NPR's 150 Albums Made by Women

I don't! I hate everybody!

150. The Roches
The Roches (Warner Bros., 1979)

149. Alicia Keys
Songs In A Minor (J Records, 2001)

148. Terri Lyne Carrington
The Mosaic Project (Concord Jazz, 2011)

147. Meredith Monk
Dolmen Music (ECM, 1981)

146. Patty Griffin
Flaming Red (A&M, 1998)

145. Oumou Sangare
Moussolou (Women) (Kartell/World Circuit, 1989)

144. The Breeders
Last Splash (4AD/Elektra, 1993)

143. Robyn
Body Talk (Konichiwa Records, 2010)

142. Iris DeMent
My Life (Warner Bros., 1993)

141. Joanna Newsom
Ys (Drag City, 2006)

140. Norah Jones
Come Away with Me (Blue Note, 2002)

139. The Bangles
All Over the Place (Columbia, 1984)

138. Cocteau Twins
Heaven or Las Vegas (4AD, 1990)

137. Ofra Haza
50 Gates Of Wisdom (Yemenite Songs) (Shanachie, 1987)

136. Yoko Ono/Plastic Ono Band
Yoko Ono/Plastic Ono Band (Apple Records, 1970)

135. The B-52's
The B-52's (Warner Bros., 1979)

134. Solange
A Seat at the Table (Saint/Columbia 2016)

133. Fanny
Fanny Hill (Reprise, 1972)

132. Shelby Lynne
I Am Shelby Lynne (Island/Mercury, 2000)

131. Shirley Horn
I Thought About You — Live At Vine St. (Verve Records, 1987)

130. Teena Marie
Wild and Peaceful (Motown Records, 1979)

129. Marianne Faithfull
Broken English (Island, 1979)

128. Pauline Oliveros, Stuart Dempster, Panaiotis
Deep Listening (New Albion, 1989)

127. Sonic Youth
Sister (SST, 1987)

126. The Carpenters
A Song for You (A&M Records, 1972)

125. Fiona Apple
Tidal (Work Group/Clean Slate/Columbia, 1996)

124. Carly Simon
No Secrets (Elektra, 1972)

123. Cris Williamson
The Changer and the Changed: A Record of the Times (Olivia Records, 1975)

122. Siouxsie and the Banshees
The Scream (Polydor, 1978)

121. Joni Mitchell
Hejira (Asylum, 1976)

120. Anita Baker
Rapture (Elektra, 1986)

119. The Slits
Cut (Island Records, 1979)

118. Chaka Khan
I Feel for You (Warner Bros., 1984)

117. Joan Jett
I Love Rock 'n' Roll (Boardwalk, 1981)

116. Macy Gray
On How Life Is (Epic, 1999)

115. La Lupe & Tito Puente
La Pareja (Fania/Tico Records, 1978)

114. Reba McEntire
Rumor Has It (MCA, 1990)

113. Aretha Franklin
Young, Gifted and Black (Atlantic Records, 1972)

112. Mercedes Sosa
Mercedes Sosa en Argentina (Universal Distribution/Philips, 1982)

111. Diamanda Galás
The Litanies of Satan (Y, 1982)

110. Miranda Lambert
Platinum (RCA Nashville, 2014)

109. Against Me!
Transgender Dysphoria Blues (Total Treble, 2014)

108. Gladys Knight and the Pips
Imagination (Buddah Records, 1973)

107. The Shangri-Las
Leader of the Pack (Red Bird Records, 1965)

106. No Doubt
Tragic Kingdom (Interscope, 1995)

105. Sheila E.
The Glamorous Life (Warner Bros., 1984)

104. ESG
Come Away With ESG (99 Records, 1983)

103. Umm Kulthum
Enta Omri (You Are My Life) (Sono, 1964)

102. Alabama Shakes
Sound & Color (ATO, 2015)

101. Eurythmics
Touch (RCA, 1983)

100. Buffy Sainte-Marie
It's My Way! (Vanguard Records, 1964)

99. Taylor Swift
Fearless (Big Machine Records, 2008)

98. Bikini Kill
Yeah Yeah Yeah Yeah (Kill Rock Stars, 1993)

97. Mariah Carey
Daydream (Columbia Records, 1995)

96. Lil' Kim
Hard Core (Big Beat/Undeas Recordings, 1996)

95. Shakira
¿Dónde Están los Ladrones? (Sony, 1998)

94. Sheryl Crow
Tuesday Night Music Club (A&M, 1993)

93. Britney Spears
...Baby One More Time (Jive Records, 1999)

92. Meshell Ndegeocello
Peace Beyond Passion (Maverick, 1996)

91. Alison Krauss And Union Station
New Favorite (Rounder, 2001)

90. Barbra Streisand
Funny Girl, Broadway Cast Album (Capitol Records, 1964)

89. Shania Twain
Come On Over (Mercury Records, 1997)

88. k. d. lang
Ingénue (Sire, 1992)

