rfucom
Diamond Member
Beerbongs fanatic
Joined: December 2008
Posts: 10,117
|
Post by rfucom on Sept 9, 2018 18:50:07 GMT -5
Seems they're not interested for MV of BN.
|
|
ddlz
2x Platinum Member
Joined: June 2011
Posts: 2,165
|
Post by ddlz on Oct 2, 2018 4:58:15 GMT -5
|
|
ddlz
2x Platinum Member
Joined: June 2011
Posts: 2,165
|
Post by ddlz on Oct 22, 2018 18:07:14 GMT -5
King of pop is embarking on his first Euro/UK/Oceania Arena tour. Did y'all get your tickets?
February 14 — 3Arena, Dublin, Ireland February 16 — Resorts World Arena, Birmingham, UK February 17 — SSE Hydro, Glasgow, UK February 19 — Manchester Arena, UK February 22 — AccorHotels Arena, Paris, France February 25 — Ziggo Dome, Amsterdam, Netherlands February 26 — Ziggo Dome, Amsterdam, Netherlands February 27 — Barclaycard Arena, Hamburg, Germany March 1 — Ericsson Globe, Stockholm, Sweden March 2 — Royal Arena, Copenhagen, Denmark March 4 — Mercedes-Benz Arena, Berlin, Germany March 5 — Olympiahalle, Munich, Germany March 7 — Hallenstadion, Zurich, Switzerland March 9 — Konig-Pilsener-Arena, Oberhausen, Germany March 11 — Sportpaleis, Antwerp, Belgium March 13 — O2 Arena, London, UK March 14 — O2 Arena, London, UK April 26 — RAC Arena, Perth, Australia April 28 — AEC Arena, Adelaide, Australia April 30 — Rod Laver Arena, Melbourne, Australia May 1 — Rod Laver Arena, Melbourne, Australia May 2 — Rod Laver Arena, Melbourne, Australia May 4 — Brisbane Entertainment Centre, Australia May 5 — Brisbane Entertainment Centre, Australia May 7 — Qudos Bank Arena, Sydney, Australia May 8 — Qudos Bank Arena, Sydney, Australia May 9 — Qudos Bank Arena, Sydney, Australia May 11 — Spark Arena, Auckland, New Zealand May 12 — Spark Arena, Auckland, New Zealand
|
|
ddlz
2x Platinum Member
Joined: June 2011
Posts: 2,165
|
Post by ddlz on Oct 22, 2018 18:22:03 GMT -5
|
|
owenlovesmusic
4x Platinum Member
Needs a Nap
Joined: December 2017
Posts: 4,940
|
Post by owenlovesmusic on Oct 23, 2018 19:54:41 GMT -5
The world needs Post Malone X Drake.
|
|
crazyb
5x Platinum Member
What's Going On?
Joined: March 2017
Posts: 5,446
|
Post by crazyb on Oct 23, 2018 19:56:53 GMT -5
I still think there could be so many singles on this album
|
|
owenlovesmusic
4x Platinum Member
Needs a Nap
Joined: December 2017
Posts: 4,940
|
Post by owenlovesmusic on Oct 29, 2018 22:06:51 GMT -5
New single, "Sunflower" with Swae Lee out now from the Spiderman soundtrack. I hope this doesn't mean they are done with the B&B singles.
