Billboard Hot 100: 04/20/2024

[wavey.]

Apr 10, 2024 17:15:26 GMT -5 neel said:

Whether you like it or not, Aubrey Graham is the king of Billboard, and we should all bow down as chart-watchers and support our king even if his dominance has to do with streaming becoming a major form of music consumption since 2015.

Our revered king has shattered every conceivable record on the Billboard Hot 100. Who else but only THE Aubrey Graham has a song that either peaked or debuted at nearly every position on our cherished chart? Lord Aubrey’s supremacy extends beyond the all-genre chart to every R&B/Hip Hop or Urban metric chart, where he holds the most #1s, Top 10s, entries, and etc. The list of our revered lord’s triumphs could go on and on.

So whether you consider his songs "hits" or not, you cannot deny the unprecedented and astounding achievements of the one and only Aubrey Graham, especially 15 years into his illustrious career.

YOU BETTA GAG!!!

[Baby Yoda Hot100Fan]

[Deleted]

Apr 10, 2024 8:43:14 GMT -5 jenglisbe said:

Apr 10, 2024 2:57:25 GMT -5 @stateofgrace said:

Cowboy Carter is decreasing faster than expected. A shame. It's just so good

I think it's held on better than expected to this point in that it's a style that doesn't necessarily cater to her usual fan base, and then the style of music that forms the basis of it isn't necessarily welcome to Beyonce. So, the fact that it's been received as well as it has and has held on at all is great to me.

I would say nowadays Beyonce is the pull and not the genre or sound she's doing.

[dremolus - solarpunk]

US Spotify - 04/09/24

1(=) Hozier - Too Sweet 3,350,345-3,225,819 (+124,526)
2(=) Future, Metro Boomin, Kendrick Lamar - Like That 2,832,275 (+100,004)
3(=) Artemas - i like the way you kiss me 1,835,717 (+56,079)
4(=) Kanye West, Ty Dolla $ign - CARNIVAL 1,585,214 (+71,140)
5(+1) Benson Boone - Beautiful Things 1,551,501 (+136,677) (+10%)
6(-1) Djo - End of Beginning 1,459,437 (+36,368)
7(+1) Future, Metro Boomin, Travis Scott, Playboi Carti - Type Shit 1,437,938 (+83,791)
8(-1) Ariana Grande - we can't be friends (wait for your love) 1,411,311 (+56,902)
9(=) Zach Bryan, Kacey Musgraves - I Remember Everything 1,329,873 (+35,611)
10(=) Noah Kahan - Stick Season 1,325,087 (+37,517)

Beyoncé - COWBOY CARTER [6/27]
17(-1) TEXAS HOLD EM 991,341 (+11,410)
34(-1) II MOST WANTED 731,384 (+10,814)
55(+1) BODYGUARD 583,990 (+11,879)
70(-6) LEVII'S JEANS 535,587 (-2,310)
99(-9) JOLENE 453,770 (-16,024)
136(=) YA YA 408,885 (+1,784)
Total Twelfth Day Streams: 3,704,957 (-8%)

J. Cole - Might Delete Later [6/12]
21(-9) 7 Minute Drill 928,742 (-195,797) (-17%)
32(-9) Crocodile Tearz 772,264 (-52,968)
56(-13) Huntin' Wabbitz 579,464 (-83,390) (-13%)
76(-26) H.Y.B. 512,379 (-91,724) (-15%)
102(-39) Pricey 448,801 (-92,502)
161(-70) Ready '24 376,463 (-90,858)
Total Fifth Day Streams: 3,618,113 (-41%)