87. X
Los Angeles (Slash/Rhino, 1980)

86. Alice Coltrane
Journey in Satchidananda (GRP/Impulse!, 1971)

85. Joan Baez
Diamonds & Rust (A&M, 1975)

84. Roberta Flack
First Take (Atlantic, 1969)

83. Bobbie Gentry
Ode To Billie Joe (Capitol Records, 1967)

82. Laura Nyro
New York Tendaberry (Columbia, 1969)

81. Sleater-Kinney
Dig Me Out (Kill Rock Stars, 1997)

80. Laurie Anderson
Big Science (Warner Bros., 1982)

79. Portishead
Dummy (Go! Beat, 1994)

78. The Bulgarian State Radio & Television Choir
Le Mystère Des Voix Bulgares (Nonesuch, 1987)

77. Aaliyah
Aaliyah (Blackground/Virgin America 2001)

76. Tammy Wynette
Stand By Your Man (Epic, 1969)

75. Donna Summer
Bad Girls (Casablanca, 1979)

74. The Raincoats
The Raincoats (Rough Trade, 1979)

73. Astrud Gilberto
The Astrud Gilberto Album(Verve Records, 1965)

72. The Runaways
The Runaways (Mercury, 1976)

71. Salt-N-Pepa
Blacks' Magic (London, 1990)

70. Stevie Nicks
Bella Donna (Modern, 1981)

69. Cyndi Lauper
She's So Unusual (Portrait/Sony 1983)

68. Rosanne Cash
King's Record Shop (Columbia, 1987)

67. Sinead O'Connor
I Do Not Want What I Haven't Got (Chrysalis Records, 1990)

66. Miriam Makeba
Pata Pata (Reprise, 1967)

65. Cassandra Wilson
Blue Light 'Til Dawn (Blue Note, 1993)

64. Spice Girls
Spice (Virgin, 1996)

63. Madonna
Like a Virgin (Sire, 1984)

62. Dixie Chicks
Wide Open Spaces (BMG/Sony, 1998)

61. Destiny's Child
The Writing's on the Wall (Columbia, 1999)

60. The Pretenders
Pretenders (Sire, 1980)

59. Indigo Girls
Indigo Girls (Epic, 1989)

58. Labelle
Nightbirds (Epic, 1974)

57. Mary J. Blige
What's the 411? (Uptown/MCA, 1992)

56. X-Ray Spex
Germfree Adolescents (EMI, 1978)

55. The Go-Gos
Beauty And The Beat (I.R.S., 1981)

54. Nico
Chelsea Girl (Verve, 1967)

53. Linda Ronstadt
Heart Like A Wheel (Capitol, 1974)

52. Bonnie Raitt
Nick Of Time (Capitol/EMI, 1989)

51. Sarah Vaughan
Sassy Swings Again (Mercury, 1967)

50. Hole
Live Through This (DGC, 1994)

49. Rickie Lee Jones
Pirates (Warner Bros., 1981)

48. Etta James
Rocks The House (Argo, 1964)

47. Celia Cruz
Son con Guaguanco (Emusica/Fania, 1966)

46. Emmylou Harris
Wrecking Ball (Elektra, 1995)

45. Dusty Springfield
Dusty in Memphis (Atlantic, 1969)

44. Heart
Dreamboat Annie (Mushroom, 1976)

43. M.I.A.
Kala (XL/Interscope, 2007)

42. Ella Fitzgerald
Ella Fitzgerald Sings the Johnny Mercer Song Book (Verve, 1964)

41. Tracy Chapman
Tracy Chapman (Elektra, 1988)

40. The Staple Singers
Be Altitude: Respect Yourself (Stax, 1972)

39. Gillian Welch
Time (The Revelator) (Acony Records, 2001)

38. Odetta
It's a Mighty World (RCA Victor, 1964)

37. Kate Bush
Hounds Of Love (EMI, 1985)

36. Grace Jones
Nightclubbing (Island Records, 1981)

35. Blondie
Parallel Lines (Chrysalis, 1978)

34. Tina Turner
Private Dancer (Capitol, 1984)

33. Queen Latifah
All Hail The Queen (Tommy Boy, 1989)

32. Björk
Post (Elektra, 1995)

31. Liz Phair
Exile In Guyville (Capitol/EMI/Matador, 1993)

30. Adele
21 (Columbia/XL, 2011)

29. Alanis Morissette
Jagged Little Pill (Maverick, 1995)

28. Nina Simone
Nina Simone Sings the Blues (RCA Victor, 1967)

27. Tori Amos
Little Earthquakes (Atlantic, 1992)

26. TLC
CrazySexyCool (LaFace, 1994)

25. Ani Difranco
Little Plastic Castle (Righteous Babe Records, 1998)

24. Loretta Lynn
Coal Miner's Daughter (Decca, 1970)

23. Aretha Franklin
