{"id":88303,"date":"2024-06-19T00:03:40","date_gmt":"2024-06-19T04:03:40","guid":{"rendered":"https:\/\/www.cyberlego.com\/web\/2024\/06\/19\/how-taylor-swift-has-stayed-atop-the-charts-with-the-tortured-poets-department\/"},"modified":"2024-06-19T00:03:40","modified_gmt":"2024-06-19T04:03:40","slug":"how-taylor-swift-has-stayed-atop-the-charts-with-the-tortured-poets-department","status":"publish","type":"post","link":"https:\/\/www.cyberlego.com\/web\/2024\/06\/19\/how-taylor-swift-has-stayed-atop-the-charts-with-the-tortured-poets-department\/","title":{"rendered":"How Taylor Swift Has Stayed Atop the Charts With \u2018The Tortured Poets Department\u2019"},"content":{"rendered":"

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\n\tIn early June, when Taylor Swift<\/a>\u2019s The Tortured Poets Department <\/em>was enjoying its seventh week atop the Billboard 200, her friend and collaborator Lana Del Rey<\/a> offered a simple explanation of Swift\u2019s stardom to BBC News<\/em>. \u201cShe\u2019s told me so many times that she wants it more than anyone,\u201d Del Rey said. \u201cAnd how amazing \u2014 she\u2019s getting exactly what she wants.\u201d\u00a0<\/p>\n

\n\tThis week, Swift secured her eighth consecutive week<\/a> at No. 1 on the Billboard 200, tying Folklore<\/em> and coming behind only 1989 <\/em>and Fearless<\/em> (11 weeks each) for the most weeks at No. 1 of any of her 14 career chart-toppers. TTPD<\/em> is also the first album in a year, since Morgan Wallen<\/a>\u2019s One Thing At a Time<\/em>, to have spent at least two months atop the list and is the first album by a woman to spend its first eight weeks at No. 1 since Whitney Houston<\/a>\u2018s Whitney<\/em> spent its first 11 weeks at the top in 1987. It also extends Swift\u2019s record of weeks spent at the apex of the Billboard 200 to 77 \u2014 10 weeks more than the solo artist with the second-most, Elvis Presley<\/a> (67).<\/p>\n

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\t\t\t\t\tTaylor Swift Spends Two Months at No. 1 on Billboard 200 With ‘The Tortured Poets\u00a0Department’\t\t<\/p>\n<\/h3><\/div>\n

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\n\tWhile Swift is adept at rolling out record-breaking albums, what\u2019s different this time is not how<\/em> she has done it but for how long \u2014 and when. While she \u2014 and most artists across genres \u2014 often boosts first-week sales with multiple vinyl variants, signed CD copies and deluxe digital exclusives, Swift has expanded on that rollout plan well beyond the initial release of The Tortured Poets Department<\/em>.<\/p>\n

\n\tIt\u2019s a strategy that\u2019s relatively novel. Then again, rarely does an artist have such a massive and faithful fan base ready and willing to activate as needed. And while Swift\u2019s record-breaking Eras Tour and initial deluxe release, The Anthology<\/em> \u2014 which <\/em>arrived mere hours after the 16-track original, and which has continued to stream well \u2014 have surely helped sustain TTPD<\/em>, the strategic drops of bonus versions available for a limited time, from acoustic renditions to first-draft phone memos, have kept her physical and digital sales high.<\/p>\n

\n\tIn its first tracking week, TTPD<\/em> raked in 1.914 million total album sales in the United States (physical configurations and digital downloads), according to Luminate. That figure alone translates to an estimated $38.3 million \u2014 without taking into account the 891.37 million on-demand official streams, which accounted for an additional 683,000<\/a> streaming equivalent album units. The album continued to stream well for its next three weeks, even as sales naturally died down \u2014 until its fifth week, when Swift supercharged the album by releasing six digital album bonuses and one new CD variant on her webstore, including first draft phone memo versions, \u201cLive From Paris\u201d recordings and an acoustic version of \u201cBut Daddy I Love Him,\u201d all available for a limited time in the United States. Plus, a variety of five CD offerings \u2014 either signed or a deluxe version \u2014 had shipped after being replenished. Fans were quick to snatch the new versions up, generating an estimated $2.4 million in sales revenue \u2014 a huge bump from the prior week\u2019s total of nearly $801,000, and helping keep the album at No. 1.<\/p>\n

\n\tThat same week, Billie Eilish<\/a> released her third album, Hit Me Hard and Soft. <\/em>It arrived with a handful of physical offerings including nine vinyl variants and four CD editions, plus three deluxe digital editions: <\/em>a standard digital album with 10 bonus isolated vocal tracks of the album\u2019s 10 songs, a version with 10 bonus sped-up versions and a version with 10 bonus \u201cslowed and reverb\u201d versions. Hit Me <\/em>ultimately debuted at No. 2 but scored Eilish the best first-week number of her career with 339,000 units. <\/p>\n

