Dax Diameter

I hope she finally gets justice over the people behind the scenes who essentially blackballed her 10 years ago for not playing their game the way they wanted!

OMG, Pre-Save Link Is Up Now!

I appreciate you have a valid point of view. Though I happen to know a thing or two about sequencing music to a professional and commercial standard. Having now listened to that complete 16 track sequence from start to finish (without preconception), it does not scan as the random/ jumbled collection of songs that it first appears to the naked eye.

Hmm, on the original Epic timeline this album would have fallen in the aftermath of Meghan Trainor, bringing back that old-school Doo-Wop sound on “All About That Bass” (for the first time since the 1950’s). It seems clear Bonnie was inspired by that track (plus it works in sequence). Sometimes I get the vibe she reads this thread, has seen our comments and this is her way of communicating the original Epic sequence to us. So, because I genuinely like you as a person - it makes it extra hard for me to admit that on this occasion, I unfortunately find myself in disagreement with you regarding how I perceive these tracks.

Okay, so “SLAY” slides in and connects real easily after “Easy”.. I’m not convinced it’s an accident. Wow, “Forever 21” works good after “SLAY” and that tempo increase from there into “Hot City”, is so smooth.

Does anyone know what indie label she has signed to yet?

Hmm, She is presenting sixteen tracks together as a self contained group. Why create an artificial exclusion for some songs she is visually presenting to us now - as a whole? .. Who can really say what the original intention for those tracks was, before she got dropped and instead released the E.P 🤷🏼‍♀️

Do we think the sequence the ‘tapes’ are stacked, in Bonnie’s ‘vault’ - is an early clue as to the official track running order of the album? 01. Somebody [‘s Gonna Get Hurt]? 02. American Girl 03. Sleepwalker 04. Stars In Your Heart 05. California Winter 06. Bombastic 07. Wasted Youth 08. I Want It All 09. Easy 10. SLAY 11. Forever 21 12. Hot City 13. I Wanna Fucking Call You 14. Rewind Your Heart 15. Everything But You 16. Electric Heaven

Just waiting for the official drop and that one dumb bitch to say “I prefer the original, so I’m sticking with that and won’t be streaming this but good luck anyway”. 😴 I’ve already seen someone who clearly does not know she went back to the original producers - ignorantly assume this is going to be ‘badly mixed’ and was re-swizzled by some random, drunk-dial, budget producer from Craigslist. Before anyone decides that is going to be their hot-take and how they are going to approach this (very exciting) forthcoming era, I’m putting it out to the universe that I for one, am already over foolish comments of that nature and I believe as a collective, we should all be on a guard against them!

https://vm.tiktok.com/ZGJxKgyJV/ I already hear the very same production elements I was previously concerned they wouldn’t be able to replicate. Feeling hopeful 🤞🏻 .. And if it’s wishful thinking on my part then I’m totally open and accepting of why it might sound different.

Totally cool, I mean I actually suspect she has done a good job (I believe she owns her own publishing after-all). I have every confidence in her as a musician and in her artistic abilities to deliver a quality finished product to the market!

Hmm, it’s my understanding that the original backing music will also fall under copyright of Epic/ Sony. I know enough to be sure every sound will have to be re-created from scratch to avoid any breach of copyright. She’s been working hard on these re-records (out of public view) for god knows how long? This is why I’m surprised no-one else appears curious as to who handled production of the re-records? Thank fuck she’s not a Jack Antonoff girl .. Could you honestly imagine him trying to re-create the production details on “S.L.A.Y.” (for example) and ever getting the electro right? There’s more chance of snow (or space aliens) landing on the frigging beach! Hopefully, Bonnie’s already established professional relationships and connections within the industry (on account of her other compositions being recorded by other artists) - has left the door open to the original producers being receptive to solo Bonnie - on round two. It’s important to remember those producers were unlikely to ever have been under exclusive contract to Epic/ Sony (in the first place). Therefore she would have been free to work with them in re-creating their original flavors, years later. There is a whole layer of extra excitement attached to simply studying the production detail on the re-records.

Has she hired the original producers so they can replicate their sounds? Or are the new versions produced by others?

“Taylor’s Version”.. The Legacy

I think it needs to be adopted by all regional Pride festivals as their 2023 anthem.. it would guarantee airplay all summer long in multiple world territories: Plus, the lyrics are more empowering than ‘Padam’ (which I’m over).

Also, even though she’ll give you some butt-fuck answer, I suggest we cyclically and periodically ask Alexa (or your equivalent smart speaker), “Hey, Alexa play S.L.A.Y (Slay) by Bonnie McKee”. .. Of course, she won’t, but her algorithm (plus that of Shazam) will send the request back up the chain of command to their respective nerve centre’s and if enough people do it with consistency (thus reaching critical mass), the executives will eventually see a visual spike/ trend in that one request on their interface at Amazon HQ and ultimately attempt to find a legitimate pathway towards eventually (and ultimately) obliging to meet demand for the request - which will (in turn) place pressure on Amazon to seek out a legal copy of the track - thus acting as a further lever by which to encourage its breakthrough into the mainstream. Warning: The U.S. Billboard chart can be particularly slow moving and it could take anywhere between three to six months to attain a request critical mass!