Amazing Grace (Atlantic, 1972)

22. Sade
Diamond Life (Sony, 1984)

21. PJ Harvey
Rid Of Me (Island Records, 1993)

20. The Ronettes
Presenting the Fabulous Ronettes Featuring Veronica (Philles Records, 1964)

19. Selena
Amor Prohibido (EMI Latin, 1994)

18. Lucinda Williams
Car Wheels On A Gravel Road (Mercury, 1998)

17. Janet Jackson
Control (A&M, 1986)

16. Fleetwood Mac
Rumours (Warner Bros., 1977)

15. Diana Ross and the Supremes
Where Did Our Love Go (Motown, 1964)

14. Whitney Houston
Whitney Houston (Arista, 1985)

13. Madonna
Like a Prayer (Sire, 1989)

12. Erykah Badu
Baduizm (Universal, 1997)

11. Dolly Parton
Coat Of Many Colors (RCA Records, 1971)

10. Carole King
Tapestry (Ode, 1971)

9. Amy Winehouse
Back To Black (Island, 2006)

8. Janis Joplin
Pearl (Columbia, 1971)

7. Patti Smith
Horses (Arista, 1975)

6. Beyoncé
Lemonade (Parkwood/Columbia, 2016)

5. Missy Elliott
Supa Dupa Fly (The Goldmind/Elektra, 1997)

4. Aretha Franklin
I Never Loved a Man The Way I Loved You (Atlantic, 1967)

3. Nina Simone
I Put A Spell on You (Philips, 1965)

2. Lauryn Hill
The Miseducation of Lauryn Hill (Ruffhouse/Columbia, 1998)

1. Joni Mitchell
Blue (Reprise, 1971)

Most annoying omission, for me: Kate and Anna McGarrigle

Surprised/not surprised to see how quickly Aimee Mann fell out of fashion, too (especially for the NPR crowd).

And I don't want to gripe about every millennial-appealing inclusion, but the relatively high ranking of Amy Winehouse, Adele and even Lemonade is premature.

Let me add, subjectively, the first Mamas and the Papas LP. Even boring old white guy Greil Marcus wrote them out of history in the intro to the Stranded discography, but that'd be on my list.

Anne Power's essay has an insight I'd felt but never been able to articulate:

The Beatles did something important historically. Aretha Franklin did too, but she's more often celebrated as a miracle. (Mea culpa: I've done the same thing within my critical writing, once basing an essay about Franklin around the opening line, "She manifests.")

Because the notion that women "be" still influences the way we think about female artists, they've mostly been canonized as personalities or essences, not makers of things.

I think there's still a good amount of that hanging around the mystique of Karen Dalton, Vashti Bunyan, Judee Sill, Denny and other dark, discouraged folkies who've gotten new recognition in the last 20 years or so, even though it's after 90s pop culture got more used to the idea of women as makers of things. Like, the doomed folkie mystique also applies to Nick Drake, Tim Hardin, Basho, Fahey, but they get talked about as creators as much as tragic figures. Composers even, with the last two.

I think Lemonade placing so high is premature but, in terms of it being the piece where Beyoncé cemented her grasp on distilling a bunch of disparate songs into a singular artistic vision, I don't begrudge its presence on the list, particularly when considered in the context of the visual album and how the music and accompanying visuals combine into a coherent, compelling narrative that has had people buzzing like crazy since it debuted. (It also helps that she has settled into a groove vocally that matches her; she's grown as a practitioner of the art of singing at a pace commensurate with her growth as an auteur.)