|
|
ddlz
2x Platinum Member
Joined: June 2011
Posts: 2,165
|
Post by ddlz on Nov 6, 2018 9:39:53 GMT -5
|
|
gbaby
2x Platinum Member
Joined: April 2007
Posts: 2,566
|
Post by gbaby on Nov 6, 2018 13:12:04 GMT -5
Post Malone is the perfect pop star for this American moment. That’s not a compliment. Successful SoundCloud rapper. Genre-bending artist. You may or may not know Post Malone. Here are some little-known facts that will help you get to know him. (Adriana Usero/The Washington Post)
By Jeff Weiss October 30 DALLAS — Him? The most popular young artist in the most unpopular young nation is a rhinestone cowboy who looks like he crawled out of a primordial swamp of nacho cheese. Post Malone is a Halloween rental, a removable platinum grill, a Cubic Zirconium proposal on the jumbo screen of a last-place team. His music — one of the shallowest bastardizations of rap to date, and I don’t say that lightly — has the creative tension of associates at a downtown law firm complaining that $150,000 a year just doesn’t cut it. He looks like he got clubbed over the head by a cartoon peacock. He just turned 23. And America just can’t get enough. Nielsen recently named the suburban-Dallas-raised rapper 2018’s most popular musician. So it was only a matter of time before Malone had his own festival, a contemporary rite of passage for nearly every major pop-rap star who has his face plastered across Spotify’s Get Turnt Playlist. The inaugural Posty Fest was held Sunday night in Dallas’s Dos Equis Pavilion, and it was less a festival than a behemoth SAE rush mixer held on a few acres of corporate-branded concrete. Many festivals pride themselves on offering non-music diversions such as art installations or novel culinary options. There was none of that here, but there were $5 Jell-O shots. There was little to separate it from a regular Post Malone concert other than the big-name opening acts (Travis Scott; Tyler, the Creator; Lil Skies) and True Religion-sponsored Post Malone bandannas featuring an extreme close-up of Austin Post himself, glazed and squinting, as ever. This should have ostensibly been a coronation, his unequivocal ascension to the A-list pop superstardom of mono-named visionaries. There are artists who dictate the zeitgeist and those who reflect it. Post Malone is decidedly the latter, an avatar of algorithm culture that rewards pleasant banality over the creatively vexing. At his own festival in his hometown, he had the opportunity to lucidly state his mission and values. Instead, he revealed himself to be Jack Johnson with 808s and nakedly grafted hip-hop slang. By 9:30 p.m., chants of “Posty! Posty!” filled the amphitheater. Fifteen-year-old blond girls in Daisy Dukes and “Champagnes and Blunts” shirts shrieked as if Post were the next in the lineage of the Backstreet Boys, the Jonas Brothers or One Direction. The main difference this time is that they honored their hero with matching temporary face tattoos — barbed wire on their foreheads, a knifelike crucifix on their cheeks, and his trademark phrases inked in cursive: “Stay Away” and “Rest Easy.” Bros in Troy Aikman jerseys and “Beerbongs and Bentleys” merch grunted with simian glee. Twenty thousand people rocketed up, stood on their seats, and for a brief moment there was the palpable fear of being stampeded to death at a Post Malone concert (which, of course, requires the deceased to be buried in a racecar-shaped coffin wrapped in the Rockstar Energy drink logo). Three Eminem songs served as his intro music — presumably a tacit nod to his fandom but also a heavy-handed reminder that Malone is the most popular white guy in hip-hop since Marshall Mathers. At the moment when the hysteria seemed in danger of waning, Post Malone took the stage to deafening cheers, scorching jet flames and billowing clouds of smoke like a Groupon version of a Kiss concert from 1975. Sipping from a red Solo cup, he soon began slurring “Too Young” with a voice like bong water bubbling and the casual misogyny of a member of a Red Pill subreddit: “My whip fast/my b---- bad/I skrrr skrrr, that coupe fast/My coupe fast, your b---- know/My b---- slow/she do what I say so and she always keep me on my toes.” Those lines are as good as any at representing what Malone is working with on a lyrical level. On recordings, his falsetto is afforded a modest four-cylinder strength. But onstage it comes off slurred and sloppy, twitching like roadkill, limp off-key notes underscored by a booming backing track that operated like a life preserver. “I’m going to get f----- up tonight. Who is f----- up tonight? If I forget the words because I’m too drunk, help me sing along,” he told the crowd. It’s the same applause line that he used at Coachella. His entire set list was essentially identical to what he played at every festival all summer long, right down to the monosyllabic, curse-laden, between-song babbling about haters and the importance of rawking out and turning up. Even if his voice