CoJoFan
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Post by CoJoFan on Dec 22, 2018 20:12:28 GMT -5
I have to say the one thing I don’t care about on Billboard is how they do their Airplay charts, by audience numbers. I like how Mediabase does it better by spins or plays. This song I don’t even think made the top 40 on Mediabase when it debuted but it did on Billboard. Now this week it will fall flat off both charts just like about every song does after it debuts high. I miss the days on Billboard when a song would debut outside the top 40 and climb its way to the top. I understand this and just about every new single from an established hit to moderate hit artist gets hourly plays these days but it sure wasn’t that way back in the good ole days. I’m still going to follow Billboard and keep my threads up to date but I’m going to start following the Mediabase charts more closely than I ever have.
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recordyear
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Post by recordyear on Dec 22, 2018 22:57:20 GMT -5
I have to say the one thing I don’t care about on Billboard is how they do their Airplay charts, by audience numbers. I like how Mediabase does it better by spins or plays. I get your feeling of "artificial debuts" in billboard but the artificial #1s in mediabase are worse. Spins are from the supply side while audience numbers are from the demand side. As music consumption chart, don't you think using consumption number by audience is better?
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raylatch98
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Post by raylatch98 on Dec 22, 2018 23:23:14 GMT -5
I will take Billboard any day every day just for the fact that there is more multi week #1s than on Mediabase.
Looking at this year in 2018 we got a good chunk of multi week #1s. In order, we had "Like I Loved You", "Yours", "Marry Me", "Most People Are Good", "You Make It Easy", "Heaven", "Tequila", "Get Along", "Mercy", "Drowns The Whiskey", "Sunrise, Sunburn, Sunset", "Hotel Key", "She Got The Best of Me", "Best Shot" and "Speechless". That is 15 songs this year spending at least 2 weeks at #1. That is both very impressive and for me more exhilarating to watch.
Billboard is also more interesting as you can never directly track it and while you can predict where songs will end up until that chart comes out Monday night, nothing is 100% set in stone especially the farther down the chart, where as by about Friday you have a pretty clear picture where everyone will end up once you remove recurrent songs.
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Post by classiccountryfan on Dec 22, 2018 23:37:38 GMT -5
If I remember correctly Billboard used to base the chart on spins. I believe the shift to basing it on audience was because of a couple cases of manipulation (Reba McEntire’s Somebody reaching #1 due to overnight spins and Garth Brooks’ More Than a Memory debuting at #1).
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jhomes87
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Post by jhomes87 on Dec 26, 2018 14:31:17 GMT -5
I have to say the one thing I don’t care about on Billboard is how they do their Airplay charts, by audience numbers. I like how Mediabase does it better by spins or plays. This song I don’t even think made the top 40 on Mediabase when it debuted but it did on Billboard. Now this week it will fall flat off both charts just like about every song does after it debuts high. I miss the days on Billboard when a song would debut outside the top 40 and climb its way to the top. I understand this and just about every new single from an established hit to moderate hit artist gets hourly plays these days but it sure wasn’t that way back in the good ole days. I’m still going to follow Billboard and keep my threads up to date but I’m going to start following the Mediabase charts more closely than I ever have. Mediabase's country chart is not ranked by spins or plays (which are the same thing anyway). They rank their chart by a points system, and they don't explain how the points are calculated. It has to do with both audience and spins and the "weight" assigned to each station, but otherwise they keep it a mystery. That's why you'll sometimes see instances on Mediabase where one song might be ahead of another, even though the second song has a higher audience and a higher amount of spins. Doesn't make much sense to me. *shrugs* The big hourly deals affect both charts, and then a song always collapses on its 8th day at radio. That's not a new trend, nor is it exclusive to Billboard or Mediabase.
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kcaviator
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Post by kcaviator on Jan 3, 2019 15:24:17 GMT -5
Meh, I take back what I said about this song being boring. It has grown on me quite a bit. Hopefully this’ll get him back to the top.
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raylatch98
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Post by raylatch98 on Jan 6, 2019 23:48:53 GMT -5
I swear when Brantley Gilbert sings "every whisper" in this song it sounds like "every rooster". Just one of the random things I noticed when hearing this song on the radio.
"What Happens In A Small Town" moved up 9 spots to #48 on Mediabase re entering the Top 50. Unfortunately, since I doubt any songs above Brantley Gilbert/Lindsay Ell will go recurrent on Billboard tomorrow and Granger Smith will probably re-enter I don't expect a positive position gain on Billboard.
