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What Was, Is and Will Be Popular“So basically we’re doing a whole package about stuff that is terrible.” This was a colleague’s verbatim reaction to the idea of a culture package devoted to popular things. I don’t blame her — after all, it’s how we’ve been conditioned to think for the past century or so. We’ve seen the rise of mass culture, pop culture, camp culture and trash culture; the cross- pollination of highbrow, lowbrow, middlebrow and nobrow; and, with the advent of the Internet, the introduction of a battalion of shiny new metrics with which we can measure something’s popularity to the second, the penny, the click. We are now better equipped than at any time in history to judge, say, the most popular pop song of a given moment, yet we’re more confounded by what all this popularity actually means. For example: What constitutes the most popular pop song in a given moment, anyway?
The most purchased? The most streamed? The most illegally downloaded? The most ambiently inescapable? From all this chaos, though, one truism about popularity apparently survives: If something is popular, it can’t also be good.
Popularity used to be simple. We had the chart- topping song, the top- rated TV show, the No. You could define yourself, taste- wise, as either in league with the popular or against it, and while you didn’t have to like what was popular, you certainly were aware of what it was. Now the concept of cultural popularity has been flayed, hung by its heels and drained of all meaning. For example: “NCIS,” the naval- police procedural, is the highest- rated non- football program on television, routinely drawing 1. Best Price For Smartdraw Software For Sale.
By a straightforward accounting, that makes it the most popular show on TV. Yet by a different definition — the extent to which, say, a show saturates the cultural conversation — you could make a case for “Mad Men” as TV’s most popular show, even though it draws only 2. Or “Girls,” which draws a paltry 6. By one measure, no one watches “Girls.” By another, it’s fantastically popular.
We already understand why this is: it’s a tenet of faith that we no longer experience culture as one hulking, homogeneous mass. Not that long ago, we had “Thriller,” which, at last count, sold about 6. Nothing sells 6. 6 million copies anymore. The finale of “M*A*S*H” drew 1.
In this fast and busy world, it’s very important for us to take a break from work and enjoy listening to music, play games with friends and spend valuable time with.
TV broadcast, save the Super Bowl, will ever draw that many simultaneous American viewers again. That’s because we’ve turned off Top 4.
Spotify; we’ve clicked away from NBC and fired up Netflix; we, thanks to the increasingly concierge- style delivery system of the Internet, are each sheltered in our own cultural cocoon. The Most Popular Single Rental on the Met Opera’s Streaming Service: The 2. Bizet’s ? Paradoxically, popularity is now both infinitely quantifiable and infinitely elusive. We’re awash in cold data even as we try and reconcile how these numbers relate to our larger intuitive sense of what people like.
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Back in 1. 94. 0, Billboard published a single music chart, simply named the Best- Selling Retail Records, which solely tracked sales. Later, the Billboard Hot 1. Around the same time, the lone tree grew several categorical limbs: R.
From one chart grew many. This seemed to make sense. Then the methodology evolved even further: paid downloads were included in 2. The top- selling song was no longer necessarily the most popular song in the country. Now it could simply be the song that the most people, somewhere, were listening to, somehow. Then, this year, Billboard announced it would include You. Pro Tools Serial Number Crack For Internet. Tube playbacks as part of its rankings, and the song “Harlem Shake” immediately became the No.
America. This was thanks largely to a snippet of it being used as the soundtrack for thousands of viral You. Tube videos. That meme, like most, burned out quick as a Roman candle. So instead of “Remember the summer of . I’d venture to say that its ascent to that once- hallowed position — the No. America! As any jittery author can confirm, Amazon will now tell you right out in the open where anyone can see exactly where in the vast universe of literature your particular contribution sits. You can watch your sales ranking rise or (more likely) fall in real time, like a stock ticker of public disinterest. On the other hand, The Times publishes 1.
Combined Print and E- Book Fiction to Children’s Middle Grade to Manga. The purpose of all these different lists is to effectively capture the elusive phenomena of consumer choice — the individual decisions that reflect genuine widespread interest. In contrast, the Nielsen Company offers the Book. Scan application, which stands as a model of modern bloodless techno- tallying. Book. Scan will tell you, to the copy, how many books have sold in the past week in 8.
American book market. This includes lots of bulk, discount purchases that aren’t so much about people picking books as having books thrust on them. Popularity is something that’s no longer just tallied, it has to be curated — and the more- finely- grained measurements seek to differentiate between what people want and what they merely accept out of habit or passivity. Meanwhile, in the TV world, the old models have more or less gone kablooey. Once upon a time, the Nielsen Company basically polled a handful of households and extrapolated from there.
The fundamental question — who’s watching what? Between first- run and repeats and DVRs and downloads and DVD binges and streaming, just how many people watch “Downton Abbey,” exactly? Somewhere in there, amid the confusion, “Duck Dynasty,” a reality show on A& E about a family of industrious duck hunters that it is entirely possible you are hearing about right now for the very first time, became the No. So while “Duck Dynasty” may not be the most popular show on TV, it is, by several legitimate metrics, the most popular show on TV. All of which brings us, inevitably, to “Sharknado,” a purposefully campy TV movie on Syfy about a tornado that is full of sharks. It is not, by any known definition, good.
And yet, for a few weeks this summer, it was very popular. At one point, the movie generated 5,0. Yet when it was broadcast, it was watched by only slightly more people than watch pretty much anything that Syfy throws on the air on a typical night.
So the question is: Was “Sharknado” popular? Syfy proudly called it its “most- social telecast ever,” but what does that mean, exactly? It’s as if “Sharknado” won a trophy that had been created only for the purpose of being awarded to “Sharknado.”Syfy, by the way, has already approved the production of “Sharknado 2: The Second One.” The title was chosen by a vote held on Twitter. It was the most popular choice.
Perhaps the best way to think about the state of popularity is like a kind of quantum element: Both static and in perpetual flux. For example: You can most likely now close the record book on any record that measures how many people did the exact same thing at the exact same time. The movie with the highest box office of all time, adjusted for inflation, is still “Gone With the Wind,” released in 1. The other metrics of popularity, though — the ones that measure, with increasing exactitude, what we do, when we do them, how long we do them for and how much we enjoyed doing them, are restless and ever- changing. Did you happen to linger for a moment longer on a particular article this morning on the Times Web site? Duly noted and recorded. Did you impulsively skip a particular song on your Gotye Pandora channel?
That has been fed back into the algorithm, and good luck ever hearing that song again. You are, to an unprecedented degree, the emperor of a personalized kingdom of popularity, and zillions of bots are working tirelessly to heed your whims and hone your experience. As a result, we don’t live in echo chambers so much as isolation booths.