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  1. - Los participantes, deben expresar su interés de participar en el juego, inscribiéndose en este tópic. - Cada coleccionista, deberá elegir un cantante para asignar un AVATAR. - Se estima la participación de 10 a 16 participantes como base.* - Las canciones, videos, imágenes, etc, lo que se pida en cada consigna, deberá ser enviada por Mensaje Privado al Host (Así el jurado, no sabrá a quién pertenece cada canción). - El jurado estará compuesto por 5 integrantes, cada uno, a criterio del equipo de moderación de M.I - No se aceptan reemplazos, ni ceder puestos antes o después de alguna eliminación. - Los participantes que no envíen su prueba en el plazo, serán sancionados con menos puntaje, de no enviar en el plazo de prórroga, serán automáticamente eliminados. - En el caso de haber repesca o repechaje, esta será informado con anticipación, y sería a mitad de la competencia. - La escala de evaluación irá de 1 a 10. (*) Puede variar EXs S
  2. BIBLE STUDY: John Amato may have been gone since July, but Billboard hasn’t seen an end to the clusterfuck around its chart calculations. The 6ix9ine-Travis Scott kerfuffle brought a lot to the surface about the Bible’s chart difficulties, notably the lack of transparency among certain entities reporting to Nielsen. The rules of engagement are not the same for all as regards capped streams, with SoundCloud by far the worst offender. Meanwhile, YouTube will probably end up reporting video streams (though not views of user-generated content) to the album chart, weighted in a way that’s comparable to Spotify’s ad-supported tier. Many in the industry are concerned that Lyor will jack the algo to juke his cronies’ chart stats, but there’s also considerable scuttlebutt that he’s probably out. In any event, many wonder how Team Bible continues to get manipulated so easily. Meanwhile, meetings are ongoing between rights holders, the Bible and Nielsen to come up with rules for making the sausage, which Nielsen has thus far been unwilling to explain (or perhaps they’re contractually unable to be forthcoming). It’s believed that parent company Valence Media’s Managing Director, Deanna Brown—one of the grown-ups in the room and widely viewed as smart and capable—is getting into the mix; does she have the macro and micro chops to fix this? http://hitsdailydouble.com/news&id=315080&title=I.B.-BAD-TAKES-ON-FAKE-NEWS ¿Cuáles son tus opiniones al respecto? ¿Qué artistas se verán beneficiados?
  3. - Los participantes, deben expresar su interés de participar en el juego, inscribiéndose en este tópic. - Cada coleccionista, deberá elegir un cantante para asignar un AVATAR. - Se estima la participación de 10 a 16 participantes como base.* - Las canciones, videos, imágenes, etc, lo que se pida en cada consigna, deberá ser enviada por Mensaje Privado al Host (Así el jurado, no sabrá a quién pertenece cada canción). - El jurado estará compuesto por 5 integrantes, cada uno, a criterio del equipo de moderación de M.I - No se aceptan reemplazos, ni ceder puestos antes o después de alguna eliminación. - Los participantes que no envíen su prueba en el plazo, serán sancionados con menos puntaje, de no enviar en el plazo de prórroga, serán automáticamente eliminados. - En el caso de haber repesca o repechaje, esta será informado con anticipación, y sería a mitad de la competencia. - La escala de evaluación irá de 1 a 10. (*) Puede variar
  4. ''Perfect'' - Ed Sheeran & Beyoncé ''Havana'' - Camila Cabello & Young Thug ''God's Plan'' - Drake ''Nice for What - Drake ''This Is America'' - Childish Gambino ''Psycho'' - Post Malone & Ty Dolla Sign ''SAD!'' - XXXTentacion 'I Like It' - Cardi B, Bad Bunny, J Balvin ''In My Feelings'' - Drake ''Girls Like You - Maroon 5 & Cardi B ''Thank U, Next'' - Ariana Grande ''Sicko Mode'' - Travis Scott & Drake ¿Mejor, peor o igual que el 2017? ¿Faltó más diversidad o está bien así? ¿Te importa, te da lo mismo? Diserten