32. Björk
Post (Elektra, 1995)

The go-to for anyone who doesn't actually rate Björk.

at first i thought that it was a one-work-per-artist list but it's not, which makes the representative pick for certain artists all the more puzzling. like, i owned and listened to ...baby one more time as a 10-year-old -- but it's just not a good album. it is the embodiment of the good-to-incredible singles + execrable filler formula. i listened to it a million times, but almost every time i would listen to the first three tracks (all singles), skip "soda pop", then restart after "born to make you happy" (which wasn't a single in the us, but was obviously better than anything after it on the tracklisting).

like, i get that we wanna convey how influential britney was, both in general and in that moment in time, but it wasn't because this was a great album. most actual britney spears fans consider it one of her worst.

lists of albums are boring and regressive but otherwise i actually thought this was pretty good. will read the essay later.

beyoncé's self-titled is as good as or better than lemonade :\

Looks like it was pooled nominations, then a winnowing poll, a la ILM.

beyoncé's 4 is as good as or better than self-titled or lemonade :\

― dyl, Monday, July 24, 2017 1:08 PM (two minutes ago) Bookmark Flag Post Permalink

fixed

^^^^ otm

Because the notion that women "be" still influences the way we think about female artists, they've mostly been canonized as personalities or essences, not makers of things.

And yet still no room for Carla Bley on the list. And if you're gonna pick just one trans person (Against Me! - really?), how about Wendy Carlos? Programming analog synths in the 70s > writing 4/4 punk rock songs.

The go-to for anyone who doesn't actually rate Björk.

I disagree vehemently. There are strong arguments as to why any of Post, Homogenic, or Vespertine would be Bjork's best album and it does her career no disservice to pick any of them for a list like this. It would be even better if both Post and Homogenic appeared, IMO.

beyoncé's self-titled is as good as or better than lemonade :\

The difference between s/t and Lemonade is the story; that is what (IMO) elevates Lemonade, particularly in the context of how many people Beyonce collaborated with across both music and video to create it.

beyoncé's 4 is as good as or better than self-titled or lemonade :\

4 is a decent-enough album but I've been listening to it a lot the past few days and the only songs on it where Beyonce doesn't sound flat-out atrocious are "Countdown", "End of Time", and "Love On Top". The rest of the time, she's a smaller-voiced singer trying to sing huge, sort of like the entirety of Ashanti's career, and it really brings down the album overall.

OTM. I've cooled on 4, or, rather less prepared to apologize for the crap songs.

Basically, Hollertronix Beyonce is the worst Beyonce and she spent most of her career prior to the s/t in that mode, which is partially why the s/t hits like a truck and why I wouldn't actually have been mad if it had been on this list instead of Lemonade.

(I will say that 4 is the first time that sustained Hollertronix Beyonce ever worked for me in the context of an entire album, which is what makes it notable in her solo catalog and why I bought it in the first place, but she's come a loooooooong way as a performer since then.)

DJP, stop being OTM. I'm getting tired of it.

btw i always include the bonus tracks when I refer to 4.

tbh i wouldve been fine with all three placing.

Agree that Beyonce needed to be on here. I'm less partial about which album (every one named has great songs; I probably prefer 4 myself, overall), but I just thought that Lemonade placing that high was a little too much like OK Computer topping that Q poll six months after it's release. She's still at that point in her career, though, where each new album can plausibly be called her greatest. We won't know what her best work is for decades yet.

I'm OK with Post, which probably says the exact thing about me that Eric suspects it does. I'm only surprised because I thought Homogenic had overtaken it in many people's affections by now (again, I have no agenda here, as I think both albums are great).

I'm clearly allergic to Britney, but I think I would have eye-rolled less hard if they had gone with one of her clubbier albums (In The Zone, Circus, whatever) rather than the debut. As it stands, NPR now has to live with the fact that they included an album that contains a song called "Email My Heart" on a list of best albums of all time.

Lists and lists so there will always be head scratchers on either side of the line, but surprised to see there's no McGarrigles, and no Sandy Denny. But especially no My Bloody Valentine.

(Lists are lists, that should lead.)

32. Björk
Post (Elektra, 1995)

The go-to for anyone who doesn't actually rate Björk.

