User:AskeeaeWiki/sandbox

You have probably ended up here because of a link from my Contributions section on my user page. Instead, this sandbox is just gonna be here for entertainment purposes!

Cheers 𝘮𝘪𝘤𝘩𝘢𝘦𝘭'𝘴 𝘥𝘦𝘢𝘳 𝘮𝘦𝘭𝘢𝘯𝘤𝘩𝘰𝘭𝘺, 06:37, 25 March 2024 (UTC)

Legacy and influence
House of Balloons is considered by many to be one of the most influential R&B releases in recent years, specifically the 2010s. It is credited for inspiring other R&B artists to release music without showing their faces, shifting the content of mainstream R&B music and bringing alternative R&B into the mainstream.

Julian Kimble of Complex wrote, "House of Balloons, in tandem with Frank Ocean’s Nostalgia, Ultra, was responsible for a sharp pivot within R&B. The project invaded this stale area, soldering genres together to bring much-needed originality to a template mired by stagnancy at the decade’s turn. Neither his songwriting nor subject matter were cavalier, but his overall aesthetic was enticing." He later describes how, "Its channeling of temptation’s distinct gleam is a significant part of its legacy." Pitchfork wrote, "Of course, a significant part of House of Balloons' appeal was that it was unexpected, and that it tapped into our subconscious. It satisfied an unrealized need." Bianca Gracie of Uproxx stated, "House Of Balloons is frightening in its relatability. It forced listeners to confront the loneliness they feel after realizing partying is the only thing that sustains them." Continuing to add, "Being only a year younger than Tesfaye, we had parallel coming-of-age experiences: dabbling in similar substances, using all-night college parties as escapism from depression, and ultimately sought comfort in a mixtape that targeted a shared despondency." She later stated, "The mixtape reflected a doomed generation who grew up with films like Kids, Trainspotting, Requiem For A Dream, and A Clockwork Orange. We didn’t want to be seen. Like Tesfaye, we hid our faces behind Tumblr photos that showed both a brilliant, snarky sense of humor and a not-so-subtle cry for help." Patrick Lyons of Stereogum wrote, "Perhaps inviting listeners to use their imaginations added something. You could envision the scenarios described in all four of those early tracks unfolding in the same location, a seedy-but-well-furnished apartment that housed no permanent residents — a party pad with dim, reddish lighting and Himalayan piles of cocaine on every horizontal surface, all of which are made of glass. It's a loft where the walls kick like they're six months pregnant, where women call cabs at dawn and forget their high-heeled shoes. Leave your girl back home." Sam Hockley-Smith of The Fader said, "Balloons ' legacy is massive. It looms large over everything we've heard. It made happy songs passe. It made the very concept of contentment seem lame. It spawned a vast legion of imitators, all tracing song lyrics in mounds of cocaine on mirrors at 6 a.m. It was a fashionable version of depression, done very well. That sounds disparaging, but I don't want it to be. House of Balloons got everything right, which is why it caused such a seismic shift in music."

Gabby Sgherri of BeatRoute said, "Let's go back to 2011; an era when R&B was dominated by pretty boys by the likes of Usher and Jeremiah who exuded confidence, making fans swoon with their dance moves and romantic lyrics. The Weeknd was different. His elusive mixtape titled House of Balloons, a drug-drenched and emotionally chilling collection of songs, showed up deep in forums and niche music blogs. It was faceless, nameless—an antithesis to the genre." Rose Lilah of HotNewHipHop wrote, "The Toronto native remodeled what it meant to be a fan by creating music that coincided or identified with a specific lifestyle and time's in one life, thus sparking the cult-like XO fanbase, and creating a blueprint for artists when it comes to the importance of branding identity and having a "movement." However, beyond a savvy business strategy, Abel also refurbished an existing genre, spawned a new sub-genre, and encouraged experimentation and evolution in the generation of artists that have followed his lead." A. Harmony of Exclaim! said that "the ripple effect that House of Balloons had on R&B cannot be understated. The change was so pervasive that it birthed a new subgenre — alternative R&B — where more rebels and rule-breakers could usher in a new guard. The mixtape's influence endures in artists like Bryson Tiller and 6LACK. The Weeknd's early days of mystery and elusiveness were replicated by H.E.R. and SAULT. The legion of R&B fans, who would have otherwise never embraced the genre, continues to grow. Nothing about House of Balloons was supposed to succeed, but therein lies its magic. An album that bold could only either fail spectacularly — or change everything." In 2015, Rolling Stone made a list of "12 Great Songs That Wouldn't Exist Without the Weeknd", citing the mixtape as their inspiration. The songs listed were: Miguel's "Adorn", Usher's "Climax", Dawn Richard's "Pretty Wicked Things", Justin Bieber's "PYD", Jhené Aiko's "The Vapors", Drake's "Hold On, We're Going Home", Tove Lo's "Habits (Stay High)", FKA Twigs' "Two Weeks", Kelela's "The High", SZA's "Babylon", Tinashe's "2 On" and PartyNextDoor's "Recognize".

During an interview with Rolling Stone in 2015, the Weeknd said of the mixtape, "It definitely changed the culture. No one can do a trilogy again without thanking the Weeknd. A lot of artists started doing things faster and quicker after that: Justin Timberlake dropped two albums in a year, Beyoncé dropped a surprise album." In an interview with Variety in 2020, he said, "House of Balloons' literally changed the sound of pop music before my eyes. I heard 'Climax,' that [2012] Usher song, and was like, 'Holy f—, that’s a Weeknd song.' It was very flattering, and I knew I was doing something right, but I also got angry. But the older I got, I realized it's a good thing." Wassim Slaiby, the Weeknd's manager, in the same interview said, "People saw the rise but have no idea how hard Abel and our small team worked for years before we got the recognition. Abel created this whole new R&B wave everyone is on now." Nate Albert, an A&R executive at Republic Records told Vulture in 2015, "I knew Abel was going to be big after he put out House of Balloons. It sounded like he was merging goth, dark-wave, and R&B with a punk-rock sensibility. It sounded like something completely new." Regarding his anonymity at the time of the mixtape's release, the Weeknd told GQ in 2021, "I felt like it was the most unbiased reaction you can get to the music, because you couldn’t put a face to it. Especially R&B, which is a genre that is heavily influenced by how the artist looks."