I decided I was bored and needed to street team for Bonnie (I can only do so much on my own). I remembered that emails can handle attachments that are 25 mb (or less) and had a brainwave to remove all metadata from the final “S.L.A.Y” file, and painstakingly found 25 internal email addresses for 25 different radio stations in my world region. I then wrote the below email from an old email account (and attached the “S.L.A.Y” file to it), it does not need to be the biblical truth, it only needs to act as P.R. to spark interest in Bonnie amongst radio programmers: I suggest everyone here do the same: ———————————————————————————— Hey you guys at [insert radio station] FM! Do you remember Katy Perry from back in the day, like before her music turned really shit? Well, guess what? the reason Katy’s music got so bad ever since she released that “Bon Appètit” bull crap is because her best songwriter who wrote most of the good stuff that came before it - left her to move on to pastures new! That songwriter is called Bonnie McKee and she’s about to launch as a solo artist in her own right (street impact date June 21st), with this track (that is of a standard that Katy can no longer meet without her) - I am attaching Bonnie’s “S.L.A.Y” with this email. As a member of the public and an enthusiastic listener of your station, I humbly ask that you please consider adding “S.L.A.Y” to your playlist during your peak time “drive time” music schedule, you will clearly hear how it will slot right in there with the Pop demographic and A/C market segment of the [specific radio station] audience. love & Kisses, The baby Jesus xx ———————————————————————————— * insert your own name of choice Please resist the fake smart temptation to be regional. we need to be on the same page with this one track!

To be fair, isn’t it less than one year since the final version with the “1999” line leaked (that everyone knew existed and everyone begged for)? Aside from a few gays, who even knows it’s “out there”? Whilst some may have uploaded it to YouTube, I’m not entirely convinced the collective viewing figures of “S.L.A.Y.”, are large enough or would negate from its potential to be a hit. Perhaps not in the upper echelons of the mainstream/ overall Billboard Hot 100, but it could still make a substantial dent on various influential and somewhat ‘cool’ Spotify playlists, that from the amount of ‘likes’ those playlists have - would clearly suggest a lot of listeners return to on a regular, cyclical basis for their latest updated fix. Yes, we all have our favorite other Bonnie songs, but I believe in our heart of hearts we all instinctively and collectively know “S.L.A.Y.” Is that girl we have to get behind, with the strongest chance of mainstream metric impact (leading to play share count), whilst Bonnie increases her profile amongst civilians that stretch way beyond a few hundred gays spread over some pop forums. I respect (and I do totally get) that for a very long time now, the conversation surrounding Bonnie has always been one thing (her seeming failure to want to launch on her own terms).. Well, frankly in the last few days (and in spite of all the time that has elapsed before that).. we have just arrived at the door of a brand new era and cycle of Bonnie’s life and career in music and some of you need to stop lingering out in the yard, clinging to those years, pouring scorn and get with the new era and new program! As tech savvy gays, you need to take a deep breath, touch the grass, and realise you now have a brand new genuine potential to make a real difference in the wider context, as to how Bonnie is perceived by radio programmers, content creators and those tastemakers who influence Spotify playlist inclusion! I propose that collectively (as a fanbase), we gear up in preparation for “S.L.A.Y”s official release date by phoning up our local radio stations and requesting they play the track and build exposure to it (amongst civilians), from a grassroots level up! I’m not sure how we can strong arm and convince Spotify to include it in as many demographically appropriate key playlists as possible, therefore it would not do any harm to review the streaming rules, adapt accordingly and then (after it’s official June drop) - stream the fuck out of “S.L.A.Y” on all platforms - from which chart share in your region gets measured and generally use our socials to depict and represent Bonnie (in context of “S.L.A.Y.”), as the coolest, hottest, hippest act ever in the entire history of the music charts! .. I literally do not see any other way as to how we can unite, come together as one and generate the groundswell of support/ momentum necessary in the lead up to (and from) the moment “S.L.A.Y.” actually, officially drops within the framework of its official 2023 timeline/ release date, give the track legs and make this moment in Pop happen! Other fanbases have learned how to augment the system in support of their faves, I believe we should now be collectively working in co-operation, focussed around this one goal in support of Queen Bonnie!

There’s always one..

Robyn’s original demo of “… Baby One More Time”.

Always fresh to hear something new that’s not influenced by a U.S. urban centric sound.

.. Bonnie “confirmed” something and I still wasn’t convinced.. my bad. 😂

Surely it has to be “S.L.A.Y.” (or one of the tracks that has a long since paid for, yet still unreleased video)?

So pleased. I don’t know why some people blame her for being stonewalled by old labels, former acquaintances and corporate lawyer’s. That stuff obviously takes time, none of it is dealt with on a pre-determined timeline and all of it is intended to take place well away from the public arena. Reminding people she identifies as an indie artist merely drops the subtlest of reminders as to the path she has been forced to walk and is now comfortable taking. One day, if she ever fully breaks free from the various NDA’s that were once a minefield in front of her and actually gets the opportunity to release her full un-redacted memoir, then some of y’all are going to be embarrassed for not hanging on in there and patiently waiting.