Pop music, like boxing, has moved to a model of multiple champions’ belts
IT IS COMMONPLACE for boxing fans to bemoan the senselessness of world titles. With four different governing bodies all anointing champions in each weight class—and one of them naming up to three for each division—it is difficult to say who is the best fighter in the world at any given weight.
To make matters worse, within those charts are more charts: to track trends, momentum and viral activity; for vinyl sales; for video views. There are charts for individual countries and for the whole world. There are so many charts that YouTube has started sending out a weekly email to journalists trying to make sense of its own statistics—its top songs charts, its top artists charts, the subscribers to individual artists’ pages and so on.
The issue may seem to be a trifling one, but it does matter. The proliferation of charts makes it impossible to discern who is and who is not a big cheese. It is clear who the stars of the movie business are because box-office receipts provide an easy metric by which to measure their wattage. Whether you are a teenager or a pensioner, you have a rough idea of who the biggest film stars are at any given moment, and there is cultural common ground. That is not the case with pop any longer.
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