Other:
11(+3) SZA - Saturn 1,225,252 (+82,789)
12(+2) Teddy Swims - Lose Control 1,072,846 (+29,600)
13(+2) Michael Marcagi - Scared to Start 1,062,510 (+45,126) *NEW PEAK*
14(+3) Dasha - Austin 1,035,490 (+75,698) *NEW PEAK*
15(-2) Travis Scott, Playboi Carti - FE!N 1,026,374 (-49,160)
16(+2) 21 Savage - redrum 991,754 (+39,385)
18(+1) FloyyMenor, Cris Mj - Gata Only 971,784 (+66,917) *NEW PEAK*
19(+3) Benson Boone - Slow It Down 965,094 (+94,966) (+11%) *NEW PEAK*
20(=) Bryson Tiller - Whatever She Wants 930,057 (+47,467)
22(-1) Tate McRae - greedy 915,198 (+36,938)
23(+1) Future, Metro Boomin, Travis Scott - Cinderella 866,735 (+41,869)
24(+3) Taylor Swift - Cruel Summer 827,375 (+28,081)
26(+2) Sexyy Red - Get It Sexyy 807,369 (+27,724)
28(+9) Chapell Roan - Good Luck, Babe! 793,066 (+104,412) (+15%) *NEW PEAK*
29(+2) Olivia Rodrigo - obsessed 783,663 (+45,662)
30(-1) Rich Amiri - ONE CALL 783,112 (+12,774)
35(+4) Jack Harlow - Lovin On Me 719,406 (+38,207)
36(+4) BigXthaPlug - Mmhmm 715,834 (+43,861) *NEW PEAK*
37(-5) GloRilla, Megan Thee Stallion - Wanna Be 704,706 (-17,793)
38(+9) Good Neighbors - Home 696,378 (+48,795)
39(+5) Sabrina Carpenter - Feather 694,781 (+43,460)
41(+1) Luke Combs - Where the Wild Things Are 688,415 (+24,978) *NEW PEAK*
42(+4) Xavi - La Diabla 687,909 (+39,008)
43(+5) Xavi - Corazón de Piedra 686,503 (+56,457)
44(-3) ILLIT - Magnetic 678,623 (+13,983)
45(=) Ritchy Mitch & The Coal Miners - Evergreen 634,482 (-16,338)
46(+12) Lay Bankz - Tell Ur Girlfriend 632,072 (+63,835) (+11%) *NEW PEAK*
48(+6) Don Toliver - Bandit 611,170 (+28,404)
50(+5) Artemas - if u think i'm pretty 602,024 (+25,329) *NEW PEAK*
51(+2) Flo Milli - Never Lose Me 600,308 (+16,129)
53(+6) d4vd - Feel It 597,766 (+35,460) *NEW PEAK*
57(+3) The Weeknd, JENNIE, Lily-Rose Depp - One of the Girls 576,622 (+21,936)
58(+8) Jessie Murph, Jelly Roll - Wild Ones 571,642 (+34,474)
59(+17) Benson Boone - Cry 568,484 (+53,680) (+10%)
60(+7) Future, Metro Boomin - We Don't Trust You 565,713 (+29,670)
63(+10) Peso Pluma, Tito Double P, Joel De La P - LA PEOPLE II 547,464 (+25,417)
65(+7) Ariana Grande - the boy is mine 544,233 (+21,661)
67(-6) Zach Bryan - Heading South 540,491 (-7,568)
68(+11) Dominic Fike - Babydoll 537,806 (+25,100) *NEW PEAK*
71(-3) TV Girl - Lovers Rock la 535,221 (+5,940)
72(+6) Future, Metro Boomin - Young Metro 532,707 (+18,985)
74(+3) Yeat - Breathe 523,622 (+9,337)
75(+6) BigXthaPlug - Back On My BS 518,502 (+22,939) *NEW PEAK*
77(+30) G-Eazy, Christoph Andersson - Lady Killers II (Christoph Andersson Remix) 511,813 (+69,083) (+16%)
79(+6) Fuerza Regida - TÚ NAME 507,938 (+32,161)
81(+1) Tucker Wetmore - Wind Up Missin' You 506,217 (+21,003) *NEW PEAK*
83(+16) Chappell Roan - Red Wine Supernova 495,428 (+46,410) (+10%) *NEW PEAK*
84(-4) Zach Bryan - Sun to Me 494,398 (-16,647)
85(+3) Tyla - Water 494,059 (+20,552)
87(-38) Bill Withers - Ain't No Sunshine 488,529 (-134,235) (-22%)
89(+19) Mark Ambor - Belong Together 480,099 (+39,592) *NEW PEAK*
91(+14) Olivia Rodrigo - so american 474,847 (+31,467)
93(+11) $uicideboy$ - Us Vs. Them 465,987 (+21,011)
94(+15) Jungle - Back On 74 463,981 (+24,738) *NEW PEAK*
95(-1) Xavi - La Victima 462,855 (+4,659)
98(+3) 4batz, Drake - act ii: date @ 8 Remix 455,473 (+8,059)

