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Post by Rose "Payola" Nylund on Apr 25, 2019 5:57:38 GMT -5
I seriously wish you’d all f**k off with the year end s**t that is always always always used without proper context
What are you talking about? Context is that we were talking about Beyonce having ascended to icon status and having left behind actual mainstream hits. When thinking about this conversation it is worth pointing out that she does still every once in awhile have songs that stick around in the popular consciousness on the hot 100 that make the year end list. Just from her last few albums there's Best Thing I Ever Had - #86 in 2011 Drunk In Love - #35 in 2014 Partition - #95 in 2014 7/11 - #61 in 2015 Sorry - #71 in 2016 Additionally she featured on Mi Gente which placed at 50/99 in 2017-2018 and only did anything in 2018 because of her presence. While these are by no means Drake numbers, it would be impossible to put up songs on the year end list like this had she completely left behind the domain of mainstream accessible music. An interesting comparison is Kanye West, who is similarly dominant in the music discussion but only has two entries from 2010's albums, All Of The Lights in 2011 and Mercy in 2012, and both of those songs have a bunch of features A song released in October, peaks well in late December and is off the chart in April will never chart as high on a yearend chart as a similarly performing song released in February, peak in May and off the chart in August. It 👏 doesn’t 👏 tell 👏 the 👏 whole 👏 story 👏 |
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monkeydluffy
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Post by monkeydluffy on Apr 25, 2019 7:17:47 GMT -5
Oh, I'm actually disappointed that the Cardi/Post collab is on a French Montana song. xD Nothing against him, I just wanted it to be the two of them. A proper hip-hop duet, we don't get many of those. Oh well. I was disappointed seeing one my favorite artists like Swae Lee on a French Montana song, but that song turned out to be so good and successful because he was on it. Nobody cared about French Montana’s lyrics, they remember and vibed to Swae Lee’s hook. The same could go for Post and Cardi. Nobody will care about French Montana’s lines, as long as they get enough Post and Cardi on the song, it could be just as successful. I want another Post Malone number one!!! |
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Caviar
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Post by Caviar on Apr 25, 2019 10:34:20 GMT -5
Didn't she get two songs in the top ten on streaming album release week even though it was only available on Tidal? Sorry was #8 and Hold Up was #11, 6 Inch #12. Now imagine if the songs were on Spotify & AM. But as she sings in "Nice" off of Everything Is Love, If I gave two f-cks, two f-cks about streaming numbers Would have put Lemonade up on Spotify She is an artist on her own level, and she is able to create art without commercial success concerns. I find out awfully funny how EIL was a Tidal exclusive but when sales wasn't what they thought they put it on Spotify while also withholding Tidal streams, a mess! Also wasn't there reporting a year ago alleging Tidal inflated steams for Lemonade and Life of deleted? Interesting. |
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Gary
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Post by Gary on Apr 25, 2019 10:45:45 GMT -5
How the Jonas Brothers Healed Their Issues, Reunited & Topped the Hot 100 for the First Time
News
By Taylor Weatherby | April 25, 2019 9:55 AM EDT
Jonas Brothers
Two hours before taking the stage in Minneapolis for a March Madness Music Series concert, the Jonas Brothers meet in Nick’s hotel room for some preshow brother time -- and, OK, to get their hair done. It’s early April, and as Kevin waits his turn, he pulls out his phone. “Check this out,” he says, bouncing up from the couch to show off a Google Maps image. A Twitter user has traced the line of people waiting to get into the show, equivalent to almost six city blocks. “Isn’t that crazy?”
Fans began lining up at midnight, camping out in their Jonas Brothers tour T-shirts from 2008 and blasting fan favorites like “Year 3000.” This kind of dedication has been par for the course since the sibling trio debuted in 2006 -- only now those fans are adults whose steadfastness helped “Sucker,” the group’s first single in nearly six years, debut at No. 1 on the Billboard Hot 100 in March. (They’ll perform it at the Billboard Music Awards on May 1, airing live from Las Vegas on NBC.) It’s a feat the brothers never accomplished in their late-2000s heyday, despite selling out arenas around the world and topping the Billboard 200 twice. It’s also a stamp of grown-up pop stardom for a band that never got to age into it, thanks to an abrupt split in 2013 due to general burnout and conflicts over the group’s direction.
Jonas Brothers
Performing at the March Madness Music Series presented by Coca-Cola at The Armory in Minneapolis on April 6.
Michael Loccisano/Getty Images for Turner Sports
Tonight’s show at the 8,400-capacity Armory is the largest concert that the brothers -- Kevin, 31; Joe, 29; and Nick, 26 -- have played since announcing their reunion on social media on Feb. 28. With only two new tracks to play -- “Cool,” the witty follow-up to “Sucker,” debuted at No. 27 on the Hot 100 earlier in April -- the brothers’ 19-song setlist shows they’re more than happy to strut down memory lane. But when Kevin asks, “How many of you haven’t been to a Jonas Brothers show before?,” roughly three-quarters of the audience raise their hands. The group’s original fans still scream like prepubescent tweens, but now they’re joined by actual prepubescent tweens. (You don’t debut atop the Hot 100 without the youth stanning your song; “Sucker” had 151.3 million U.S. streams through April 18, according to Nielsen Music.)
“They’re the kind of band that’s bigger than anybody realized, and had more fans than anybody realized,” says Monte Lipman, founder/CEO of Republic Records, the act’s current label.
