owenlovesmusic
4x Platinum Member
Always 100
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Posts: 4,998 
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Post by owenlovesmusic on Feb 28, 2019 13:29:13 GMT -5
well I’m good with it
Shallow > 7 Rings
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Post by kcdawg13 on Feb 28, 2019 14:19:44 GMT -5
It's incredible how Ariana was able to pull the streaming numbers she did, because she's a pop artist, a female one at that. Taylor Swift tried to cater to streaming but it didn't really work, the only other female pop artists that do really well on streaming is Beyonce and Rihanna (If you still want to call those two pop artists).
Of course male pop stars still do decently well, Bruno Mars and Ed Sheeran especially rack up numbers all the time.
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Lux ◢ ◤
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Post by Lux ◢ ◤ on Feb 28, 2019 14:27:44 GMT -5
It's incredible how Ariana was able to pull the streaming numbers she did, because she's a pop artist, a female one at that. Taylor Swift tried to cater to streaming but it didn't really work, the only other female pop artists that do really well on streaming is Beyonce and Rihanna (If you still want to call those two pop artists). Of course male pop stars still do decently well, Bruno Mars and Ed Sheeran especially rack up numbers all the time. Maybe Taylor's sound catered to streaming in a way, but overall how did she? Didn't she only release her album on streaming a few weeks after coming out? That seems like it's really against catering to streaming and in general just killed any chance of a lofty streaming debut for her tracks. Edit: And her lead and second single had fair debuts on streaming. They just dropped quickly due to how polarising the sound was. |
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Au$tin
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Post by Au$tin on Feb 28, 2019 14:33:19 GMT -5
It's incredible how Ariana was able to pull the streaming numbers she did, because she's a pop artist, a female one at that. Taylor Swift tried to cater to streaming but it didn't really work, the only other female pop artists that do really well on streaming is Beyonce and Rihanna (If you still want to call those two pop artists). Don't forget Adele. Yes her album isn't streamed immensely, but only because it wasn't available for 7 months. Factoring that in, her album has streamed very well. And "Hello" literally broke the record for most streams in a 24 hour period (and I want to say for a full week too) while simultaneously being the only song in history to crack 1,000,000 digital sales in its debut week. (Well "Born This Way" I think did too or came really close, but its first week was split between two tracking periods.) And that's also why Taylor's streams aren't amazing either. Her entire discography was absent and when she finally released it all, she still kept her new album off for a month. Remember LWYMMD, like Hello, broke streaming records thanks to being available immediately. So I would wager both Adele and Taylor should be grouped in with pop females that stream well. And really Selena Gomez and Demi Lovato both hold their own on streaming (with Sia and Camila Cabello not far behind), but I wouldn't put them on the streaming level of Ariana, Rihanna, and Beyoncé. But if you're not one of those 9, you're probably not streaming all that well unfortunately. But yeah, Ariana's streaming is incredibly impressive no matter how you look at it. She does so well that she's able to compete with the big boys (Drake, Post, Ed). |
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Post by kcdawg13 on Feb 28, 2019 14:57:33 GMT -5
It's incredible how Ariana was able to pull the streaming numbers she did, because she's a pop artist, a female one at that. Taylor Swift tried to cater to streaming but it didn't really work, the only other female pop artists that do really well on streaming is Beyonce and Rihanna (If you still want to call those two pop artists). Of course male pop stars still do decently well, Bruno Mars and Ed Sheeran especially rack up numbers all the time. Maybe Taylor's sound catered to streaming in a way, but overall how did she? Didn't she only release her album on streaming a few weeks after coming out? That seems like it's really against catering to streaming and in general just killed any chance of a lofty streaming debut for her tracks. Edit: And her lead and second single had fair debuts on streaming. They just dropped quickly due to how polarising the sound was. You are correct, however the added audition to Future and Ed Sheeran on End Game, two artists who at the time were huge on streaming, looks like it was attempting something. Also after the era had under performed with it's previous single, she went attempted to get Spotify on board for Delicate, which did alright but wasn't anywhere close to being huge (on streaming, the song of course did well in general). |
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kimberly
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Post by kimberly on Feb 28, 2019 15:05:53 GMT -5
It's incredible how Ariana was able to pull the streaming numbers she did, because she's a pop artist, a female one at that. Taylor Swift tried to cater to streaming but it didn't really work, the only other female pop artists that do really well on streaming is Beyonce and Rihanna (If you still want to call those two pop artists). But if you're not one of those 9, you're probably not streaming all that well unfortunately. I would add Dua Lipa too (around the same level as Camila), and Billie Eilish is up and coming, but yes, those 10 would be it. |
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Deleted
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Post by Deleted on Feb 28, 2019 15:21:41 GMT -5
"End Game" flopping was the biggest travesty. That song screamed monster and had everything needed to be a multi week #1, on paper.
