ParallelLines

@mikekorcok Fantastic job, KING.

Billboard will, more than likely, update this list in its entirety on their 60th anniversary in 2019/2020. Nonetheless, the fact that Rihanna is only 29 years old and is already one of the top-ten "All-Time Hot 100 Artists" is spectacular. She truly is the biggest hitmaker of our generation and the second-biggest behind her main inspiration, Madonna. @Joey Coco @SaneBeyhannaStan @Chemical X. @BajanBeauty @Oxygen @King B @M A R C @R O C K Y @Badboidami @Donald J. Trump. Congrats. to Drake also and Usher, the Hot 100 maverick of the 00's.

Are you slow? He has only emboldened the artists whom have moved upward in their positions, not those who remain where they are or those who have moved downward in their positions.

I think she'll eventually peak between #6 - #8.

Considering SPS equivalents didn't exist pre-2014... Excluding "ANTI", pure sales, Sweetheart. Pure sales.

Yes. Congratulations to her, indeed. Rihanna will continue to sell more albums worldwide (as per usual considering her overall largest markets are, non-domestic, Global territories) once in her third decade also. Rihanna will also continue to be the bearer of the top-two best-selling albums by a Black artist this decade, worldwide, also.

In the United States, yes. It has never, ever been denied that Beyoncé sells far more albums in the U.S than Rihanna, however Rihanna sells expontially more albums worldwide. Did you not look at both lists, or are we purposely playing stupid?

@istan4badgalriri @Mr Boots She is also the best-selling singles artist in the U.K of all-time, the second best-selling female artist in the U.K of all-time and the third best selling artist overall. 30M+ records. The way she dominated Britian, France, Germany overall etc.

Global Queen. @Joey Coco G L O B A L ! Our Queen slaying the Swiss market like that!

Rihanna: #4.

AMAZING. GER truly did and does love her.

Rihanna: #9. (Admittedly, I thought she'd be ranked much higher but a top-ten placement is fantastic. Tina Turner: #3. (Continental Europe truly adore her. QUEEN) Whitney Houston: #4. (I miss her so much).

It's okay, Sis @Mark Rih. "Hot 100 Decade-End: 2010's". 1. Party Rock Anthem (=) 2. Uptown Funk (=) 3. Closer (+1) 4. We Found Love (-1) 5. Somebody That I Used To Know (-1) Rihanna is still the only Female-lead song in the top 5 (and she still has a song in the all-time top 30). Let us hope that she remains there until 2019.

@istan4badgalriri You're back! Are you going to update her entire profile?

I agree. Adams' early music in the 1980's was actually very well recieved, those being his first three albums specifically (Debut album; You Want It, You Got It, Cuts Like A Knife). It wasn't until Reckless (his commercial breakthrough) where he began being looked down upon by sanctimonious, pretentious rock critics and purists and the like. By the time Waking Up The Neighbours was released in 1991, he was critical poison and with the release of...Everything he was arguably the most loved yet hated "Rock star" in the world. Around the late 1980's/early 90's you had a plethora of Glam-Rock; Pop-Rock bands (Bon Jovi, Poison etc.) who also recieved mixed receptions by the upper Rock elite but at least their sound was still Hard-Rock oriented. Adams became a Soft-Rock crooner and he lost all respect. You also had the "brother-act" Richard Marx who was gaining popularity around the time and he too was widely loved yet disliked.

OMG. I forgot he was the star of both movies. The fact that he has two of the most classic OST songs attached to his films. How?

