambles. One of the album’s biggest mistakes is in its sequencing: the first three tracks are the obvious highlights, the next three are basically DOA EDM songs, the next four are the most “adventurous” musically speaking and the bonus tracks are all about God. Taking out some of the ‘pure club’ anthems could theoretically create an album more deserving of its ‘personal’ label, going full Spinal Tap and amp up the production values to do something crazier might have given us something that was at least digestible in a single listening. The album, as it is, is not perfect, but it’s far from the dumpster fire more people called it, including some of the most interesting Britney songwriting in years (or even her career) and some tracks that are already started to show signs of cult classic. The only positive thing most people seems to agree with is how short it is: with the alternative mix of Perfume included, BJ is ‘only’ 50 minutes long (the standard edition is just 36 minutes long), which is something most performers (even today) seems to struggle with. Also, she didn’t came to play games with the art cover and aesthetics this era, the album cover and the booklet is her most gorgeous to date, with the former having her most flattering front picture of any of her albums and the neon typography creating a very pleasing contrast with her elegant black-and-white imagery (in the deluxe edition) or the elegantly, milky pastel coloring of the standard edition.
THERE CAN BE 100 LISTENERS IN THE ROOM AND 99 LEAVE BUT ONE... - BRITNEY JEAN THE DAY IT DEBUTED
https://preview.redd.it/hpjl86hfce221.jpg?width=1024&format=pjpg&auto=webp&s=a01c8129a31203474b2bafbc17ea994d5f83e132 Britney and her team gave up quite easily on Britney Jean and, honestly, they shouldn’t be blamed: the offer to have a Vegas Residency with a salary of $15 million dollars per year seems like the kind of offer a pop star and mother of two with enough money already for several timelines would accept, with the album itself being more of an afterthought. Britney was originally slated to remain on the Planet Hollywood Resort & Casino for two years but ultimately extended her run for another two years, before finally touring overseas (without an album attached to the performances) during 2017 and 2018. Because of the lack of promotion, Britney Jean underperformed when compared to Miss Spears’ previous releases, with estimated worldwide sales (as of April 2018) being close to 1.3 million copies, less than a third of Femme Fatale’s sales. Truth be told, BJ flopped hard… HOWEVER, not everything would have turned out that terrible (not even in a million years it would have sold as much a FF but at least the downfall could have been smaller) with some actual promotion and interest from Brit herself.
SOME REACHING… I MEAN… THE SIGNIFICANCE OF BRITNEY JEAN
BJ is, in my opinion, a compilation of the era, the resume of “in the previous episode of” that you get on serialized TV shows, a farewell to the bombastic era of synth-heavy EDM club anthems with gratuitous drops and interchangeable lyrics. During the genre’s opus, some performers tried to bend this sound (and their equivalents) to their benefit, either mixing it with their style or playing with the boundaries of the sound: it could be a Taylor Swift doing a We Are Never Getting Back Together to get a broad crossover hit, a Lady Gaga mixing multiple genres to create a sonically complex pastiche called Born This Way, or even straight-up jumping almost seamlessly from rap/R&B to club bangers like Nicki Minaj did in Roman Reloaded. Britney in Britney Jean did almost the opposite of that. Britney Jean is, in some ways, a time capsule of the era in its rawest and purest form (some might differ and replace those buzzwords with generic and bland), with the average user being able to trace mostly any track to a style, influence, sub-genre or even performer. Listening to BJ is like watching a 70s movie in VHS in an old, square TV, basically an unintentional period piece that reflects the volatile, bombastic and extravagant style of those golden years of 2008-2013, which, within the mindset of Britney Jean sounds kinda tired and bland, surprising no one when that branch of pop went back into obscurity and irrelevance almost as fast as grunge music did when Kurt Cobain died. Britney Jean came up in a time of transition of popular music, with streaming showing the kind of power it had on the charts and more subdued, minimalistic music taking the world by storm. Popular music, as you might already noticed, evolved into a slower, more melodic, calculated, numb, almost anticlimatic entity which was more fitting with our current social and political climate. To paraphrase Todd in the Shadows: 2013 had a hit literally called Happy and 2018 had both a hit called SAD! and another called Happier with a video about a dog that dies. In terms of Britneyology (both the study of Britney Spears and the religion dedicated to her persona), BJ is also a glimpse into Britney the full-fledged artist. Britney has never been the kind of performer that gets heavily involved into her music, with Britney’s role being generally limited to the choice of songs, sequencing, development of sounds and themes with her assigned team of writers and producers, and performing of course; sometimes Britney gets involved into the heavier portions of her music (the classic Everytime is a great example of it) but most of the time she remains quite anonymous, with her voice and choice being overwritten by the men on charge, something that became quite apparent during and after the Dark Ages (2004-2008) with the cancelling of the legendary Original Doll, her lack of songwriting credits in both Blackout and Circus, and her much-criticized anonymity in Femme Fatale. BJ was Britney deciding who does want to work with, what does she wants to sing and even how to equilibrate her musical and visual persona. Britney has always being in control of how is she portrayed on official media, most famously rejecting an animated concept for the video of …Baby One More Time in favor of a Lolita-inspired take on catholic school girls, and then the slow process from jailbait to grownup woman. During the post-production of the Work Bitch video, she clashed with director Ben Mor over the kind of content the video should show, as she was a mother in her 30s now instead of an unreachable male gaze fantasy. With BJ, the Legendary Miss Britney Spears showed us how much she has changed since that controversial 2003/2004 period (the last time she was that involved with an album) in which she received the Kiss of Death from Madonna, suffered her infamous accident and, of course, married twice in a calendar year. This new Britney was a much-different person, and her voice deserved to be heard, and even if the results weren’t the greatest, it was a step into the right director for Britney to get what she always wanted: being a full-fledged artist capable of taking her own decisions and learning from her mistakes.