That there are so many recent Jonas Brothers converts shouldn’t be a surprise. During the band’s hiatus, Nick launched a solo career that amplified his sex appeal with smoldering pop-R&B cuts like 2014’s “Jealous.” (“When Did Nick Jonas Get Hot?” read one representative headline from that year.) Joe started the unabashedly wacky pop-rock group DNCE, whose funky “Cake by the Ocean” was inescapable in early 2016 and, like “Jealous,” reached the top 10 on the Hot 100. Kevin, meanwhile, stepped away from music to start a real estate development company and focus on his family, wife Danielle and daughters Alena, now 5, and Valentina, 2.
The Jonas brand has benefited immeasurably from the brothers’ love lives: In addition to Danielle -- who co-starred with Kevin in the reality show Married to Jonas, which aired on E! in 2012 and 2013 -- there’s Nick’s headline-making marriage to Quantico actress Priyanka Chopra and Joe’s widely adored relationship with fiancée and Game of Thrones star Sophie Turner. The night before the Minneapolis show, after a surprise set at a favorite bar near Penn State, the “J Sisters” -- as Danielle, Chopra and Turner call themselves -- poured drinks and body shots for the crowd, lighting up social media in the process. (“They burned that place down,” says Kevin.)
Yet for all the fame that the Jonas Brothers banked individually, their return is a notable victory for boy bands: Outside of K-pop, no recent groups have sparked One Direction levels of pandemonium. (The Backstreet Boys are releasing new music, but their main audience comprises nostalgic elder-millennial fans with enough disposable income for tickets and meet-and-greets.)
The Jonas Brothers are making pure pop music at a time when rap dominates and the biggest “pop” stars -- Billie Eilish, Ariana Grande -- are making intensely personal music influenced by alternative and hip-hop. Though they’ve traded their famed purity rings for louche chest hair, what’s striking about the brothers is just how little they’ve changed: They’re earnest, family-oriented, clean-cut, commercially savvy hitmakers who just want to have a good time. And there is, apparently, an underserved audience for that.
Still, they’ve come a long way. In 2013, Joe remembers, “we all wanted to create something on our own and were just trying to force it into what was going on. We were going through the motions, without the heart of it.” Their disagreements took a toll on more than just their music: “The way we communicated to each other wasn’t healthy anymore.”
Sitting in the hotel room, they appear to be in a much better place, though light-hearted jabs still fly. After a trailer for Seth Rogen and Charlize Theron’s upcoming film, Long Shot, comes on the TV, Kevin says, “That’s like the plot of that Hugh Grant and Julia Roberts movie -- Notting Hill?” Nick snaps back, “Uh, no, that’s Love Actually.” (Later, they decide they’re both right.) When Joe walks in sporting an orange flip-sequined jacket, Nick runs his hand over it, and Joe jokes, “Did I say you could touch me?”
To hear the band tell it, this ease didn’t come, well, easy. It’s the result of many hourslong conversations required after years of bottling up their feelings. Getting to a place where they could release a new album -- their fifth, Happiness Begins, will arrive June 7 -- wasn’t simply a matter of aligning schedules. They had to renew their relationship as siblings and as musicians.
Yet their story would make for a third-rate episode of Behind the Music: There were no drug addictions, no affairs with each other’s spouses, no Eat, Pray, Love sojourns around the globe. To Republic, it was simply a matter of firing up a dormant machine. “As a record executive, this is the thing you dream for: a fully functional, hitting-on-all-cylinders recording artist that has a history, has a catalog, has contemporary current hits, is in the mix,” says Republic executive vp A&R Wendy Goldstein. “I knew if we did this right, this is the gift that keeps on giving: a world tour, many more albums, solo records again at some point.”
The guys are well aware of their potential. “It feels like the second bite of the apple is potentially going to be even bigger,” says Nick, “because we’re in a healthy place, we’re enjoying the ride. And I think the music is a reflection of that.”
As a grinning Kevin puts it: “Can you be nominated for best new artist twice?”
Last June, Joe, Nick and Kevin sat down in Australia -- where Joe was judging its version of The Voice -- for a combination therapy session and drinking game. They each wrote down five burning questions they’d had about each other since before their split, then dropped them into a bowl. One by one, the brothers pulled out a piece of paper and started talking -- about the pressure they put on themselves, their changing priorities, how they dealt with conflict. With each turn, the other siblings rated the honesty of the response from one to 10, with 10 being the worst, and that score was the number of seconds the answering brother had to drink.
Needless to say, within an hour, they were all feeling pretty honest. “Kevin had a few skirt-arounds” -- not shocking, given that he, like his siblings, is an alumnus of the Disney publicity school -- “so he had a few longer sips than Joe and I,” recalls Nick the morning after the March Madness show, over breakfast with his brothers.
By the time of their Australia summit, their relationship had mostly recovered. Post-breakup, Joe and Nick bought a house together in Mammoth Lakes, Calif., which resulted in plenty of quality time. Kevin’s kids also brought the siblings closer. But they knew that if they were ever going to fully heal the issues that had led to their split, they needed to dig deeper.
