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Post by king_billboard_100 on May 6, 2019 17:50:23 GMT -5
Chris Brown now has 92 Hot 100 entries, the 8th most out of any artist, beating his tie with James Brown. • 2 #1’s • 13 Top Ten’s • 92 Overall Entries. Nicki Minaj teas...(but with the #1’s). I think he can manage to hit another No. 1 song, but it seems like he just dont care |
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Post by Naos on May 6, 2019 17:53:37 GMT -5
Notable gains:
#27 - Suge (+19)
#33 - Whiskey Glasses (+15)
#49 - Walk Me Home (+13)
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marc980
Platinum Member
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Post by marc980 on May 6, 2019 17:57:00 GMT -5
I'm still hoping both Juice and Chlorine debut soon on Hot 100.
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Post by king_billboard_100 on May 6, 2019 17:57:03 GMT -5
Notable gains: #27 - Suge (+19) #33 - Whiskey Glasses (+15) #49 - Walk Me Home (+13) Dababy, "Suge", deserve it 👏 |
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Post by Naos on May 6, 2019 17:59:00 GMT -5
Dropouts:
- "Better Now" by Post Malone (#3 peak, 52 weeks)
- "This Is It" by Scotty McCreery (#42 peak, 20 weeks)
"Kiss This Love" by BLACKPINK manages to survive another week on the Hot 100. "Youngblood" and "You Say" do not go recurrent.
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wavey.
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Look...
Positive Vibes🙏🏾❤
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Post by wavey. on May 6, 2019 18:03:48 GMT -5
Whew! All of this fuss. #2 is still great like..
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owenlovesmusic
4x Platinum Member
Always 100
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Post by owenlovesmusic on May 6, 2019 18:05:15 GMT -5
RIP Better Now... 52 weeks was not long enough.
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Post by Naos on May 6, 2019 18:06:18 GMT -5
Could "God's Country" the biggest country song of the year? It's already up to #34 and only #14 on Country Airplay. Still has a ton of room to grow. As does "Look What God Gave Her", which is Top 50 and only #11.
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Kris
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Post by Kris on May 6, 2019 18:20:04 GMT -5
I thought the biggest country song of the year was Old Town Road
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spicymapping
Platinum Member
ahoe s2e11 out now
Joined: December 2018
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Post by spicymapping on May 6, 2019 18:21:27 GMT -5
...How the hell is Whiskey Glasses pulling this off?
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Post by Naos on May 6, 2019 18:21:50 GMT -5
I thought the biggest country song of the year was Old Town Road No. ...How the hell is Whiskey Glasses pulling this off? No clue. Just timing I guess. Decent sales, and streaming is okay, in the Top 200 on both Apple Music and Spotify. It's doing really well at radio though. |
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Deleted
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Posts: 0
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Post by Deleted on May 6, 2019 18:30:13 GMT -5
Beautiful Crazy will be the biggest country song of the year.
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Post by Naos on May 6, 2019 18:33:52 GMT -5
Beautiful Crazy will be the biggest country song of the year. I'm not so sure about that. "God's Country" is definitely in a position to challenge, I'd say. I wouldn't be surprised if it ends out outpeaking or at least getting close to "Beautiful Crazy"'s peak. |
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Sambalada
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Founder of Rankdown ca. 2016
Mmmmmmmm....
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Post by Sambalada on May 6, 2019 18:36:12 GMT -5
So... Where does these success of Blake and Thomas come from? Digital sales? Streaming?
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gabe
3x Platinum Member
gay
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Post by gabe on May 6, 2019 18:45:51 GMT -5
So... Where does these success of Blake and Thomas come from? Digital sales? Streaming? texas roadhouses all around the country |
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dovahduck
Platinum Member
Kavinsky finally dropped! :)
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Post by dovahduck on May 6, 2019 18:58:46 GMT -5
New arrivals this week: #96 - "Love Me Anyway" by P!nk ft. Chris Stapleton #94 - "Knockin' Boots" by Luke Bryan #92 - "Power is Power" by SZA, The Weeknd, and Travis Scott #90 - "Light It Up" by Marshmello, Tyga, and Chris Brown #85 - "CHopstix" by ScHoolboy Q & Travis Scott #69 - "Baila Baila Baila" by Ozuna, Daddy Yankee, J Balvin, Farruko, and Anuel AA #67 - "Floating" by ScHoolboy Q ft. 21 Savage Glad to see "Power Is Power" charting. Also The Weeknd deleted all of his 'Game of Throne' posts and blacked out his Instagram profile picture. Similiar to what he did did last year with 'Black Panther', So we should be getting new music soon. |
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mackattack
Charting
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Posts: 221
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Post by mackattack on May 6, 2019 19:04:28 GMT -5
Taylor has many number 1s. It’s actually refreshing to see a newcomer holding on to the top spot. Hopefully her second single is better.
