Billboard Hot 100: 12/19/2015

[Daniel Collins]

Mediabase 12/01/15

1. ADELE - Hello: 207.249 (+ 0.128)
2. DRAKE - Hotline Bling: 183.652 (- 1.038)
3. SHAWN MENDES - Stitches: 143.969 (- 0.799)
4. TAYLOR SWIFT - Wildest Dreams: 138.919 (- 1.977)
5. ELLE KING - Ex's and Oh's: 134.103 (- 0.136)
6. ALESSIA CARA - Here: 131.205 (+ 1.183)
7. THE WEEKND - The Hills: 121.672 (- 1.515)
8. MEGHAN TRAINOR - Like I'm Gonna Lose You: 117.535 (+ 0.752) ▲
9. JUSTIN BIEBER - What Do You Mean?: 115.546 (- 2.633) ▼
10. JUSTIN BIEBER - Sorry: 115.422 (+ 2.429)

FILA

11. ELLIE GOULDING - On My Mind: 109.357 (+ 1.732)
12. SELENA GOMEZ - Same Old Love: 95.613 (+ 0.728)
13. FETTY WAP - 679 f/Remy Boyz...: 87.344 (- 0.818)
14. CHRIS YOUNG - I'm Comin' Over: 72.724 (- 0.975)
15. BLAKE SHELTON - Gonna: 69.880 (+ 0.154) ▲
16. R. CITY - Locked Away f/Adam Levine: 68.986 (- 1.438) ▼
17. X AMBASSADORS - Renegades: 67.646 (- 1.601)
18. DAN + SHAY - Nothin' Like You: 67.113 (- 0.009)
19. JASON ALDEAN - Gonna Know We Were Here: 63.618 (+ 0.414)
20. THE WEEKND - Can't Feel My Face: 62.185 (- 0.671)

CURIOSIDADES

THE WEEKND - In The Night: 58.876 (+ 1.403)
ARIANA GRANDE - Focus: 55.634 (- 0.037)
POST MALONE - White Iverson: 54.987 (+ 0.230)
THOMAS RHETT - Die A Happy Man: 51.247 (+ 0.969)
DEMI LOVATO - Confident: 48.106 (+ 0.875)
ONE DIRECTION - Perfect: 32.346 (+ 0.540)
COLDPLAY - Adventure Of A Lifetime: 26.770 (+ 0.408)
GWEN STEFANI - Used To Love You: 26.714 (+ 0.326)
RACHEL PLATTEN - Stand By You: 24.736 (- 0.053)
FALL OUT BOY - Irresistible f/Demi Lovato: 19.774 (+ 0.192)
MISSY ELLIOTT - WTF (Where They From): 11.865 (+ 0.330)
CHRIS BROWN - Back To Sleep: 10.821 (+ 0.661)
SHAWN MENDES & CAMILA CABELLO - I Know What You Did Last...: 10.552 (+ 0.664)

[Dylan :)]

Go John & Meghan! Nice AI gain for Demi as well

[yuh yuh]

I hope Selena and Ellie will both be able to get into the top 10 in AI soon

[Daniel Collins]

Ellie already made it for like a day or two :)

[wjr15]

Looks like Ellie will be returning in a few days if she keeps these updates

[Gary]

[bccole]

I'm glad Billboard switched back the CMA situation after one week. Everyone on ATRL swears that the first week of the chart year BB went back to its pre-2013 methodology (because that fixed the first week predictions when removing those sales), but switched back to what they used in 2013-2015 the second week, when 25 impacted the Hot 100. Maybe this time BB WAS afraid of bad publicity for changing a popular rule with no notice, and realized the timing with the biggest album opening of the Soundscan Era looked questionable at best. I'll give BB credit on this move!

[Deleted]

SPOILER: Click to show

{Radio Position Changes}
Hello just surpassed 210 M.
Sorry is now #7.

