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Post by josh on Feb 18, 2013 14:28:59 GMT -5
It's also much more immediate than "Lights," at least for me. "Lights" I hated at first, and took a while to grow on me (I ended up loving it). "Figure 8," though, I was in love with after like 2 listens.
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Deleted
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Post by Deleted on Feb 18, 2013 14:33:50 GMT -5
Sure it could be a hit but I doubt it could be bigger than Lights, Year End Top 5...
It was more instant for me too but burned on me a lot quicker, it's missing something.
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Au$tin
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Post by Au$tin on Feb 18, 2013 14:38:15 GMT -5
Lights, Year End Top 5... See, I don't think this is true. Billboard's method is flawed for their year-end. "Lights" was lucky enough to spend nearly the entire year on the chart because of it's slow as hell climb so all of its points counted. I think it would barely be top 10 if we included all of the recurrent data from every song, like it should. |
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Deleted
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Post by Deleted on Feb 18, 2013 14:46:32 GMT -5
It wasn't really "lucky", having a slow climb affected its peak. It's going to have similar recurrent play to those songs, so I don't see why that matters. I think the streaming component is flawed and Lights shouldn't have been top 5 but the point is it was very successful and I can't see that for Figure 8.
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Deleted
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Post by Deleted on Feb 18, 2013 14:52:32 GMT -5
Well Lights was a #49-peaking smash in the UK, and Figure 8 was a #33-peaking smash in the UK, so maybe.
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Post by Quixotic Music Lover on Feb 18, 2013 14:55:19 GMT -5
There should be a lot of movement on the digital sales chart this week due to the post-Grammys sales bump which makes predicting the top 10 more challenging then usual.
Here is my 2 cents worth.
1. Thrift Shop ~ 60,700;
2. Ho Hey ~ 35,800;
3. Locked Out of Heaven ~ 34,200
4. Scream & Shout ~ 32,700
5. I Knew You Were Trouble ~ 30,900
6. Suit & Tie ~ 30,400
7. Don't Worry Child ~ 29,200
8. When I Was Your Man ~ 27,900
9. Daylight ~ 25,700
10. Stay ~ 23,800
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brucelover
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Post by brucelover on Feb 18, 2013 16:00:37 GMT -5
IMAGINE DRAGONS – Radioactive: 12.992
This needs to smash the way "It's Time" was supposed to (even if it was still a hit). It's the perfect blend of dubstep and alternative rock, kind of like "Too Close".
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Post by josh on Feb 18, 2013 16:20:48 GMT -5
"It's Time" is quite close to making top 10 on pop and still gaining quite well. It's not over yet.
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jenglisbe
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Post by jenglisbe on Feb 18, 2013 19:06:46 GMT -5
Lights, Year End Top 5... See, I don't think this is true. Billboard's method is flawed for their year-end. "Lights" was lucky enough to spend nearly the entire year on the chart because of it's slow as hell climb so all of its points counted. I think it would barely be top 10 if we included all of the recurrent data from every song, like it should. Including recurrent data would give songs released early in the chart year a huge advantage. |
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Deleted
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Post by Deleted on Feb 18, 2013 19:21:27 GMT -5
So instead we should give the advantage to sleeper hits?
I'm all for recurrent data to count [and for recurrency to be completely done away with].
But even looking past that, what is wrong with giving songs released in the beginning of the year a 'huge advantage'? It's like saying a song released to iTunes on a Tuesday has a huge advantage against a song released on a Friday of the same week is a problem. It's not. Billboard just measures from the start to end of the week & doesn't control when artists release things. And similarly Billboard just measures from the start to the end of their calendar year & doesn't control if someone releases in December or July.
What they can control is arbitrary recurrency rules that exclude part of a song's success and puts a disadvantage on songs that are instant hits with slow falls against songs that are slow hits with faster falls.