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Post by Naos on May 6, 2019 19:20:49 GMT -5
So... Where does these success of Blake and Thomas come from? Digital sales? Streaming? Often a moderate combination. Blake is doing very well in sales right now, but it's usually radio that pushes him. Thomas has always had decent streaming, his sales are doing okay (I think his fans are starting to move to streaming), and country radio loves the guy. |
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Sambalada
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Founder of Rankdown ca. 2016
Mmmmmmmm....
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Post by Sambalada on May 6, 2019 19:36:29 GMT -5
So... Where does these success of Blake and Thomas come from? Digital sales? Streaming? Often a moderate combination. Blake is doing very well in sales right now, but it's usually radio that pushes him. Thomas has always had decent streaming, his sales are doing okay (I think his fans are starting to move to streaming), and country radio loves the guy. I meant to ask specifically about God's Country and LWGGH lol sorry for the misunderstanding, it's just weird since usually the strongest component on a country song is radio |
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Deleted
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Post by Deleted on May 6, 2019 19:49:20 GMT -5
Dropouts: - "Better Now" by Post Malone (#3 peak, 52 weeks) - "This Is It" by Scotty McCreery (#42 peak, 20 weeks) "Kiss This Love" by BLACKPINK manages to survive another week on the Hot 100. "Youngblood" and "You Say" do not go recurrent. Queens of longevity |
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Post by Naos on May 6, 2019 19:58:40 GMT -5
Often a moderate combination. Blake is doing very well in sales right now, but it's usually radio that pushes him. Thomas has always had decent streaming, his sales are doing okay (I think his fans are starting to move to streaming), and country radio loves the guy. I meant to ask specifically about God's Country and LWGGH lol sorry for the misunderstanding, it's just weird since usually the strongest component on a country song is radio It's mainly sales and radio in both cases. But both have an okay amount of streaming right now. |
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kimberly
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act i RENAISSANCE
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My Charts
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Post by kimberly on May 6, 2019 20:00:59 GMT -5
• 2 #1’s • 13 Top Ten’s • 92 Overall Entries. Nicki Minaj teas...(but with the #1’s). I think he can manage to hit another No. 1 song, but it seems like he just dont care Chris can definitely HIT something... or dare I say... someone? His music sounds like a very long, mediocre song released in 92 parts so I really hope he saves rest of his 'creativity' for himself. |
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eidde
Gold Member
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Post by eidde on May 6, 2019 20:09:50 GMT -5
" Youngblood" and "You Say" do not go recurrent. I swear, this song is just immortal. |
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Abbaschand
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Post by Abbaschand on May 6, 2019 20:12:41 GMT -5
I think he can manage to hit another No. 1 song, but it seems like he just dont care Chris can definitely HIT something... or dare I say... someone? I still don't get it. How did he managed to still have a career even with those allegations? If he's still allowed to have a career like that, then Kevin Spacey still deserved a career! |
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nickd
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Post by nickd on May 6, 2019 20:45:44 GMT -5
I'm still trying to figure out what it will take to get the average non-urban music listener to get into streaming. Someone kind of touched on this when explaining several pages ago why Apple Music skews so heavily urban. Streaming in general still skews in urban's favor, but Spotify makes a point to curate playlists that cater to pop fans, so a well-promoted pop song can fare well there. But it's going to take more than a banner ad and a spot on TTH to fully make up for the decline in sales...hip-hop/urban leaning music is doing that in spades, but every other genre continues to lag. What else would it take to get someone to stream? My guess is just time. Pop actually was the dominant genre on Spotify at first, but then urban fans switched to streaming in literal droves whereas other genres are moving at a slower pace. Perhaps urban fans are just more in tune with technology or always looking for the cheapest/efficient way to consume music while fans of other genres adapt more slowly to changing technology and are more content with other ways to consume music and need more motivation to switch? I know urban music was commonly pirated more often than other genres and streaming came along and nearly put an end to that. It's always interesting to hypothesize what started these trends and I've always kind of believed those that pirated music more often made the switch to streaming first. But that's just one theory and perhaps only just one slice of the pie. I think urban music's popularity has been over-stated. A lot of urban music's streams are very front-loaded, and also strongly US based. Also most of the top streamed songs on Spotify from the 00s are rock songs, not urban or even pop. I'd say the top performing songs on Spotify (worldwide) released in the past 365 days would be something like 1. Sunflower 2. 7 rings 3. thank u, next 4. Happier 5. In My Feelings 6. Bad Guy 7. Lucid Dreams 8. Girls Like You 9. Shallow 10. Without Me 11. Wow. 12. Sweet But Psycho 13. Eastside 14. High Hopes 15. Sicko Mode OTR would probably be top 5 but it's a bit hard to tell where it would fall exactly on that ranking. |