Nick was the one who had pushed for a hiatus -- and he was the first, during their family Christmas in 2017, to bring up the possibility of a reunion. “There’s a different magic when we’re together that I wasn’t experiencing,” he says. “So I started sprinkling some Jonas Brothers songs into my set, but always thought, ‘This would be a lot better with the other Jonas Brothers.’ ”
A month later, they reconvened at Nick and Joe’s house with members of their PhilyMack management team -- including Phil McIntyre, who had managed them in their Disney days -- to discuss the possibilities. Kevin was immediately game to return. “The idea of having my girls see me onstage with my brothers and experience that side of my life,” he says, was irresistible. Joe, who was still focused on DNCE at the time, wasn’t so sure. (He says the group is not disbanding.) But as they all reminisced about the highs and lows of their careers, they realized their story at least had the makings of a juicy documentary, and soon they started filming. “The documentary was a way for us to figure out what we wanted to say and who we wanted to be in this new chapter,” says Nick, adding that their reunion “would’ve imploded” if the documentary sessions hadn’t forced them to get all their feelings out in the open.
Everything clicked during a trip to Cuba for the doc in July 2018, when they broke out their guitars for a jam session. “We were playing ‘Lovebug’ [from 2008] in this beautiful apartment complex,” says Joe. “I was so happy. I looked at the guys and was like, ‘I’m ready. Let’s do this, for real.’ ” The documentary -- which will premiere on Amazon later this year -- will cover their reunion, as well. After our interview in Minneapolis, the brothers are due back in Los Angeles to watch the first cut. Joe is bracing himself: “I watched the teaser trailer and was crying like a baby.”
As soon as the band decided to reunite, McIntyre called Republic’s Lipman, who had worked with both Joe on DNCE and Nick on a joint venture with Island Records. Home to Taylor Swift, Grande, Drake and Post Malone, Republic Records is where an artist wants to be if they’re looking to reach the top 40. After Republic’s acts spent a combined 34 weeks at No. 1 (the final tally was 36), Billboard named it the top label of 2018 -- a title it has held for five years running.
Lipman attributes much of the success of “Sucker” to the element of surprise: “You didn’t give anybody the opportunity to anticipate or draw any conclusions about the comeback.” Goldstein compares the group’s new phase to Grande’s Sweetener and Thank U, Next hot streak, on which the singer’s impressive artistic strides coincided with heightened tabloid interest in her personal life.
The Jonas Brothers aren’t name-checking Pete Davidson (or anyone else) in their songs, but they are well aware of the public’s fascination with their romantic relationships: The “Sucker” music video shows them hanging in a lavish Victorian mansion with their real-life leading ladies, which undoubtedly helped the song along to No. 1. (The video now has more than 111 million YouTube views.) The women have also served as informal consultants on the new music. “Priyanka and Sophie love pop music and listen to Spotify’s Today’s Top Hits or Apple Music all the time,” says Nick. “So they were a really good gauge, like, ‘Does this sound good?’ ”
To figure out what the Jonas Brothers might sound like in 2019, Goldstein reached out to pop’s biggest songwriters and producers: Ryan Tedder, Greg Kurstin, Max Martin, Justin Tranter. “I remember calling Phil McIntyre back, going, ‘I haven’t had a response like this in a very long time, where everyone was just in,’ ” she says. Joe suggests that Kurstin and Tedder in particular “cracked the code” of what the new and improved Jonas Brothers were looking for: feel-good tracks (with hints of everything from ’80s new wave to reggae to country) paired with candid snapshots of their personal lives (that are also vague enough to be universal). Nick describes “Hesitate” as Joe’s love letter to Turner, while “I Believe” is a synth-heavy slow jam that alludes to his own whirlwind romance with Chopra: “People saying that we move too fast/But I been waiting for a reason, ain’t no turning back.”
“We would write a song in about 90 minutes. We would cut it in the second hour. It would be demo’d by dinner,” says Tedder, who executive-produced the project and was dubbed “the fifth Jonas Brother” by the band. (The trio has a fourth actual brother, 18-year-old Frankie, who just completed an audio engineering program.) Adds Tedder: “Sam Smith and Adele are maybe the only other acts I’ve ever worked with where they’re like, ‘Oh, my gosh. It’s 6 p.m. Let’s call it a day.’ ”
During the hunt for a first single, Tedder remembered a song called “Sucker” that he had written with Post Malone producers Louis Bell and Frank Dukes. “Louis was like, ‘Wouldn’t it be amazing if the Jonas Brothers got back together? This would be a smash,’ ” recalls Tedder. Goldstein describes playing the song for Max Martin: “Twenty seconds into it he goes, ‘You’re fucking kidding me. Holy shit!’ ”
While they were huge among teenagers and in the touring sphere, the Jonas Brothers struggled for consistent top 40 airplay during their initial six-year run. “I describe it as an allergy to the Jonas Brothers,” says Nick. Now they have the No. 1 song on the Mainstream Top 40 chart. “They’ve had celebrity,” says Lipman, “but what’s happening in this chapter of their career is the credibility in the music space.”