Also first week adds are in and "What Happens In A Small Town" got 35 adds this week.
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recordyear
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Post by recordyear on Jan 10, 2019 19:33:46 GMT -5
Music video next Thursday.
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raylatch98
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Post by raylatch98 on Jan 14, 2019 15:37:39 GMT -5
Third most added song of the week. 37 stations, however combined with last weeks add date, this song is off to a great start with 73 total stations already.
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recordyear
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Post by recordyear on Jan 18, 2019 5:50:42 GMT -5
Music video.
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bigfan101
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Post by bigfan101 on Jan 18, 2019 9:57:14 GMT -5
Really well done video!
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.indulgecountry
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Post by .indulgecountry on Jan 18, 2019 11:45:09 GMT -5
Fantastic music video. Lindsay looked amazing and I love that she is always shown shredding on her guitar. I feel like this song is going to really raise her profile a lot and with some luck she might soon be headed towards where Carly Pearce is at with country radio.
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raylatch98
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Post by raylatch98 on Jan 18, 2019 11:59:23 GMT -5
Lindsay Ell is by far the best element of the song and definitely helps making this song a duet. She looks stunning in the music video, and I love her part in the song. I particularly love her voice sounding a bit more rough when she sings "But, this is where I belong, this is my home too."
All of the singles she has had or been apart of besides "Waiting On You" and "Champagne" have been among my favorite singles released in the last few years. This has really grown on me since being released and the song has really picked up its pace on the charts and should enter the Mediabase Top 40 this week.
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.indulgecountry
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Post by .indulgecountry on Jan 18, 2019 19:19:44 GMT -5
Random observation, but there's something about how Lindsay's voice sounds when she does the line around 2:05 in the song ("Yeah, that hand-me-down Ford pullin' down your street") that reminds me of Miley Cyrus every single time I hear it. I love it.
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onebuffalo
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Post by onebuffalo on Feb 28, 2019 11:57:41 GMT -5
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raylatch98
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Post by raylatch98 on Mar 3, 2019 21:52:49 GMT -5
"What Happens In A Small Town" enters the Mediabase Top 30 officially. Becoming Lindsay Ell's second Top 30 hit and Brantley Gilbert's 10th(?) Top 30 hit. Brantley & Lindsay had a great week on Mediabase gaining 213 spins this week.
Definitely look for this to be Lindsay Ell's highest charting song as I expect it to surpass "Criminal" sooner than later.
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phil1996
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Post by phil1996 on Mar 5, 2019 20:05:54 GMT -5
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phil1996
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Post by phil1996 on Mar 19, 2019 15:47:38 GMT -5
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Post by Wackadoodle on Jun 10, 2019 3:59:51 GMT -5
This is a great song, but does Lindsay Ell really deserve to be on here? She had five flops in a row, started dating Robert Estell, then cried sexism when radio refused to play her sixth single. Then country radio gave her seventh single On the Verge treatment so she could get her first top 20 (suspicious as Estell works with iHeartMedia), and now she's on a Brantley Gilbert song that's on its way to the top somehow. The whole thing seems shady, It has nothing to do with sexism. If Estell were gay and helped a man get a hit, it would be just as suspicious.
I mean, I personally love Lindsay Ell's music and enjoy her voice, but her career reeks of sleeping her way to the top, if I'm being honest. I still jam out to Trippin' on Us and Criminal. I'm just wondering if she found her way on to this song fairly.
I guess this is just another example of one of the fake cries of sexism that make the real instances of sexism seem less valid. And we do need to take those seriously because it's not fair at all any time a woman is deprived of an opportunity for success because of her gender.
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collinkottke
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Post by collinkottke on Jun 10, 2019 6:47:00 GMT -5
This is a great song, but does Lindsay Ell really deserve to be on here? She had five flops in a row, started dating Robert Estell, then cried sexism when radio refused to play her sixth single. Then country radio gave her seventh single On the Verge treatment so she could get her first top 20 (suspicious as Estell works with iHeartMedia), and now she's on a Brantley Gilbert song that's on its way to the top somehow. The whole thing seems shady, It has nothing to do with sexism. If Estell were gay and helped a man get a hit, it would be just as suspicious. I mean, I personally love Lindsay Ell's music and enjoy her voice, but her career reeks of sleeping her way to the top, if I'm being honest. I still jam out to Trippin' on Us and Criminal. I'm just wondering if she found her way on to this song fairly. I guess this is just another example of one of the fake cries of sexism that make the real instances of sexism seem less valid. And we do need to take those seriously because it's not fair at all any time a woman is deprived of an opportunity for success because of her gender. Dating Bobby Bones might've did more to hurt her career than help it. Her "fake cries of sexism" were pretty real because non-iHeart stations wouldn't play her because she was dating Bobby. You can't say she has slept her way to the top and then question how she got on a Brantley Gilbert song. Is she on the top or isn't she? Is that the theory on how Cassadee Pope got on a Chris Young single? Or how Gwen Sebastian or Ashley Monroe got on Blake Shelton singles? I can't believe this is even a discussion. Other than having a legitimate relationship with Bobby Bones there isn't any proof of anything.