The last 2 singles of the Reputation era should've been the first 2.
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Gary
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Post by Gary on Feb 28, 2019 15:37:51 GMT -5
Katy Perry's Muted Chart Return: What Does '365' Tell Us About The Superstar's Current Place in Pop?
2/28/2019 by Jason Lipshutz
The Zedd collaboration debuts on this week's Hot 100, but may lack the momentum to return Perry to the top of the chart.
Here’s something you may have missed on this week’s Hot 100: the return of one of the most dominant pop stars of the past decade.
Katy Perry has made her way back onto the chart with “365,” a collaboration with dance-pop mastermind Zedd. Outside of a Dear Evan Hansen song that Perry re-recorded and an Amazon-exclusive holiday track released last year, the single is Perry’s first new music since the 2017 Witness era, and Zedd’s first A-list collaboration since the world-conquering, Grammy-nominated song “The Middle” with Maren Morris and Grey.
Zedd has proven adaptable to modern pop trends, updating his sound since breaking through a half-decade ago in order to survive the EDM bubble bursting, and scoring his biggest hit to date last year. Meanwhile, Perry returns as a judge on American Idol this weekend, with “365” presumably teed up for a performance on this season of the revitalized show. Throw in a gaudy sci-fi music video that coincided with the song’s release, and we should have a high-profile pop track designed to rule the spring!
Except “365” just debuted at No. 86 on the Hot 100, a notably quiet start given the star power involved. Maybe the single needs time to catch on at radio, gradually becomes a hit and sends Perry back to the top tier of the Hot 100. Or maybe it becomes one of the lowest-charting singles of Perry’s career.
For other pop artists, the underperformance of a stopgap single in between album eras would not be a cause for alarm. But for Perry, the low debut continues a somewhat worrisome trend. The arrival of and initial reception to “365” have been so muted that it’s worth wondering what the single, with its seemingly low stakes but high production value, signals about Perry’s next proper full-length. Following the tepid reception to Witness, with its political overtones and thinly veiled swipes at a certain pop rival, Perry could use a win. Based on early returns, “365” might not be it.
At the beginning of this decade, Perry was the most bankable pop singles artist in the country. The most memorable of her many statistical achievements: the five No. 1 Hot 100 singles achieved from one album, 2010’s Teenage Dream, matching the record set by Michael Jackson with his Bad album decades earlier. Yet Perry’s Top 40 radio popularity was not lightning in a bottle, and lasted well longer than one full-length: She scored two No. 1 singles before that Teenage Dream run, with her 2008 debut One of the Boys, and has had three more chart-toppers since Teenage Dream; every single released from its follow-up, 2013’s Prism, at least reached the Top 40. Witness was largely considered a misstep upon release, but still scored a No. 1 debut on the Billboard 200 chart, and featured a lead single, “Chained To The Rhythm,” that debuted at No. 4 on the Hot 100.