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ddlz
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Post by ddlz on Apr 25, 2019 10:48:42 GMT -5
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Caviar
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Post by Caviar on Apr 25, 2019 11:15:36 GMT -5
Oh dear
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Post by Baby Yoda Hot100Fan on Apr 25, 2019 11:30:43 GMT -5
kworb's Billboard Radio Songs Estimates 2019/04/25
1(=) Jonas Brothers - Sucker 133.43(+0.66)
2(=) Sam Smith & Normani - Dancing with a Stranger 123.85(+0.39) 3(=) Halsey - Without Me 109.97(-1.02)
4(=) Ariana Grande - 7 rings 106.26(-0.02)
5(=) Post Malone - Wow. 101.13(-0.07)
6(=) benny blanco, Halsey & Khalid - Eastside 99.21(-0.84)
7(=) Ava Max - Sweet but Psycho 98.94(+0.12)
8(=) Panic! At the Disco - High Hopes 95.61(-0.96)
9(=) Ariana Grande - break up with your girlfriend, i'm bored 94.34(+0.99)
10(=) Ellie Goulding, Diplo & Swae Lee - Close to Me 91.30(-1.34)
15(+1) Lil Nas X - Old Town Road (feat. Billy Ray Cyrus) [Remix] 66.97(+2.45) 23(=) Chase Rice - Eyes On You 56.19(+1.01) 25(=) J. Cole - MIDDLE CHILD 52.02(+0.95) 26(=) Eli Young Band - Love Ain't 50.30(+0.95) 27(+2) Khalid - Talk 49.55(+1.89) 35(+1) Marshmello - Here With Me (feat. CHVRCHES) 41.99(+0.97) 36(+4) Morgan Wallen - Whiskey Glasses 41.83(+1.01) 46(+3) Brett Eldredge - Love Someone 36.41(+0.91) 57(+4) Daddy Yankee & Katy Perry - Con Calma (feat. Snow) [Remix] 31.95(+1.92) - - Billie Eilish - bad guy 9.88(+1.46)
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gabe
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Post by gabe on Apr 25, 2019 12:17:09 GMT -5
con calma is coming... hold on to your hats and wigs
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Gary
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Post by Gary on Apr 25, 2019 12:53:01 GMT -5
Good to see Snow charting again
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Post by Baby Yoda Hot100Fan on Apr 25, 2019 13:02:23 GMT -5
I just found this article:
4/9/2019 by Melinda Newman
Lil Nas X has ridden his horse straight to the top of the Billboard Hot 100 with viral country trap hit “Old Town Road,” and galloped onto the Country Airplay chart as well. And his genre-blending tune, which includes a sample of Nine Inch Nails' "34 Ghost IV," has left some country artists and executives delighted, others bedeviled and some downright confused about what qualifies as country in the Wild West of music streaming.
“Old Town Road” jumps from No. 15 to No. 1 on the Hot 100 dated April 13. The song, aided by airplay on Bobby Bones’ syndicated morning show and WMAD (Madison, Wis.), debuts at No. 53 on Country Airplay. On the week of March 16, Billboard placed the tune, released by Sony's Columbia Records, on the Hot Country Songs chart, where it debuted at No. 19. The following week, Billboard removed the song for several reasons, including its trap beat, a lack of country airplay, no involvement by Sony Music Nashville and mixed categorization and playlisting on leading streaming services. Since then, a remix with Billy Ray Cyrus has been released, adding to the debate of where the song sits among genres. Further chart adjustments are possible as the song’s reach develops.
The cultural obsession over how to classify the song highlights the growing chasm between streaming and terrestrial radio. Streaming services have created a new breed of genre-jumping music fans, who disregard any attempt to label their listening habits, while country radio has only found its playlists narrowing to the near-exclusion of almost anything but music made by men. (A study released April 5 by the University Of Southern California’s Annenberg Inclusion Initiative found that only 16 percent of country artists appearing on Billboard’s Hot Country Songs chart between 2014-2018 were women.) The growing discrepancy between what streams and what airs is a vexing mystery to the country music industry as well, since many believe radio still wields the ultimate global star-making power.
There are a ton of girls just waiting for the moment, writing great songs... then this guy comes along and puts out a song with quasi-country lyrics,” said Brothers Osborne’s John Osborne, when asked about “Old Town Road” at April 7’s Academy of Country Music Awards. “Go listen to Kris Kristofferson and then go listen to [‘Old Town Road’] and if you tell me they have anything to do with each other, then I will quit. I’m out. I’m done with the genre.”
However, other artists, including Florida Georgia Line, whose music has often featured crossover elements including pop and rap, took a more moderate stand. “If you’re trying to put things in a box or a genre, you’re kind of wasting your time,” FGL’s Tyler Hubbard said. “If you like the song, play the song, if you don’t then don’t.” His FGL bandmate, Brian Kelley, agreed. “If we sit here and try to figure out if it’s country or not, we miss the point of it being a great song. I mean that as respectfully as possible,” he says. “I love the song. I don’t think the question is whether it’s country or not; it could probably fit in there. I don’t have a problem with that at all.”
At the ACMs in Las Vegas, many record label executives told Billboard they didn't think “Old Town Road” was a country track, not even with Billy Ray Cyrus’ inclusion on the remix, though country labels have a clear interest in protecting valuable chart real estate for their own acts from being occupied by artists they perceive as format outsiders. Some said the track’s musical composition made it a misfit and one executive said that “just singing about horses is not enough to consider it a country song.”
Another executive wondered if the strategy of uploading a song to streaming services and tagging it as country to boost visibility would be copied by other pop or hip-hop upstarts; a rap-leaning act tagged country could stand out amid country acts more so than among other pop and hip-hop offerings.
But now, Sony Nashville CEO Randy Goodman tells Billboard his team has started testing the song in some country radio markets. “It would be negligent not to look at it,” Goodman says. "Can you hear it as country? Can you hear it as rap? Is it something we could have signed? Yeah, in the new world order. It’s No. 1 in streaming even if country radio isn’t playing it."