POP AFTER BRITNEY JEAN
https://preview.redd.it/382f3hucce221.png?width=1500&format=png&auto=webp&s=b270179e2de3c085b7dd38ea838588f2f45d9e4b Coincidentally in 2014 most of the ambassadors of the dominant pop sound of the early 10s were either taking a musical break, flopping or changing lanes, so that year paved the way for the transition of what do we define as popular music, with the winners of the evolution race being trap (Fetty Wap’s Trap Queen), meme music from awful people (Bobby Shmurda’s Hot Nathans) or untalented losers (T-Wayne’s Nasty Freestyle, Silentó’s Watch Me), trop pop (OMI’s Cheerleader, Justin Bieber’s entire Purpose era) or whatever outlier track dared to pass through those filters. What happened afterwards is a horror story most of popheads tells in fire camps a la Are You Afraid of the Dark?
BRITNEY AFTER BRITNEY JEAN
Glory , the follow-up Britney Jean, received very positives reviews and was considered a strong return-to-form for Britney, and even if it wasn’t as successful as her label might have wanted, the truth is that, at the end of the day, whatever Britney decides to do next (and considering the direction she seems to be taking) it can be as underwhelming as Britney Jean. https://preview.redd.it/t7rph8g4ce221.png?width=500&format=png&auto=webp&s=0b8d0a459f5caed0d41c087c7658cce2e79f2210
Some OG semi-autobiographical Gambling fiction from Dostoyevsky 1867. Roulette, but still Relevant.
The Gambler was published in 1867, and tells the tale of a young tutor in the employment of a formerly wealthy Russian General. The novel reflects Dostoyevsky’s own addiction to roulette, which was in more ways than one the inspiration for the book: Dostoyevsky completed the novel under a strict deadline so he could pay off gambling debts.” Excerpt From Complete Works of Fyodor Dostoyevsky Translated by C. J. Hogarth CHAPTER II I confess I did not like it. Although I had made up my mind to play, I felt averse to doing so on behalf of some one else. In fact, it almost upset my balance, and I entered the gaming rooms with an angry feeling at my heart. At first glance the scene irritated me. Never at any time have I been able to bear the flunkeyishness which one meets in the Press of the world at large, but more especially in that of Russia, where, almost every evening, journalists write on two subjects in particular namely, on the splendour and luxury of the casinos to be found in the Rhenish towns, and on the heaps of gold which are daily to be seen lying on their tables. Those journalists are not paid for doing so: they write thus merely out of a spirit of disinterested complaisance. For there is nothing splendid about the establishments in question; and, not only are there no heaps of gold to be seen lying on their tables, but also there is very little money to be seen at all. Of course, during the season, some madman or another may make his appearance — generally an Englishman, or an Asiatic, or a Turk — and (as had happened during the summer of which I write) win or lose a great deal; but, as regards the rest of the crowd, it plays only for petty gulden, and seldom does much wealth figure on the board. When, on the present occasion, I entered the gaming-rooms (for the first time in my life), it was several moments before I could even make up my mind to play. For one thing, the crowd oppressed me. Had I been playing for myself, I think I should have left at once, and never have embarked upon gambling at all, for I could feel my heart beginning to beat, and my heart was anything but cold-blooded. Also, I knew, I had long ago made up my mind, that never should I depart from Roulettenberg until some radical, some final, change had taken place in my fortunes. Thus, it must and would be. However ridiculous it may seem to you that I was expecting to win at roulette, I look upon the generally accepted opinion concerning the folly and the grossness of hoping to win at gambling as a thing even more absurd. For why is gambling a whit worse than any other method of acquiring money? How, for instance, is it worse than trade? True, out of a hundred persons, only one can win; yet what business is that of yours or of mine? At all events, I confined myself at first simply to looking on, and decided to attempt nothing serious. Indeed, I felt that, if I began to do anything at all, I should do it in an absent-minded, haphazard sort of way — of that I felt certain. Also, it behoved me to learn the game itself; since, despite a thousand descriptions of roulette which I had read with ceaseless avidity, I knew nothing of its rules, and had never even seen it played. In the first place, everything about it seemed to me so foul — so morally mean and foul. Yet I am not speaking of the hungry, restless folk who, by scores nay, even by hundreds — could be seen crowded around the gaming-tables. For in a desire to win quickly and to win much I can see nothing sordid; I have always applauded the opinion of a certain dead “and gone, but cocksure, moralist who replied to the excuse that “one may always gamble moderately”, by saying that to do so makes things worse, since, in that case, the