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raylatch98
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Post by raylatch98 on Jun 10, 2019 6:56:59 GMT -5
This is a great song, but does Lindsay Ell really deserve to be on here? She had five flops in a row, started dating Robert Estell, then cried sexism when radio refused to play her sixth single. Then country radio gave her seventh single On the Verge treatment so she could get her first top 20 (suspicious as Estell works with iHeartMedia), and now she's on a Brantley Gilbert song that's on its way to the top somehow. The whole thing seems shady, It has nothing to do with sexism. If Estell were gay and helped a man get a hit, it would be just as suspicious. I mean, I personally love Lindsay Ell's music and enjoy her voice, but her career reeks of sleeping her way to the top, if I'm being honest. I still jam out to Trippin' on Us and Criminal. I'm just wondering if she found her way on to this song fairly. I guess this is just another example of one of the fake cries of sexism that make the real instances of sexism seem less valid. And we do need to take those seriously because it's not fair at all any time a woman is deprived of an opportunity for success because of her gender. Okay this post is something else. Does Lindsay Ell deserve to be on here? I don't know, ask Brantley Gilbert he clearly thought so and asked her when he could've sang this solo or gotten another duet partner and I am pretty sure before this song both Brantley Gilbert & Lindsay Ell were friends. She dated Bobby Bones not Robert Estell. Also it was her first 4 singles not 5 ("Trippin On Us", "Shut Me Up", "By The Way" and "Waiting On You"). Oh also when "Criminal" got OTV (which I am unsure of is what really happened because iHeartMedia never announced it as OTV) her and Bobby Bones had broken up for a while. Also gross at you for saying she slept to the top when the relationship with Bobby Bones was legit. That legitimately offends me, because it seems like you are making it sound like she hasn't worked hard in Nashville when that is very untrue. Finally Lindsay Ell struggling with country radio is a case of sexism against women. Because Lindsay Ell does make radio friendly music, has worked hard in the industry and country radio still ignores her.
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Post by Wackadoodle on Jun 10, 2019 6:58:16 GMT -5
This is a great song, but does Lindsay Ell really deserve to be on here? She had five flops in a row, started dating Robert Estell, then cried sexism when radio refused to play her sixth single. Then country radio gave her seventh single On the Verge treatment so she could get her first top 20 (suspicious as Estell works with iHeartMedia), and now she's on a Brantley Gilbert song that's on its way to the top somehow. The whole thing seems shady, It has nothing to do with sexism. If Estell were gay and helped a man get a hit, it would be just as suspicious. I mean, I personally love Lindsay Ell's music and enjoy her voice, but her career reeks of sleeping her way to the top, if I'm being honest. I still jam out to Trippin' on Us and Criminal. I'm just wondering if she found her way on to this song fairly. I guess this is just another example of one of the fake cries of sexism that make the real instances of sexism seem less valid. And we do need to take those seriously because it's not fair at all any time a woman is deprived of an opportunity for success because of her gender. Dating Bobby Bones might've did more to hurt her career than help it. Her "fake cries of sexism" were pretty real because non-iHeart stations wouldn't play her because she was dating Bobby. You can't say she has slept her way to the top and then question how she got on a Brantley Gilbert song. Is she on the top or isn't she? Is that the theory on how Cassadee Pope got on a Chris Young single? Or how Gwen Sebastian or Ashley Monroe got on Blake Shelton singles? I can't believe this is even a discussion. Other than having a legitimate relationship with Bobby Bones there isn't any proof of anything. It's more of a conflict of interest than sexism. And also, it seemed she'd already had several flops on her own and her career was, unfortunately, not going anywhere anyway. I guess I'm trying to make two points: (1) Where is the sexism? (2) Wasn't her career already sort of over after having had six singles do nothing on the charts? What caused her to suddenly blast up the charts with "Criminal" and then blast on to a Brantley Gilbert single? Why couldn't some other hard-working female have gotten on this song? Look, I don't want to get into a big sexism argument, but here's the way I see it: You have an artist who releases several singles that just don't catch on, and so radio considers this artist to be a "perennial" act. PDs are starting to ignore her songs. All of a sudden, she starts dating an influential country radio personality and suddenly, "If you don't play my new single, you're being sexist." The song in question ("Waiting for You") gets a few curiosity spins because of the controversy, makes its way on to the chart, peaks in the 40s. A few months later, when the relationship is over, the company the radio personality works for chooses to give this particular artist pre-arranged spins over all of the other newcomers who haven't already had several singles sent to radio. The song fizzles out barely inside the top 20 due to poor listener feedback, and then a few months later the artist is invited on to a C-lister's single. The whole thing just seems fishy and it seems like there are plenty of other hardworking women who didn't get noticed because of this. Frankly, this isn't about sexism. It's more of a corporate sleaze issue. iHeartMedia is going bankrupt, yet they still have so much influence over all these radio stations and can break people into the industry based on personal connections. It just reeks of sleaze. We need to have more independent radio stations. The fairest way to do things would be for all the local artists to submit their music to the local radio stations, the local radio stations test out the songs and do some local research do figure out which ones listeners like the best, then keep playing those until they spread to other markets and eventually the biggest hits catch on at the national level. We don't need these middlemen from the corporations.