I can definitely see your point here. As Globally popular and renowned as Houston was as well as the song was of course, she still appealed to a specific core demographic nonetheless. I know for certainty that there were many who didn't like the song then, as well as those who still don't, whether due to its monumental success and overexposure, or they thought it was too maudlin and overexxagurated, or because they thought it to be inferior to Dolly Parton's Country-oriented original etc. Adams' ...Everything more than likely had much more appeal to men, as a ballad, also due to his Rock background (albeit he too had his detractors) as opposed to ...I Will Always. Speaking on ...I Will Always' mass popularity, here's an article from the NYT in 1994 speaking on the songs mega-domination in pop culture around that time, how a woman in England had the police called to her by her neighbour because she would not stop playing the song aloud from her house and how much people began to dislike it due to its immense overexposure overall. http://www.nytimes.com/1994/03/06/weekinreview/a-love-song-that-some-love-to-hate.html @brianc33616 You may be interested in reading the article too.

@brianc33616 Would you classify We Belong Together as a radio-driven hit? The reason why I ask this is because... 1. If I'm not mistaken, there was a point during its #1 reign when it wasn't even in the top 10 digital sales. Furthermore, for having spent 16 weeks at #1 on the airplay charts, it descended out of the top 10 rather quickly thereafter spending only 24 weeks in the top 10 altogether. (On that note, as we spoke about prior, it ties We Found Love and Uptown Funk as the songs with the longest-running top airplay top 10 streak only behind Closer). 3. I find it peculiar how only Dont Forget About Us managed to be the #1 peaking digital song from ...Mimi. I understand that digital sales was still rather new and didn't start arriving at six-digit figure totals until 2006, but the fact that We Belong Together and Shake It Off were so huge at radio I, at least, presumed that would have far translated into sales also. This is why I, to a small extent, was confused with Billboard allowing radio airplay to be the number-one component when compiling their 00's decade-end rankings, even though I understand that for nearly 10 years of the decade (2001-2007) radio is what lead the singles charts. . I always felt that Low should have been named song of the decade (if we're going by sales + radio power) as opposed to We Belong Together and YEAH! which literally placed at #1 and #2 respectively because of their radio dominance. No One, Let Me Love You, Golddigger, How You Remind Me also placed in the top ten due to how big they were at radio mainly.

Okay. I see. I do know that here in the Britain Love broke Everything's airplay records here too. Love garnered a weekly AI of 25-30M in 1993 on BBC Radio 2 alone at one point (and this is excluding other stations at the time ala. BBC Radio 1 etc) whilst Everything initially held the record of 20M on the station.

@brianc33616 (Yes, I meant Whitney Houston's ...Love"). I've always gotten mixed responses whenever I've asked people this question. These are those who explicitly say ...Love and those who outright say ... Everything. I'm from the U.K for example and, in spite of the song spending 16 weeks at #1 here, my mom says that she barely remembers hearing the song until it came close to breaking the longest-running #1 streak for which news bulletins started reporting on it unlike ...Love which was simply inescapable (the final chorus alone solidifies that) and was being sung by everyone, everywhere. Whatever the case, they were both behemoths and ...Love was undoubtedly bigger in the United States. Anyhow, do we have any info. regarding the U.S AI peaks of ...Love and ...Everything?

@brianc33616 As you were of more observant age during that time and possibly still remember, which song felt bigger to you then in all honesty: Everything I Do (I Do It For You) or I Will Always Love You. Of course, Houston was the far bigger star overall and the song was attached to an even bigger movie (and the stats. are more in favour of ...Love You overall), but they are both such humongous OST ballads (Adams instantly regained the commercial momentum from which he had lost by the late 1980's) and were just as monstrous overseas, I'm curious to know which one felt more ubitiquous and omnipresent at the time however especially as their releases were merely a year apart or so? I was only three years old at the time, by 1993.

Well, it's clearly not her "biggest" hit when sales are applied but it is one of, without a shadow of doubt, as well as her longest peaking #1 single and the longest peaking #1 single of the 2000's overall here. 'Umbrella' has sold near to 900K units which was, by far, certainly commendable for its time in digital sales (2006-2007 were the first years where digital sales were becoming increasingly popular and dominant) but it pales in comparison to the sales of her later big hits and most big digital hits ala. 2010-2013.

The Men!