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Deleted
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Posts: 0
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Post by Deleted on May 6, 2019 20:48:23 GMT -5
It's bizarre because at the time, Boyfriend's opening was the fourth biggest in history, digital sales ruled the Hot 100, streaming was essentially a non-factor on the Hot 100, and by today's standards, We Are Young is not the type of song to rule on streaming. It was literally the beginning of a whole new era that most people did not see coming that exact week. It was monumental and bizarre in context. Eh, but "WAY" still had a large sales total and was #2 in sales, and it had a huge lead in airplay. And as minimal as its streaming may have been, it led "Boyfriend" there, too. Like Austin said, it really is about the context - the On-Demand Songs chart was literally only four weeks old, and Billboard also did not reveal that it had lowered the sales weight in relation to airplay until that same week, so we were all doubly caught off guard. It seems quaint now, but we were given almost no time to comprehend what a streaming impact really meant, or for that matter comprehend that a sales impact suddenly meant substantially less. Aside from that, it just seems so random now that an alternative/pop song would be the first beneficiary (albeit accidentally) of streaming, given how hip-hop dominated streaming has been for almost the entirety of streaming's existence. But the On-Demand Songs chart in the very beginning was virtually a mirror of the pop-dominated airplay and digital sales charts, with just a few exceptions. DSPs at the time were still very niche and Billboard did not include non-demand or Youtube streams until the following year, IIRC. I'm still trying to figure out what it will take to get the average non-urban music listener to get into streaming. Someone kind of touched on this when explaining several pages ago why Apple Music skews so heavily urban. Streaming in general still skews in urban's favor, but Spotify makes a point to curate playlists that cater to pop fans, so a well-promoted pop song can fare well there. But it's going to take more than a banner ad and a spot on TTH to fully make up for the decline in sales...hip-hop/urban leaning music is doing that in spades, but every other genre continues to lag. What else would it take to get someone to stream? That question may be too broad. I think we need to get a lot more specific. You have to look at the demographics of who is streaming, what they stream, and how often they stream it. As in, are people who like urban music streaming more as a group, or is it that they stream the same songs more often? Do they stream newer songs as opposed to older songs? Do they create their own playlists as opposed to replying on passive streaming? My point is that there are a lot of nuances within streaming. Well, that is kind of why I asked it so broadly. I haven't a clue how to tailor the question. I have my theories about different listening habits among fans of different genres, but they're just that, theories with no data. If I could, I would conduct a survey for it. I'm sure Spotify can look at all the metrics on their end and deduce different listener habits from that. Au$tin I would wager that the primary reason urban fans were not the VERY first ones on board with streaming was simply lack of awareness. Spotify was focused more on raising capital in the beginning and I vaguely recall at the time most of their marketing and buzz was contained within the tech and music biz circles. I'm not sure how the urban audience ended up discovering and taking over. I should investigate. |
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Deleted
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Post by Deleted on May 6, 2019 21:29:30 GMT -5
My guess is just time. Pop actually was the dominant genre on Spotify at first, but then urban fans switched to streaming in literal droves whereas other genres are moving at a slower pace. Perhaps urban fans are just more in tune with technology or always looking for the cheapest/efficient way to consume music while fans of other genres adapt more slowly to changing technology and are more content with other ways to consume music and need more motivation to switch? I know urban music was commonly pirated more often than other genres and streaming came along and nearly put an end to that. It's always interesting to hypothesize what started these trends and I've always kind of believed those that pirated music more often made the switch to streaming first. But that's just one theory and perhaps only just one slice of the pie. I think urban music's popularity has been over-stated. A lot of urban music's streams are very front-loaded, and also strongly US based. Also most of the top streamed songs on Spotify from the 00s are rock songs, not urban or even pop. I'd say the top performing songs on Spotify (worldwide) released in the past 365 days would be something like 1. Sunflower 2. 