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collinkottke
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Post by collinkottke on Jun 10, 2019 7:31:03 GMT -5
Dating Bobby Bones might've did more to hurt her career than help it. Her "fake cries of sexism" were pretty real because non-iHeart stations wouldn't play her because she was dating Bobby. You can't say she has slept her way to the top and then question how she got on a Brantley Gilbert song. Is she on the top or isn't she? Is that the theory on how Cassadee Pope got on a Chris Young single? Or how Gwen Sebastian or Ashley Monroe got on Blake Shelton singles? I can't believe this is even a discussion. Other than having a legitimate relationship with Bobby Bones there isn't any proof of anything. It's more of a conflict of interest than sexism. And also, it seemed she'd already had several flops on her own and her career was, unfortunately, not going anywhere anyway. I guess I'm trying to make two points: (1) Where is the sexism? (2) Wasn't her career already sort of over after having had six singles do nothing on the charts? What caused her to suddenly blast up the charts with "Criminal" and then blast on to a Brantley Gilbert single? Why couldn't some other hard-working female have gotten on this song? Let's address number 2 first, the singles off of her "The Project" album were the first singles off of an actual label, Stoney Creek which is part of Broken Bow Records. So "Waiting On You" was the first single that had a real strong promotional push available to it (correct me if I'm wrong, folks who watch labels and artists closer than I). She's still a new artist and is just starting to take off with fairly big label backing. To the last question of number two (some other hard-working female) there's a whole lot that goes into picking a duet partner someone that sounds good with the artist, plus there's record label politics to deal with as well, for starters. Back to number 1, the fact a woman is getting discriminated against because of who her boyfriend is is sexism, I think. No radio station is going to care who a guy is dating, even if the guy was dating the biggest female DJ in the country genre. It might not be the boldest example of sexism displayed at country radio, but it is sexism nonetheless.
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Post by Wackadoodle on Jun 10, 2019 7:37:22 GMT -5
It's more of a conflict of interest than sexism. And also, it seemed she'd already had several flops on her own and her career was, unfortunately, not going anywhere anyway. I guess I'm trying to make two points: (1) Where is the sexism? (2) Wasn't her career already sort of over after having had six singles do nothing on the charts? What caused her to suddenly blast up the charts with "Criminal" and then blast on to a Brantley Gilbert single? Why couldn't some other hard-working female have gotten on this song? Let's address number 2 first, the singles off of her "The Project" album were the first singles off of an actual label, Stoney Creek which is part of Broken Bow Records. So "Waiting On You" was the first single that had a real strong promotional push available to it (correct me if I'm wrong, folks who watch labels and artists closer than I). She's still a new artist and is just starting to take off with fairly big label backing. To the last question of number two (some other hard-working female) there's a whole lot that goes into picking a duet partner someone that sounds good with the artist, plus there's record label politics to deal with as well, for starters. Back to number 1, the fact a woman is getting discriminated against because of who her boyfriend is is sexism, I think. No radio station is going to care who a guy is dating, even if the guy was dating the biggest female DJ in the country genre. It might not be the boldest example of sexism displayed at country radio, but it is sexism nonetheless. Whatever you want to call it, I do agree that it's always unfair for a radio station to base programming decisions on internal politics. The focus should be on pleasing the listener and figuring out which records the audience wants to hear the most. Keep it simple, lol. Anyway, I don't mean to be rude to anyone. I really do love this song and I actually love Lindsay Ell's music. I'm happy to see this being a hit.