That's me!

the critical rehabilitation of Nina Simone has really been interesting, would not have predicted it 10 years ago when most people had no idea who she was

oh I don't know -- in my circle she was the only black woman singer my friends were listening to in the late '90s. She always had her cult. It's critics who condescended to her.

she was def a cult figure, maybe partially because her catalog was so much about re-working the canon (so many covers and covers) that people didn't register her POV as being authentic or authorial or something (rockism etc.)? A lot of things about her previously coded as "square" - the virtuoso technique applied to super-pro studio arrangements of contemporary hits or weird genre exercises, for example. She doesn't fit into prior established roles of black, female artistes. So it's interesting to see her suddenly explode into wider pop consciousness because of... what, exactly? The documentary? The end credits of Inland Empire? idk

lol that was supposed to say "so many standards and covers"

sorry

what's next, a Joan Armitrading revival

Jeff Buckley was big on Nina Simone, iirc.

I'm not surprised. If it isn't clear I'm not a huge Nina fan myself - can take or leave most of her catalog - but I can't deny she's a fascinating figure/personality.

what's next, a Joan Armitrading revival

― Οὖτις, Monday, July 24, 2017 5:55 PM

She's good too. I'm surprised she wasn't on the list!

well as noted there's all kinds of gaps. these sorts of lists are always telling in who's in/who's out indicating what's culturally valued critically these days. Poptimism still in full swing, obviously.

all the biggest post-boomer names represented, recent chart-pop goddesses respected, Gen X/riot grrl feminist wave present, a smattering of non-English speaking artists to demonstrate global breadth.

but nothing too obscure or currently maligned/ignored, various minor genre outliers, or too old (the starting point here is really lame, as noted. No Carter Family!)

Poptimism still in full swing, obviously.

grr

am I supposed to use some other term

Liking pop music has been part of the listening and critical experience since the beginning: Stevie Nicks, Aretha, Kate Bush (in England) were pop stars. Including Britney is no different. An argument for another thread, though.

fair enough, yes I was using it as shorthand for "critical post-90s chartpop darlings"

and Madonna of course!

eh I consider Madonna in a league of her own tbh

(granted it's still a league I have no interest in listening to, but her place in the culture is undeniable)

To offset the griping (mostly mine), three that I was delighted to see here: Patty Griffin, Sheila E, Against Me!

I see what you did there.

xpost

high five

Was Grace Slick in there? surely she defined and woman-ized the otherwise-male Jefferson Airplane in much the same way Kim Gordon did Sonic Youth?

I think the reasoning might be that Slick rarely had more than a few songs on any given Airplane release, and outside of those songs her biggest musical contributions were harmonies whereas Gordon had a bigger part of SY both in songwriting and as a bass/guitar player.

I say this because I can't be the only one who picked up Surrealistic Pillow after seeing it on umpteen 'Women In Rock' lists and being disappointed that the only Grace songs were the two I already knew from the radio.

So much good stuff and nothing I could think of that was missing, tho I didn't see Judee Sill?

Amy Winehouse ranked in top 10 is OTM - Such a great loss, the only one I think who could've brought doo-wop back again and make it fresh

I can think of lots of stuff missing but they are personal favorites and why would critical consensus overlap with them

yeah I can think of stuff missing now too like Vashti etc but i'm with you there on consensus

the fader came out with their own list of 150 more great records by women: http://www.thefader.com/2017/07/24/150-more-great-albums-made-by-women-npr-list

Still no Gal Costa. We need 150 more.

top 1000 or gtfo

iirc Nina Simone's rehabilitation into the mainstream happened because of two 90s movies.

Bridget Fonda's 'Point of No Return' in 1993 and, later, the use of "Sinnerman" in the remake of 'Thomas Crown Affair' in 1999.

What type of brain disease would I need where I get mad at hypothetical Reddit posts that I invent in my head

probably a very similar one to the sort that would make you get mad at hypothetical ILX posters or movie viewers or readers or music listeners or bacon eaters that you invent in your head

x-post to Unperson--Fernandez does not sound like a "marketing executive" here :

The mainstreaming and whitewashing of reggaeton, a genre born from working class black Panamanians (like La Atrevida) in the late 1980s and pioneered in the 1990s by listmaker Ivy Queen (No. 60 with "Quiero Bailar"), by white or light-skinned Latin pop artists has facilitated the pop transformation of Afro-Caribbean genres to the point where they are barely recognizable. In the early 2000s, genres shaped and fundamentally conceived from poverty and racism like reggaeton and soca were still dismissed as classless and vulgar; the vestiges of this thinking can still be seen in the perceived vulgarity of Latin trap artists like Bad Bunny and the new wave of reguetoneras like Karol G, Natti Natasha and Anitta who seem to have been left behind by the success of their peers more palatable to the American market.