[badrobot]

Dec 1, 2015 22:19:44 GMT -5 bccole said:

I'm glad Billboard switched back the CMA situation after one week. Everyone on ATRL swears that the first week of the chart year BB went back to its pre-2013 methodology (because that fixed the first week predictions when removing those sales), but switched back to what they used in 2013-2015 the second week, when 25 impacted the Hot 100. Maybe this time BB WAS afraid of bad publicity for changing a popular rule with no notice, and realized the timing with the biggest album opening of the Soundscan Era looked questionable at best. I'll give BB credit on this move!

What change are you talking about? I don't think they changed anything.

[Ravi]

This week's Top-5 should remain same as last week. The Hills has a small chance of going back to #4, if it can close the streaming gap with WDYM.

[Old-school 72]

Can someone explain why Die A Happy man by Thomas Rhett which has been between 8 and 15 on Itunes and Top 20 aiirplay that the song has dropped on the Hot 100 and has only reached #25. I hear that song all the time on the radio and for a Top 10 seller it proves its more popular than some songs which seem to be selling nothing yet are in the Top 20. I dont believe streaming should have such strong points to place a song. If a song is selling that means its more popular...I just dont get it.

[yuh yuh]

Dec 3, 2015 11:13:12 GMT -5 Old-school 72 said:

Can someone explain why Die A Happy man by Thomas Rhett which has been between 8 and 15 on Itunes and Top 20 aiirplay that the song has dropped on the Hot 100 and has only reached #25. I hear that song all the time on the radio and for a Top 10 seller it proves its more popular than some songs which seem to be selling nothing yet are in the Top 20. I dont believe streaming should have such strong points to place a song. If a song is selling that means its more popular...I just dont get it.

Streaming is the biggest component right now..

[Old-school 72]

Ive been collecting the Top 40 charts since 1988 and have gone thru all the changes but Sales should still count for what is most popular. In the 90s when record companies didnt release singles was the worst time for the charts. Yet today they allow people to basically throw away music or keep a song around way too long. In the 80s songs came and went record companies and radio moved on after 3 to 4 months . Nowadays with songs staying 30 to 90 weeks on the chart becomes a joke. I am glad to hear of Billboards change to delete songs after 52 weeks if under #25 but it should be 26 weeks if the song is on the chart at any position. 6 months is too long for one song to continue. I dont even hear Uptown Funk played on radio where i live except maybe once a week. The sales are not there either yet it keeps moving back up the chart. That is why streaming shouldnt count for so much. I dont get how that makes a song popular. Ive streamed music but purchasing music actually means you truly like a song or album.

[when the pawn...]

How does streaming not indicate popularity? I personally don't purchase music but I stream on Spotify. When I like a song, I add it to a playlist or listen to the full album. Of course there are curiosity streams but that doesn't add up to much. Surely, it is more indicative of what people LIKE than radio, which is controlled by execs, whereas streaming is mostly determined by the listener. Sales are down and streaming is a massive part of how music is consumed in 2015. I don't see a problem with the way the charts are calculated.

[Old-school 72]

The point I was trying to make is that streaming is basically a throwaway tool. It may be the way most young people consume their music but 20 yrs from now they wont even remember most of those songs because the physical product is not there to remind them. I was just stating music is basically like a old shirt. Its thrown away. I have over 33000 songs in my library along with many others on vinyl and I put them in rotation all the time. I may never listen to all of them again but Its just sad to me how music is consumed these days. I work with many 19 to 25 yr olds and they all stream on their phones but they never go back and listen to something year later . Its forgotten unless someone reminds them of a song. With physical product its in your face and reminds you all the time.