103(-1) TV Girl - Not Allowed 448,512 (+2,237)
105(+8) Noah Kahan - Northern Attitude 447,935 (+20,745)
108(+3) YG Marley - Praise Jah in the Moonlight 442,182 (+13,136)
113(+15) Ariana Grande - yes, and? 431,503 (+19,008)
115(+19) Dylan Gossett - Coal 429,991 (+21,248)
121(-2) GloRilla - Yeah Glo! 425,207 (+6,296)
122(+24) The Red Clay Strays - Wondering Why 423,306 (+26,128)
127(-44) Camila Cabello, Playboi Carti - I LUV IT 416,903 (-62,699) (-13%)
128(+3) Ariana Grande - intro (end of the world) 416,367 (+5,365)
129(+1) Morgan Wallen, Eric Church - Man Made A Bar 416,016 (+4,939)
135(+26) Tate McRae - exes 409,419 (+34,455)
142(+12) Arctic Monkeys - I Wanna Be Yours 398,997 (+17,655)
144(+27) Ole 60 - smoke & a light 395,676 (+24,424)
149(+10) Bryan Martin - We Ride 386,905 (+10,301)
156(+10) Ariana Grande - bye 381,085 (+7,249)
157(+29) Dua Lipa - Training Season 380,569 (+24,376)
163(+25) 4batz - act ii: date @ 8 373,866 (+18,375)
165(-8) Doja Cat - OKLOSER 373,791 (-4,030)
166(+23) Khalid - Please Don't Fall in Love With Me 372,574 (+19,723)
169(RE) Natanael Cano, Oscar Maydon - Madonna 372,251
170(RE) Myke Towers - LA FALDA 371,688
171(+19) Ariana Grande - eternal sunshine 370,615 (+18,124)
173(RE) Chayce Beckham - 23 370,344
175(+19) Doja Cat, Teezo Touchdown - MASC 368,181 (+17,005)
177(DEBUT) Bakar, Summer Walker - Hell N Back Remix 367,840
182(+13) Muni Long - Made For Me 366,416 (+15,796)
185(RE) Dua Lipa - Houdini 365,288
196(RE) Key Glock - Let's Go 357,695
199(RE) Tucker Wetmore - Wine Into Whiskey 355,549

Total Streams for act ii: date @ 8: 829,339 (would be #24 with combined streams)

Biggest Gains (50K+): Lady Killers II (Christoph Andersson Remix), Cry, Tell Ur Girlfriend, Corazón de Piedra, Good Luck Babe!, Slow It Down, Gata Only, Austin, Saturn, we can't be friends (wait for your love), Type Shit, Beautiful Things, CARNIVAL, Like That, i like the way you kiss me, Like That, Too Sweet

[jayhawk1117]

Not sure what this means for the charts but Taylor’s music is back on TikTok…

[mms82]

Apr 11, 2024 8:44:45 GMT -5 jayhawk1117 said:

Not sure what this means for the charts but Taylor’s music is back on TikTok…

Cruel Summer coming back for an 8th wind

[Baby Yoda Hot100Fan]

kworb's Billboard Radio Songs Estimates « 2024 » / « 04 » / « 11 »