\n\tThe competition resulted in a major coup for both artists: For the first time in eight years, two albums had earned over 300,000 equivalent album units in a single week in the United States, according to Luminate. (Drake<\/a>\u2019s Views <\/em>and Beyonc\u00e9<\/a>\u2019s Lemonade<\/em> both cleared 300,000 units in one week on the chart dated May 21, 2016).<\/p>\n

\n\tSwift continued her extended rollout strategy this past week as her Eras Tour hit the United Kingdom. In TTPD<\/em>\u2019s eighth week of availability, she made her \u201cLive From Paris\u201d bonus tracks and first draft phone memos available once more for a limited time, gated to the U.K. market, which once again led to a weekly sales spike \u2014 and helped keep TTPD<\/em> atop the charts in that country.<\/p>\n

\n\tSwift\u2019s dominance has certainly been felt by her peers, who themselves released deluxe editions and additional versions of their albums in their respective first weeks of availability, hoping to boost their own first-week numbers. Fans of those artists felt it, too; Billie Eilish fans, for example, noted that Swift\u2019s fifth week \u2014 when she released the first batch of additional versions \u2014 coincided with the release of Eilish\u2019s Hit Me Hard And Soft<\/em>. And Charli XCX<\/a> fans, hoping to see the pop star get her second U.K. No. 1 album with Brat<\/em> this past week, expressed frustration that Swift happened to release the second wave of additional releases the week Charli\u2019s album hit the market. (In the United States, Brat <\/em>debuted on the Billboard 200 at No. 3, earning Charli the highest debut of her career.) As one user wrote on X: \u201cI didn\u2019t wanna believe it but\u2026 Taylor could actually be chart obsessed\u2026\u201d.<\/p>\n

\n\tSome industry sources across sectors of the business feel similarly, lamenting to Billboard<\/em> that Swift\u2019s flood of releases is not just feeding superfans, but boxing others out of the spotlight \u2014 and the type of acclaim and prestige that a No. 1 album can provide. Charli hinted at the online chatter when she said to a sold-out crowd at Los Angeles venue The Shrine on May 15: \u201cI just feel like artistry shines through, you know what I\u2019m saying? I\u2019m really appreciative of the people who have been there from the jump and understood my vision\u2026 What\u2019s the next song? Oh, it\u2019s \u2018Sympathy Is a Knife.\u2019 Interesting.\u201d<\/p>\n

\n\tAfter the fact, fans pointed to the themes of Brat<\/em> \u2014 particularly a song like \u201cRewind,\u201d on which Charli questions her relationship to fame and her own artistry, even calling out the Billboard<\/em> charts by name. One fan wrote on X: \u201cThere is of course an irony that an album full of meditations on the push-pull relationship of the artist and their art to success was beaten to the #1 spot by an artist peddling the 304th edition of their album for another week atop the charts\u2026\u201d. Yet, as Clint Robinson, on-air talent for Audacy Orlando, said in a TikTok clip, \u201cThe problem is, Taylor Swift has amassed a literal army of fans that buy her variations, that want to stream her albums, that want to see her be No. 1. They care about that because she does too. And you want to know why? Because she is an incredible businesswoman.\u201d<\/p>\n

\n\tGiven its success, Swift\u2019s extended-rollout strategy could become a blueprint for others to follow to maintain momentum on the charts. Meanwhile, some industry insiders are wondering when it will end, with one industry source comparing the ongoing TTPD <\/em>releases to fast fashion.<\/p>\n

\n\tAhead, fans are eyeing Sabrina Carpenter<\/a>\u2019s current chart reign as she occupies the Nos. 2 and 3 spots on the Billboard Hot 100 with \u201cPlease Please Please\u201d and \u201cEspresso,\u201d respectively. Carpenter \u2014 a close friend of Swift\u2019s who opened for the star on a handful of Eras Tour dates \u2014 will release her new album, Short n\u2019 Sweet<\/em>, on August 23. Though the pair are openly supportive of one another, and despite Carpenter\u2019s album being nearly two months away, her fans aren\u2019t resting easy just yet. As one posted on X: \u201cTaylor Swift got a mega deluxe acoustic version ready for her ass.\u201d<\/p>\n<\/div>\n<\/div>\n

Aller \u00e0 la source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

In early June, when Taylor Swift\u2019s The Tortured Poets Department was enjoying its seventh week atop the Billboard 200, her friend and collaborator Lana Del Rey offered a simple explanation of Swift\u2019s stardom to BBC News. \u201cShe\u2019s told me so many times that she wants it more than anyone,\u201d Del Rey said. \u201cAnd how amazing […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[17],"tags":[],"class_list":["post-88303","post","type-post","status-publish","format-standard","hentry","category-musique","et-doesnt-have-format-content","et_post_format-et-post-format-standard"],"_links":{"self":[{"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/posts\/88303","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/comments?post=88303"}],"version-history":[{"count":0,"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/posts\/88303\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/media?parent=88303"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/categories?post=88303"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cyberlego.com\/web\/wp-json\/wp\/v2\/tags?post=88303"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}