[Old-school 72]

Im sorry if I babbled on too long, but sales should still be at least 75% of the calculated points and 20% streaming with only 5% radio play (since it is determined by programmers and not the public)

[THINKIN BOUT YOU]

Dec 3, 2015 13:50:55 GMT -5 Old-school 72 said:

Im sorry if I babbled on too long, but sales should still be at least 75% of the calculated points and 20% streaming with only 5% radio play (since it is determined by programmers and not the public)

Billboard is a trendy chart, now the trend IS streaming right (not for me tho)
I think oddly enough the formula they have right now is good. Since on-demand can be indispensable for the young this year (me excluded), and YouTube and other video webs are important because they proffer a visual impact that music itself hard put to and success of a video should be considered as a big part of song's success. Video stimulates other senses as well (auditory) such that sometimes after watching a song's vid I tend to buy it much and streaming's contribution to a song is not underscored enough.
As for AirPlay, it's true that it's not directly decided by public, however I've learned the "callout score" thang and you can still vote to indirectly decide a song's radio performance if you want to.
And not to mention, AirPlay is a big part of how one explores different genres and a variety of good songs and it makes a really big impression on what's hot at the moment since isn't it cool and saying something that a song is cycled over and over loudly and provocatively all around you in the traffic across the city? 5% is way to low. 30% is sensible

In my opinion:
Digital: 20-25%
Airplay: 25-30%
Streaming: 45%-55%

[Rose "Payola" Nylund]

Dec 3, 2015 13:46:18 GMT -5 Old-school 72 said:

It may be the way most young people consume their music but 20 yrs from now they wont even remember most of those songs because the physical product is not there to remind them.

This point is CONSTANTLY brought up when talking about charts and it boggles my mind because it makes no sense. Why does the long term matter in a week-to-week measurement? The charts measure the here and now, not ten years from now, five years ago or how known a song from today is in the year 2075. This makes no sense. And using your logic, sales of 8-tracks shouldn't have counted toward anything because they were a short term method of using music and everyone threw them out after the 70s ended.

[Gary]

Expanding on that, how does anyone even know what will be remembered 20 years from now and by whom?

I can't predict the future but I can look at the past and say chart peaks and "here and now" popularity have zero meaning when it comes to what will be "remembered" in 20 years. Lots of "classics" that did not fare quite as well upon initial release.


On the streaming issue, I agree, these charts are a measurement of popularity in the here and now. This is the dominant way of "consuming" music and should have dominant weight in the popularity formula.

[when the pawn...]

Agreed on both points. Saying that people won't remember the 'hits' of today because there is no physical copy is wrong and irrelevant. And any truth it holds is consistent with people not remembering some huge radio songs from the 70s/80s/90s/00s. If people are watching the video on youtube and choosing to listen on Spotify and Apple Music, it is popular and that popularity deserves to be reflected on the weekly Billboard charts. Of course, there are outliers where they hang at the top too long or don't reach the peak that we FEEL it 'deserves' but that has always been. If anything, streaming is a better indicator of current popularity than any other metric.

[purplefebruary]

In regards to 2010s hits that will be regarded as classics in the future, I'll make a quick guess:

California Gurls
Firework
Bad Romance
Rolling In The Deep
F**k You
Somebody That I Used to Know
We Found Love
Thrift Shop
Blurred Lines (unfortunately)
Radioactive
Counting Stars
Uptown Funk
Hello


Maybe some other songs like Tik Tok and Call Me Maybe might figure in there (I have no idea how those songs have held up in the States nowadays)

[Gary]

All huge songs of today. Peaks of today have no bearing on what is a future classic.


Just as there are lots of "classics" today that did not do well initially, the reverse is also true, lots of songs that were huge in its day that did not hold up well over time.

[kanimal]

Dec 2, 2015 17:40:51 GMT -5 badrobot said:

Dec 1, 2015 22:19:44 GMT -5 bccole said:

I'm glad Billboard switched back the CMA situation after one week. Everyone on ATRL swears that the first week of the chart year BB went back to its pre-2013 methodology (because that fixed the first week predictions when removing those sales), but switched back to what they used in 2013-2015 the second week, when 25 impacted the Hot 100. Maybe this time BB WAS afraid of bad publicity for changing a popular rule with no notice, and realized the timing with the biggest album opening of the Soundscan Era looked questionable at best. I'll give BB credit on this move!

What change are you talking about? I don't think they changed anything.

