Billboard Hot 100: 12/18/2021

[Choco]

Dec 8, 2021 1:19:37 GMT -5 fridayteenage said:

Can't Remember to Forget You, a classic, did eh in the US but globally is one of the biggest videos for both of them.

How so? It got sampled here in Latin America because it was Shakira but it had no legs whatsoever For a Rih track it also did poorly. Dare is the one song people remember from that era thx World Cup.

[jenglisbe]

Dec 8, 2021 0:04:01 GMT -5 Rose "Payola" Nylund said:

Telephone wasn't a #1 hit but I'd say it was pretty successful overall otherwise. In no way would I put it as an underperformer at all, especially if you consider that it would have been measured as a bigger hit if Billboard tracked video views when it came out.

He mostly just said it wasn't a huge #1, which is true. It's not among the biggest 5 songs for either artist, so I do think it's an example of how just because two huge stars collaborate, it doesn't mean it will be a record-breaker.

[phieaglesfan712]

Dec 8, 2021 6:47:10 GMT -5 Limited Edition said:

This new song by The Weeknd seems to be taking off. Currently #15 on Global Apple Music. I wonder if it will become a big hit in 2022 🤔

Just ramping up for one final run at dethroning CITW 1997 as the all-time biggest song on the United World Chart after the holidays.

[magik]

Dec 8, 2021 9:54:57 GMT -5 jenglisbe said:

Dec 8, 2021 0:04:01 GMT -5 Rose "Payola" Nylund said:

Telephone wasn't a #1 hit but I'd say it was pretty successful overall otherwise. In no way would I put it as an underperformer at all, especially if you consider that it would have been measured as a bigger hit if Billboard tracked video views when it came out.

He mostly just said it wasn't a huge #1, which is true. It's not among the biggest 5 songs for either artist, so I do think it's an example of how just because two huge stars collaborate, it doesn't mean it will be a record-breaker.

Exactly my point. It wasn't a record-breaker, and I'm sure the label expected something even bigger than a #3 peak.

[Baby Yoda Hot100Fan]

Keep in mind that the changes amount to two days' worth given the flawed update yesterday.

Billboard Radio Songs Estimates | « 2021 » / « 12 » / « 08 »

1(=) Adele - Easy On Me 102.11(+0.29)
2(=) The Kid LAROI & Justin Bieber - STAY 99.70(-1.03)
3(=) Doja Cat - Need To Know 73.75(+0.44)
4(=) Lil Nas X & Jack Harlow - INDUSTRY BABY 72.11(-0.63)
5(=) Glass Animals - Heat Waves 67.17(+2.16)
6(=) Ed Sheeran - Shivers 65.33(+0.99)
7(=) Ed Sheeran - Bad Habits 63.14(-0.69)
8(=) Måneskin - Beggin 53.63(-2.03)
9(=) Wizkid - Essence f/Tems 52.99(-1.34)

10(=) Elton John & Dua Lipa - Cold Heart (PNAU Remix) 50.22(+0.45) +

11(+1) Dustin Lynch - Thinking 'Bout You (feat. MacKenzie Porter) 47.37(+0.87)

13(+3) Bruno Mars, Anderson .Paak & Silk Sonic - Smokin Out The Window 44.98(+2.67)

24(+1) Chloe - Have Mercy 37.35(+1.04)

31(+1) Chris Stapleton - You Should Probably Leave 31.77 +1.05 

34(+3) Ckay - Love Nwantiti (Ah Ah Ah) 29.56(+1.11)

43(+3) Morgan Wallen - Sand In My Boots 25.73(+1.22)

51(+8) Adele - Oh My God 23.29(+3.69)

53(+3) Taylor Swift - Message In A Bottle (Taylor's Version) 22.16(+1.49)

88(+9) Ari Lennox - Pressure 13.25(+1.08)

-(-) Mary J. Blige - Good Morning Gorgeous 5.88(+1.56)