  5. Billboard's 100 Best Songs of 2018: Critics' Picks Top 40 was a strange place in 2018 -- a place where the year's longest-running Billboard No. 1 hit had two chords and zero choruses or obvious hooks, and other No. 1s included a three-movement psych-rap odyssey, an Afrobeat-trap protest song and an R&B celebrity Burn Book ballad. The definition of pop music is always changing, but the last 12 months in particular felt like a transition year, a portent of a future where the music mainstream is close to unrecognizable from the perspective of where we were a decade ago. Luckily, that also made this one of the most exciting years for singles on the charts and in our own personal playlists in recent memory -- one in which the biggest hits were also some of the most challenging and rewarding, and in which the more conventional pop songs that did break through on a massive scale felt fresher than they have in a long time. And of course, below the surface, plenty of fringier artists were creating lesser-heard jams that called back to the since-forgotten past -- or predicted an even more fascinating future. From the "Shallow" to "The Middle" to the highest of "High Hopes," music was captivating at all levels in 2018. Here are the Billboard staff's 100 favorite songs of the year. 1. Cardi B, J Balvin & Bad Bunny, "I Like It" 2. Travis Scott, "Sicko Mode" 3. Ella Mai, "Boo'd Up" 4. Ariana Grande, "Thank U, Next" 5. Drake, "Nice For What" 6. Childish Gambino, "This Is America" 7. Lady Gaga & Bradley Cooper, "Shallow" 8. Troye Sivan, "My My My!" 9. Kacey Musgraves, "High Horse" 10. Zedd, Maren Morris & Grey, "The Middle" 11. Sheck Wes, "Mo Bamba" 12. Calvin Harris & Dua Lipa, "One Kiss" 13. John Mayer, "New Light" 14. Ariana Grande, "No Tears Left to Cry" 15. Kendrick Lamar & SZA, "All the Stars" 16. King Princess, "1950" 17. Bad Bunny feat. Drake, "MIA" 18. Janelle Monáe, "Make Me Feel" 19. Bruno Mars & Cardi B, "Finesse" (Remix) 20. Tyga feat. Offset, "Taste" Listado Completo ---> https://www.billboard.com/articles/events/year-in-music-2018/8489483/best-songs-2018-staff-picks?utm_source=twitter&utm_source=t.co&utm_medium=referral&utm_source=t.co&utm_medium=referral
  6. 50 Best Albums of 2018: Critics' Picks The album's not dead -- it's just evolving. As much as 2018 confirmed us to be living in a streaming-dominated, sales-declining universe, the event album still reigned as paramount: Whether it was the G.O.O.D Music family's streamlined seven-track exercises or the Young Money crew's bloated 20-something-song behemoths, Cardi B's career-solidifying debut or Robyn's breathlessly awaited comeback, Astroworld or Whack World, K.O.D. or K.T.S.E., the album found ways to surprise, to delight, to confound and to enthrall in 2018. Call a time of death on the LP format if you want to, but then don't also call us to complain about all the big-ticket 2018 releases you still have to catch up on before the year's end -- some of which might even be yet to drop. Here are the Billboard's staff 50 favorite albums of 2018. 1. Ariana Grande - Sweetener 2. Cardi B - Invasion of Privacy 3. Kacey Musgraves - Golden Hour 4. Pusha T - Daytona 5. Janelle Monáe - Dirty Computer 6. Various Artists - Black Panther 7. Travis Scott - Astroworld 8. Camila Cabello - Camila 9. J Balvin - Vibras 10. The Carters - Everything Is Love 11. Mitski - Be the Cowboy 12. Robyn - Honey 13. The 1975 - A Brief Inquiry Into Online Relationships 14. Mac Miller - Swimming 15. Drake - Scorpion 16. Kali Uchis - Isolation 17. Rosalía - El Mal Querer 18. Lil Wayne - The Carter V 19. Tierra Whack - Whack World 20. Christine and the Queens - Chris El resto del listado ---> https://www.billboard.com/photos/8489227/best-albums-2018-staff-picks