1(=) Teddy Swims - Lose Control 78.42(+0.27) -
2(=) Jack Harlow - Lovin On Me 72.28(-0.52)
3(=) Doja Cat - Agora Hills 71.95(+1.01)
4(=) Benson Boone - Beautiful Things 63.61(+1.14)
5(=) Tate McRae - greedy 56.62(+0.09)
6(=) Beyoncé - TEXAS HOLD 'EM 54.76(-0.09) -
7(=) Sabrina Carpenter - Feather 53.84(-0.11)
8(=) Tyla - Water 50.93(-1.39)
9(=) Luke Combs - Fast Car 50.64(+0.33)
10(=) Taylor Swift - Cruel Summer 49.97(+0.29)

15(+1) Sam Hunt - Outskirts 41.85(+0.78)

29(=) Ariana Grande - we can't be friends (wait for your love) 30.68(+0.73)

-(-) Hozier - Too Sweet 5.02(+0.76)

[Baby Yoda Hot100Fan]

Apr 11, 2024 8:44:45 GMT -5 jayhawk1117 said:

Not sure what this means for the charts but Taylor’s music is back on TikTok…

Taylor Swift’s Catalog Is Back on TikTok Ahead of New Album

4/11/2024

By Kristin Robinson

Much of Taylor Swift‘s discography is back on TikTok on Thursday (April 11), returning a little over a week before the anticipated release of her new album, The Tortured Poets Department, due out April 19.

Official audio for hits like “All Too Well (10 Minute Version) (Taylor’s Version),” “Cruel Summer” and “Style (Taylor’s Version)” are among the songs now available for users to make videos with on the short-form app. It appears that there are no official audio for Swift’s songs released before her album Lover, meaning the original recordings from Fearless, Speak Now and Red — recorded for the Big Machine record label — are not available, though her recent re-recordings of those albums are.

Swift’s catalog was pulled from TikTok at the start of February after the parent company for her record label and publisher, Universal Music Group, announced that it was letting its licensing agreement with TikTok lapse, citing that the app was not willing to pay for the “fair value” of music, as well as other concerns like AI and artist safety. That affected songs by many of music’s biggest stars, including Swift, Drake, SZA, Olivia Rodrigo and more, who all have recording and/or publishing contracts with the company.

For Swift, the ownership of her Big Machine catalog has been the subject of much conversation in recent years. Her first six albums — covering her self-titled debut in 2006 through 2017’s Reputation — were sold to Scooter Braun in 2019 after the manager and entrepreneur’s Ithaca Holdings acquired Big Machine in a deal worth more than $300 million.

That sparked a backlash from Swift, who vowed to re-record each of those albums in order to re-release them and own the recordings herself; she has since released “Taylor’s Version” re-recordings of Fearless, Red, Speak Now and 1989. In 2018, Swift signed a deal with UMG to license her future recordings to Republic Records, and has since released four additional albums through that deal, the copyrights to which she also owns. While it’s unclear why her recordings are back on TikTok, it’s notable that the tracks that she owns are the ones that are available.

In a letter to its artists on Jan. 30 explaining the licensing spat, UMG wrote, “With respect to the issue of artist and songwriter compensation, TikTok proposed paying our artists and songwriters at a rate that is a fraction of the rate that similarly situated major social platforms pay.”

TikTok fired back at UMG’s announcement hours later, saying, “It is sad and disappointing that Universal Music Group has put their own greed above the interests of their artists and songwriters.”

In addition to her label deal with Republic Records, Swift has been signed to Universal Music Publishing Group (UMPG) as a songwriter since 2020; previously, she was signed to Sony Music Publishing as a songwriter. Her frequent collaborator, Jack Antonoff, was also signed to Sony Music Publishing until he switched to UMPG in August 2023.

[Music Fan]

I'm confused, why is only Taylor's music back on TikTok?

[Baby Yoda Hot100Fan]

^Well, as the article I posted mentioned, it has to do with her upcoming album release. She probably negotiated with TikTok directly bypassing UMG.

[Deleted]

Apr 11, 2024 11:57:22 GMT -5 Music Fan said:

I'm confused, why is only Taylor's music back on TikTok?