FGL’s songs have often blurred the line between country and other genres, including Nelly’s verse on “Cruise” and reggae icon Ziggy Marley’s appearance on “Life is a Honeymoon,” while Jason Aldean’s largely spoken 2011 hit, “Dirt Road Anthem,” included a remix with Ludacris. Those are only a handful of songs that have blended country with other genres in recent years, some of which miss out on country radio play as a result. Rednex’s “Cotton Eyed Joe,” Mo Thugs Family’s No. 1 Hot Rap Songs hit “Ghetto Cowboy” (which includes lyrics from Kenny Rogers’ “The Gambler”), Miley Cyrus’ “Hoedown Throwdown,” Pitbull’s “Timber” featuring Kesha and Avicii’s “Hey Brother” featuring Dan Tyminski, never made Billboard’s Hot Country Songs chart (which, based on airplay, streaming and sales, requires Billboard to designate songs for inclusion based on genre fit; Country Airplay, on the other hand, purely reflects plays on reporting stations).
The addition of Billy Ray Cyrus on the remix helps tip it over to country, according to LoCash’s Chris Lucas. “It made it a lot more country to me, putting Billy in it,” he said. “But I don’t knock Lil Nas X. I think the song’s awesome and congratulations to him. There’s a little hip-hop to it, nothing wrong with that.”
As far as contributing to another remix of the song, LoCash’s Preston Brust is all in. “I would 100 percent be on a remix. Here’s my number,” he joked.
R&B/pop star Khalid, who performed “Saturday Nights” on the ACMs with Kane Brown, also cited music’s melting pot. "I’m coming in from outside the genre,” he said. “I really do enjoy the song. I’m a big fan of fusion of genres, crossover, of [mixing] hip-hop and country because I feel like that’s something I do as well.”
Khalid, who said he hopes to make a folk album, added that songs such as “Old Town Road” open the genre to more diversity “These are the steps that are going to make it happen for everybody,” he added. “I love the fact that he got Billy Ray Cyrus on the remix because that song is so awesome and I love how everybody is vibing with it because it makes everybody happy.”
In the end, top country songwriter Shane McAnally welcomes all music that potentially draws a bigger audience to country music. “I’ve always been confused about why we want to block things out of country that aren’t supposedly traditional,” he says. “I am a traditionalist and love traditional country music, but when you think about things like Taylor Swift or Dolly Parton back in the day, or even Johnny Cash, they brought more attention to country music, so I’ve never understand why there’s this, ‘Well, that’s not country, it shouldn’t be lumped in.’ Country is a lot of different things. I think by inclusion we just bring more people to the traditional music.”
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Post by Naos on Apr 25, 2019 13:35:59 GMT -5
In the end, top country songwriter Shane McAnally welcomes all music that potentially draws a bigger audience to country music. “I’ve always been confused about why we want to block things out of country that aren’t supposedly traditional,” he says. “I am a traditionalist and love traditional country music, but when you think about things like Taylor Swift or Dolly Parton back in the day, or even Johnny Cash, they brought more attention to country music, so I’ve never understand why there’s this, ‘Well, that’s not country, it shouldn’t be lumped in.’ Country is a lot of different things. I think by inclusion we just bring more people to the traditional music.”
There's a difference between traditional and the modern pop country phenomenon, sure. But that doesn't mean you make it a giant monogenre mess. And this is coming from someone who can like Shane McAnally's stuff. While people complain about Thomas Rhett, or Sam Hunt, or Keith Urban, at least they're still part of the country establishment and make country material, promoting to country radio where country fans consume it. I don't see Johnny Cash, Dolly Parton, and even Taylor Swift comparable to the current situation. I mean, you're not drawing a bigger audience to the genre, if genres stop existing altogether. |
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jenglisbe
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Post by jenglisbe on Apr 25, 2019 13:41:30 GMT -5
In the end, top country songwriter Shane McAnally welcomes all music that potentially draws a bigger audience to country music. “I’ve always been confused about why we want to block things out of country that aren’t supposedly traditional,” he says. “I am a traditionalist and love traditional country music, but when you think about things like Taylor Swift or Dolly Parton back in the day, or even Johnny Cash, they brought more attention to country music, so I’ve never understand why there’s this, ‘Well, that’s not country, it shouldn’t be lumped in.’ Country is a lot of different things. I think by inclusion we just bring more people to the traditional music.”
There's a difference between traditional and the modern pop country phenomenon, sure. But that doesn't mean you make it a giant monogenre mess. And this is coming from someone who can like Shane McAnally's stuff. While people complain about Thomas Rhett, or Sam Hunt, or Keith Urban, at least they're still part of the country establishment and make country material, promoting to country radio where country fans consume it. I don't see Johnny Cash, Dolly Parton, and even Taylor Swift comparable to the current situation. I mean, you're not drawing a bigger audience to the genre, if genres stop existing altogether. His point about Cash, Parton, and Swift is that all were criticized for having non-country elements in their music. They also did promote to country industry. How is that not a parallel to Keith Urban and Sam Hunt? |
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Post by Naos on Apr 25, 2019 14:37:52 GMT -5
There's a difference between traditional and the modern pop country phenomenon, sure. But that doesn't mean you make it a giant monogenre mess. And this is coming from someone who can like Shane McAnally's stuff. While people complain about Thomas Rhett, or Sam Hunt, or Keith Urban, at least they're still part of the country establishment and make country material, promoting to country radio where country fans consume it. I don't see Johnny Cash, Dolly Parton, and even Taylor Swift comparable to the current situation. I mean, you're not drawing a bigger audience to the genre, if genres stop existing altogether. His point about Cash, Parton, and Swift is that all were criticized for having non-country elements in their music. They also did promote to country industry. How is that not a parallel to Keith Urban and Sam Hunt? He was comparing Cash, Parton, and Swift to the current situation regarding "Old Town Road", as that was what the article was about. I doubt McAnally's making some unrelated comment, otherwise it would not be included. |
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inverse
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Your mind is in disturbia...