I'm not aware of any change either.  The rule has been pretty straightforward:  Complete My Album sales are deducted from the weekly sales figure (used for the Digital Songs chart) and thus from the song's cumulative sales total.  The Hot 100, however, uses the raw # of sales generated during the tracking week.

I believe it was first articulated in reference to Shake It Off's sales figure when 1989 came out.  I know for a fact it was mentioned when The Weeknd's album came out (weirdly, the effect was applied the week BEFORE BBTM dropped, which leads me to believe Billboard made a mistake there).  And Billboard reiterated the rule in reference to Adele.

Regarding bccole's point, I did peruse ATRL, and a lot of people were complaining about the Bieber/1D positions on the 12/5/15.  They insist that there's no way the Bieber and One Direction tracks would have landed where they did if Billboard were using the RAW sales figure as opposed to the CMA-adjusted figure.

I'm not sure I agreed. After CMA, WDYM would have had virtually no sales during the tracking week, yet it was still in the Top 5 on the Hot 100.  But it was the argument people were waging.

My issue is that A) where has the chart methodology ever been confirmed and B) where were the sales #s confirmed?  We've seen more discrepancy than usual between Kworb and SS in recent weeks (pretty much since Adele), so I'm not sure we should be making any assumptions about rule changes.

[velaxti]

Dec 3, 2015 15:10:39 GMT -5 Gary said:

All huge songs of today. Peaks of today have no bearing on what is a future classic.


Just as there are lots of "classics" today that did not do well initially, the reverse is also true, lots of songs that were huge in its day that did not hold up well over time.

This.

Ed Sheeran - The A Team
AWOLNATION - Sail
Christina Perri - Jar of Hearts
Bruno Mars - Marry You
The Lumineers - Ho Hey

are the sorts of songs I could see end up being classics, rather than stuff like Bad Romance or We Found Love lol. They'll be classics with pop fans, in the same way that The Motto will be a classic with hip hop fans. But when it comes to what songs from this time period the general public will hear in 20 years time, it'll be the AC/alternative kind of songs that will get played on the radio or on TV a lot in the future.

[85la]

Just a quick question: Do sales/streams of singles from an album consumed before the album is released count toward its TEA/SEA total? For instance, do the 2.5 million copies of Hello sold before the album release count toward the album's TEA? By Billboard's logic it should, because the track is from the album and could reflect interest in the album, regardless of when it was released.

[Old-school 72]

I guess Im too old school to appreciiate downloading and streaming. I love going to a record store and purchasing phsical copies of LPs and singles. I was one of 22000 to buy Adele 25 on vinyl the day it was released. When I have downloaded anything It just doesnt click with me the same.

[Daniel Collins]

Kworb 2015/12/03

*** = dropped or added a format

1. ADELE - Hello: 210.856 (+0.215)
2. DRAKE - Hotline Bling: 184.765 (-0.718)
3. SHAWN MENDES - Stitches: 143.238 (-1.074)
4. ELLE KING - Ex's and Oh's: 134.931 (+1.802***) ?
5. TAYLOR SWIFT - Wildest Dreams: 134.849 (-2.628) ?
6. ALESSIA CARA - Here: 133.165 (+1.684)
7. JUSTIN BIEBER - Sorry: 125.587 (+3.393)
8. MEGHAN TRAINOR - Like I'm Gonna Lose You: 119.877 (+1.218) ?
9. THE WEEKND - The Hills: 118.688 (-1.151) ?
10. JUSTIN BIEBER - What Do You Mean?: 111.725 (-2.154)

11. ELLIE GOULDING - On My Mind: 110.923 (+0.745)
12. SELENA GOMEZ - Same Old Love: 99.685 (+1.688)
13. FETTY WAP - 679 f/Remy Boyz...: 85.912 (-0.466)
14. BLAKE SHELTON - Gonna: 70.583 (+0.276) ?
15. CHRIS YOUNG - I'm Comin' Over: 69.771 (-1.463) ?
16. R. CITY - Locked Away f/Adam Levine: 68.649 (-0.765)
17. DAN + SHAY - Nothin' Like You: 68.265 (+0.782)
18. X AMBASSADORS - Renegades: 64.576 (-0.785)
19. JASON ALDEAN - Gonna Know We Were Here: 63.931 (+0.157)
20. THE WEEKND - In The Night: 62.970 (+3.276***) ?