barely slithered past the 10th row, it didn’t matter to fans who knew every word. They were there to commune to songs such as “Better Now,” his latest anthem to interchangeable heartache, presumably made for streaming at the Wahoo’s Fish Taco kiosk at LAX. The problem isn’t necessarily that it’s crass but that it’s meaningless. It’s not that it’s stupid but that it’s vacant. It’s the losing difference between appropriation and outright theft. Post Malone’s music is dead-eyed and ignorant, astonishingly dull in its materialism, an abandoned lot of creativity with absolutely no evidence of traffic in his cerebral cortex — and there’s also a negative side. Even if his intention is sincere homage, the bludgeoning witless imitation can’t help but feel like minstrelsy. White people will inevitably appropriate the most culturally relevant music genre, one that’s become almost intrinsically bound to the modern conception of pop, but it’s not asking too much to attempt modest synthesis or the incorporation of a single new idea, or at least to not be so grotesquely desolate. We went from Eminem to Cheddar Bob. If Post Malone were black, he wouldn’t have sold half; he simply wouldn’t exist. He introduced “Candy Paint,” his song from the “Fate of the Furious” soundtrack, by telling the crowd that, “it’s a little something that we know about in Texas,” before flounder-crooning: “Candy paint with the white on top/Lambo doors of the oo-op drop/If you busy plotting on what I got/Kick in your door, that’s SWAT you thot.” From the artists in the Screwed Up Click to UGK to Swishahouse, anthems consecrated to candy-painted cars are a fundamental component of Texas hip-hop. It’s a tradition that’s cut across racial lines to include Houston rappers such as Paul Wall and Riff Raff, who carved out singularly flamboyant lanes. They were originals. Post Malone is not. There was no backing band and not even any set design for this victory-lap performance. Just smoke and fire and yellow sodium stage lights that seemed to expose his limitations. On “Over Now,” he compared sex to body bags in a way that makes you wonder whether his entire sum of carnal knowledge comes from Pornhub. A brief cameo from Swae Lee for their collaboration “Spoil My Night” felt like an SOS flare. When the member of Rae Sremmurd followed it up with “No Type,” it offered a stark reminder of everything Post Malone aspires to and brazenly imitates. He makes Vanilla Ice look like Luther Vandross. He makes Macklemore look like Mac Dre. As if things couldn’t get any worse, Post Malone posed a question to the crowd: “Do you guys mind if I play my guitar for you?” he asked rhetorically, smoking a cigarette, sitting down for the part of the show where you are supposed to believe that he’s an artiste because he can competently strum an instrument. “This is usually when people start walking away at festivals, but I hope you stay. . . . This song is about feeling really sad.” What followed sounded like Bon Iver cosplaying as Bon Scott right before he tried to drink himself to death. What Post Malone is selling is the chill-bro relatability of the third-most-sensitive member of a frat house, softly crooning acoustic guitar rap covers to seduce Gammas after a pledge paddling. He is the dynamite hack — the platonic playlist substitute at the Duke University coffee shop so the vice president doesn’t fire you for playing Young Dolph. What’s most damning is Post Malone’s bloodless abyss of soul and funk. His attempts at being emotional feel like hollow gestures. When he tries to be turned up, it feels inert and airless. His songs completely lack volatility and swing, leaving him as a little boy trying on oversized sequin suits and Versace loafers alternately trying to be a fake musty Elvis, a swaggering baller, a redneck backcountry rebel, but flailing somewhere in the doughy middle. It can’t help but bring me back to his quote given late last year to a Polish interviewer, where Malone said if you’re looking for lyrics that make you want to cry or think about life, you shouldn’t listen to hip-hop. One would almost expect him to say something that ignorant and off the mark. In fact, the best rap is nothing but emotion. Whether it’s Boosie articulating the struggles of oppression and systematic racism in Baton Rouge or Young Thug conveying the Easter-pink euphoria of celebrating all the things you did just to live this lifestyle, this is the bible material that burrows into your mitochondria. It’s Open Mike Eagle articulating the inequities of capitalism and the staggering difficulty of surviving as an artist. It’s Future drowning in codeine as a nepenthe for post-traumatic stress and romantic decay. By contrast, Post Malone offers every bad mash-up of toxic Americana, the perversion of proud outlaw genius warped into a sentient barbed-wire stick and poke tattoo. Post Malone’s problem isn’t that he’s a bad person or even completely untalented. It’s that he stands for nothing at all. He