-(-) GAYLE - abcdefu 3.80(+1.04)

-(-) Ed Sheeran & Elton John - Merry Christmas 3.46(+1.86) +

-(-) Sech & Dj Khaled - Borracho 1.69(+1.37) ++

[Rose "Payola" Nylund]

Dec 8, 2021 9:54:57 GMT -5 jenglisbe said:

Dec 8, 2021 0:04:01 GMT -5 Rose "Payola" Nylund said:

Telephone wasn't a #1 hit but I'd say it was pretty successful overall otherwise. In no way would I put it as an underperformer at all, especially if you consider that it would have been measured as a bigger hit if Billboard tracked video views when it came out.

He mostly just said it wasn't a huge #1, which is true. It's not among the biggest 5 songs for either artist, so I do think it's an example of how just because two huge stars collaborate, it doesn't mean it will be a record-breaker.

Nah, he said it wasn’t big in the US, which isn’t accurate. But otherwise, yes.

[magik]

Whatever term you want to use, it's up to you. But "Telephone" still wasn't one of the top 10 biggest songs that year in the States, and I'm sure it's one of those collaborations that you would think would have been a multi-week #1 smash based off the artists involved, but it wasn't. Sure, it was successful, but it still wasn't a "The Boy is Mine" or even a "California Gurls" or anything like that. So, my point stands.

[Baby Yoda Hot100Fan]

Five Burning Questions: Dua Lipa, The Weeknd & More Dominate the Year-End Hot 100

12/7/2021

By Billboard Staff

How well do hits from Dua Lipa and The Weeknd define the year that was? 

Last Thursday, Billboard put a cap on the year that was with the release of the 2021 year-end charts — aggregating metrics for each artist, title, label and music contributor on the weekly charts dated Nov. 21, 2020, through Nov. 13, 2021, and reflecting equivalent album units, airplay, sales or streaming during the weeks that the titles appeared on a respective chart during the tracking year, based on info from MRC Data.

Arguably the main event of year-end chart season, the year-end Billboard Hot 100 was topped for the first time in 20 years by a song that did not rule the Hot 100 at any point on the weekly rankings: Dua Lipa’s “Levitating,” which topped out at No. 2 in May. It was followed by two songs from The Weeknd originally found on his 2020 blockbuster set After Hours, “Save Your Tears” (in its duet version with Ariana Grande) at No. 2 and “Blinding Lights” (which also topped the 2020 year-end Hot 100 and was recently named the No. 1 Hot 100 single of all-time) at No. 3. The top 5 is rounded out by 24kGoldn’s “Mood,” featuring iann dior, at No. 4, and Olivia Rodrigo’s “Good 4 U” at No. 5.

How appropriate a year-end No. 1 is “Levitating”? And who might dominate the year-end Hot 100 listing for 2022? Billboard staffers discuss these questions and more below.

1. Dua Lipa’s “Levitating” closes the year as our No. 1 Hot 100 song. On a scale from 1-10, how appropriate a 2021 representative do you think the song is as the top hit of the year?

Lyndsey Havens: 10. For better and worse, it has two key components of a 2021 hit: it arrived at the peak of the pandemic, offering sweet relief in the form of a bouncy, dance floor-ready escapist anthem (“If you want to run away with me, I know a galaxy and I can take you for a ride,” sings Lipa), and it had a brief encounter with controversy thanks to its remix featuring DaBaby, who this year was pulled from several festival performances following homophobic remarks. But what helped launch this song to the top of our year-end tally is the swift course-correction from team Lipa (who condemned the rapper’s words), radio programmers (who reverted to playing the original version) and fans (who pleaded for Lipa to remove DaBaby altogether) that saved it from plummeting — and helped it continue to levitate all these months later.