  7. BLACKPINK Sign With Interscope Records & UMG in Global Partnership With YG Entertainment: Exclusive The foursome is the highest-charting female K-pop act of all time on the Billboard Hot 100. BLACKPINK is officially in everyone's area. Billboard has exclusively learned that the K-pop quartet’s Korean company YG Entertainment has teamed up with Interscope Records in a global partnership for BLACKPINK. The talented foursome will be represented by Interscope and Universal Music Group worldwide, outside of Asia. BLACKPINK’s Square Up album, released in June, debuted at No. 40 on the Billboard 200 chart, while its single “Ddu-Du Ddu-Du” peaked on the Billboard Hot 100 at No. 55, the first song by a K-pop girl group to appear on the chart since an English variant of Wonder Girls’ “Nobody” in 2009. As a result, the group -- Jennie, Jisoo, Rosé and Lisa -- is the highest-charting female K-pop act ever on both of the main Billboard charts. “We will work closely with the biggest music company, Universal Music Group, globally for the successful global debut and promotion of BLACKPINK,” said YG’s chairman and founder Yang Hyun Suk in a statement. “In addition, we will do our best to help other YG artists to break through the North American and European territories as well.” Yang founded YG Entertainment in 1996 and the label has harbored some of the biggest names in South Korea's music industry, including BIGBANG, 2NE1, Wheesung, Gummy, Psy and many others. “We are more than thrilled to begin a partnership with UMG and Interscope,” said Teddy Park, YG’s in-house producer, who has shaped much of BLACKPINK’s sound. “Entertainment today is more global than ever. Music and real talent transcends culture, language, and really has no boundaries. Through this partnership we feel we can truly showcase BLACKPINK’s potential on a grander scale and we look forward to what’s to come.” “BLACKPINK are global superstars in the making,” commented John Janick, chairman and CEO of Interscope Geffen A&M. “The music and visuals are so immediately striking and so different from anything else happening in pop music. We are beyond excited to partner with YG in pursuit of their vision for BLACKPINK world domination.” https://www.billboard.com/articles/columns/pop/8481273/blackpink-interscope-records-umg-global-deal-yg-entertainment?utm_source=twitter&utm_source=t.co&utm_medium=referral&utm_source=t.co&utm_medium=referral
  8. Paloma Mami Joins Sony Music US Latin Roster Chilean singer/songwriter Paloma Mami has joined the Sony Music US Latin roster, Billboard has learned. She was discovered thanks to the viral success of her independently produced single and video “Not Steady.” Paloma, who grew up in New York, had never composed in Spanish but was inspired after listening to the musical arrangement by the producer and Rimas del Balcon co-founder Luciano Espinoza, who fuses dancehall, trap/soul and R&B. “He wrote the first verse and as I listened to it, the words began to flow naturally,” Paloma Mami said in a statement. Nir Seroussi, president of Sony Music US Latin, added: “Thirty seconds into the ‘Not Steady’ video, we knew without a doubt that we’re looking at a star. We can’t wait for the rest of the world to discover Paloma.” With a delicate but powerful voice, Paloma Mami is clear about what she intends to accomplish with her music: “My music is a more elegant urban style, without references to drugs and sex.” https://www.billboard.com/articles/columns/latin/8481219/paloma-mami-sony-music-us-latin-deal?utm_source=twitter&utm_source=foros.fotech.cl&utm_medium=referral
  9. HOT 100 ARGENTINA SEMANA DEL 13 DE OCTUBRE Highlights: 1. Becky G & Paulo Londra - "Cuando Te Besé" 2. Thalía & Natti Natasha - "No Me Acuerdo" 3. Becky G & Natti Natasha - "Sin Pijama" 4. Damas Gratis - "No Te Creas Tan Importante Feat. Viru Kumbieron (En Vivo)" 5. Sebastián Yatra & Mau y Ricky - "Ya No Tiene Novio" 6. Damas Gratis - "Me Vas a Extrañar Feat. Viru Kumbieron (En Vivo)" 7. Ozuna Feat. Manuel Turizo - "Vaina Loca" 8. J Balvin & Zion & Lennox - "No Es Justo" 9. Shakira Feat. Maluma - "Clandestino" 10. Karol G & J Balvin Feat. Nicky Jam - "Mi Cama (Remix)" 11. Daddy Yankee Feat. Becky G, Bad Bunny & Natti Natasha - "Dura (Remix)" 16. Wolfine & Maluma - "Bella (Remix)" 17. Nicky Jam x J Balvin - "X (Equis)" 18. Reik & Maluma - "Amigos Con Derechos" 20. Nio García, Casper Mágico & Bad Bunny Feat. Darell, Nicky Jam & Ozuna - "Te Boté (Remix)" 21. Sofía Reyes Feat. Jason Derülo & De La Ghetto - "1, 2, 3" 23. 