can afford to feign the swagger and cool of hip-hop when it’s convenient and opt out when it’s time to see who’s riding for the cause. It’s always been a fairly straightforward compact when it comes to hip-hop: If you’re a white person eating off what has historically been black culture, you have a certain obligation to repay that creative debt. Eminem continues to attack the hypocrisies and contradictions that allowed him to leapfrog equally gifted artists. Macklemore may have lacked subtlety or a rudimentary understanding of when to share text messages, but there was no questioning his dedication to confront his white privilege. Even G-Eazy — repeat, even G-Eazy — dropped out of that racist H&M advertising campaign. Malone predictably ended Posty Fest with the trio of his biggest hits: “Rockstar,” “White Iverson” and “Congratulations.” He introduced “Rock Star” as about being really wasted and trashing your hotel room, the cliched fantasies of half a century of guitar-god rot coming home to roost in rap. During “White Iverson,” I surveyed the humanity surrounding me and spotted an elementary-school-age kid passed out atop a Cowboys blanket, surrounded by crumpled Red Bull cans, water bottles and Bud Lights. Approaching the conclusion of his set, Post thanked the crowd, telling them they are “kick-ass.” Then he launched into a rote, well-rehearsed diatribe about how no one believed in him but now he’s a No. 1 artist with his own festival. Suck on that, haters. It is true, after all. Post Malone has won. He’s received wealth and fame with little accountability. He’s reaped the extreme benefits of a system that allowed him to flourish yet asserts his privilege to remain purposefully ignorant. He knows he won the lottery but doesn’t understand that it was rigged in his favor. This is what the zeitgeist demanded as the latest whole-milk hip-hop avatar: a proud non-voter, a nonreader of books, the type of person who gets a JFK tattoo without knowing about Kennedy’s role in the Voting Rights Act while bizarrely claiming that he was “the only president to speak out against the crazy corruption stuff that’s going on in our government nowadays.” In other interviews, he’s repeatedly espoused tangled Alex Jones conspiracy theories about chemtrails, the government coming to take our assault rifles and secret guns that can give people heart attacks. He’s also a doomsday prepper, because of course he is. What Post Malone so perfectly represents is the idiotic currents that have carried us to this present cultural submersion — where an objective notion of the truth has been systematically muddied, facts are negotiable and any hint of criticism — be it for lacking integrity, dignity or talent — can be brazenly dismissed as the pitiful cries of the “haters.” So congratulations, I guess. Who allowed this to happen? What hole in the system allowed this greasy discarded barbecue wrapper to prosper? A fake pale king sitting on a tinfoil throne. Return to sender. Washington Post
|
|
ddlz
2x Platinum Member
Joined: June 2011
Posts: 2,165
|
Post by ddlz on Nov 6, 2018 15:29:41 GMT -5
Since we're posting reviews, I'm gonna post a far better, more honest one that doesn't try hard and keeps focus on music. And it's from Jeff's colleague @ Pitchfork. - - - - - - - Learning to Love Post MaloneWhether he’s singing about poignant heartache or “beautiful boobies,” the pop star’s party music is curiously affecting.
BY: JAYSON GREENEDre London first heard Post Malone sing on May 12, 2015, at 1:53 a.m. The manager had come to Post’s house in Encino, California, where a number of young creatives were living, and he spent a few days hanging around, waiting for something important to happen. At the time, Austin Richard Post was 19 years old and had moved from Dallas only a month before. “He had no tattoos, no nothing—just young, baby-faced Postie,” London tells me. He remembers Post as “confident, funny, a little standoffish,” and not in a hurry to show off. Post spent his days cooped up inside the house, often changing outfits for no apparent reason. It wasn’t until night came around that he broke out his guitar. After drinking some Olde English and homemade hooch, Post started to sing. “His voice was crazy—he sounded like an old man,” London says. “There was this growly vibrato in it that was so distinctive and amazing, and something very folky as well.” He tells me, with a straight face, that Post reminded him of a young Bob Dylan and Pink Floyd. “That’s when I knew. I just sat there wondering, ‘How am I going to get the world to hear this?’” The song that Post sang that night, by the way, the one that convinced London he was seeing the future, much as critic-turned-manager Jon Landau once stood before a young Bruce Springsteen and witnessed history unfolding? It was Sublime’s “Santeria.” Here’s the thing about Post Malone: Post Malone is ridiculous. It can’t be denied. To avoid saying “Post Malone is ridiculous” in a piece about Post Malone