In between, she’s headlined the Super Bowl halftime show, played arenas around the world and been the subject of one surprisingly moving tour documentary. Perry’s sound has not evolved a dramatic amount over the course of her career -- buoyant radio-pop, with detours into pop-rock and dance, and room for occasional melancholy and guest rap verses -- but it hasn’t needed to. With a knack for delivering rousing choruses that Top 40 radio can spin ad nauseam, Perry has watched her hit singles achieve a long-lasting ubiquity, and power her various album eras. To understand Perry’s run over her first four albums is to consider a type of pop culture omnipresence that never sags for too long; even when you’re not paying close attention to her, she’s often playing on the radio in the background.
So what happens when a hit streak like Perry’s faces a potential dry spell? “Chained to the Rhythm” may have cracked the Top 10, but it plummeted shortly after, while the follow-up singles from Witness -- including “Bon Apetit” featuring Migos and the Nicki Minaj-assisted “Swish Swish" -- never took off, each missing the Top 40. As streaming has become ever more crucial to chart success over the past half-decade, dance-based pop, Perry's bread and butter, has had a more difficult time climbing to the upper reaches of the Hot 100, taking a backseat to hip-hop. On this week’s chart, for instance, “365” was outshone by the debuts of hip-hop artists like Cardi B (starting at No. 5 with her latest Bruno mars collaboration, “Please Me”), Juice WRLD (bowing at No. 27 with “Robbery”) and Offset (a No. 49 start with “Red Room”).
Here’s the silver lining for Perry: “365” is not the slam-dunk that necessarily would be expected to return the singer to her previous chart heights, anyway. Over a restrained collection of rhythms from Zedd, Perry unleashes a nondescript story of romantic devotion that culminates in a catchy, surprisingly downbeat hook. It’s a well-constructed single that wouldn’t crack either artist’s individual Top 5. On paper, “365” is a much-ballyhooed collaboration with a proven hitmaker, but the song never takes off in the way that made Perry’s biggest hits resonate for weeks on end.
Instead of focusing on the lackluster start for “365,” Perry fans should hope that another recent collaboration provide the starting point for her post-Witness era. “Feels,” the 2017 Calvin Harris track that featured Perry, Big Sean and Pharrell Williams and climbed to No. 20 on the Hot 100, found Perry at her most playful in recent memory, stretching out over an island-funk beat on the song’s chorus.
Granted, Big Sean and Williams provide the heavy lifting on “Feels,” but Perry’s breezy hook anchors the track, and undoubtedly turned it into a hit two years ago. In retrospect, the levity of “Feels” was curiously missing from Perry’s heavy-handed Witness album, which was released concurrently and, with its sporadic forays into political themes, didn’t particularly play to the singer’s natural strengths.
At this point, Perry’s legacy is safe if she never records another inescapable hit, regardless of how well “365” performs in the coming weeks. If Perry channels the chill vibes of “Feels” into the foundation of her next album, though, she may be able to end the current drought and pick up some new momentum. Enjoy “365,” move on from it if you’re so inclined, but don’t count out Perry’s ability to survive and thrive in the next decade.
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kierz7
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Post by kierz7 on Feb 28, 2019 15:47:35 GMT -5
LMAO!
Anyhow, Perry’s time has come to an end unfortunately.
She’s the 2010’s equivalent of Paula Abdul circa. 1989-1992 or Olivia Newton Jon circa. 1975-1980, except Abdul and Newton-John actually have a respectable legacy.
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Kris
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Post by Kris on Feb 28, 2019 15:55:38 GMT -5
Katy Perry: I had all these electro dance and fun pop number ones that people loved. I'm going to start making slower trap and boring atmospheric type songs with awful melody just to change it up. Oh nobody is buying those? Weird.