Jason Lipshutz: A 7. After Dua Lipa helped kick off the nu-disco movement last year — a year in which we all needed to dance the lockdown away — with Future Nostalgia, the trend has persisted in 2021 in hits like “Butter” by BTS and “Kiss Me More” by Doja Cat and SZA, as well as on The Weeknd’s various retro-leaning smashes. Meanwhile, “Levitating” became a radio juggernaut this year, and overtook hits like “Don’t Start Now” and “New Rules” to become Lipa’s signature song, a testament to both her new standing as a pop A-lister as well as a cultural moment in need of some carefree tunes.

Kristin Robinson: I was tempted to say it was not representative because “Levitating” came out in 2020, but this is actually in line with what MRC Data noted in its mid-year report this year. According to MRC Data, 66.4% of total album consumption in the US is made up of music released over 18 months prior to when the user pressed play. Though “Levitating” wasn’t quite that old for most of 2021, it still falls in line with that trend which was up significantly from 60.8% of so-called “catalog” listening from MRC’s mid-year report in 2018. For this reason, I’d give “Levitating” a 6 on the scale of appropriateness.

Andrew Unterberger: 6. Obviously the song was massive all year — rare was the hour of 2021 you could flip channels and not hear it somewhere — but its disco flavorings did make a little more sense in 2020, when it was flanked on the airwaves by similarly strobe-lit hits from Doja Cat, Harry Styles and Lady Gaga & Ariana Grande. As The Weeknd found with the slightly underwhelming (by his stratospheric standards) reception to this year’s “Take My Breath,” the ’79 flashbacks didn’t always play quite as well in ’21.

Christine Werthman: If every Olivia Rodrigo song is a 10 on the 2021 representative scale, Dua Lipa’s “Levitating” is a 6. It’s solidly a 2020 song, considering the album and remix release dates (The Blessed Madonna in August 2020 and DaBaby in October 2020), but it remained top of mind — and in the top 40 — for much of 2021, thanks to the Grammys performance with DaBaby in March and a healthy TikTok boost. “Levitating” spent 41 weeks in the top 10, only reaching its No. 2 peak in May of this year. Though it never reached No. 1, it played the long game ,and hit the top spot when it mattered. The metrics make sense, but it’s still a surprise. I look forward to losing a round of trivia one day when asked what the No. 1 song of 2021 was and putting down “Drivers License.”

2. The Weeknd has two of the three biggest hits of the year with “Blinding Lights” (No. 3) and “Save Your Tears” (No. 2) — both songs whose chart runs started prior to 2021. Which artist do you think could have a major impact on the 2022 year-end chart with songs that are already out (or will be out by the end of the year)? 

Lyndsey Havens: Yes “All Too Well (Taylor’s Version)” is 10 minutes long, and yet that hasn’t stopped me from playing it repeatedly — and I don’t imagine tiring of it any time soon. I imagine Swift’s stans feel even more confident in that assessment, allowing me to believe it has a chance of having a major impact on the 2022 year-end chart. But perhaps the more obvious example here is Adele with “Easy On Me,” which holds its top spot on the Hot 100 this week for a sixth frame — and is starting to become a dominant force at radio, too.

Jason Lipshutz: The most obvious answer is Adele, right? Considering that the Hot 100 reign of “Easy On Me” isn’t letting up, and that 30 has just arrived with a handful of potential singles to carry into 2022, I wouldn’t be surprised to see multiple Adele songs in the top 10 of next year’s year-end Hot 100. Let the cultural domination of “Can I Get It” commence!

Kristin Robinson: I think Olivia Rodrigo and Lil Nas X still have some hits up their sleeve to pivot to. Rodrigo’s Geffen label could continue to push “Traitor” and “Brutal” from Rodrigo’s SOUR in the new year, and Lil Nas X’s “SCOOP” featuring radio queen Doja Cat could still have some legs. Speaking of, I also wouldn’t count Doja Cat out for pulling more radio singles from Planet Her.