6ix9ine Feat. Anuel AA - "BEBE" 24. Maluma - "Mala Mía" 25. Tini & Sebastián Yatra - "Quiero Volver" 27. Luis Fonsi & Karol G Feat. Andrés Torres & Mauricio Rengifo - "Calypso (Remix)" 30. CNCO - "Se Vuelve Loca" 34. Leslie Grace & Becky G & CNCO - "Díganle" 35. Calvin Harris & Sam Smith Feat. Jessie Reyez - "Promises" 38. Lali Feat. Mau & Ricky - "Sin Querer Queriendo" 39. Luis Fonsi & Daddy Yankee Feat. Justin Bieber - "Despacito (Remix)" 41. Cardi B, Bad Bunny & J Balvin - "I Like It" 48. BTS Feat. Nicki Minaj - "IDOL" 52. Maroon 5 - "Girls Like You (ft. Cardi B)" 53. Lali - "Besarte Mucho" 54. Tini Feat. Morat - "Consejo de Amor" 56. Anitta - "Medicina" 58. Jennifer Lopez & Ozuna - "El Anillo (Remix)" 59. Marshmello & Anne-Marie - "FRIENDS" 62. Drake - "In My Feelings" 65. Drake - "Fake Love" 66. Clean Bandit Feat. Demi Lovato - "Solo" 69. Tini Feat. Karol G - "Princesa" 78. Ariana Grande - "No Tears Left to Cry" 79. Maluma - "Marinero" 84. Bebe Rexha - "I'm A Mess" 87. Ricky Martin Feat. Wisin & Yandel - "Fiebre" 92. Thirty Seconds to Mars - "Rescue Me" 93. Abraham Mateo, Yandel & Jennifer Lopez - "Se Acabó El Amor" 98. David Guetta & Sia - "Flames" Chart completo: http://www.billboard.com.ar/chart
  10. At the 2018 Grammys, the showdown most people predicted would dominate the evening -- Kendrick Lamar vs. Ed Sheeran -- never materialized. Sheeran was shut out of the major categories, while Lamar lost out to Bruno Mars, who ended up taking home album, song and record of the year -- a sweep met with much criticism from watchers who believed the year was better defined by Lamar’s widely acclaimed, politically charged releases. This not-unfamiliar pattern revealed a fundamental Grammys truth: The show’s biggest tension will always be between its attempts to modernize and the biases and established patterns of its long history. So this year, we look to the names likely to appear in the newly expanded Big Four categories and wonder what narrative they will tell about the current state of the Grammys’ moves toward greater inclusion, accuracy and relevance. Already, the best new artist race has attracted attention: Cardi B and Post Malone, two of the past year’s biggest stars, are reportedly ineligible (though they could figure in other major categories). Will hip-hop finally have its day at the show, thanks to big-ticket releases from names like Drake, The Carters and Childish Gambino? Will previously under-recognized women like Ariana Grande, Janelle Monáe and Cardi benefit from The Recording Academy’s newly formed Diversity and Inclusion Task Force and from the backlash to president/CEO Neil Portnow’s infamous “step up” comments following the 2018 ceremony? Or will Grammy patterns continue to reward more traditional favorites like Sam Smith, Taylor Swift or even -- again -- Bruno Mars? ÁLBUM DEL AÑO Drake - Scorpion The Carters - Everything Is Love Cardi B - Invasion of Privacy Ariana Grande - Sweetener Sam Smith - The Thrill Of It All Taylor Swift - Reputation Los 2 espacios restantes dicen que podrían tomarlos Dirty Computer de Janelle Monae, MASSEDUCTION de St Vincent, Golden Hour de Kacey Musgraves o el soundtrack de Black Panther. GRABACIÓN DEL AÑO Drake - God's Plan Childish Gambino - This Is America Camila Cabello - Havana (feat. Young Thug) Ariana Grande - God Is A Woman Post Malone - Better Now, Rockstar o Psycho Dicen que los espacios restantes podrían estar entre APESHIT de The Carters, All The Stars de Kendrick Lamar & SZA, Meant To Be de Bebe Rexha, The Middle de Zedd o Finesse Remix de Bruno ft Cardi. CANCIÓN DEL AÑO Ariana Grande - No Tears Left To Cry Camila Cabello - Havana (feat. Young Thug) Taylor Swift - Delicate Ed Sheeran - Perfect Y el resto de espacios podrían ser de Drake, This Is America, Finesse Remix, I Like It, Girls Like You, Boo'd Up o New Rules. MEJOR ARTISTA NUEVO Dua Lipa Ella Mai Daniel Caesar H.E.R Mencionan como posibilidades a Juice WRLD, Lil Pump, Hayley Kiyoko, Billie Eilish, Ashley McBryde y Greta Van Fleet.