What Taylor wants, Taylor gets!

[kcdawg13]

Apr 11, 2024 11:57:22 GMT -5 Music Fan said:

I'm confused, why is only Taylor's music back on TikTok?

Now all the Twitter Swifties can stop calling everyone else's music TikTok-driven

[bat1990]

Apr 10, 2024 15:14:38 GMT -5 Rose "Payola" Nylund said:

That's understandable and I don't really disagree. I think it emphasizes the importance of contextualizing the numbers while also acknowledging the landscape of the charts now in comparison to decades ago. But it's probably worth noting that radio's impact isn't as strong as it used to be. Radio doesn't make hits like it used to and aren't really a leader in what's popular as much as struggling to follow trends by playing what's already big. (Country remains the exception to this, and probably other genre-specific formats as well). So, songs that were big hits in the 70s, 80s and 90s, that had strong radio support and that were also big sellers, award-winners, etc, did so because they were omnipresent. People had little choice but to hear them so the audience reach of big hits was gauranteed. Nowadays, the way people consume music has changed that. Songs aren't as omnipresent as they used to be. Audiences are more segmented and based on demographics. For me, as someone who still actively seeks out new music, there are songs that have reached #1 in recent years on both the Hot 100 and CHR/Pop's Top 40 that I don't know or wouldn't recognize. I don't seek to avoid hearing them. They're just not in my periphery. Most are undoubtedly hits, but they don't have the presence they once had.

I think the goal is less around making something a universal hit that everyone will hear and more about making a song that will reach a target audience and be a 'hit' within that demographic. The way charts are measured now are based around listening habits, which has also changed since the 2000s and before, because people no longer rely on radio as much, streaming has taken over, and the limitations of single-releases or availability of digital singles no longer applies. Album eras don't last as long so there's an emphasis on the push in that first week of available. The definition of what a hit is has evolved to meet those changes, but also, the need to have a hit or hits versus an 'album bomb' is also probably a priority now where it wasn't one before. Now we have songs reach #1 (by Drake, or whoever - Ariana and Justin Bieber's duet that reached #1, etc) that aren't really known by a lot of people, but they do so as part of album bombs on the charts, and there's value in that too, but it's still a newer concept.

So I guess going back to the point I made before. The charts present us what the numbers are saying. How we interpret them is where the discussion matters. Taylor can have the Top 20 songs on the Hot 100 in 3 weeks from now. Numbers one to twenty. That's an epic album bomb, but it doesn't necessarily mean she adds 20 new hits to her collection, which likely wouldn't have been the goal anyway.

This is extremely eloquent and I agree with all of it.

I just wanted to add a thought I've had about measuring hits, at least since the addition of streaming to the Billboard charts (and maybe before).

I been toying with the idea of measuring hits by how long they charted as a proxy. Not just on the Hot 100, but across all radio formats, streaming charts, recurrent charts, etc. Because I feel like if something endures, it's more indicative of larger amounts the general public recognizing it. This would be even easier in some ways if a bunch of us could go in together on an (expensive) Mediabase account and then crunch lots of data, but that's just the data nerd in me.

[Choco]

She probably negotiated herself since she owns the recordings. It's why nothing pre-Lover appears. Very smart of her since The Eras Tour is about to re-start and the new album is coming.

[Music Fan]

I get Taylor is a powerhouse — but also why she is the musician who likely will still do millions without TikTok. So, this seems a bit selfish of Taylor to do, no? If she negotiated a better deal than what UMG was hoping for its artists doesn’t that essentially fuck the other artists over?

[Az Paynter]

She could always try leveraging her power against TikTok the same way she did against Spotify - "either you do this same deal for everyone or I will fuck right back off again, screw you."

[Choco]

Honestly I don't think TikTok struggled much without UMG music these past few weeks. It's not solely a music streaming app so it doesn't really rely on these acts like Apple Music or Spotify do. It's why they allowed the entire UMG catalogue to vanish, which would have killed other apps instantly. But TikTok? There's still plenty of content there and I'd argue it's UMG that's actually losing money.