profits too will always be moderate. Insignificant profits and sumptuous profits do not stand on the same footing. No, it is all a matter of proportion. What may seem a small sum to a Rothschild may seem a large sum to me, and it is not the fault of stakes or of winnings that everywhere men can be found winning, can be found depriving their fellows of something, just as they do at roulette. As to the question whether stakes and winnings are, in themselves, immoral is another question altogether, and I wish to express no opinion upon it. Yet the very fact that I was full of a strong desire to win caused this gambling for gain, in spite of its attendant squalor, to contain, if you will, something intimate, something sympathetic, to my eyes: for it is always pleasant to see men dispensing with ceremony, and acting naturally, and in an unbuttoned mood.... Yet, why should I so deceive myself? I could see that the whole thing was a vain and unreasoning pursuit; and what, at the first glance, seemed to me the ugliest feature in this mob of roulette players was their respect for their occupation — the seriousness, and even the humility, with which they stood around the gaming tables. Moreover, I had always drawn sharp distinctions between a game which is de mauvais genre and a game which is permissible to a decent man. In fact, there are two sorts of gaming — namely, the game of the gentleman and the game of the plebs — the game for gain, and the game of the herd. Herein, as said, I draw sharp distinctions. Yet how essentially base are the distinctions! For instance, a gentleman may stake, say, five or ten louis d’or — seldom more, unless he is a very rich man, when he may stake, say, a thousand francs; but, he must do this simply for the love of the game itself — simply for sport, simply in order to observe the process of winning or of losing, and, above all things, as a man who remains quite uninterested in the possibility of his issuing a winner. If he wins, he will be at liberty, perhaps, to give vent to a laugh, or to pass a remark on the circumstance to a bystander, or to stake again, or to double his stake; but, even this he must do solely out of curiosity, and for the pleasure of watching the play of chances and of calculations, and not because of any vulgar desire to win. In a word, he must look upon the gaming-table, upon roulette, and upon trente et quarante, as mere relaxations which have been arranged solely for his amusement. Of the existence of the lures and gains upon which the bank is founded and maintained he must profess to have not an inkling. Best of all, he ought to imagine his fellow-gamblers and the rest of the mob which stands trembling over a coin to be equally rich and gentlemanly with himself, and playing solely for recreation and pleasure. This complete ignorance of the realities, this innocent view of mankind, is what, in my opinion, constitutes the truly aristocratic. For instance, I have seen even fond mothers so far indulge their guileless, elegant daughters — misses of fifteen or sixteen — as to give them a few gold coins and teach them how to play; and though the young ladies may have won or have lost, they have invariably laughed, and departed as though they were well pleased. In the same way, I saw our General once approach the table in a stolid, important manner. A lacquey darted to offer him a chair, but the General did not even notice him. Slowly he took out his money bags, and slowly extracted 300 francs in gold, which he staked on the black, and won. Yet he did not take up his winnings — he left them there on the table. Again the black turned up, and again he did not gather in what he had won; and when, in the third round, the RED turned up he lost, at a stroke, 1200 francs. Yet even then he rose with a smile, and thus preserved his reputation; yet I knew that his money bags must be chafing his heart, as well as that, had the stake been twice or thrice as much again, he would still have restrained himself from venting his disappointment. On the other hand, I saw a Frenchman first win, and then lose, 30,000 francs cheerfully, and without a murmur. Yes; even if a gentleman should lose his whole substance, he must never give way to annoyance. Money must be so subservient to gentility as never to be worth a thought. Of course, the SUPREMELY aristocratic thing is to be entirely oblivious of the mire of rabble, with its setting; but sometimes a reverse course may be aristocratic to remark, to scan, and even to gape at, the mob (for preference, through a lorgnette), even as though one were taking the crowd and its squalor for a sort of raree show which had been organised specially for a gentleman’s diversion. Though one may be squeezed by the crowd, one must look as though one were fully assured of being the observer — of having neither part nor lot with the observed. At the same time, to stare fixedly about one is unbecoming; for that, again, is ungentlemanly, seeing that no spectacle is worth an open stare — are no spectacles in the world which merit from a gentleman too pronounced an inspection. However, to me personally the scene DID seem