21. THE WEEKND - Can't Feel My Face: 61.523 (-0.353) ?
22. MAJOR LAZER - Lean On f/M? & DJ Snake: 59.081 (-0.554)
23. CAM - Burning House: 55.948 (+0.485) ?
24. TIM MCGRAW - Top Of The World: 55.756 (-0.214) ?
25. POST MALONE - White Iverson: 55.568 (+0.418) ?
26. ARIANA GRANDE - Focus: 55.247 (-0.483) ?
27. THOMAS RHETT - Die A Happy Man: 53.471 (+1.514) ?
28. TRAVI$ SCOTT - Antidote: 53.402 (+0.978) ?
29. WALK THE MOON - Shut Up And Dance: 53.015 (-0.189) ?
30. CARRIE UNDERWOOD - Smoke Break: 52.243 (-2.452) ?

31. BROTHERS OSBORNE - Stay A Little Longer: 51.795 (+0.093)
32. DEMI LOVATO - Confident: 48.016 (+0.363)
33. LOCASH - I Love This Life: 46.848 (+0.807)
34. SELENA GOMEZ - Good For You f/A$AP Rocky: 43.509 (-0.884) ?
35. ED SHEERAN - Photograph: 43.440 (-1.098) ?
36. JASON DERULO - Want To Want Me: 42.720 (-0.378)
37. JANA KRAMER - I Got The Boy: 42.340 (+0.316) ?
38. DRAKE & FUTURE - Jumpman: 42.035 (+1.056) ?
39. RUDIMENTAL - Lay It All On Me f/Ed Sheeran: 41.843 (-1.232) ?
40. FUTURE - Where Ya At f/Drake: 41.532 (-0.634) ?

41. ONE DIRECTION - Drag Me Down: 40.995 (-0.330) ?
42. PARMALEE - Already Callin' You Mine: 40.514 (+0.096)
43. SAM HUNT - Break Up In A Small Town: 40.126 (+0.629) ?
44. J. COLE - No Role Modelz: 38.977 (+1.107) ?
45. KELSEA BALLERINI - Dibs: 38.535 (+0.343) ?
46. OLD DOMINION - Break Up With Him: 38.486 (-0.390) ?
47. MARK RONSON - Uptown Funk f/Bruno Mars: 38.180 (-0.515) ?
48. BIG & RICH - Run Away With You: 38.073 (-1.835) ?
49. COLE SWINDELL - Let Me See Ya Girl: 35.722 (-1.138)
50. TORY LANEZ - Say It: 34.528 (+0.103)

51. BRAD PAISLEY - Country Nation: 33.668 (+0.246)
52. RANDY HOUSER - We Went: 33.627 (+0.474) ?
53. DEJ LOAF - Back Up f/Big Sean: 33.401 (+0.032) ?
54. GRANGER SMITH - Backroad Song: 33.104 (+0.805)
55. WIZ KHALIFA - See You Again f/Charlie Puth: 31.780 (+0.228)
56. ONE DIRECTION - Perfect: 31.396 (+0.621)
57. DAYA - Hide Away: 30.761 (+0.753) ?
58. FETTY WAP - Again: 30.467 (+0.301) ?
59. KENNY CHESNEY - Save It For A Rainy Day: 28.811 (-0.280)
60. TWENTY ONE PILOTS - Stressed Out: 28.614 (+1.277) ?