Also this couldn't have happened without some sort of UMG approval. They profit from her masters for a few years if I recall correctly (i.e. she might own them in the long run but they get to profit for several years before she has to renew their deal, I think), and recent stuff like 1989 TV (let alone something unreleased like TTPD), they probably have to approve in some way.

[Deleted]

Apr 10, 2024 15:14:38 GMT -5 Rose "Payola" Nylund said:

Apr 10, 2024 12:10:02 GMT -5 @pikandru said:

I will admit I’m pretty “old school” when it comes to what a true hit should look like to me. I think it should be big on both radio and sales/streaming (the former for pre-streaming era) for multiple weeks at least. I think that’s how you get maximum awareness and tons of casual listeners/mainstream audience knowing the song. As opposed to what it seems Drake does quite often where his (big) fandom fuels a lot of charting songs for a short time, and very few others outside of that group seem likely to know these “hits.” Even with someone like Taylor, that’s more of a recent thing that kind of just started with Midnights. Most of her other top tens before that are ones meeting those hit standards I mentioned.

Not that I’m saying that’s always the case with Drake obviously. Like One Dance, God’s Plan, Nice for What etc are just a few of several where of course I would say they seem like bonafide hits. I just feel he has significantly less of those than all of the other biggest artists ever he’s with in the chart records. Someone like Mariah… what maybe 1 of her number ones we can say wasn’t a bonafide big hit that reached a massive audience at the time (TGIFY)? Some of it is obviously my perception I’m sure, but what I’m really getting at is the amount of the public outside of the core fans who know these songs/will remember them. I just think the metrics I mentioned are the best way to guesstimate that (strength and longevity on streaming and radio).

That's understandable and I don't really disagree. I think it emphasizes the importance of contextualizing the numbers while also acknowledging the landscape of the charts now in comparison to decades ago. But it's probably worth noting that radio's impact isn't as strong as it used to be. Radio doesn't make hits like it used to and aren't really a leader in what's popular as much as struggling to follow trends by playing what's already big. (Country remains the exception to this, and probably other genre-specific formats as well). So, songs that were big hits in the 70s, 80s and 90s, that had strong radio support and that were also big sellers, award-winners, etc, did so because they were omnipresent. People had little choice but to hear them so the audience reach of big hits was gauranteed. Nowadays, the way people consume music has changed that. Songs aren't as omnipresent as they used to be. Audiences are more segmented and based on demographics. For me, as someone who still actively seeks out new music, there are songs that have reached #1 in recent years on both the Hot 100 and CHR/Pop's Top 40 that I don't know or wouldn't recognize. I don't seek to avoid hearing them. They're just not in my periphery. Most are undoubtedly hits, but they don't have the presence they once had.

I think the goal is less around making something a universal hit that everyone will hear and more about making a song that will reach a target audience and be a 'hit' within that demographic. The way charts are measured now are based around listening habits, which has also changed since the 2000s and before, because people no longer rely on radio as much, streaming has taken over, and the limitations of single-releases or availability of digital singles no longer applies. Album eras don't last as long so there's an emphasis on the push in that first week of available. The definition of what a hit is has evolved to meet those changes, but also, the need to have a hit or hits versus an 'album bomb' is also probably a priority now where it wasn't one before. Now we have songs reach #1 (by Drake, or whoever - Ariana and Justin Bieber's duet that reached #1, etc) that aren't really known by a lot of people, but they do so as part of album bombs on the charts, and there's value in that too, but it's still a newer concept.

So I guess going back to the point I made before. The charts present us what the numbers are saying. How we interpret them is where the discussion matters. Taylor can have the Top 20 songs on the Hot 100 in 3 weeks from now. Numbers one to twenty. That's an epic album bomb, but it doesn't necessarily mean she adds 20 new hits to her collection, which likely wouldn't have been the goal anyway.

