Katy Perry - 143 (Worst Rated Album EVER by a female artist)

Can Katy turn things around and snatch a hit?

  • yes, unconditionally

  • sure, it's never really over

  • maybe, by the grace of god

  • potentially, she's a dark horse

  • probably not (self-inflicted)

  • no, now she's just a ghost

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As first reported by leading footy journalist Tom Morris, the AFL made an extraordinary request for the singer to perform only recognised hits from her back catalogue.

Perry’s camp is reported to have pushed back and wanted to perform two new songs from her comeback album ‘143’.

Morris said on SEN Breakfast on Monday the two camps reached an agreement for Perry to play just one new song.
“The AFL are saying, ‘We only want your hits. We only want your bangers. We only want your best stuff’,” he said on SEN.

“We want Roar, We want Teenage Dream, we want Firework. They want all the songs we know and love. And she’s pushed back and said, ‘No, no I want to play two of my new songs.

“You know when you go to a concert and maybe they’re old and all you want is their good stuff. You just want their greatest hits. That’s what the AFL have requested with the Katy Perry. And she’s gone, clearly, I want to promote some of my new music.”
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It doesn't really seem like an extraordinary request. It seems like basic negotiation - two tracks from this would obviously be indulgent, they clearly want her as a star for the hits, one go-around of the single the artist wants to push from their new record for everyone to go "not their best, is it?" during is obviously the entirely standard compromise that always happens.
 
jivafox said:
maybe they’re old
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Mother was old and she managed.
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Like Witness, 143 is a spectacular flop, but it’s a strange one—like one of those restaurants that looks nice and has an expensive menu but serves food so mid as to be insulting. It’s worse than awful. At least awful is something you can direct your rage at, deriving catharsis in the process. Aside from some fleeting hellacious decisions, like the jump scare of a warbling child’s voice that opens the cloying final track “Wonder,” 143 is mostly just…there.
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This sums up exactly how I feel about the album
 
ZenGiraffe said:
pitchfork.com

Katy Perry: 143

Read Rich Juzwiak’s review of the album.
pitchfork.com pitchfork.com

TOO HIGH
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Best bits:
What a weird time to be Katy Perry.

Drifting through the winds of popular culture and probably wanting to start again at least occasionally, it seems reasonable to assume that in 2024, Katy Perry feels like a plastic bag.

The material here is so devoid of anything distinguishing that it makes one suspicious it’s a troll or cynical attempt for the campy realm of so bad it’s good. No stranger to a thrashing, Perry might as well have transformed into a fish, jumped into a barrel, and told critics, “Shoot me!” Regardless of intent, it’s possible to read this album as a metatext on the disposability of so much pop.

Rather than wondering what went wrong for Perry, it might be more useful to momentarily ponder what went right. At her peak, she had the kind of imperial phase that only an elite cadre of pop artists get to experience. Perry’s most remarkable stat is that she was the first artist since Michael Jackson to send five songs from the same album to No. 1 on the Billboard Hot 100. Her third album (but second as Katy Perry), 2010’s Teenage Dream, cemented her image: colorful enough to appeal to children, zany but not so much that it ever challenged, rangey and resilient in voice, and, perhaps most crucially, a writer of certified tunes.

And that’s kind of…it? While Perry does make implicit sense as a pop singer, describing why she was as big as she was is a challenge. As a key feature, she sometimes cites her own weirdness, as she did in the acceptance speech for her Video Vanguard Award. But Katy Perry is weird like Olive Garden is exotic: not really at all, and everything is suffocated in cheese. You sometimes get the feeling that there’s a disconnect between who Perry actually is and how she comes off, which is a fatal flaw in these branded times. Fourteen years ago, critic Ann Powers, in a Los Angeles Times review of Teenage Dream, referred to Perry’s “essential hollowness” matter of factly, as if it were part of the price of admission.

But Perry could only be essentially hollow for so long—you get about three albums to say precisely nothing as a top-tier artist whose craft isn’t defined by technical virtuosity.

How little Perry has to say is stunning.

The guests here—Kim Petras, Doechii, JID, and 21 Savage—seem at best obliged, at worst blackmailed.
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Penelope said:
Woman's World

This becomes so fun if you imagine it as Liz Truss's morning alarm inspo song/internal monologue every day of her life :disco: Anyway, I have long been a fan of feminism, basic bitch pop, and the Moopy forum poster @Shoat - and the qualities of being sexy and confident! As such I have not hated this a single time Spotify has thrust it upon me over the last two months. This immediately inspired me to buy Gloria Steinem's new lipstick and sign up to do a fraudulent vote for Kamala Harris in Pennsylvania - I declare it a 6/10
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❤️ So glad you're on board. See you at the next Loose Women meet-and-greet hun! Stay sexy, confident, and soft so soft!
 
I’ve not really been following this, but out of curiosity have whacked on the album streaming as I make my way home.

…. Oh DEAR. This is really quite dreadful.
 
funky said:
As if she could EVER BE ARSED to pick up an INSTRUMENT!
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This is what I was talking about. She USED to be like this.

KatyPerryMTVunplugged.png


as for downplaying Ed, as much as I despise the hateful cunt, that guy can fart out better written/composed songs in a matter of hours with his eyes blindfolded.
 




She's so much better when she's strumming her acoustic guitar. Get the cargo shorts on, Kathryn, it's time.
 
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