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Post by inverse on Apr 25, 2019 15:07:45 GMT -5
What are you talking about? Context is that we were talking about Beyonce having ascended to icon status and having left behind actual mainstream hits. When thinking about this conversation it is worth pointing out that she does still every once in awhile have songs that stick around in the popular consciousness on the hot 100 that make the year end list. Just from her last few albums there's Best Thing I Never Had - #86 in 2011 Drunk In Love - #35 in 2014 Partition - #95 in 2014 7/11 - #61 in 2015 Sorry - #71 in 2016 Additionally she featured on Mi Gente which placed at 50/99 in 2017-2018 and only did anything in 2018 because of her presence. While these are by no means Drake numbers, it would be impossible to put up songs on the year end list like this had she completely left behind the domain of mainstream accessible music. An interesting comparison is Kanye West, who is similarly dominant in the music discussion but only has two entries from 2010's albums, All Of The Lights in 2011 and Mercy in 2012, and both of those songs have a bunch of features A song released in October, peaks well in late December and is off the chart in April will never chart as high on a yearend chart as a similarly performing song released in February, peak in May and off the chart in August. It 👏 doesn’t 👏 tell 👏 the 👏 whole 👏 story 👏 Yes but this isn't the case with any of Beyonce's songs here. Best Thing I Never Had: June 18, 2011 - October 29, 2011 Drunk In Love: January 4, 2014 - May 17, 2014 Partition: January 25, 2015 - June 14, 2014 7/11: December 13, 2014 - April 25, 2014 Sorry: May 14, 2016 - September 24, 2016 7/11 counts as all one year because the 2015 tracking period was from December 6 2014 to November 2015. So all of Beyonce's songs included here do in fact tell the whole story. Mi Gente is the only one that doesn't and that's a bit of a different story because that was a case of her using her popularity to inflate further a song that was already a hit to begin with. |
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Post by Baby Yoda Hot100Fan on Apr 25, 2019 15:22:37 GMT -5
Another interesting one:
Thursday, April 25, 2019
Our only national Top 40 station has thrown down the gauntlet. Kid Kelly’s decision to add three singles from Darkroom/Interscope’s Billie Eilish simultaneously at SiriusXM’s Hits 1 is, as far as we know, unprecedented for any Pop format—and an index of how radically the music world is changing.
Adding three tracks from any artist would be extraordinary, let alone an act who’s never had a hit before and never had callout.
Multiple songs by one act can blow up on the streaming platforms, and it doesn’t matter if the artist in question has had hits before. But radio has been another matter—at least until now. Republic’s killer promo staff has worked scrupulously to get two records on the air at a time from stars like Ariana Grande and Post Malone. They’ve done a yeoman’s job. But this happened only after these artists were already proven successes at Pop.
Billie is huge, and she’s only getting bigger. So maybe the callout problems her songs have been facing deserve about the same consideration as the callout that said “Shallow” from A Star Is Born wasn’t a hit. The callout is wrong.
Maybe both the callout research companies and the consultants who tell stations to be tighter and later are the ones who need to adjust.
It’s a new day. No Kidding.
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badrobot
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Post by badrobot on Apr 25, 2019 22:12:06 GMT -5
Another interesting one:
Thursday, April 25, 2019 Our only national Top 40 station has thrown down the gauntlet. Kid Kelly’s decision to add three singles from Darkroom/Interscope’s Billie Eilish simultaneously at SiriusXM’s Hits 1 is, as far as we know, unprecedented for any Pop format—and an index of how radically the music world is changing.
Adding three tracks from any artist would be extraordinary, let alone an act who’s never had a hit before and never had callout.
Multiple songs by one act can blow up on the streaming platforms, and it doesn’t matter if the artist in question has had hits before. But radio has been another matter—at least until now. Republic’s killer promo staff has worked scrupulously to get two records on the air at a time from stars like Ariana Grande and Post Malone. They’ve done a yeoman’s job. But this happened only after these artists were already proven successes at Pop.
Billie is huge, and she’s only getting bigger. So maybe the callout problems her songs have been facing deserve about the same consideration as the callout that said “Shallow” from A Star Is Born wasn’t a hit. The callout is wrong.
Maybe both the callout research companies and the consultants who tell stations to be tighter and later are the ones who need to adjust.
It’s a new day. No Kidding.
Possibly dumb question but which 3 songs? Bad Guy, when the party’s over, and.... bury a friend? |
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Enigma.
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Post by Enigma. on Apr 26, 2019 2:28:04 GMT -5
The Spotify #'s indicate another 17-ish % drop for OTR in streaming numbers so it's not unbeatable by any means. Interesting to watch what Taylor/Brendon can do next week.