I was perusing the hot 100 #1s on Wikipedia after reading your post, and it’s wild to me that there is exactly one from each of the 00s and 10s decade I don’t know like the back of my hand, vs a whopping 28 I counted from this decade so far I don’t know well (or even at all). Mainstream music has definitely changed, and I don’t think it’s all just because I’m getting older either since I’m still big on actively seeking out new music.

[Baby Yoda Hot100Fan]

[renfield75]

Apr 11, 2024 17:35:53 GMT -5 @pikandru said:

I was perusing the hot 100 #1s on Wikipedia after reading your post, and it’s wild to me that there is exactly one from each of the 00s and 10s decade I don’t know like the back of my hand, vs a whopping 28 I counted from this decade so far I don’t know well (or even at all). Mainstream music has definitely changed, and I don’t think it’s all just because I’m getting older either since I’m still big on actively seeking out new music.

Well now I have to ask what the 2 songs from the 00s and 10s you didn't know were.

[Deleted]

Apr 11, 2024 19:43:42 GMT -5 renfield75 said:

Apr 11, 2024 17:35:53 GMT -5 @pikandru said:

I was perusing the hot 100 #1s on Wikipedia after reading your post, and it’s wild to me that there is exactly one from each of the 00s and 10s decade I don’t know like the back of my hand, vs a whopping 28 I counted from this decade so far I don’t know well (or even at all). Mainstream music has definitely changed, and I don’t think it’s all just because I’m getting older either since I’m still big on actively seeking out new music.

Well now I have to ask what the 2 songs from the 00s and 10s you didn't know were.

I don’t know Clay Aiken’s This is the Night (and don’t remember Laffy Taffy super well), and I don’t know Desiigner’s Panda very well. Really do know all the rest quite well though looking at the list.

Edit: take that back, I do know that Panda song after listening again… I had basically wiped it from memory lol. So 1 from 00s I don’t know and 1 from 00s I very vaguely know then.

[stormlover74]

Apr 11, 2024 19:59:28 GMT -5 @pikandru said:

Apr 11, 2024 19:43:42 GMT -5 renfield75 said:

Well now I have to ask what the 2 songs from the 00s and 10s you didn't know were.

I don’t know Clay Aiken’s This is the Night (and don’t remember Laffy Taffy super well), and I don’t know Desiigner’s Panda very well. Really do know all the rest quite well though looking at the list.

Edit: take that back, I do know that Panda song after listening again… I had basically wiped it from memory lol. So 1 from 00s I don’t know and 1 from 00s I very vaguely know then.

Clay's song got very little radio airplay

[jenglisbe]

Apr 11, 2024 17:35:53 GMT -5 @pikandru said:

I was perusing the hot 100 #1s on Wikipedia after reading your post, and it’s wild to me that there is exactly one from each of the 00s and 10s decade I don’t know like the back of my hand, vs a whopping 28 I counted from this decade so far I don’t know well (or even at all). Mainstream music has definitely changed, and I don’t think it’s all just because I’m getting older either since I’m still big on actively seeking out new music.

What are the platforms you use to seek out new music? I'd contend that one "issue" in the 2020s that might keep people from knowing all of the hits is that songs can become known in so many ways and people might not utilize all of those things. A lot of songs become known on TikTok, so if a person doesn't use TikTok much they may not know those songs. Some songs are still popular at radio, of course. Other songs are popular on Spotify, which can be different from what catches on at Apple Music. So, if you aren't active on a specific streaming platform, you may miss those songs. I guess there are also still songs that rise via iTunes/sales, though those are of course few and far between (and usually have at least one other metric where they have impact).

[wavey.]

Suprisngly, I've been discovering alot of music on IG Reels.

[KeepDeanWeird]

Christmas Music is probably the only *universal* popular music that left.

[sportytheartist]

Apr 11, 2024 20:53:24 GMT -5 wavey. said:

Suprisngly, I've been discovering alot of music on IG Reels.

I watch more IG reels than Tiktok tbh, I heard “I like the way you kiss me” on there earlier today.