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Deleted
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Post by Deleted on Feb 18, 2013 20:42:45 GMT -5
TAYLOR SWIFT Begin Again 57.360 (+1.345) Quietly Smashing. Coming for #1 on Country. And they said she couldn't again. But the trek that the song had to get to where it's at isn't one that Taylor Swift's ever encountered on Country before, which doesn't bode well for what may come next depending on future releases from Red. |
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popstop
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Post by popstop on Feb 18, 2013 22:36:06 GMT -5
A "featuring" credit can give acts of a certain age a hit. How would Wanz fare with a solo release?  Probably not well. But how may people over 50 have been featured on a top ten hit over the past decade? I don't track the ages, but I bet you can count them on one hand. |
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Au$tin
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Post by Au$tin on Feb 18, 2013 22:37:34 GMT -5
AGEISM
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jenglisbe
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Post by jenglisbe on Feb 18, 2013 23:43:37 GMT -5
So instead we should give the advantage to sleeper hits? I'm all for recurrent data to count [and for recurrency to be completely done away with]. But even looking past that, what is wrong with giving songs released in the beginning of the year a 'huge advantage'? It's like saying a song released to iTunes on a Tuesday has a huge advantage against a song released on a Friday of the same week is a problem. It's not. Billboard just measures from the start to end of the week & doesn't control when artists release things. And similarly Billboard just measures from the start to the end of their calendar year & doesn't control if someone releases in December or July. What they can control is arbitrary recurrency rules that exclude part of a song's success and puts a disadvantage on songs that are instant hits with slow falls against songs that are slow hits with faster falls. If they went with your idea, there would be no point in having year-end charts. I'm rebuking you, not in my vortex today. |
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Deleted
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Post by Deleted on Feb 18, 2013 23:53:51 GMT -5
So instead we should give the advantage to sleeper hits? I'm all for recurrent data to count [and for recurrency to be completely done away with]. But even looking past that, what is wrong with giving songs released in the beginning of the year a 'huge advantage'? It's like saying a song released to iTunes on a Tuesday has a huge advantage against a song released on a Friday of the same week is a problem. It's not. Billboard just measures from the start to end of the week & doesn't control when artists release things. And similarly Billboard just measures from the start to the end of their calendar year & doesn't control if someone releases in December or July. What they can control is arbitrary recurrency rules that exclude part of a song's success and puts a disadvantage on songs that are instant hits with slow falls against songs that are slow hits with faster falls. If they went with your idea, there would be no point in having year-end charts. I'm rebuking you, not in my vortex today. I mean, year-end charts are arbitrary in nature in the first place with how their cut-off dates are. Either way there is still a 'point'; which is to measure and compare the success of songs in a rigid timeframe. One way just ignores part of the success of some songs in the name of 'recurrency' and the other doesn't. |
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Joe1240
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Post by Joe1240 on Feb 19, 2013 5:41:21 GMT -5
TAYLOR SWIFT Begin Again 57.360 (+1.345) Quietly Smashing. Coming for #1 on Country. And they said she couldn't again. But the trek that the song had to get to where it's at isn't one that Taylor Swift's ever encountered on Country before, which doesn't bode well for what may come next depending on future releases from Red. I actually agree.This one took longer than usual Taylor releases to get to #1. I hope her next country single fares much better than this. The song came out in October and is now peaking in mid-February.The most unusual number one Taylor has ever had on the format. |
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Post by Quixotic Music Lover on Feb 19, 2013 7:45:23 GMT -5