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rockgolf
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Post by rockgolf on Feb 28, 2019 15:58:54 GMT -5
She’s the 2010’s equivalent of ... Olivia Newton Jon circa. 1975-1980. Huh? All time hit list Rank 0010 1,413,994 1981 Olivia Newton-John | Physical 1595 543,249 1982 Olivia Newton-John | Heart Attack Katy should be so lucky. |
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Deleted
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Post by Deleted on Feb 28, 2019 16:20:29 GMT -5
Selena Gomez released a new song today
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Gary
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Post by Gary on Feb 28, 2019 16:22:40 GMT -5
Olivia Newton John also has 'Magic' at 376
Maybe they are both lucky
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pcg4
Charting
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Post by pcg4 on Feb 28, 2019 16:29:21 GMT -5
LMAO! Anyhow, Perry’s time has come to an end unfortunately. She’s the 2010’s equivalent of Paula Abdul circa. 1989-1992 or Olivia Newton Jon circa. 1975-1980, except Abdul and Newton-John actually have a respectable legacy. Wow here comes the "legacy" expert. |
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lazer
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Post by lazer on Feb 28, 2019 17:22:46 GMT -5
First, it was "event singles", now it is "legacy".
Oh Pulse.
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Gary
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Post by Gary on Feb 28, 2019 17:29:19 GMT -5
"legacy" is a fun one too we will add it to the list of Pulse favorite catch words
"iconic", "signature song", "legend" are just a few others
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Gary
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Post by Gary on Feb 28, 2019 17:47:41 GMT -5
Another actor that had some Hot 100 success was Jamie Walters as part of The Heights and How Do You Talk to an Angel and then Hold On in the 1990s. That to me falls into another category #1 hits that came from shows where the actors performed them The Heights Monkees Partridge Family All shows that produced #1 songs that were performed by the actors in the show |
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Gary
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Post by Gary on Feb 28, 2019 17:52:46 GMT -5
Selena Gomez released a new song today #14 on iTunes currently I Can't Get Enough - Benny Blanco, Tainy, Selena Gomez & J Balvin |
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fhas
3x Platinum Member
Three-time World Champions: 1992 - 2-1 vs. Barcelona, 1993 - 3-2 vs. Milan, 2005 - 1-0 vs. Liverpool
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Post by fhas on Feb 28, 2019 18:30:16 GMT -5
fhas do you have Shallow reaching #1 or do you have it at #2 ? I like your predictions better than Simon's. I'll calculate the points for Shallow tonight and post the results in the prediction thread. I wasn't tracking it last week. For the other songs I need to update with today's Spotify/YouTube data. Shallow has multiple versions on the YouTube chart so it's gonna be a nightmare to track it (for example: I think YT only reported one version of Thotiana to BB last week - what are they going to do with Shallow?). |
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Deleted
Joined: January 1970
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Post by Deleted on Feb 28, 2019 19:13:16 GMT -5
fhas do you have Shallow reaching #1 or do you have it at #2 ? I like your predictions better than Simon's. I'll calculate the points for Shallow tonight and post the results in the prediction thread. I wasn't tracking it last week. For the other songs I need to update with today's Spotify/YouTube data. Shallow has multiple versions on the YouTube chart so it's gonna be a nightmare to track it (for example: I think YT only reported one version of Thotiana to BB last week - what are they going to do with Shallow?). Do you think thotania peaked? |
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rockgolf
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Post by rockgolf on Feb 28, 2019 20:01:29 GMT -5
My point was that ONJ had the #10 song of all time a year after the original poster claimed her career was over.
Olivia has a pretty good track record, nonetheless.