would be a journalistic failure, like forgetting to note that George Washington was the first President of the United States. It is a central fact of him. On Post’s 2018 album beerbongs & bentleys, he earnestly sings the words “beautiful boobies.” If you are above the age of 12, either chronologically or emotionally, the way he sings these two words together will bring you great pain and embarrassment, particularly if you are within earshot of another adult human over said age. And yet: The way he sings the words “beautiful boobies” is alarmingly tender. The way Post Malone sings “beautiful boobies” is also the way Post Malone sings “I promise, I swear to you, I’ll be OK/You’re only the love of my life,” on “Better Now,” the album’s third Top 10 smash. It is the same way he sings “I just keep on wishing that the money made you stay” on “Rich & Sad.” His voice is a more expressive instrument than any song with the lyrics “Baby bust it open like woo-hoo” (that’s “Takin’ Shots”) should ever demand. The gap between the puerility of what he is often saying and the pure yearning with which he is expressing it is startling. I keep tripping over the gap and retracing my steps. The Sublime connection seems preordained. Sublime frontman Bradley Nowell and Post Malone are spiritual cousins. Like Nowell and his band of frat-reggae darlings, Post has a sweet tooth for the music of other cultures and not much interest in figuring out how he fits into them. Like Nowell, he is often boorish and obnoxious, on-record and off. And like Nowell, he has a melodic gift that soars above all of these glaring flaws, and a raw, flexible voice that bends his music in all sorts of surprising directions. Take “Stay,” the acoustic ballad buried in the back half of beerbongs & bentleys. Post wrote the song alongside his vocal engineer Louis Bell and a songwriter named Andrew Watt. Harmonically, “Stay” hangs between F and C keys, a misty realm of suspension lit by online tutorials for Oasis’ “Wonderwall” and Led Zeppelin’s “The Rain Song.” The seven-note melodic turnaround that happens every few measures steps with catlike grace between the two keys. It’s a pretty standard, if sophisticated, lighter-waver, one that could have been a hit at any point in the past 30 years. It’s what Post does with it, though, that makes it enthralling. He unsettles “Stay” from the inside, investing it with so much contradictory emotion it no longer feels like a ballad. His vocal take is all churned up, by turns resigned, furious, tender, and unable to stay with one emotion for more than a breath or two. He makes “f**k off” sound sweet and “Tell me that it’s all OK” sound furious. He allows a tremor, too brittle and nervous to call vibrato and too subtle for a yodel, to disturb his voice. (Post has called it a “kind of goat-ish thing I do with my throat.”) He doesn’t let a microsecond of the song just sit there. He runs around inside of “Rich & Sad” the same way—wild-eyed, flushed, a desperate man trapped inside a party song. Normally, the way artists carry off the short, choppy, singsong cadences so common to pop rap in 2018 is to blend their voices with the chirpy tone of the instrumentals: Think of Swae Lee, or Lil Uzi Vert. Not Post. When he hits the high note of “I would throw it all away,” he scrapes near-panic, like a cat being forced into a carrier. His lyrics may be having the time of their lives, but Post sounds like he’s scanning the fire exits. London heard this wildness on that fateful night in Encino and encouraged Post to draw it out, telling him to fuse his singing and rapping voices into one. “I thought he wasn’t even listening to me, to tell you the truth,” London says. But he was. Post’s early rap/sung hybrids like “That’s It” and “4o Funk,” up to and including his breakout “White Iverson,” earned him the reputation for cheerful buffoonery that follows him around now; they are, overwhelmingly, about drinking 40s, popping pills, and trying to convince women to have sex with him. (“Wanna f**k? I’m almost famous,” he offers on “Git Wit U.”) His voice then was higher, thinner, a little grating, and his persona—gold teeth, braids, a seemingly complete lack of awareness of why those affectations might rub people the wrong way—was tough to swallow. You could be forgiven for wincing a little bit, waiting for this guy to go away the way you might for a car alarm to fall silent. But instead of falling silent, something else happened: Post Malone became a superstar. When beerbongs & bentleys was released in April, it debuted at No. 1 on the Billboard charts and stayed there for three consecutive weeks. That’s an impressive statistic, but it doesn’t quite capture the avalanche sensation of the album’s success. Consider this: Three months later, it’s still in the Top 5, a rare display of staying power for a new star. Or this: All 18 of the album’s tracks debuted in the Hot 100, and nine of them debuted in the Top 20. Nine. That means that, for one