So instead we should give the advantage to sleeper hits? I'm all for recurrent data to count [and for recurrency to be completely done away with]. But even looking past that, what is wrong with giving songs released in the beginning of the year a 'huge advantage'? It's like saying a song released to iTunes on a Tuesday has a huge advantage against a song released on a Friday of the same week is a problem. It's not. Billboard just measures from the start to end of the week & doesn't control when artists release things. And similarly Billboard just measures from the start to the end of their calendar year & doesn't control if someone releases in December or July. What they can control is arbitrary recurrency rules that exclude part of a song's success and puts a disadvantage on songs that are instant hits with slow falls against songs that are slow hits with faster falls. I wonder how long it would take before a song spent 2 years (104 weeks) on the Hot 100 if the recurrency rules were discarded? Likely not very long. I could see a "true" Hot 100 (no recurrency rules) only working if it was strictly sales based. |
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Post by nivekwriter1 on Feb 19, 2013 8:07:32 GMT -5
TUESDAY'S UPDATE:
TOP 20:
1. TAYLOR SWIFT - I Knew You Were Trouble: 194.490 (+ 0.815)
2. BRUNO MARS - Locked Out Of Heaven: 168.147 (- 1.429)
3. SWEDISH HOUSE MAFIA - Don't Worry Child: 160.172 (+ 1.914)
4. MACKLEMORE & RYAN LEWIS - Thrift Shop f/Wanz: 157.398 (+ 2.098)[/color]
5. WILL.I.AM & BRITNEY SPEARS - Scream And Shout: 140.389 (+ 1.092)
6. LUMINEERS - Ho Hey: 137.127 (- 0.214)
7. MAROON 5 - Daylight: 120.430 (+ 2.617)
8. PINK - Try: 118.130 (- 2.271)
9. JUSTIN TIMBERLAKE - Suit & Tie f/JAY Z: 102.700 (+ 1.373)
10. CALVIN HARRIS - Sweet Nothing f/Florence Welch: 99.458 (+ 1.790)
11. JUSTIN BIEBER - Beauty And A Beat f/N. Minaj: 97.835 (- 1.523)
12. KELLY CLARKSON - Catch My Breath: 94.201 (+ 0.676)
13. ALICIA KEYS - Girl On Fire: 86.555 (- 0.581)
14. IMAGINE DRAGONS - It's Time: 78.765 (+ 1.263)
15. MAROON 5 - One More Night: 79.066 (- 0.069)
16. BRUNO MARS - When I Was Your Man: 75.131 (+ 3.016)
17. A$AP ROCKY - F**kin Problems f/Drake: 73.152 (+ 0.783)
18. RIHANNA - Pour It Up: 71.017 (+ 0.799)
16. PHILLIP PHILLIPS - Home: 69.662 (- 1.186)
19. A$AP ROCKY - F**kin Problems f/Drake: 72.107 (- 0.193)
20. MUMFORD & SONS - I Will Wait: 69.623 (+ 1.049)
OTHERS:
KE$HA - C'mon: 68.604 (+ 0.071)
THE BAND PERRY - Better Dig Two: 66.523 (- 0.106)
TIM MCGRAW - One Of Those Nights: 65.881 (+ 0.303)
OF MONSTERS AND MEN - Little Talks: 63.180 (- 0.705)
CARRIE UNDERWOOD - Two Black Cadillacs: 51.526 (+ 0.493)
BLAKE SHELTON - Sure Be Cool If You Did: 46.749 (+ 0.979)
PITBULL - Feel This Moment f/C. Aguilera: 42.186 (+ 2.300)
OLLY MURS - Troublemaker f/Flo Rida: 36.574 (+ 0.441)
FUN. - Carry On: 35.389 (+ 0.992)
LADY ANTEBELLUM - Downtown: 35.121 (+ 0.563)
RIHANNA - Stay f/Mikky Ekko: 33.734 (+ 2.017)
MUSE - Madness: 30.352 (- 0.107)
DRAKE - Started From The Bottom: 28.257 (+ 2.201)
ONE DIRECTION - Kiss You: 21.307 (+ 0.869)
KREWELLA - Alive: 17.012 (+ 1.241)
FALL OUT BOY - My Songs Know What You Did…: 13.009 (+ 0.775)
LUMINEERS - Stubborn Love: 8.807 (+ 0.087)
CHER LLOYD - With Ur Love f/Juicy J: 4.954 (+ 0.195)
PINK - Just Give Me A Reason: 4.347 (+ 0.659)
PHILLIP PHILLIPS - Gone, Gone, Gone: 3.535 (+ 0.220)
MARINA & THE DIAMONDS - How To Be A Heartbreaker: 1.096
MARIAH CAREY - Almost Home: 0.008
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Post by nivekwriter1 on Feb 19, 2013 8:19:41 GMT -5
Other airplay updates (2/19/2013)
LITTLE BIG TOWN - Tornado: 58.877 (+ 0.743)
DIERKS BENTLEY - Tip It On Back: 55.596 (+ 0.641)
KENDRICK LAMAR - Poetic Justice f/...: 49.084 (+ 0.505)
HUNTER HAYES - Somebody's Heartbreak: 46.483 (+ 0.173)
LIL WAYNE - Love Me f/Drake &...: 39.142 (+ 0.630)
KENNY CHESNEY - Pirate Flag: 28.803 (+ 0.859)
YOUNG JEEZY - RIP f/2 Chainz: 21.922 (+ 0.866)
TAMAR BRAXTON - Love And War: 18.959 (+ 0.989)
NELLY - Hey Porsche: 16.614 (+ 0.193)
TREY SONGZ - Simply Amazing: 16.126 (+ 0.492)
EMELI SANDE - Next To Me: 13.225 (+ 0.914)
FAR EAST MOVEMENT - Turn Up The Love ...: 4.303 (+ 0.126)
BAAUER - Harlem Shake: 3.077
ELLIE GOULDING - Figure 8: 2.228 (- 0.064)
ZEDD - Clarity f/Foxes: 1.499 (+ 0.018)
THE LONELY ISLAND - Yolo: 0.494 (+ 0.020)
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Post by Rocky on Feb 19, 2013 8:24:54 GMT -5
16. BRUNO MARS - When I Was Your Man: 75.131 (+ 3.016)
That's amazing, I hope "Young Girls" comes next.