Andrew Unterberger: His album isn’t even out yet, but let’s not forget that the last time Roddy Ricch released a full-length project at the end of a calendar year — Please Excuse Me For Being Antisocial in Dec. 2019 — it ended up having an enormous chart impact on the next year’s charts, including Hot 100-topper “The Box” finishing at No. 3 on the 2020 year-end listing. With sophomore set Live Life Fast due on Dec. 17, it would hardly be shocking to see the star rapper do so again for 2022.

Christine Werthman: Adele will rule the 2022 year-end chart. All 12 songs from 30 are currently on the Hot 100, and the 12-week, 24-show Las Vegas residency she just announced that kicks off in January is going to keep the momentum going.

3. Is there a song on this year-end Hot 100 whose ranking feels surprisingly low to you, given how big an impact you felt it had on the year?

Lyndsey Havens: Tate McRae’s “You Broke Me First” (No. 37) and Gabby Barrett with Charlie Puth’s “I Hope” (No. 40) both feel as though they have been unavoidable hits for a long time; as such, I thought the length of time since their release would benefit their year-end chart placement a bit more. Also, as a huge Billie Eilish fan, I’m slightly surprised to see “Happier Than Ever” come in at No. 94 (?!). While I’m led to believe timing worked against the track (it arrived halfway through the year), along with the less-than-conventional song structure, I thought Eilish’s star power and the way in which “Happier” riffs off the popularized pop-rock sound that dominated the year would have given it more of a boost.

Jason Lipshutz: “My Ex’s Best Friend” by Machine Gun Kelly and blackbear may come in at No. 23 on the year-end tally; part of the reason why it’s outside of the top 20 in 2021 can be chalked up to its release way back in August 2020. Yet you’d be hard-pressed to find a hit as impactful to the sonic DNA of popular music as “Ex,” a pop-punk anthem informed by hip-hop production that is already serving as a blueprint to a new generation of rock-crossover hopefuls. Meanwhile, Machine Gun Kelly is an A-list musical act at this point — and that’s not solely due to “My Ex’s Best Friend,” but his biggest hit is a big reason for that.

Kristin Robinson: “Beggin’” by Maneskin! This song enjoyed such massive success on pop radio and its hook was etched in my brain. Though its success was in the latter part of 2021, it felt so ubiquitous. I wouldn’t expect that to rank lower than the yawn-worthy Justin Bieber single “Lonely.” I also think “Essence” at No. 60 is quite surprising. I suppose the Bieber boost came a little later in the year (August 2021), but this was another song which had an indelible impact on music in 2021. I expected it in be in the top 30 at least.

Andrew Unterberger: No shame in coming in at No. 8 on a year-end Hot 100, certainly — but from the moment it began skyrocketing upon launch in January, I would’ve bet the farm on “Drivers License” ending up the year-end No. 1. Fact is, though that song burned as bright as any other song this year, it didn’t quite burn as long as some of 2021’s other crossover smashes — possibly due to Rodrigo herself putting it in her rearview, with the release of a couple harder-edged and similarly successful follow-ups.

Christine Werthman: I thought that Billie Eilish’s “Happier Than Ever” would’ve been higher than No. 94. It came out alongside a video the same day as her sophomore album of the same name, on July 30, 2021, and it now has nearly 118 million views. Granted, “Therefore I Am,” which is No. 25 on this year-end list, has been out since November 2020, and the video currently has more than 188 million views, so perhaps “Happier” just didn’t have enough time to cook.

4. Outside of the couple Weeknd songs, are there any songs whose presence on the list seems unbelievable, because it feels like they came out a decade ago at this point? 

Lyndsey Havens: “You Broke Me First” definitely fits into this category for me, as does “Mood” by 24kGoldn and Iann Dior. But kudos to these teens for crafting such sticky hits that might just be able to stand the test of time.