week, nearly half of the most popular songs in the country were Post Malone’s. This feat broke a 54-year record, one previously held by the Beatles. He has also grown in disorienting leaps as a recording artist. Starting with 2016’s Stoney, Post has brought in heavy hitters to help him push himself outward, producers and songwriters who have fleshed out a persona that was once irritating and dime-thin. Adam Feeney, the producer better known as Frank Dukes, worked with Post on a number of tracks on both Stoney and beerbongs. They first met around the time Post linked up with London, at Perfect Sound Studio in West Hollywood. Like London, he says he instantly saw the teenager’s commercial potential. Feeney understands people’s objections to Post, but “I just thought he was a nice human. It’s easy to over-intellectualize it. But he’s just a kid that grew up on the internet.” Feeney helped make both “Rich & Sad” and “Better Now.” “When I go in the studio with Post, I have a really good idea of what he’s going to gravitate to, what we can work with,” he tells me over the phone. Feeney played him the beat to “Rich & Sad,” which had layered flutes, kick drums, and a “weird little Beatles-y dominant seventh chord that is kind of unusual for a rap song.” As the beat played, Feeney suggested a rough concept—Post had made plenty of songs about being successful, but not many about being unsatisfied. “So Post went in and freestyled half of the hook—‘I just wish the money made you stay’ and ‘I got a million big faces but I’m still alone,’” Feeney says. “That melody was totally Post, just one take all the way through. He is a mellow guy, but there’s an intensity when he makes music—he knows what he is going for, and what he’s doing.” “Better Now” goes even further: It’s one of the best and most affecting break-up songs of the year. Written with Feeney and the Canadian songwriter Billy Walsh, “Better Now” is wounded but sweet: The chorus isn’t about how Post is better now, it’s about how he says he is. “You know I only say that ’cause you’re not around,” he admits. The lyrics are full of heart-tugging details—“You knew all my uncles and my aunts.” Feeney says this song was “Frankensteined” together out of existing scraps of other Post sessions. He and Post wrote the song’s existing verse melody with no words, but initially they had a different hook and beat. Something about the finished product didn’t feel right; the track didn’t fit the melody, or the hook they wrote for the song was awkward. They didn’t know how to fix it, and then Louis Bell, the vocal engineer, remembered an unused snippet from an old session. It was the chorus. (London mentally files all of Post’s unfinished tracks, holding onto the ones with the most potential, for just such a moment.) They airlifted it into their song, erased the old hook, and Feeney rewrote a new backing track on guitar. “I had been listening to a lot of old Weezer, and you can hear that in the chord progression,” he says. The best part of the song is that the lash of anger never arrives in the lyrics. The narrator never tells the woman that she’s evil, that she’s ruined his life, that he can’t believe she’s so heartless. He doesn’t even have it in him to mock her new boyfriend: “I seen you with your other dude/He seemed like he was pretty cool,” Post concedes. Post makes a lot of sense as a balladeer: Before he met London, he was singing Bob Dylan’s “Don’t Think Twice, It’s All Right” on YouTube. He has told reporters that, at some point, he intends to transition to country, like Kid Rock. But from a certain angle, Post already makes country pop. The little three-note melody on Stoney’s “Money Made Me Do It” could pass for Toby Keith. “The reason why his sound hits people over the head so hard is that there are country melodies and tones over a hip-hop song,” London says. Post didn’t exactly invent this approach, though his manager is eager to make it seem like he did: London is shrewd about his young charge’s appeal, and talking to him is illuminating for how he has steered raw, unformed talent into superstardom. Before he gets off the phone with me, London mentions that late-night “Santeria” performance again. He shot a video of the epochal moment, it turns out. And though London won’t send it to me—“He would be so pissed at me, bro”—he does play it for me over the phone. I hear Post’s yowling tenor unleash itself, like a baby pitbull tearing around a dog run. At one point, he smacks a high note so hard that I pull the phone away from my ear. There is a weird clarion force to that voice, even though he sounds, for all the world, like any random dude strumming a guitar on a ratty dorm room bed. There is something irretrievably goofy about it, for sure, and I can’t help chuckling to myself as it plays. But there is also something more. pitchfork.com/features/overtones/post-malone-is-ridiculousbut-thats-not-all-he-is/
|
|
ddlz
2x Platinum Member
Joined: June 2011
Posts: 2,165
|