61. OMI - Cheerleader: 27.925 (-0.244) ?
62. BIG SEAN - Play No Games: 27.594 (+0.094) ?
63. GWEN STEFANI - Used To Love You: 27.510 (+0.605)
64. LUKE BRYAN - Home Alone Tonight: 27.031 (+0.971) ?
65. BRYSON TILLER - Don't: 27.018 (+0.145) ?
66. BRETT ELDREDGE - Lose My Mind: 26.506 (-0.071) ?
67. THE WEEKND - Earned It: 25.847 (+0.518) ?
68. LUKE BRYAN - Strip It Down: 25.443 (-0.485) ?
69. COLDPLAY - Adventure Of A Lifetime: 25.369 (+0.408) ?
70. ZAC BROWN BAND - Beautiful Drug: 25.098 (+0.403) ?
71. RACHEL PLATTEN - Stand By You: 24.915 (+0.130) ?
72. KEITH URBAN - John Cougar, John Deere...: 24.913 (-0.304) ?
73. KEITH URBAN - Break On Me: 24.435 (+0.751) ?
74. MAROON 5 - Sugar: 24.251 (-0.606) ?
75. THE CHAINSMOKERS - Roses f/Rozes: 24.131 (+0.896) ?

[wjr15]

What's with all the question marks?

[Arabella21]

Dec 3, 2015 16:09:32 GMT -5 velaxti said:

Dec 3, 2015 15:10:39 GMT -5 Gary said:

All huge songs of today. Peaks of today have no bearing on what is a future classic.


Just as there are lots of "classics" today that did not do well initially, the reverse is also true, lots of songs that were huge in its day that did not hold up well over time.

This.

Ed Sheeran - The A Team
AWOLNATION - Sail
Christina Perri - Jar of Hearts
Bruno Mars - Marry You
The Lumineers - Ho Hey

are the sorts of songs I could see end up being classics, rather than stuff like Bad Romance or We Found Love lol. They'll be classics with pop fans, in the same way that The Motto will be a classic with hip hop fans. But when it comes to what songs from this time period the general public will hear in 20 years time, it'll be the AC/alternative kind of songs that will get played on the radio or on TV a lot in the future.

What's considered popular music could undergo a massive sea change and turn in a completely unforeseeable direction, rendering everything people listen to now hopelessly past it, consigned to the dust bin of history for having too much twentieth century influence. Like, how many average music fans in 1915 could have imagined jazz, let alone big band, rock or rap? In 1911, this was a "pop" song, about those newfangled airplanes:



Come Fly With Me, 40+ years later, had a very different sound:



What's more glamorous and fancy than planes? 2010s style:




Whole new genres and sounds will probably come up in the 21st century, because that's how music goes. What's regarded as legendary and classic to us may well seem creaky and archaic by 2050, like it might as well have been from 1000 years ago.




As for streaming, aside from Youtube it's not really my thing, but it's not illegal, it's a valid way to consume music and the Hot 100 is supposed to be about what's popular right now. When I was a kid, I had older relatives who would say they were so glad they came along before music videos were big because now, kids would hear a song and only have memories of its video, instead of memories of hanging out with friends, being on a road trip, a dance, etc., and it was so much better in the old days. I always thought that was so stupid, because you can hear a song and be reminded of its video, AND also be taken back the seventh grade, your first kiss, going off to college, and so on. So, young people now will have their memories of music, even it's not the same experience young people had 10-20-30 years ago.

[emperortigerstar]

Dec 3, 2015 14:12:13 GMT -5 Rose "Payola" Nylund said:

Dec 3, 2015 13:46:18 GMT -5 Old-school 72 said:

It may be the way most young people consume their music but 20 yrs from now they wont even remember most of those songs because the physical product is not there to remind them.

This point is CONSTANTLY brought up when talking about charts and it boggles my mind because it makes no sense. Why does the long term matter in a week-to-week measurement? The charts measure the here and now, not ten years from now, five years ago or how known a song from today is in the year 2075. This makes no sense. And using your logic, sales of 8-tracks shouldn't have counted toward anything because they were a short term method of using music and everyone threw them out after the 70s ended.

If the charts are for here and now, and the same song was popular "here and now" then and now, then it should be included. Heck, I'd totally advocate including classic songs just to see what would be on there. A conglomerate chart if you will.