[Deleted]

Apr 11, 2024 20:34:47 GMT -5 jenglisbe said:

Apr 11, 2024 17:35:53 GMT -5 @pikandru said:

I was perusing the hot 100 #1s on Wikipedia after reading your post, and it’s wild to me that there is exactly one from each of the 00s and 10s decade I don’t know like the back of my hand, vs a whopping 28 I counted from this decade so far I don’t know well (or even at all). Mainstream music has definitely changed, and I don’t think it’s all just because I’m getting older either since I’m still big on actively seeking out new music.

What are the platforms you use to seek out new music? I'd contend that one "issue" in the 2020s that might keep people from knowing all of the hits is that songs can become known in so many ways and people might not utilize all of those things. A lot of songs become known on TikTok, so if a person doesn't use TikTok much they may not know those songs. Some songs are still popular at radio, of course. Other songs are popular on Spotify, which can be different from what catches on at Apple Music. So, if you aren't active on a specific streaming platform, you may miss those songs. I guess there are also still songs that rise via iTunes/sales, though those are of course few and far between (and usually have at least one other metric where they have impact).

Yeah, I actively try to avoid TikTok (though don’t always succeed) so that could be part of it. I will maintain that a lot of these songs just don’t seem like they have the widespread staying power of the hot 100 number ones we used to get though. Due to what’s already been stated about more audience segmentation and the nature of streaming I’m sure.

[avamaxstan]

Apr 11, 2024 22:34:15 GMT -5 @pikandru said:

Apr 11, 2024 20:34:47 GMT -5 jenglisbe said:

What are the platforms you use to seek out new music? I'd contend that one "issue" in the 2020s that might keep people from knowing all of the hits is that songs can become known in so many ways and people might not utilize all of those things. A lot of songs become known on TikTok, so if a person doesn't use TikTok much they may not know those songs. Some songs are still popular at radio, of course. Other songs are popular on Spotify, which can be different from what catches on at Apple Music. So, if you aren't active on a specific streaming platform, you may miss those songs. I guess there are also still songs that rise via iTunes/sales, though those are of course few and far between (and usually have at least one other metric where they have impact).

Yeah, I actively try to avoid TikTok (though don’t always succeed) so that could be part of it. I will maintain that a lot of these songs just don’t seem like they have the widespread staying power of the hot 100 number ones we used to get though. Due to what’s already been stated about more audience segmentation and the nature of streaming I’m sure.

It feels that way because of the death of monoculture.

[iHype.]

If we're talking #1's these days not being as 'known' I think it mainly it just has to do with the fact from 2000 to 2017~ you *needed* decent radio airplay to go #1 vast majority of the time (even the American Idol #1's were tied a program being watched by nearly the entire country and talked about endlessly in media for weeks). Now it is game for any album track, A-list artist return single, etc to go #1 without any radio play whatsoever. 

In addition, radio doesn't react to charts or first-week consumption as much as it used to. So a song can go #1 without any radio play, and then still not receive any attention in the following weeks or ever chart on radio. Essentially it was only ever known/exposed to/checked out by the artist's core fanbase.

Songs can just way easily go #1 and then you'll never hear them on radio, in malls/stores, etc. Not that its a bad thing, but by default that means the average listener is less likely to ever hear them. Majority of the #1's this decade you never heard are more than likely the BTS #1 debuts, Travis Scott #1 debuts, MAGA-protest songs, Drake #1 album cuts, etc. 

[Deleted]

Apr 11, 2024 14:21:28 GMT -5 Music Fan said:

I get Taylor is a powerhouse — but also why she is the musician who likely will still do millions without TikTok. So, this seems a bit selfish of Taylor to do, no? If she negotiated a better deal than what UMG was hoping for its artists doesn’t that essentially fuck the other artists over?

Well maybe since last time she tried to take a stand for artist rights, no one backed her up and instead got called greedy, she decided to be a bit selfish this time around. Good for her. That takes guts!