Was the double post necessary though?
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jebsib
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Post by jebsib on Feb 19, 2013 9:41:52 GMT -5
No recurrent chart policies tend to slow down the music industry as a whole. We learned that in the 1990s when programmers and labels saw that the true life cycle of a hit song was closer to 5 months, not 3, and suddenly the charts moved slower than molasses.
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Caviar
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Post by Caviar on Feb 19, 2013 10:40:38 GMT -5
Today's update for "Feel This Moment" has to be wrong. Yesterday's update was:
PITBULL – Feel This Moment f/C. Aguilera: 39.886 (+ 2.079)
Can someone confirm? ???
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cesarams
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Post by cesarams on Feb 19, 2013 10:42:58 GMT -5
16. BRUNO MARS - When I Was Your Man: 75.131 (+ 3.016) That's amazing, I hope "Young Girls" comes next. Was the double post necessary though? The updates were from different sites. That's why he put it separately. |
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cesarams
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Post by cesarams on Feb 19, 2013 10:45:53 GMT -5
Today's update for "Feel This Moment" has to be wrong. Yesterday's update was: PITBULL – Feel This Moment f/C. Aguilera: 39.886 (+ 2.079) Can someone confirm? ??? It's wrong. Today's update: PITBULL - Feel This Moment f/C. Aguilera: 42.186 (+ 2.300) |
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peterca
Charting
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Post by peterca on Feb 19, 2013 11:07:09 GMT -5
But the trek that the song had to get to where it's at isn't one that Taylor Swift's ever encountered on Country before, which doesn't bode well for what may come next depending on future releases from Red. I actually agree.This one took longer than usual Taylor releases to get to #1. I hope her next country single fares much better than this. The song came out in October and is now peaking in mid-February.The most unusual number one Taylor has ever had on the format. Not so fast to assume that this one will get to #1. I hope Little Big Town blocks it. This Taylor tune is her worst selling country single and is mainly being propped up by her label. Big Machine's power and influence is way too big in the country radio format. |
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Rhythm Nation
Gold Member
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Post by Rhythm Nation on Feb 19, 2013 11:35:26 GMT -5
Dear lord...
When Taylor is selling well and has less country airplay, the haters go "she's too pop/crossover/sell out etc and country radio is where it's really at, she's losing her popularity"
Now that she's doing well at country radio, they go "it's all because of the label, her single isn't popular, it's not selling well and sales are the most important thing"
WHICH ONE IS IT?
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Post by areyoureadytojump on Feb 19, 2013 11:40:58 GMT -5
^LOL. So true.
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kingofpain
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Post by kingofpain on Feb 19, 2013 12:48:25 GMT -5
Damn did Little Talks peak? I was hoping it would go top 20.
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Post by Adonis the DemiGod! on Feb 19, 2013 12:55:14 GMT -5
So instead we should give the advantage to sleeper hits? I'm all for recurrent data to count [and for recurrency to be completely done away with]. But even looking past that, what is wrong with giving songs released in the beginning of the year a 'huge advantage'? It's like saying a song released to iTunes on a Tuesday has a huge advantage against a song released on a Friday of the same week is a problem. It's not. Billboard just measures from the start to end of the week & doesn't control when artists release things. And similarly Billboard just measures from the start to the end of their calendar year & doesn't control if someone releases in December or July. What they can control is arbitrary recurrency rules that exclude part of a song's success and puts a disadvantage on songs that are instant hits with slow falls against songs that are slow hits with faster falls. YES YES YES!!! I myself would be more for a hybrid approach... Recurrent records should get put off the charts within the well defined rules of course....but for year ends billboard should include all chart points accumulated during the year. |
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Post by josh on Feb 19, 2013 12:57:14 GMT -5
Damn did Little Talks peak? I was hoping it would go top 20. Random bad update on pop. We think it's because this day last week had a great update, so rolling effect. *Hopefully* |
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