Post by ddlz on Dec 4, 2018 17:04:20 GMT -5
Billboard's 2018 YEAR-END ChartsPop Songs Artists1. Post Malone Artists 2. Post Malone Hot 100 Artists2. Post Malone Top Billboard 200 Artists 2. Post Malone Artists - Male2. Post Malone Streaming Songs Artists2. Post Malone Canadian Hot 100 Artists2. Post Malone On-Demand Songs Artists2. Post Malone Rap Songs Artists2. Post Malone Rap Albums Artists2. Post Malone Rap Digital Songs Sales Artists2. Post Malone Rap Streaming Songs Artists2. Post Malone Hot R&B/Hip-Hop Songs Artists2. Post Malone Top R&B Hip-Hop Artists2. Post Malone Hot R&B/Hip-Hop Digital Song Sales Artists2. Post Malone Hot R&B/Hip-Hop Streaming Sales Artists2. Post Malone R&B/Hip-Hop Albums Artists2. Post Malone Rhythmic Artists2. Post Malone Rap Airplay Artists3. Post Malone Radio Songs Artists4. Post Malone Hot 1005. Rockstar - Post Malone Featuring 21 Savage 6. Psycho - Post Malone Featuring Ty Dolla $ign 13. Better Now - Post Malone 39. I Fall Apart - Post Malone Billboard 2003. beerbongs & bentleys - Post Malone 8. Stoney - Post Malone Pop Songs
(not a full update) 7. Better Now - Post Malone Rap Songs 4. Psycho - Post Malone Featuring Ty Dolla $ign 6. Rockstar - Post Malone Featuring 21 Savage 8. Better Now - Post Malone Rap Albums 2. beerbons & bentleys - Post Malone 5. Stoney - Post Malone Canadian Albums3. beerbongs & bentleys - Post Malone 6. Stoney - Post Malone Streaming Songs2. Rockstar - Post Malone Featuring 21 Savage 4. Psycho - Post Malone Featuring Ty Dolla $ign 12 - I Fall Apart, Post Malone 20 - Better Now, Post Malone 72. Congratulations - Post Malone Featuring Quavo On-Demand Songs2. Rockstar - Post Malone Featuring 21 Savage 3. Psycho - Post Malone Featuring Ty Dolla $ign 10 - Better Now, Post Malone 13 - I Fall Apart, Post Malone 47 - Candy Paint, Post Malone Radio Songs12. Psycho - Post Malone Featuring Ty Dolla $ign 13. Rockstar - Post Malone Featuring 21 Savage 15. Better Now - Post Malone Mainstream Top 407. Better Now, Post Malone 12. Psycho, Post Malone Featuring Ty Dolla $ign 32. Rockstar, Post Malone Featuring 21 Savage Digital Songs Sales9. Rockstar - Post Malone Featuring 21 Savage 12. Psycho - Post Malone Featuring Ty Dolla $ign 17. Better Now - Post Malone 31. I Fall Apart - Post Malone Digital Albums7. beerbongs & bentleys - Post Malone Album sales16. beerbongs & bentleys - Post Malone Current Albums16. beerbongs & bentleys - Post Malone 89. Stoney - Post Malone Hot R&B/Hip-hop Songs4. Psycho Featuring - Post Malone Ty Dolla $ign 6. Rockstar - Post Malone Featruing 21 Savage 8. Better Now - Post Malone 28. I Fall Apart - Post Malone 62. Candy Paint - Post Malone 70. Ball For Me - Post Malone Featuring Nicki Minaj Top R&B/Hip-Hop Albums2. beerbongs & bentleys - Post Malone 5. Stoney - Post Malone Rhytmic Songs4. Psycho Featuring - Post Malone Ty Dolla $ign 6. Better Now - Post Malone 11. Rockstar - Post Malone Featuring 21 Savage 31. I Fall Apart - Post Malone Rap Digital Songs Sales2. Rockstar - Post Malone Featuring 21 Savage 5. Psycho - Post Malone Featuring Ty Dolla $ign 6. Better Now - Post Malone 9. I Fall Apart - Post Malone Rap Streaming Songs 2. Rockstar - Post Malone Featuring 21 Savage 5. Psycho - Post Malone Featuring Ty Dolla $ign 9. I Fall Apart - Post Malone R&B/Hip-Hop Digital Songs Sales 2. Rockstar, Post Malone Featuring 21 Savage 5. Psycho, Post Malone Featuring Ty Dolla $ign 7. Better Now, Post Malone 10. I Fall Apart - Post Malone R&B/Hip-Hop Streaming Songs 2. Rockstar, Post Malone Featuring 21 Savage 6. Psycho, Post Malone Featuring Ty Dolla $ign 10. I Fall Apart - Post Malone Canada Hot 100
4. Rockstar - Post Malone Featuring 21 Savage 8. Psycho - Post Malone Featuring Ty Dolla $ign 14. Better Now - Post Malone 31. Jackie Chan, Tiesto & Dzeko Featuring Preme & Post Malone 48. I Fall Apart - Post Malone ![](https://thumbs.gfycat.com/ArtisticSnarlingDassierat-small.gif)
|
|
ddlz
2x Platinum Member
Joined: June 2011
Posts: 2,165
|
Post by ddlz on Dec 4, 2018 17:11:31 GMT -5
|
|
ddlz
2x Platinum Member
Joined: June 2011
Posts: 2,165
|
Post by ddlz on Dec 7, 2018 12:54:45 GMT -5
|
|
wavey.✨️
Moderator
Look...
Positive Vibes🙏🏾❤
Joined: August 2006
Posts: 43,346
Pronouns: He/Him
Staff
|
Post by wavey.✨️ on Dec 7, 2018 12:59:16 GMT -5
|
|
owenlovesmusic
4x Platinum Member
Needs a Nap
Joined: December 2017
Posts: 4,940
|
Post by owenlovesmusic on Dec 7, 2018 14:25:31 GMT -5
So happy he got the aoty nod
|
|
wavey.✨️
Moderator
Look...
Positive Vibes🙏🏾❤
Joined: August 2006
Posts: 43,346
Pronouns: He/Him
Staff
|
Post by wavey.✨️ on Jan 19, 2019 22:50:06 GMT -5
|
|
ddlz
2x Platinum Member
Joined: June 2011
Posts: 2,165
|
Post by ddlz on Jan 21, 2019 18:31:54 GMT -5
|
|
owenlovesmusic
4x Platinum Member
Needs a Nap
Joined: December 2017
Posts: 4,940
|
Post by owenlovesmusic on Jan 27, 2019 0:04:03 GMT -5
i need to see him in concert a third time
|
|
ddlz
2x Platinum Member
Joined: June 2011
Posts: 2,165
|
Post by ddlz on Feb 4, 2019 11:46:20 GMT -5
Here for it!