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jayhawk1117
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Post by jayhawk1117 on Apr 26, 2019 7:39:24 GMT -5
The Spotify #'s indicate another 17-ish % drop for OTR in streaming numbers so it's not unbeatable by any means. Interesting to watch what Taylor/Brendon can do next week. With OTR dropping to closer to 700, I think she can easily get it for at least a week tbh. Her last debuts easily eclipsed that amount but I won't be positive til we get spotify numbers |
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tallen2001
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Post by tallen2001 on Apr 26, 2019 7:55:21 GMT -5
The Spotify #'s indicate another 17-ish % drop for OTR in streaming numbers so it's not unbeatable by any means. Interesting to watch what Taylor/Brendon can do next week. With OTR dropping to closer to 700, I think she can easily get it for at least a week tbh. Her last debuts easily eclipsed that amount but I won't be positive til we get spotify numbers I imagine it’ll get big numbers since it’s the first song on Today’s Top Hits on Spotify. Plus she’s got 28m views in 8 hours on YT and is already #1 on iTunes. |
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jayhawk1117
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Post by jayhawk1117 on Apr 26, 2019 8:02:58 GMT -5
Maybe back to back 100k singles 🤷🏾♂️
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Post by Baby Yoda Hot100Fan on Apr 26, 2019 9:47:27 GMT -5
Possibly dumb question but which 3 songs? Bad Guy, when the party’s over, and.... bury a friend?
I found a Billboard article that specifically mentioned you should see me in a crown. I guess when the party’s over is definitely another one and the final one would probably be either Lovely or Ocean Eyes.
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Post by Baby Yoda Hot100Fan on Apr 26, 2019 10:03:12 GMT -5
kworb's Billboard Radio Songs Estimates 2019/04/26
1(=) Jonas Brothers - Sucker 134.15(+0.73)
2(=) Sam Smith & Normani - Dancing with a Stranger 124.07(+0.22)
3(=) Halsey - Without Me 109.24(-0.73)
4(=) Ariana Grande - 7 rings 106.09(-0.18) 5(=) Post Malone - Wow. 100.97(-0.16)
6(+1) Ava Max - Sweet but Psycho 100.05(+1.11)
7(-1) benny blanco, Halsey & Khalid - Eastside 99.22(+0.02)
8(+1) Ariana Grande - break up with your girlfriend, i'm bored 95.17(+0.83)
9(-1) Panic! At the Disco - High Hopes 95.00(-0.61)
10(+1) Lady Gaga & Bradley Cooper - Shallow 90.71(-0.44)
14(+1) Lil Nas X - Old Town Road (feat. Billy Ray Cyrus) [Remix] 69.66(+2.69) 23(=) Chase Rice - Eyes On You 57.21(+1.02) 26(=) Eli Young Band - Love Ain't 51.32(+1.01) 27(=) Khalid - Talk 50.88(+1.33) 48(+9) Daddy Yankee & Katy Perry - Con Calma (feat. Snow) [Remix] 34.65(+2.71)
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yuh yuh
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Post by yuh yuh on Apr 26, 2019 10:14:24 GMT -5
Yas at Ariana having two songs in the top 10 and Talk also rising!
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chartfreak
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Post by chartfreak on Apr 26, 2019 12:56:27 GMT -5
So correct me if I'm wrong, but Taylor will be on Monday's chart in the lower regions based on airplay right? 3 station alone here in Detroit playing every hour.
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HolidayGuy
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Post by HolidayGuy on Apr 26, 2019 13:11:34 GMT -5
^Possibly so.
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Choco
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Post by Choco on Apr 26, 2019 13:17:38 GMT -5
I hope TSwift can take #1, even if it's just a single week.
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jayhawk1117
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Post by jayhawk1117 on Apr 26, 2019 13:25:27 GMT -5
I hope TSwift can take #1, even if it's just a single week. we won't know until spotify comes out tbh. But if sales are an indicator then she'll easily grab the top spot |
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Choco
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Post by Choco on Apr 26, 2019 13:28:52 GMT -5
I hope TSwift can take #1, even if it's just a single week. we won't know until spotify comes out tbh. But if sales are an indicator then she'll easily grab the top spot Maybe, but the iTunes performance could easily be very frontloaded. It's way more important that it finishes the week at least close to OTR's streaming total. |
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Post by Baby Yoda Hot100Fan on Apr 26, 2019 16:10:54 GMT -5
Hits Daily Double's Streaming Songs chart has been updated with the following information:
LW TW Streams % Change
3 2 BILLIE EILISH-BAD GUY 19,660,154 -6% 2 4 LIL UZI VERT-SANGUINE PARADISE 17,081,595 -7%
They are clearly acknowledging their numbers were off for the latter last week but still they didn't adjust those positions to reflect the change.
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Enigma.
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Post by Enigma. on Apr 26, 2019 16:25:37 GMT -5
HDD Streaming Songs Chart
Chart Date: 04/26/2019 (WEEK ENDING: 04/25/2019)
MARKETSHARE: UMG 53% SME 23% WMG 21% OTHER 3%
LW TW Artist / Album Label Streams % Change
1 1
LIL NAS X FEAT. BILLY RAY CYRUS
OLD TOWN ROAD
COLUMBIA 52,879,797 -16%
3 2
BILLIE EILISH
BAD GUY
DARKROOM/INTERSCOPE 19,660,154 -6%
5 3
POST MALONE FEAT. SWAE LEE
SUNFLOWER
REPUBLIC 18,360,574 6%
2 4
LIL UZI VERT
SANGUINE PARADISE
GENERATION NOW/ATLANTIC 17,081,595 -7%
4 5
POST MALONE
WOW.