She also acknowledges that "There are no reggae or soca songs on the list..."

Fine, but it's still bad and clumsy writing, based on phony premises, starting (in the excerpt you quoted) with the fact that Ivy Queen is herself light-skinned. We could also talk about the fact that Gloria Estefan had multiple Top 40 English-language hits, and she and her husband Emilio managed Shakira's move into pop. These writers are painting a portrait of victimization and marginalization that just doesn't match the facts. I mean, when you're gonna call Gloria fucking Estefan someone who couldn't choose her own career moves, you really need to stop and rethink. And you know this stuff, probably even better than I do.

also d40 what's the joke pls

― niels, Thursday, August 2, 2018 10:14 AM (six hours ago) Bookmark Flag Post Permalink

the idea that that selection somehow adequately represents or even comprehends R&B's musical contributions this decade is laughable

also you missed Jazmine Sullivan, a rare counterexample to what i'm actually talking about

I didn't say that selection "adequately represents" 21st century R&B

you wrote that "the list unquestionably, IMO, and drastically underrates R&B" and I wanted to make the point that the top 20 was full of R&B-informed songs (I didn't "miss" Sullivan, she's at #137 and I was quoting the top 20)

but I'm no expert on contemporary R&B would love to see your list of 20 representative tracks

Ok, the idea that it’s noteworthy a lot of music would be “r&b-informed” is basically useless—pop music as a whole is r&b infomed

But this canon clearly pushes against the r&b canon, or treats it w oblivious disdain & there’s no real analysis of what’s lost or missing

that was indeed carefully phrased, I'd say Sharon Jones and Amy Winehouse is straight up (revivalist) rhythm and blues, stuff like Solange, Beyoncé and Alicia Keys comfortably contemporary R&B

list has Ciara, King, Jhene Aiko, Tweet, Jill Scott, Kali Uchis, India Arie, Blu Cantrell, Sza but maybe you feel it's missing Cassie, Dawn Richard, Kehlani, Kelela, Tinashe?

Anyway I'm really not looking for an argument here, I just thought the criticism seemed perhaps a bit out of proportion with the offensiveness of the list. I think it'd be great if you would share your idea for a 21st century female rnb canon, maybe there isn't really one?

One last time on my pet peeve--

She also acknowledges that "There are no reggae or soca songs on the list..."

Sorry Faye-Ann Lyons, you don't rate

plus no afropop/afrobeats (programmed beat African music) artists-- Sorry Yemi Alade, you don't rate.

Anyway I'm really not looking for an argument here, I just thought the criticism seemed perhaps a bit out of proportion with the offensiveness of the list. I think it'd be great if you would share your idea for a 21st century female rnb canon, maybe there isn't really one?

― niels, Friday, August 3, 2018 6:25 AM (ten hours ago) Bookmark Flag Post Permalink

i have to provide my own canon to argue this ignores large portions of the actual R&B canon?

how about destiny's child, brandy, missy, amerie, keyshia cole, mariah carey, mary j blige, erykah badu, aaliyah, keri hilson, jennifer hudson, janet, fantasia, teedra moses, ashanti ... im sure im missing people

the interpretation of "R&B" as portrayed by the list feels limited by critical acclaim & a lack of investment in / immersion in R&B discourse imo...saying "but kali uchis" is a strike against yr point. even your examples of who should have made it hews very close to crit-friendly singing fare (surprised you didn't say FKA twigs?) ignoring the post-church music soul/R&B wing in favor of the kind of stuff that appeals to critics & brits lol

im not counting their 'premiered in the 00s' excused since they break it arbitrarily & because the genre is literally driven by women in their 30s/40s consumer wise so it seems absurd

K Michelle too, surely? Or are you only talking 00’s here?

Not looking at the list I know it’s missing Chavela Vargas and therefore not worth my time.

Kudos for Selena in the top 20 though if that’s the list that was copy pasted above.

Actually that list is pretty decent.

Still no Chavela Vargas makes me sad. I suspect it’s also missing many afro+latin singers but that could be a separate list.

1000% k Michelle

Sevyn streeter

“Motivation” by kelly Rowland >>>>

Hell yeah

amerie and fka both on the list

you don't have to argue anything, I accept that this list is missing a lot of rnb I just want to know what it is because I like the genre

motivation is definitely missing!

I missed Amerie (I don’t consider Fka r&b)

reggaeton is easily more popular than any other form of latin music in america right now

it's great to see I'm With Her finally getting the credit they deserve.