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Post by travelrocks24 on Jun 10, 2019 7:38:07 GMT -5
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Post by lady𝓐fan on Jun 10, 2019 7:53:32 GMT -5
This is a great song, but does Lindsay Ell really deserve to be on here? She had five flops in a row, started dating Robert Estell, then cried sexism when radio refused to play her sixth single. Then country radio gave her seventh single On the Verge treatment so she could get her first top 20 (suspicious as Estell works with iHeartMedia), and now she's on a Brantley Gilbert song that's on its way to the top somehow. The whole thing seems shady, It has nothing to do with sexism. If Estell were gay and helped a man get a hit, it would be just as suspicious. I mean, I personally love Lindsay Ell's music and enjoy her voice, but her career reeks of sleeping her way to the top, if I'm being honest. I still jam out to Trippin' on Us and Criminal. I'm just wondering if she found her way on to this song fairly. I guess this is just another example of one of the fake cries of sexism that make the real instances of sexism seem less valid. And we do need to take those seriously because it's not fair at all any time a woman is deprived of an opportunity for success because of her gender. I cannot believe what I just read... First of all, “Criminal” didn’t get On the Verge treatment, it was just a weird occurrence of certain station conglomerates putting it into medium rotation nearly immediately (correct me if I’m wrong, please). Second of all, saying that Lindsay “slept her way to the top” is out of line and it seems as if you’re trying to slut-shame her. Third of all, there’s no such thing as “fake sexism” in country radio. Each and every female country artist is affected by sexism.
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recordyear
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Post by recordyear on Jun 10, 2019 7:56:53 GMT -5
(2) Wasn't her career already sort of over after having had six singles do nothing on the charts? What caused her to suddenly blast up the charts with "Criminal" and then blast on to a Brantley Gilbert single? Why couldn't some other hard-working female have gotten on this song? Ok Danielle Bradbery might have to worry her career because she had five flop singles in a row...Oh wait, her second album I Don't Believe We've Met had 11.1k pure sales first week. She is going to be fine with her cult. Same for Lindsay Ell I think. As you said, this is more like a Brantley Gilbert song, so honestly this having some kind of success is not unexpected. Brantley has said he liked Lindsay's guitar playing, something that isn't common in mainstream country. The other mainstream female guitar player that I know is Clare Dunn, but she is more obscure than Lindsay. This is really an assumption but not a fact (as far as I know). There are some songs by women that linger around there constantly. Mostly because some radio stations still want to play the song. Lauren Alaina's Road Less Traveled says hi. The worst kind of opinion is to present them like a fact. As you say Brantley is C-lister so will the fame of Lindsay Ell boosted by this song?
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thewp
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Post by thewp on Jun 10, 2019 7:57:23 GMT -5
Brantley talks about why he picked her on his Bobby Bones interview when the song came out. It’s on YT. I don’t exactly remember, but you can go and watch since you’ve created a theory about it, but if I remember her guitar skills helped and they had a manager type in common. He did not know her beforehand.
