Today, “Rockstar” is one of four Post songs to break the billion-stream mark on Spotify only Justin Bieber has more.īut while Post found enormous popularity as a rock star operating in a primarily hip-hop space, he also found considerable backlash. The song topped Billboard’s Streaming Songs chart for 13 weeks across 20, while parent album beerbongs and bentleys broke the single-week streaming record for an LP upon its release in April 2018. “Rockstar” was also a smash on streaming services, where Post Malone’s genre-elastic, playlist-friendly sound had an almost magnetic pull on listeners. And still today, it’s one of our most popular. “It went on rhythm stations and urban stations, pop stations, all at the same time. “It’s one of those records where probably every time somebody heard it for the first time, they thought, ‘Oh my God, I found something that nobody else is gonna like, but I love it,’” says John Ivey, president of CHR programming strategy for iHeartMedia. “But it can’t be an actual guitar because it’s 2017.” “I wanted to add a long outro with a guitar,” co-producer Louis Bell told Billboard shortly after the single’s release. Both artists sound eerily calm for claims of such revelry, letting the spitting beat and waves of distortion raise the energy level around them. Over a twinkling trap production that sounds like the sun setting, Post details living up to the titular lifestyle by risking arrest on stage and throwing a TV out of his hotel room, all built around his chorus hook, “I’ve been f–king h–s and popping pillies, man, I feel just like a rock star.” Guest rapper 21 Savage doubles down with boasts of “f–king superstars” and making the “Hot Chart,” while imitating Post’s sing-song delivery. And with “Rockstar” - a hedonistic turn-up anthem whose actual sound is highly melodic, unthreatening, even kind of sedate - he found the perfect anthem for a generation who might not have even known the difference between The Doors and AC/DC. It wasn’t quite rap, and it definitely wasn’t rock, but it electrified young listeners from both worlds. With the rise of EDM and hip-hop in the age of streaming, guitars had largely been reduced to a seasoning in popular music, and most of the biggest acts that still operated from a rock home base - Imagine Dragons, Twenty One Pilots, Panic! At the Disco - had decentralized the instrument or removed it entirely, in favor of heavy beats and dense soundscapes.īut the artist born Austin Richard Post backdoored his way into a 2010s version of rock stardom, via a series of contagious trap-pop singles, with soupy production, knockout choruses, and Post’s one-of-a-kind warble. Weird, right? It gets even weirder: Post was reportedly also at that very game.By the time Post Malone broke out as a rapper in the mid-’10s, conventional rock stardom had all but been left for dead. Super Bowl songs," Prescott told the outlet. "I was like, 'Oh, damn.' I might need to get Post to write more songs. This was a game-winning play, and even Prescott admitted it was uncanny. Quarterback Dak Prescott connected with wide receiver Cole Beasley for a "32-yard touchdown pass on fourth and 15" with a minute remaining in the game. Things only started to get really weird when Post rapped about a specific play: "Always going for it, never punt fourth down / Last call, Hail Mary, Prescott touchdown."Īccording to Dallas News, a near identical play happened after the song was released. He even admitted that he'd hang around the stadium as a kid and "got free chicken fingers" since his dad worked as an assistant director of food and beverage for the team. According to Genius, the star's family moved to Texas when his father got a job with the team, and Post ended up becoming a massive fan. In the song, Post makes a reference to the Dallas Cowboys.
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