Rank Totl score Year Artist | Track
0010 1,413,994 1981 Olivia Newton-John | Physical
0384 822,340 1980 Olivia Newton-John | Magic
0697 722,293 1978 John Travolta and Olivia Newton-John | You're The One That I Want
0893 682,810 1979 Olivia Newton-John | A Little More Love
1049 645,446 1975 Olivia Newton-John | Please Mr. Please
1088 637,674 1975 Olivia Newton-John | Have You Never Been Mellow
1233 606,254 1974 Olivia Newton-John | I Honestly Love You
1381 577,392 1974 Olivia Newton-John | Let Me Be There
1412 572,915 1978 Olivia Newton-John | Hopelessly Devoted To You
1595 543,249 1982 Olivia Newton-John | Heart Attack
2075 473,636 1984 Olivia Newton-John | Twist Of Fate
2235 450,765 1978 John Travolta, Olivia Newton-John and Cast | Summer Nights
2312 441,680 1974 Olivia Newton-John | If You Love Me (Let Me Know)
3001 364,489 1982 Olivia Newton-John | Make A Move On Me
3846 270,484 1980 Olivia Newton-John /Electric Light Orchestra | Xanadu
5440 156,279 1975 Olivia Newton-John | Something Better To Do
5797 142,478 1981 Olivia Newton-John and Cliff Richard | Suddenly
6341 126,670 1985 Olivia Newton-John | Soul Kiss
6401 124,560 1979 Olivia Newton-John | Deeper Than The Night
6921 111,520 1971 Olivia Newton-John | If Not For You
7149 106,246 1977 Olivia Newton-John | Sam
7451 100,177 1976 Olivia Newton-John | Come On Over
9427 67,669 1976 Olivia Newton-John | Let It Shine
9987 61,104 1984 Olivia Newton-John | Livin' In Desperate Times
10249 58,421 1976 Olivia Newton-John | Don't Stop Believin'
10955 50,825 1983 Olivia Newton-John | Tied Up
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kingvavis
Gold Member
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Post by kingvavis on Feb 28, 2019 21:23:37 GMT -5
If Shallow does go no.1 this week, I doubt that Billboard wouldn't do a article about its challenge to the top since it's Lady Gaga and that would generate anticipation.
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fhas
3x Platinum Member
Three-time World Champions: 1992 - 2-1 vs. Barcelona, 1993 - 3-2 vs. Milan, 2005 - 1-0 vs. Liverpool
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Post by fhas on Feb 28, 2019 21:27:50 GMT -5
I'll calculate the points for Shallow tonight and post the results in the prediction thread. I wasn't tracking it last week. For the other songs I need to update with today's Spotify/YouTube data. Shallow has multiple versions on the YouTube chart so it's gonna be a nightmare to track it (for example: I think YT only reported one version of Thotiana to BB last week - what are they going to do with Shallow?). Do you think thotania peaked? I'm not sure. This week it has two versions in the top 200 of Spotify (last week it had only the main version) and maybe they will count the views for its two versions on YouTube. |
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Caviar
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Post by Caviar on Feb 28, 2019 21:44:14 GMT -5
She’s the 2010’s equivalent of ... Olivia Newton Jon circa. 1975-1980. Huh? All time hit list Rank 0010 1,413,994 1981 Olivia Newton-John | Physical 1595 543,249 1982 Olivia Newton-John | Heart Attack Katy should be so lucky. Neither of whom have ever performed the highest rated Superbowl half time show. |
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Suono
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Post by Suono on Feb 28, 2019 21:49:40 GMT -5
Seriously rooting for Shallow to hit #1 - I want Gaga to have another #1 in case she never gets there again!
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Ｓｏｕｎｄｃｌ🕤ｃｋ
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Post by Ｓｏｕｎｄｃｌ🕤ｃｋ on Feb 28, 2019 21:55:49 GMT -5
I think Katy is perfectly fine with the highest rated SB, 9 #1s, 25 billion streams and the fact that she's the second person ever to score 5 #1s from one album.
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Post by Baby Yoda Hot100Fan on Feb 28, 2019 22:07:21 GMT -5
^Plus 3 diamond certified singles.
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Post by Rose "Payola" Nylund on Feb 28, 2019 23:21:29 GMT -5
Katy made her mark and haters can see the, etc.
Can we move on now?
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Post by kcdawg13 on Feb 28, 2019 23:50:06 GMT -5
Katy Perry is legendary
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Enigma.
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Post by Enigma. on Mar 1, 2019 1:22:46 GMT -5
That Billboard article was reasonable and quite on point, people are so easily triggered. No one knows what Katy will still achieve but her current situation in the pop charts isn't very promising.
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