to be worth undisguised contemplation — more especially in view of the fact that I had come there not only to look at, but also to number myself sincerely and wholeheartedly with, the mob. As for my secret moral views, I had no room for them amongst my actual, practical opinions. Let that stand as written: I am writing only to relieve my conscience. Yet let me say also this: that from the first I have been consistent in having an intense aversion to any trial of my acts and thoughts by a moral standard. Another standard altogether has directed my life.... As a matter of fact, the mob was playing in exceedingly foul fashion. Indeed, I have an idea that sheer robbery was going on around that gaming-table. The croupiers who sat at the two ends of it had not only to watch the stakes, but also to calculate the game — an immense amount of work for two men! As for the crowd itself — well, it consisted mostly of Frenchmen. Yet I was not then taking notes merely in order to be able to give you a description of roulette, but in order to get my bearings as to my behaviour when I myself should begin to play. For example, I noticed that nothing was common than for another’s hand to stretch out and grab one’s winnings whenever one had won. Then there would arise a dispute, and frequently an uproar; and it would be a case of “I beg of you to prove, and to produce witnesses to the fact, that the stake is yours.” At first the proceedings were pure Greek to me. I could only divine and distinguish that stakes were hazarded on numbers, on “odd” or “even,” and on colours. Polina’s money I decided to risk, that evening, only to the amount of 100 gulden. The thought that I was not going to play for myself quite unnerved me. It was an unpleasant sensation, and I tried hard to banish it. I had a feeling that, once I had begun to play for Polina, I should wreck my own fortunes. Also, I wonder if any one has EVER approached a gaming-table without falling an immediate prey to superstition? I began by pulling out fifty gulden, and staking them on “even.” The wheel spun and stopped at 13. I had lost! With a feeling like a sick qualm, as though I would like to make my way out of the crowd and go home, I staked another fifty gulden — this time on the red. The red turned up. Next time I staked the 100 gulden just where they lay — and again the red turned up. Again I staked the whole sum, and again the red turned up. Clutching my 400 gulden, I placed 200 of them on twelve figures, to see what would come of it. The result was that the croupier paid me out three times my total stake! Thus from 100 gulden my store had grown to 800! Upon that such a curious, such an inexplicable, unwonted feeling overcame me that I decided to depart. Always the thought kept recurring to me that if I had been playing for myself alone I should never have had such luck. Once more I staked the whole 800 gulden on the “even.” The wheel stopped at 4. I was paid out another 800 gulden, and, snatching up my pile of 1600, departed in search of Polina Alexandrovna. “I found the whole party walking in the park, and was able to get an interview with her only after supper. This time the Frenchman was absent from the meal, and the General seemed to be in a more expansive vein. Among other things, he thought it necessary to remind me that he would be sorry to see me playing at the gaming-tables. In his opinion, such conduct would greatly compromise him — especially if I were to lose much. “And even if you were to WIN much I should be compromised,” he added in a meaning sort of way. “Of course I have no RIGHT to order your actions, but you yourself will agree that...” As usual, he did not finish his sentence. I answered drily that I had very little money in my possession, and that, consequently, I was hardly in a position to indulge in any conspicuous play, even if I did gamble. At last, when ascending to my own room, I succeeded in handing Polina her winnings, and told her that, next time, I should not play for her. “Why not?” she asked excitedly. “Because I wish to play FOR MYSELF,” I replied with a “I replied with a feigned glance of astonishment. “That is my sole reason.” “Then are you so certain that your roulette-playing will get us out of our difficulties?” she inquired with a quizzical smile. I said very seriously, “Yes,” and then added: “Possibly my certainty about winning may seem to you ridiculous; yet, pray leave me in peace.” Nonetheless she insisted that I ought to go halves with her in the day’s winnings, and offered me 800 gulden on condition that henceforth, I gambled only on those terms; but I refused to do so, once and for all — stating, as my reason, that I found myself unable to play on behalf of any one else, “I am not unwilling so to do,” I added, “but in all probability I should lose.” “Well, absurd though it be, I place great hopes on your playing of roulette,” she remarked musingly; “wherefore, you ought to play as my partner and on equal shares; wherefore, of course, you will do as I wish.” Then she left me without listening to any further protests on my part.”
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