  11. La lista está ordenada por la cantidad de semanas que pasaron en el #1 del chart Latino que existe desde Julio de 1993. 1. Gloria Estefan - Mi Tierra (58 weeks) 2. Ozuna - Odisea (46 weeks) 3. Selena - Dreaming of You (44 weeks) 4. Luis Miguel - Segundo Romance (29 weeks) 5. Ricky Martin - Vuelve (26 weeks) 6. Daddy Yankee - Barrio Fino (24 weeks) 7. Aventura - The Last (23 weeks) 8. Selena - Amor Prohibido (20 weeks) 9. Juan Gabriel - Los Duo 2 (20 weeks) 10. Christina Aguilera - Mi Reflejo (19 weeks) 11. Romeo Santos - Formula: Vol. 1 (17 weeks) 12. Shakira - Fijacion Oral: Vol. 1 (17 weeks) 13. Enrique Iglesias - Sex & Love (16 weeks) 14. Enrique Iglesias - Vivir (15 weeks) 15. Daddy Yankee - Barrio Fino: En Directo (14 weeks) 16. Marc Anthony - Libre (14 weeks) 17. Marc Anthony - Desde Un Principio: From the Beginning (13 weeks) 18. Shakira - Sale El Sol (12 weeks) 19. Alejandro Fernandez - Me Estoy (12 weeks) 20. Son By Four - Son By Four (12 weeks)
  12. Todo fin de año, Billboard divulga sus end-charts. Entre los principales está el TOP ARTIST, que nombra al mayor artista en US en el año respectivo, teniendo en cuenta todos los charts de la revista norteamericana. Aquí se enumeran los mayores artistas en US en cada año en la década actual (2010) 2010: Lady Gaga 2011: Adele 2012: Adele 2013: Bruno Mars 2014: One Direction 2015: Taylor Swift 2016: Adele 2017: Ed Sheeran 2018 (so far): Drake (Probablemente) Apuestas para el 2019? ¿Quién crees que será el TOP ARTIST del próximo año?
  13. Love Yourself: Answer de BTS se convierte en su segundo álbum en tomar el número 1 en Billboard 200 Love Yourself: Answer de BTS ha entrado en la lista de Billboard 200 en el n. ° 1, ¡convirtiéndose en su segundo álbum en lograr la hazaña! Para la semana que termina el 8 de septiembre, Love Yourself: Answer toma el primer lugar en el Billboard 200, que clasifica los álbumes más populares en los Estados Unidos. BTS ya había sido primero con su álbum Love Yourself: Tear este mes de mayo, que fue la primera vez que un artista coreano ha encabezado la lista Billboard 200. Ahora son los primeros artistas coreanos en obtener el número 1 con dos álbumes, y además de eso, ambos en el mismo año. El Billboard 200 basa su clasificación en el consumo multimétrico, incluidas las ventas de álbumes tradicionales, álbumes equivalentes de canciones (TEA) y álbumes equivalentes de transmisión (SEA). Según Nielsen Music, Love Yourself: Answer obtuvo 185,000 unidades de álbumes equivalentes en la semana que finalizó el 30 de agosto, con 141,000 de ellos en ventas de álbumes tradicionales. El álbum de BTS Love Yourself: Tear estableció el récord anterior de la semana más grande para la música coreana con 135,000 unidades vendidas. Love Yourself: Answer no solo ha superado esto, también registró la tercera semana más grande del año para un álbum pop. Sigue a Man of the Woods de Justin Timberlake (293,000 unidades) y Sweetener de Ariana Grande (231,000 unidades). El álbum repackaged de BTS Love Yourself: Answer es el final de su serie Love Yourself y presenta la canción principal IDOL, que también ha estado batiendo récords. El video musical de la canción logró el mayor debut en 24 horas en la historia de YouTube, mientras que BTS se convirtió en el primer grupo coreano en ingresar al Top 40 de la lista oficial de sencillos del Reino Unido con la canción. El álbum también registró la mayor cantidad de pre-pedidos de stock de BTS en Corea, y el grupo arrasó en las listas de éxitos de iTunes Top Albums y Top Songs de todo el mundo con su nuevo lanzamiento. Después de abrir su gira mundial Love Yourself en Seúl el mes pasado, BTS se está preparando para actuar en todo el mundo, con paradas hasta ahora anunciadas para ciudades de América del Norte, Europa y Asia. Su primera parada internacional es cuatro noches de shows con entradas agotadas en el Staples Center en Los Angeles, que comienzan el 5 de septiembre. La gira de BTS también incluye una parada en Citi Field en la ciudad de Nueva York, convirtiendo al grupo en el primer acto coreano en celebrar un concierto individual de estadio en los Estados Unidos, y las entradas se agotaron en minutos. Las listas completas de Billboard para esta semana se lanzarán el 5 de septiembre. Muchos fans también sienten curiosidad por ver cómo BTS lo ha hecho con IDOL en el Hot 100, la lista de las 100 mejores canciones de Billboard. Info:Soompi