Jason Lipshutz: Two Pop Smoke songs from 2020 appearing in the top 40 of the 2021 year-end Hot 100 is almost as mind-boggling as… his 2020 posthumous album, Shoot For the Stars Aim For the Moon, cracking the top 10 of the 2021 year-end Billboard 200 chart. We’ve arguably never seen a posthumous album resonate the way that this one has over the past year-and-a-half, and while “What You Know Bout Love” and “For The Night” feel like they’re from a long-distant past at this point (especially considering the fact that a second posthumous Pop Smoke album, Faith, came out this year), they remained inescapable on hip-hop radio in 2021.

Kristin Robinson: I’m surprised “Lemonade” by Internet Money maintained the No. 51 spot on the list in 2021. It came out in the summer of 2020, and I thought its virality and buzz mostly went down by the end of last year. I guess this is just a testament to how good that Don Toliver hook is (and perhaps how little I paid attention to the song’s ongoing success)!

Andrew Unterberger: If you asked me which song came out first, Ava Max’s “Kings and Queens” or 30 Seconds to Mars’ “Kings and Queens”… I’d say Ava Max. But I’d have to think about it for a second.

Christine Werthman: Going to go with No. 97, “Throat Baby (Go Baby).” Truly thought for a minute that that came out in 2019, when in fact BRS Kash released it in July 2020.

5. Just looking at the list’s top 10 or top 20 songs at a glance, do you think they tell you anything interesting about the current state of pop music on the whole — or at least where it’s been the past 12 months?

Lyndsey Havens: To me, the top 10 indicates pop music’s prioritizing of danceable, retro-synth hits (“Levitating,” “Blinding Lights”), smart songwriting and big bridges (“Drivers License,” “Leave the Door Open”) and rock riffs as a song’s backbone (“Mood,” “Good 4 U”). While I think the desire to dance may fade a bit into 2022 — as we continue to receive all the songs about how artists really felt through the pandemic — that will crack open a need for continued vulnerability in lyrics, which oddly enough is a staple in many of pop-punk’s biggest hits… a genre I think we’ll be seeing even more of into the new year.

Jason Lipshutz: The year-end top 20 lays out exactly how much R&B is impacting popular music right now. Daniel Caesar, Giveon, SZA and Anderson .Paak were all major parts of songs that finished in the top 10 of 2021; Ariana Grande’s Positions album opted for a more rhythmic direction and yielded two of the biggest hits of the year; and down the list a little, a straight-ahead R&B single like Giveon’s “Heartbreak Anniversary” becoming the 31st biggest song of 2021 suggests that these songs don’t necessarily have to interlope with pop to cross over. This is an exciting moment for R&B fans, and I’m guessing it will continue into 2022.

Kristin Robinson: Like I said in my first answer, catalog streaming (streaming songs that are over 18 months old) is certainly a growing trend and this list reflects that. In my opinion, this is partially fueled by increased nostalgia during a tough pandemic year, but I also think the streaming era just allows users to explore all kinds of music, including older cuts, way easier than before.

Andrew Unterberger: Stars have always ruled the day on the Hot 100, but it feels like perhaps more than in recent memory, pop’s walls are up at the highest levels to the fluky, one-off smashes. Of the 20 highest songs on the year-end chart this year, only three are by artists you wouldn’t necessarily call reliable pop hitmakers at this point — “Mood” (24kGoldn & iann dior) at No. 4, “Heat Waves” (Glass Animals) at No. 16, and “Astronaut in the Ocean” (Masked Wolf) at No. 20. TikTok has had some success in making top 40 a little more accessible for less-established artists — and indeed, all three of those songs listed benefited from its influence heavily — but for the gatekeepers at radio and streaming, it’s still proven stars who come first, second and third.

Christine Werthman: Last year, we had Roddy Ricch’s “The Box,” DaBaby feat. Roddy Ricch’s “Rockstar” and Future feat. Drake’s “Life Is Good” all in the top 10, but this year, there’s not a track up there that I’d point to and call the definitive Hot 100 rap single of the year. I don’t think this is a sign that rap is losing steam, but I do think it shows that listeners were more drawn to music with a gentler, sing-songy vibe, like on “Kiss Me More,” “Peaches” and “Mood.” The only songs in the top 10 that really break with that are “Drivers License” and “Good 4 U,” one a ballad and the other a pop-punk revival, and both coming from the same artist. But Roddy Ricch is releasing his sophomore album this month, so maybe he will usher in a grand rap return in 2022.

