2014 had hits that weren’t just bad—they were nameless, unidentifiable and unimpactful. It was a year without an identity.
’s Hot 100 chart and remained there for 10 consecutive weeks. Bolstered by its success as a soundtrack single forand colossal radio favor, “Happy” became the best-selling song of 2014 by nearly 2 million sales. But there’s something despicable—pun intended—about “Happy” and its tremendous success. In the late 1990s and 2000s, Pharrell built a reputation as one-half of the production duo the Neptunes.
Of course, there is an un-ignorable and obvious exception. Who else could it be but Taylor Swift? In October 2014, Swift released her fifth album and first “official pop” album,seems to enforce this theory, due to how Swift’s pop persona was, by her design, ambiguous and general. She made an album that was defined by its anonymity, and her writing could still connect to millions of listeners on a personal level.
When you spend 99 cents or $1.29 on a song, you play that song in full. You repeat it, even if you don’t like it. That $1.29 single would be more worth the money if it was longer. Hence, pop stars delivered the hefty, dense singles that defined the era. You get the roaring ballads like Adele’s “Rolling in the Deep,” Rihanna’s “Stay” or Katy Perry’s “Firework.” You get multi-part dance-pop tracks, with a rap feature to make them even more worth the price .
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