Taylor Swift's Reputation returned to Number One on the Billboard 200 as last-minute Christmas shopping propelled the year's top-selling album back into the top spot.
Reputation added 107,000 total copies to its platinum-plus haul to spend a fourth week at Number One. Swift's latest LP opened up with three straight weeks atop the album charts before hovering at Numbers Two and Three for the past three weeks, Billboard reports.
Ed Sheeran's Divide jumped two spots to Number Two and 92,000 copies, with the album's sales aided in part by Sheeran's three-week Hot 100 reign for the single "Perfect."
Jack Antonoff is a busy man. In between writing with Taylor Swift, Lorde, and P!nk — to name a few – he still finds time to tour as Bleachers. In a new interview with Entertainment Weekly, he breaks down his crazy 2017 and reveals behind-the-scenes details about the artists he's worked with. It's been an especially important season for Swift, as her highly anticipated sixth album, reputation, arrived last November.
"It's an intense album, and that's what I care about," Antonoff told the magazine. "In the course of a day — in the course of two minutes — you can feel like you can conquer the world, or you can feel like the biggest piece of garbage that ever existed. An album or song should feel that way too. It should have the whole gamut of what it actually is like for the artist to be alive at that moment."
Antonoff co-wrote six songs off reputation, including lead single "Look What You Made Me Do" and "New Year's Day," the LP's most stripped-down track. "The sessions were just her and I," he revealed. "She would come over to my apartment, and we would talk and eat and talk more, and the things we talked about turned into songs."
"She is great at remembering the heart and soul of the process. ... But she’s really great at knowing what it's about: talking about what the hell is going on in your life and somehow finding a way to take that exact emotion and make a song out of it. That was the theme of those sessions: 'Let's just tell this story, whatever that story is, because that's the whole point.'"
When is the year's best-selling album not the year's best-selling album? When it's by Taylor Swift.
The star outsold every other artist in the US last year - shifting 1.9 million copies of her sixth record, Reputation, in just seven weeks.
But her decision to withhold it from streaming services until December damaged its chances in the chart of 2017's most popular albums.
That's because 1,500 streams now count as the equivalent of one album sale.
Swift accumulated 280,000 "streaming equivalent albums" in the four weeks Reputation was available on Spotify, Apple Music, Tidal and other services. But that wasn't enough to put her ahead of Kendrick Lamar and Ed Sheeran.
Many pop acts would dance for three hours in flip-flops through a bomb cyclone for those kinds of numbers, but two curious facts have come out of Swift’s hermetically sealed operation in the past few days. The first is that everyone can agree that this tour isn’t selling like expected (the New York Post even called it a “disaster,” because they also like when people click on their stories). Of those 51 dates, not a single one has sold out, and tickets for her 1989 tour were basically gone by the time you snuck into the Virtual Waiting Room.
But the bigger problem is that the ticket-buying method is a particularly wretched hive of scum and villainy, one that gives preferential treatment to those who purchase extra goodies, like Taylor Swift t-shirts ($50) or Taylor Swift snake rings ($60) or Taylor Swift flamethrowers (the kids love that one). The system is called Taylor Swift Tix, and it’s her proprietary version of Ticketmaster’s Verified Fan system, which has been used by Hamilton and Springsteen on Broadway in an attempt to exercise some control of the secondary market. (“Secondary market” is the delightfully blank term music folks use when they mean “Greasy-haired moles who scalp garishgly marked-up tickets online from their ice cave in Slovakia or wherever.”)