[gikem]

I love how members of a nerdy music forum understand how Billboard's Year-End Hot 100 works better than Billboard's own staff members (granted, there's a good chance those who were interviewed are not at all involved in the points calculation process and that it's handled by a completely different division that doesn't really interact with them much).

[Rose "Payola" Nylund]

Dec 8, 2021 13:14:40 GMT -5 magik said:

Whatever term you want to use, it's up to you. But "Telephone" still wasn't one of the top 10 biggest songs that year in the States, and I'm sure it's one of those collaborations that you would think would have been a multi-week #1 smash based off the artists involved, but it wasn't. Sure, it was successful, but it still wasn't a "The Boy is Mine" or even a "California Gurls" or anything like that. So, my point stands.

Not to make this side-topic any more than it needs to be (and I don’t intend to argue) but my point toward the song is that I think it did better than credit is given for it. If it were released today with all the same situation and response it has back in 2010, it quite likely would have posted better results because video views would count now whereas then they didn’t. The reason why its performance on paper is what it is is because of how Billboard tabulated its charts. Consider, for example, WAP, which on paper was a significant hit, but a lot of its popularity came with the music video. If video views weren’t counted for the Hot 100 now still, would WAP have been seen as the major hit it is? This is why to me context is important and why it’s important to remember that Billboard is only one of many ways to determine popularity and success. Songs like Friday and Gangnam Style didn’t have the benefit that recent video-fueled hits like WAP or MONTERO had. I think Telephone was another example of that, where it had the support of a medium that was more-or-less ahead of its time, and wouldn’t be included in the Hot 100 for a couple more years. If Billboard had video views in place, presumably Telephone would have been a number one, then it wouldn’t appear to be in any way a disappointment. I’m betting all those involved (artists, label) were pleased with the outcome, despite Billboard.

[Santa Claus]

lmao those Billboard staffers are so salty about Levitating being #1

[shayonce]

Telephone was big enough if you think about context.

it was second single off The Fame Monster. released after Album.
and her album sales exploded to new level with re-release/EP
The Fame sold 1.65M til re-release then re-release + EP sold 1.4M in two months til Telephone release.


not to mention zero performance. so there was no capitalization of big collab.
If it was released as lead with all that promotion gaga did back then...

[iHype.]

Telephone is one of the cases where a superstar collaboration was a legitimate big hit. Sure most would have probably expected #1, but it was also still a big hit. The better example would be “Video Phone” remix which bombed and did nothing ultimately. Superstar collabs have a spotty track record and overall seem more likely than not to meet expectations.

The biggest example of a superstar collab measuring to expectations would obviously be “One Sweet Day”, but as I said, even when they do meet expectations they still seem to be forgotten in the long run. OSD certainly isn’t as widely remembered as it should be with that charting, and both artists have a handful of more memorable 90s hits. It’s also the least remembered hit from that album like “The Girl Is Mine”.

[Ｓｏｕｎｄｃｌ🕤ｃｋ]

I'd add Love The Way You Lie and The Monster to the list of successful collabs between huge artists.

[jenglisbe]

There have definitely been huge superstar collaborations ("Endless Love" is another), but there have also been many that underperformed or even flopped. I think the general point is simply that two or more huge artists collaborating isn't a guarantee of a big hit or of a quality collaboration.

[lazer]

People say an upcoming superstar collab gonna be a hit and pulling a surprised pikachu face when it underperforms.

[iHype.]

Also a rapper/popstar collab where one sings the chorus and the other raps is obviously a safer bet.

Two big singers doing a collab is another thing. Yeah I would expect a Drake/Weeknd collab to be a hit before a Weeknd/Ed or Weeknd/Bruno song.