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Post by Wackadoodle on Jun 10, 2019 8:21:51 GMT -5
This is a great song, but does Lindsay Ell really deserve to be on here? She had five flops in a row, started dating Robert Estell, then cried sexism when radio refused to play her sixth single. Then country radio gave her seventh single On the Verge treatment so she could get her first top 20 (suspicious as Estell works with iHeartMedia), and now she's on a Brantley Gilbert song that's on its way to the top somehow. The whole thing seems shady, It has nothing to do with sexism. If Estell were gay and helped a man get a hit, it would be just as suspicious. I mean, I personally love Lindsay Ell's music and enjoy her voice, but her career reeks of sleeping her way to the top, if I'm being honest. I still jam out to Trippin' on Us and Criminal. I'm just wondering if she found her way on to this song fairly. I guess this is just another example of one of the fake cries of sexism that make the real instances of sexism seem less valid. And we do need to take those seriously because it's not fair at all any time a woman is deprived of an opportunity for success because of her gender. I cannot believe what I just read... First of all, “Criminal” didn’t get On the Verge treatment, it was just a weird occurrence of certain station conglomerates putting it into medium rotation nearly immediately (correct me if I’m wrong, please). Second of all, saying that Lindsay “slept her way to the top” is out of line and it seems as if you’re trying to slut-shame her. Third of all, there’s no such thing as “fake sexism” in country radio. Each and every female country artist is affected by sexism. No slut-shaming at all, lol. Trust me, I've been through it all. I don't care what someone does in their private life. I guess I just don't like the way this Bobby Bones guy threw a tantrum and accused country radio of being sexist because they wouldn't play her music. He really comes across as an attention-grabbing tool. (2) Wasn't her career already sort of over after having had six singles do nothing on the charts? What caused her to suddenly blast up the charts with "Criminal" and then blast on to a Brantley Gilbert single? Why couldn't some other hard-working female have gotten on this song? Ok Danielle Bradbery might have to worry her career because she had five flop singles in a row...Oh wait, her second album I Don't Believe We've Met had 11.1k pure sales first week. She is going to be fine with her cult. Same for Lindsay Ell I think. As you said, this is more like a Brantley Gilbert song, so honestly this having some kind of success is not unexpected. Brantley has said he liked Lindsay's guitar playing, something that isn't common in mainstream country. The other mainstream female guitar player that I know is Clare Dunn, but she is more obscure than Lindsay. This is really an assumption but not a fact (as far as I know). There are some songs by women that linger around there constantly. Mostly because some radio stations still want to play the song. Lauren Alaina's Road Less Traveled says hi. The worst kind of opinion is to present them like a fact. As you say Brantley is C-lister so will the fame of Lindsay Ell boosted by this song? Basically, I just hope we can stick to one simple principle: test the music with your listeners, and if they like it, play it. Seems fair, right? I sure hope Lindsay Ell puts out another successful single after this because I love her music. But I want the music to succeed on its own merits, and I want everyone to have an equal playing field. I realize that that's not the case right now at country radio and I'm sure I have plenty more to learn about the barriers women face. I'm going to continue researching this stuff using the articles others have posted in the country radio/sexism thread. It's just good to have an ongoing discussion about all of this. I appreciate everyone's patience with me and willingness to discuss this honestly and openly. I feel this is a productive discussion.
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Kanenrá:ke
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Post by Kanenrá:ke on Jun 10, 2019 8:54:42 GMT -5
It's more of a conflict of interest than sexism. And also, it seemed she'd already had several flops on her own and her career was, unfortunately, not going anywhere anyway. I guess I'm trying to make two points: (1) Where is the sexism? (2) Wasn't her career already sort of over after having had six singles do nothing on the charts? What caused her to suddenly blast up the charts with "Criminal" and then blast on to a Brantley Gilbert single? Why couldn't some other hard-working female have gotten on this song? Let's address number 2 first, the singles off of her "The Project" album were the first singles off of an actual label, Stoney Creek which is part of Broken Bow Records. So "Waiting On You" was the first single that had a real strong promotional push available to it (correct me if I'm wrong, folks who watch labels and artists closer than I). She's still a new artist and is just starting to take off with fairly big label backing. To the last question of number two (some other hard-working female) there's a whole lot that goes into picking a duet partner someone that sounds good with the artist, plus there's record label politics to deal with as well, for starters. Back to number 1, the fact a woman is getting discriminated against because of who her boyfriend is is sexism, I think. No radio station is going to care who a guy is dating, even if the guy was dating the biggest female DJ in the country genre. It might not be the boldest example of sexism displayed at country radio, but it is sexism nonetheless. Just for the record Lindsay did have 6 singles before “Criminal” and all were done by Stoney Creek. Now two of them were Canada only singles so “Criminal” was only her 5th single in the U.S. Robert Estelle is Bobby Bones’ real name to also clarify things. Lindsay dating him did lead to radio stations not playing her. It’s not actually that big a shock that she got her first top 20 once she left him. Radio and her label seemed to like her well enough. For Wackadoodle: The whole country radio industry is sexist as in the way it functions. There are many many individuals within it that aren’t and in fact I’d guess most aren’t. It’s the system itself, and there hasn’t seemed to be a way to fix it yet. Or nobody who’s in position to fix it is doing so. Also of note, I’d love for the whole thing to be built with songs naturally just catching on but that’s not how it works, and not how it ever worked. Some songs do catch in and grow that can still happen but it’s never been the norm and I doubt ever will be. ETA: oh and having followed Lindsay closely and met her a few times I’d like to defend her as a hard worker. Not to belittle any other artist but you can see the drive she has and it’s one of the strongest I’ve seen. That is why she keeps getting chances because she’s fighting for it. Don’t diminish that please.
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