The Greatest Showman #761 - Musical Breakthrough
Chapter 761: Seven Hundred and Twenty-Nine Music Breakthrough
The second week of December, Billboard Albums Chart No. 1: Don Quixote!
More than half a year ago, after careful consideration, Renly was moved by George Slender's sincerity and agreed to record an album. Setting aside commercial concerns and the prevailing pop trends, they chose to return to their roots: simplicity, purity, and the essence of music and art. This album would be a return to form, a celebration of pure sound.
Much like Amy Winehouse's Back to Black, which expresses her struggles through dark tones, Renly's album could be called "Back to Music." However, he shunned a direct, simplistic name and opted for something more idealistic—Don Quixote, a title reflecting artistic ambition.
It can be said that the decision to create Don Quixote was a shared one among Renly, George, and Eleven Studio. Everyone involved knew it was a risky endeavor—an album that the market had long forgotten, ridiculed, and ostracized. It was an album destined to lose money, to fail, and to be forgotten.
Even George had no high hopes for the Grammys. With the growing commercialization of the awards, the Grammys increasingly favored popularity over artistry. As some long-time fans joked, winning a Grammy often meant recognition of mass appeal rather than artistic merit. While this view is a bit harsh, it does reflect a certain reality.
Yet, thirteen weeks after its release, Don Quixote has gracefully climbed to No. 1 on the Billboard Albums Chart. It has also earned six Grammy nominations, including four in major categories, making Renly the only artist nominated for four general awards this year.
This is a true irony. Much like Don Quixote's battle with windmills, the album faced ridicule and doubt, but now, with the world seeing its success, the "giant windmills" have transformed into something worth reckoning with.
Is this progress? Or a step backward? For George and Eleven Studios, it is a step forward. In this fast-paced era, people are beginning to yearn for the classics—the simple, beautiful music of yesteryear. Don Quixote represents that return to form.
It's not just about six Grammy nominations or topping Billboard—it's a triumphant return of a dream, a testament to the power of music, a moment in history that speaks to the soul.
After all, real music has its supporters. Real music never dies. It has a soul. It exists.
George Slender shed tears, old and full of emotion.
Of course, part of the reason for Don Quixote's success is the market's off-season. September and October are the prime months for album releases, and December is the holiday season. After that, sales typically slow.
This week, Michael Bublé's Christmas album took second place, followed by Nickelback's Here and Now, Rihanna's Talk That Talk at fourth, and Drake's Be Careful, which fell from No. 1 to fifth.
Except for Bublé's Christmas, which sold 80,000 copies, most albums sold less than 50,000. Amid this lull, Don Quixote surged in sales, topping the charts with over 120,000 copies in a single week—an extraordinary feat in the independent music scene.
It's unfortunate that none of the singles from Don Quixote have been released, and there's no music video. As a result, while album sales soared, streaming and radio play didn't see as significant an increase, limiting the potential for further breakthroughs.
On this week's Billboard Singles Chart, "Love Crazy," the ending track from the album, remains stuck at No. 2, still trailing behind Rihanna's hit "We Found Love." Although it didn't make it to No. 1, holding the second spot for two weeks is a remarkable achievement for a folk song, a genre that struggles to find mainstream acceptance.
In short, Don Quixote is making history.
It's not just because the album is number one; the folk album The Cave by Son of Blessed topped the charts a month ago. While folk music faces decline, it still enjoys the support of dedicated fans, who continue to push the genre forward. However, the mainstream singles chart remains a tough hurdle for folk songs to clear.
What's truly unbelievable is that this album—an independent release that gained traction solely through word-of-mouth and media buzz—has reached such heights. Even Billboard had to release a special confirmation, assuring the public that the album's chart performance was legitimate.
The result? A massive celebration erupted across the internet. Independent musicians, professional fans, and folk music supporters joined in a collective cheer. Even those who didn't personally enjoy Don Quixote or who weren't fans of folk music recognized the significance of this victory. This moment is a declaration: independent music is alive, it is thriving, and it has carved its place in the mainstream without compromising its artistic integrity.
To many, Don Quixote has become a hero—representing every indie musician and every dreamer.
The celebration wasn't just online. From Seattle to Los Angeles, and from Manhattan to Pioneer Village, people were gathering, toasting, and dancing in the streets.
Renly stood at the edge of Pioneer Village, watching the crowd. It reminded him of Europe, where after nightfall, people would spill out of crowded bars to enjoy a drink in the open air, sharing moments of camaraderie.
Pioneer Village, a jazz bar, had seen crowds outside before, but this was different. The streets were alive with laughter and music. Renly smiled to himself. Tonight, there was no schedule to follow. The album was number one, and for once, he could just enjoy the moment.
He walked into the bar, where he was greeted with a large sign: "Celebrate Don Quixote as the number one album on the Billboard chart! The first 1,000 beers are on us! Join us in the celebration!"
A smile tugged at Renly's lips. This was it. This was the joy of living in the moment.