[Envoirment]

Dec 8, 2021 0:04:01 GMT -5 Rose "Payola" Nylund said:

Telephone wasn't a #1 hit but I'd say it was pretty successful overall otherwise. In no way would I put it as an underperformer at all, especially if you consider that it would have been measured as a bigger hit if Billboard tracked video views when it came out.

It's a shame video views weren't counted until 2013. "Bad Romance" and "Telephone" would've been #1s and "Alejandro" might have also peaked at #1 during video release week. The singles for Born This Way would've also likely had higher peaks and more longevity too.

[Enigma.]

The Weeknd has done enough underperforming collabos this year, don't you think? Let's wait until 2022 before we wish for the next. It's 4 weeks, we can do it!

[jenglisbe]

Dec 8, 2021 15:41:26 GMT -5 Envoirment said:

Dec 8, 2021 0:04:01 GMT -5 Rose "Payola" Nylund said:

Telephone wasn't a #1 hit but I'd say it was pretty successful overall otherwise. In no way would I put it as an underperformer at all, especially if you consider that it would have been measured as a bigger hit if Billboard tracked video views when it came out.

It's a shame video views weren't counted until 2013. "Bad Romance" and "Telephone" would've been #1s and "Alejandro" might have also peaked at #1 during video release week. The singles for Born This Way would've also likely had higher peaks and more longevity too.

What took them so long? They had a Videoclips chart as far back as at least 2008, so they had data for videos for at least 5 years before that info was included?!

[ontopofthis]

Dec 8, 2021 6:45:02 GMT -5 thegreatdivine said:

^ I wouldn't write Post Malone off just yet but he's a very singles-inclined artist and after some considerable time away, he returned and so far, he's 0/2 with his singles. I'm sure him and his management are worried why the songs aren't connecting and doing well like usual.

Considerable time away? He did not release music for a year. SZA is dominating with her new releases, and she went three years + without putting out a new song as the lead artist. She does not get even a fraction of the play listing or airplay that he receives either. 

His song with The Weeknd got a huge push, but it is still not hitting. They are most surely worrying about that. I believe that he has just become the next Katy Perry. There are just a new batch of people (Jack Harlow, Laroi) who are filling the void that originally made him popular, and he is not attracting those same people because he has become way too cheesy to them 

[joshtheking]

I Hate U is such a vibe. Hope its current streaming traction means it'll be one of the biggest hits of 2022, radio better not do it dirty like Good Days!

[jenglisbe]

Dec 8, 2021 16:03:55 GMT -5 joshtheking said:

I Hate U is such a vibe. Hope its current streaming traction means it'll be one of the biggest hits of 2022, radio better not do it dirty like Good Days!

Sirius radio loves it. It was on when I parked for tennis, and then it was on when I got back in my Jeep after tennis!

[iHype.]

Dec 8, 2021 15:46:25 GMT -5 jenglisbe said:

Dec 8, 2021 15:41:26 GMT -5 Envoirment said:

It's a shame video views weren't counted until 2013. "Bad Romance" and "Telephone" would've been #1s and "Alejandro" might have also peaked at #1 during video release week. The singles for Born This Way would've also likely had higher peaks and more longevity too.

What took them so long? They had a Videoclips chart as far back as at least 2008, so they had data for videos for at least 5 years before that info was included?!

Billboard did include streaming/video views on Hot 100 in 2007. It was AOL Music & Yahoo! Music, which were huge outlets for viewing music videos online at that point. Those are what powered the Hot Videoclips chart. Sometimes music videos would get upward of a million streams in a week. 

YouTube was still developing in the 2000s, and music videos were either uploaded by on a label's YouTube or unofficially uploaded from users. VEVO didn't come until the end of 2009, where it centralized music videos on YouTube and made it the go-to platform for viewing music videos. 

