He was symptomatic of pop in 2018 that one of his disorders was whether a star is “Why did you do that?” (The number “ass like this”) intended to be good, bad or, as a pop in its most productive camp, so bad that it was good. Many observers have asked why Lady Gaga, the reputation monster, faced a film that seemed ambivalent or even hostile to pop that previously embodied, in the call of the authenticity of the singer and composer.

This gaga echoes the pop identity crisis at the age of the transmission, when hybrids of Hip-Hop and Downtempo gender, turn the rhythms, drive what some would take into consideration in the 21st century. In 2017, these trends gave the impression on statistics equivalent to the disturbed sales and returns of the former pop queen Miley Cyrus and Katy Perry. The explanation of why it was reinforced in 2018 through the combined reception of Man of the Woods through Justin Timberlake, which many enthusiasts and criticism seemed satisfied to remodel in a minor. And the fact that no maximum single from Martin-Maître-Hit 1 for a consecutive moment, after an uninterrupted series since 2008, has solidified this new standard.

Pop loyalists like old turned to files that only made small bactos in the graphics. There was the return of the Nordic Pop Deity Rothroughhn with his first 8-year film, Honey, and, with a new single “party” for a “in November, through Carly Rae Jepsen, whose post-” Call me can “has made him call a word to love the pop that is not the frying of LGBTQ communities.

Auditors with a major pop definition, such as umbrella format that a different genre would emphasize that hitting Drake, Post Malone and other advertising champions (male predominance) of 2018 did not lacked hooks and ears lenses, even if they have not put them in a position in the traditional “pop” provisions. These musical divisions partially reflect the social schisms of the race, gender and sexuality that were too evident in 2018. They can also evoke a difference in expansion between local virtual listeners and a bit older: the vast expression of traditional graphics possibly would feel out of synchronization with the compact flavor of social networks, while the mugar of the proximity of the proximity.

There have been some unity problems among all pop fields, with Ariana Grande in the role of Wonderful Girl in the new generation, winning their first No. 1 with “thanks, according to” and more of the 10 best of their eloocuts on the album, and also games of the many genuine dramas that pop enthusiasm look at the Superstars. There have been some relative newcomers who have successful successful cards, such as the 23 -year -old United Kingdom star, Dua Lipa, with “new rules. ” In an interview earlier this year with GQ, Lipa said that “artists have much more artistic latitude, and No. 1 this week will look like not next week. I think that is the magical in what is happening. “

Together with Lipa and Great, there the triumph of the former member of the fifth harmony Camila Cabello with “Havana” (with Young Thug, who, speaking of regulations, is grouped with Elton John in 2018). His song stressed how Latin styles continued their general public hug through figures such as J Balvin, Bad Bunny, Nicky Jam and Luis Fonsi (in their recent white bandit). Not to mention two albums No. 1 for K-Pop Superstars BTS, some other vital step.

Cabello has also played a role in a separate primary crossing phenomenon, between pop and the country, with its Kane Brown collaboration in the remix of its single “Never Be Iguming”. Add the meetings of the 80s8 and Heartlands of Timberlake and Chris Stapleton, Keith Urban and Julia Michaels, the Chainsmokers with Kelsea Ballerini and the two Mammoth of the Year stories: Baby Rexha with Maren Morris and Gray. (In addition, Kacey Musgraves, the critical / cultivated crossover artist, with a golden hour). Without counting Swift, it is more intertwined with Nashville than the pop sphere sanctioned in a decade, a testimony of doubtful commands in the early sixties or early eighties.

Migration to the country is an unusual step for the discoloration of pop styles: attending the destination of the general public guitar rock, but like everything in 2018, this edition is more disorderly, combined and unfinished. Under the auspices of the transmission, niches can multiply without colliding, and what the replacement of the unit means literally winning. Beyoncé demonstrates that the stars do not want card strokes to prosper. These candidates for the resuscitation of the Table-Pop may have been encouraged through the mini trend of the year of nostalgic air “1999” through Charli XCX and Sivan, “2002” through Anne-Marie and Lauren Alaina “, ladies in the 90s. ” But regardless of the frequency in which a Jean-Jacket Graybeard for the “rock and roll of yesteryear” or an act of hat hate in “Real Country”, the reevaluations of popular pop music are only the type of transformations that would cause efforts to sing with gaga “, it is not, not like me. “

This article gave the impression on the Billboard factor of December 15.