REPUBLIC 17,071,149 -2%
6 6 J. COLE
MIDDLE CHILD
ROC NATION/INTERSCOPE 16,002,390 0%
8 7 KHALID
TALK
RIGHT HAND MUSIC/RCA 14,815,144 1%
7 8 MEEK MILL FEAT. DRAKE
GOING BAD
ATLANTIC 13,520,331 2%
10 9 YNW MELLY
MURDER ON MY MIND
P2019 13,494,403 4%
9 10 ARIANA GRANDE
7 RINGS
REPUBLIC 13,047,030 0%
11 11 A BOOGIE WIT DA HOODIE FEAT. 6IX9INE
SWERVIN
ATLANTIC 12,966,625 3%
20 12 DABABY
SUGE
INTERSCOPE 11,476,915 16%
14 13 KHALID
BETTER
RIGHT HAND MUSIC/RCA 11,354,300 -6%
15 14 BILLIE EILISH
BURY A FRIEND
DARKROOM/INTERSCOPE 11,295,114 -3%
16 15 HALSEY
WITHOUT ME
CAPITOL 11,160,650 5%
18 16 CALBOY
ENVY ME
PAPER GANG 10,917,589 7%
19 17 MUSTARD & MIGOS
PURE WATER
QUALITY CONTROL/MOTOWN/CAPITOL 10,803,019 4%
24 18 JONAS BROTHERS
SUCKER
REPUBLIC 10,357,083 3%
23 19 YNW MELLY FEAT. KANYE WEST
MIXED PERSONALITIES
P2019 10,332,538 5%
17 20 LIL BABY & GUNNA
DRIP TOO HARD
QUALITY CONTROL/MOTOWN/CAPITOL 10,327,756 0%
34 21 POLO G FEAT. LIL TJAY
POP OUT
COLUMBIA 10,197,410 30%
26 22 JUICE WRLD
ROBBERY
GRADE A/INTERSCOPE 9,935,800 2%
25 23 BLUEFACE
THOTIANA
5TH AMENDMENT/EONE 9,872,411 0%
22 24 BILLIE EILISH
WHEN THE PARTY'S OVER
DARKROOM/INTERSCOPE 9,871,129 0%
21 25 BILLIE EILISH
WISH YOU WERE GAY
DARKROOM/INTERSCOPE 9,517,501 -6%
13 26 NIPSEY HUSSLE FEAT. RODDY RICCH & HIT-BOY
RACKS IN THE MIDDLE
ATLANTIC 9,507,765 -18%
27 27 21 SAVAGE FEAT. J. COLE
A LOT
SLAUGHTER GANG/EPIC 9,323,638 0%
35 28 CITY GIRLS
ACT UP
QUALITY CONTROL/MOTOWN/CAPITOL 9,238,305 15%
28 29 TRAVIS SCOTT
SICKO MODE
CACATUS JACK/GRAND HUSTLE/EPIC 9,205,777 6%
36 30 MARSHMELLO & BASTILLE
HAPPIER
ASTRALWERKS/JOYTIME COLLECTIVE/CAPITOL 8,909,459 8%
29 31 ARIANA GRANDE
BREAK UP WITH YOUR GIRLFRIEND, I'M BORED
REPUBLIC 8,850,159 -1%
30 32 A BOOGIE WIT DA HOODIE
LOOK BACK AT IT
ATLANTIC 8,758,910 4%
12 33 BTS FEAT. HALSEY
BOY WITH LUV
BIGHIT/COLUMBIA 8,491,140 -29%
31 34 ARIANA GRANDE
THANK U, NEXT
REPUBLIC 8,390,296 2%
-- 35 LIL DICKY
EARTH
BMG/COMMISSION 8,258,666 --
41 36 BENNY BLANCO, HALSEY & KHALID
EASTSIDE
INTERSCOPE 7,980,544 6%
-- 37 LIL UZI VERT
THAT'S A RACK
GENERATION NOW/ATLANTIC 7,907,911 --
42 38 POST MALONE
BETTER NOW
REPUBLIC 7,880,020 10%
37 39 YK OSIRIS
WORTH IT
DEF JAM 7,877,788 9%
32 40 CARDI B & BRUNO MARS
PLEASE ME
ATLANTIC 7,754,237 -7%
33 41 SAM SMITH & NORMANI
DANCING WITH A STRANGER
CAPITOL 7,551,314 -4%
47 42 SKI MASK THE SLUMP GOD
FAUCET FAILURE
VICTOR VICTOR/REPUBLIC 7,536,020 9%
45 43 LUKE COMBS
BEAUTIFUL CRAZY
RIVER HOUSE/COLUMBIA NASHVILLE 7,479,760 5%
43 44 LADY GAGA & BRADLEY COOPER
SHALLOW
INTERSCOPE 7,388,763 6%
39 45 BILLIE EILISH
YOU SHOULD SEE ME IN A CROWN
DARKROOM/INTERSCOPE 7,371,432 -2%
-- 46 AVICII FEAT. ALOE BLACC
SOS
AVICII MUSIC AB/ GEFFEN 7,327,583 --
50 47 JUICE WRLD
LUCID DREAMS (FORGET ME)
GRADE A/INTERSCOPE 7,059,982 8%
-- 48 NLE CHOPPA
SHOTTA FLOW
NO LOVE 6,941,177 --
38 49 BILLIE EILISH
MY STRANGE ADDICTION
DARKROOM/INTERSCOPE 6,842,120 -8%
-- 50 BILLIE EILISH W/ KHALID
LOVELY
DARKROOM/INTERSCOPE 6,808,188
Big gain for Act Up!
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