Nielsen didn't start tracking YouTube views until 2011 I believe. I'm not sure there would've been a good/sufficient system in place perhaps to track YouTube streams prior to 2010, back when music on the site was really user driven. 

[degen]

For every The Boy Is Mine and One Sweet Day, there is a When You Believe or Me Against The Music. Two superstars joining forces is never a guarantee. Yes, it actually does come down to if the song is good or not.

[JukeboxJacob]

They were still inexcusably late to adding YT views to the chart (it's been brought up multiple times but Gangnam Style NOT being #1 perfectly spotlighted the stupidity). Just like how TikTok should be incorporated into the chart now

[JukeboxJacob]

On another topic, I heard Oh My God on FM radio and what a BOP!! Yes I skimmed thru it when the album dropped, but this was my first time hearing the full song thru. I didn't realize how much of a jam it is! My Mom really enjoyed it too (I kinda use her as my gage to determine if a song appeals to the older generations).

Earlier I predicted it'll be a lower top 10 hit but now I think it has top 3 potential

[kingvavis]

Dec 8, 2021 15:23:02 GMT -5 iHype. said:

Also a rapper/popstar collab where one sings the chorus and the other raps is obviously a safer bet.

Two big singers doing a collab is another thing. Yeah I would expect a Drake/Weeknd collab to be a hit before a Weeknd/Ed or Weeknd/Bruno song.

I remember 2010/2011 used to have so many these types of songs like Love The Way You Lie, Nothin On You, Airplanes, Billionaire, Magic, Rocketeer, Stereo Hearts, etc.

[Deleted]

Dec 8, 2021 17:13:15 GMT -5 JukeboxJacob said:

They were still inexcusably late to adding YT views to the chart (it's been brought up multiple times but Gangnam Style NOT being #1 perfectly spotlighted the stupidity). Just like how TikTok should be incorporated into the chart now

Why should TikTok be incorporated into the charts? Aren't all music clips on that app 7 seconds or 30 seconds long, instead of the full song like is the case for YouTube?

[thegreatdivine]

Dec 8, 2021 15:59:07 GMT -5 ontopofthis said:

Dec 8, 2021 6:45:02 GMT -5 thegreatdivine said:

^ I wouldn't write Post Malone off just yet but he's a very singles-inclined artist and after some considerable time away, he returned and so far, he's 0/2 with his singles. I'm sure him and his management are worried why the songs aren't connecting and doing well like usual.

Considerable time away? He did not release music for a year. SZA is dominating with her new releases, and she went three years + without putting out a new song as the lead artist. She does not get even a fraction of the play listing or airplay that he receives either. 

His song with The Weeknd got a huge push, but it is still not hitting. They are most surely worrying about that. I believe that he has just become the next Katy Perry. There are just a new batch of people (Jack Harlow, Laroi) who are filling the void that originally made him popular, and he is not attracting those same people because he has become way too cheesy to them 

You can't compare Post Malone to SZA. SZA has 1 album to her name. Post Malone has 3 albums that are each bigger than SZA's album, not to talk of singles/album tracks, of which he has multiple bigger than anything SZA has ever dropped.

Good Days and I Hate U were both fan favorites before they dropped. Sure, the GP connected with them after their release, but them being songs fans spent months demanding she drop helped with their solid start on streaming. She also has that "Shirt" song she teased at the end of the Good Days video. That's another song that'll do well on streaming if it ever gets released because it's already gone viral and fans have been asking for it. Hit Different was her proper comeback single and that didn't do anything chart-wise, meanwhile, the fan-favorite songs have. That tells you all you need to know. With that being said, I'm not gonna place SZA above Post Malone because she's just now scoring her second legitimate chart hit as a lead artist.

I'm also not gonna write Post Malone off as over or call him the new Katy Perry because the first two singles from his forthcoming album era haven't performed like his singles usually do. Both songs are some of his worst singles and I can't say his fans/the GP won't connect with something off his next album. I'll have to wait and see how the era goes following the release of his album to reach any conclusions.