|
|
owenlovesmusic
4x Platinum Member
Needs a Nap
Joined: December 2017
Posts: 4,940
|
Post by owenlovesmusic on Feb 7, 2019 9:10:31 GMT -5
nooo i rly hope he stays away from country
|
|
ddlz
2x Platinum Member
Joined: June 2011
Posts: 2,165
|
Post by ddlz on Feb 16, 2019 12:08:16 GMT -5
|
|
|
Post by areyoureadytojump on Mar 20, 2019 11:40:28 GMT -5
RIAA.com:
POST MALONE Title: BEERBONGS & BENTLEYS Certification Date: March 13, 2019 Label: REPUBLIC RECORDS Format: ALBUM 3xP
|
|
|
Post by areyoureadytojump on Mar 24, 2019 21:03:03 GMT -5
WOW
RIAA.com:
POST MALONE Title:CONGRATULATIONS Certification Date:March 13, 2019 Label:REPUBLIC RECORDS Format:SINGLE 9xP
POST MALONE Title:ROCKSTAR (FEAT. 21 SAVAGE) Certification Date:March 13, 2019 Label:REPUBLIC RECORDS Format:SINGLE 8xP
POST MALONE Title:I FALL APART Certification Date:March 13, 2019 Label:REPUBLIC RECORDS Format:SINGLE 5xP
POST MALONE Title:PSYCHO Certification Date:March 13, 2019 Label:REPUBLIC RECORDS Format:SINGLE 5xP
POST MALONE Title:BETTER NOW Certification Date:March 13, 2019 Label:REPUBLIC RECORDS Format:SINGLE 4xP
POST MALONE & SWAE LEE Title:SUNFLOWER (SPIDER-MAN: INTO THE SPIDER-VERSE) Certification Date:March 13, 2019 Label:REPUBLIC RECORDS Format:SINGLE 3xP
POST MALONE Title:CANDY PAINT Certification Date:March 13, 2019 Label:REPUBLIC RECORDS Format:SINGLE 2xP
POST MALONE Title:BALL FOR ME Certification Date:March 13, 2019 Label:REPUBLIC RECORDS Format:SINGLE 1xP
POST MALONE Title:WOW. Certification Date:March 13, 2019 Label:REPUBLIC RECORDS Format:SINGLE 1xP POST MALONE Title:OVER NOW Certification Date:March 13, 2019 Label:REPUBLIC RECORDS Format:SINGLE 1xP
POST MALONE Title:PARANOID Certification Date:March 13, 2019 Label:REPUBLIC RECORDS Format:SINGLE 1xP
POST MALONE Title:SPOIL MY NIGHT Certification Date:March 13, 2019 Label:REPUBLIC RECORDS Format:SINGLE 1xP
POST MALONE Title:STAY Certification Date:March 13, 2019 Label:REPUBLIC RECORDS Format:SINGLE 1xP
POST MALONE Title:RICH & SAD Certification Date:March 13, 2019 Label:REPUBLIC RECORDS Format:SINGLE 1xP
|
|
ddlz
2x Platinum Member
Joined: June 2011
Posts: 2,165
|
Post by ddlz on May 10, 2019 10:07:18 GMT -5
|
|
ddlz
2x Platinum Member
Joined: June 2011
Posts: 2,165
|
Post by ddlz on May 13, 2019 13:26:05 GMT -5
|
|
Glove Slap
Administrator
Sweetheart
Downloading ༺༒༻ Possibilities
Joined: January 2007
Posts: 29,508
Staff
|
Post by Glove Slap on May 14, 2019 19:07:08 GMT -5
My #1 album from last year.
It's so nuts to see him have such success with Sunflower and Wow given how they were just tossed out there.
|
|
ddlz
2x Platinum Member
Joined: June 2011
Posts: 2,165
|
Post by ddlz on Jun 17, 2019 15:10:39 GMT -5
Here for a collabo! ![](https://shawetcanada.files.wordpress.com/2019/06/shutterstock_editorial_10311392bf_huge-copy.jpg?quality=80&strip=all&w=737)
|
|
Choco
Diamond Member
lavender haze
Joined: February 2009
Posts: 27,619
My Charts
Pronouns: he/him
|
Post by Choco on Jun 17, 2019 15:32:50 GMT -5
I have such a love-hate relationship with "Stay". It's a nicely written song, but I really feel like someone else's vocals would have made it an amazing song.
|
|
ddlz
2x Platinum Member
Joined: June 2011
Posts: 2,165
|
Post by ddlz on Jul 3, 2019 16:57:59 GMT -5
|
|
crazyb
5x Platinum Member
What's Going On?
Joined: March 2017
Posts: 5,446
|
Post by crazyb on Jul 3, 2019 17:52:15 GMT -5
we stan
|
|