  14. Ariana Grande's Success With 'Sweetener' Marks a Rare New Peak for a Late-'10s Pop Star It's significant to see Grande's ascending to new heights in 2018 simply because not many of her pop star peers are doing so alongside her. If you look at most of the other major pop figures from Grande's early days, most of them have taken a step back in terms of their mainstream presence in the last couple years. Katy Perry, Miley Cyrus, and Justin Timberlake are all coming off projects whose commercial returns were highly underwhelming compared to expectations, and while the most recent albums by Lorde, Kesha and P!nk all sold fairly well and received a decent amount of critical acclaim, none really re-cemented their respective artists' presence on the Hot 100 or mainstream radio, where they were fixtures with previous efforts. Even Taylor Swift, once the standard-bearer of too-big-to-fail pop largesse, experienced a notable (if hardly calamitous) downturn in top 40 omnipresence with 2017's Reputation. While her peers and predecessors find themselves victim to changing tastes and trends within the pop landscape, Ariana continues to rise untouched above them. Finally, it's noteworthy what kind of album Grande is doing all of this with. Sweetener is the pop star's most mature and personal album, an emotional meditation on love and fear and security that is in spots deliriously happy and in others almost unbearably anxious, with her experiences following the Manchester attack and her blossoming love with Davidson both clear points of inspiration. And while the set's R&B-inflected pop sound is still recognizably Grande's, it's also perhaps her least explicitly commercial album to date. Sweetener features few pop explosions or obvious radio crossovers on the level of "Break Free" and "Problem" (or "Into You" and "Side to Side") -- even cathartic lead single "No Tears" feels somewhat left-field, riding an early-'90s hybrid dance/R&B swing rather than a pounding 4/4 EDM propulsion or a more 2018-friendly trop-house bounce -- instead opting for more intimate, restrained production and lyrics that largely eschew grand statements for private sentiments. While some fans have decried the set's lack of obvious bangers, many have already fallen for the album's off-kilter charms -- shepherded sonically in large part by fellow pop weirdo Pharrell Williams -- while critically, the set has attracted arguably Grande's strongest set of reviews yet. The album has also benefited from the strong branding of Grande's distinctive upside-down font used to promote the album on social media, as well as the eye-popping, narrative-forwarding visuals for "No Tears" and "God," and a rollout that has built smartly over the course of several months without becoming totally overwhelming, and peaked at the exact right time, of VMAs week. For Ariana to hit new commercial benchmarks while also reaching new artistic heights, on the back of a promotional campaign that established this as a new and unique era in her evolution -- well, that's what pop stardom is supposed to be, isn't it? Of course, it's no secret that pop supermacy, as we understood it at the beginning of the '10s, is not what it once was as we near the decade's end. The days of the star-powered, svengali-directed, radio-driven dance-pop anthem as the core element of music mainstream's are largely over, with radio replaced by streaming, the svengali replaced by the freelance super-producer, and dance-pop mostly replaced by hip-hop. But that just makes it all the more impressive how Grande has continued to defy gravity while so many of her pop peers have fallen around her. By growing her sound without completely overhauling it, by overcoming tragedy and coming back more of a force than ever, she's managed to reach 2018 as one of music's biggest and best-loved stars. And there's no reason to think we couldn't be having the same conversation about her in 2023, either.