7 rings 3. thank u, next 4. Happier 5. In My Feelings 6. Bad Guy 7. Lucid Dreams 8. Girls Like You 9. Shallow 10. Without Me 11. Wow. 12. Sweet But Psycho 13. Eastside 14. High Hopes 15. Sicko Mode OTR would probably be top 5 but it's a bit hard to tell where it would fall exactly on that ranking. To clarify, I was only referring to the US market (urban music has never been a big US export), where urban is as a whole more dominant on streaming. With that in mind, I would argue that urban isn't as front-loaded as it appears - urban fans don't tire of their favorite artists much but they consume material quickly and are always ready to move on to whatever is next. The rapid turnover at urban radio is a good example of this. Assuming one defines that as the pure number of fans a genre has, pop is easily the most popular genre - always has been, always will be, crossover hits notwithstanding. Not to dismiss urban's own popularity level bc that genre has 10s of millions of fans, but this is is what makes urban's streaming dominance a bit puzzling to me (and I say this as a fan of hip-hop and r&b). No one is trying to say urban music is "more popular," we're just saying that - again, in the US - urban listeners stream much more than fans of other genres, and it's odd when streaming is clearly the present and future of music consumption. I don't get where the fans of other genres are - they're not streaming, but they're also not buying nearly as much as they used to, and radio audiences have been on the decline...it's all a big mystery to me. |
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nickd
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Post by nickd on May 6, 2019 22:06:09 GMT -5
I think urban music's popularity has been over-stated. A lot of urban music's streams are very front-loaded, and also strongly US based. Also most of the top streamed songs on Spotify from the 00s are rock songs, not urban or even pop. I'd say the top performing songs on Spotify (worldwide) released in the past 365 days would be something like 1. Sunflower 2. 7 rings 3. thank u, next 4. Happier 5. In My Feelings 6. Bad Guy 7. Lucid Dreams 8. Girls Like You 9. Shallow 10. Without Me 11. Wow. 12. Sweet But Psycho 13. Eastside 14. High Hopes 15. Sicko Mode OTR would probably be top 5 but it's a bit hard to tell where it would fall exactly on that ranking. To clarify, I was only referring to the US market (urban music has never been a big US export), where urban is as a whole more dominant on streaming. With that in mind, I would argue that urban isn't as front-loaded as it appears - urban fans don't tire of their favorite artists much but they consume material quickly and are always ready to move on to whatever is next. The rapid turnover at urban radio is a good example of this. Assuming one defines that as the pure number of fans a genre has, pop is easily the most popular genre - always has been, always will be, crossover hits notwithstanding. Not to dismiss urban's own popularity level bc that genre has 10s of millions of fans, but this is is what makes urban's streaming dominance a bit puzzling to me (and I say this as a fan of hip-hop and r&b). No one is trying to say urban music is "more popular," we're just saying that - again, in the US - urban listeners stream much more than fans of other genres, and it's odd when streaming is clearly the present and future of music consumption. I don't get where the fans of other genres are - they're not streaming, but they're also not buying nearly as much as they used to, and radio audiences have been on the decline...it's all a big mystery to me. Maybe high turnover would've been a better way to describe it than front-loaded. Nonetheless, doesn't that explain why urban music has so many songs popping up on the charts? Because urban music fans would rather listen to the new urban song while pop fans will listen to a mix of old and new pop? What I'm describing applies to the more urban dominated US market just the same as the more pop leaning global one. For example Girls Like You had only a quarter of the US streams In My Feelings got in their respective top weeks, but now that they're both around a year old, Girls Like You is outstreaming In My Feelings by a small margin on US Spotify (and by a large margin on WW Spotify). And then rock fans are even less likely to listen to the new stuff, as evidenced by the prevalence of rock music among the top streamed songs from 2010 and earlier (pop's dominance is mainly in the 1-10 year old songs). |
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rimetm
2x Platinum Member
Just a Good Ol' Chart Shmuck
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Post by rimetm on May 6, 2019 22:15:02 GMT -5
Sources: Article, Chart History Digging, Gary Tweets
01 01 Old Town Road
02 100 ME!
03 02 Wow.
04 05 Sucker
05 03 Sunflower
06 04 7 Rings
07 06 Without Me
08 07 Dancing With a Stranger
09 09 Bad Guy
10 08 Talk
11 11 Sweet But Psycho
13 14 Break Up With Your Girlfriend, I'm Bored
27 46 Suge
31 37 Here With Me
33 48 Whiskey Glasses
34 43 God's Country
38 44 Eyes on You
39 38 When the Party's Over
40 40 Boy With Luv
41 17 Earth
45 36 Bury a Friend
46 52 Good as You
48 41 Thank U, Next
49 62 Walk Me Home
59 61 Night Shift
60 68 Love Ain't
61 67 Rumor
65 75 Before I Let Go
66 80 Hey Look Ma, I Made It
67 NE Floating
69 NE Baila Baila Baila
84 89 On My Way to You
85 NE CHopstix
90 NE Light it Up
91 93 Love Someone
92 NE Power is Power
94 NE Knockin' Boots
96 NE Love Me Anyway
BUBBLING UNDER
03 05 All to Myself
04 07 Juice
06 NE Broken & Beautiful
07 09 Some Of It
11 14 Chlorine
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85la
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Post by 85la on May 6, 2019 23:31:38 GMT -5
I wonder why kworb so drastically underestimated ME!'s digital sales, anywhere from 133-148k throughout the week when it actually ended up selling 193k. I don't think it was due to the last minute sale pricing to $.97 or the downloads provided on the vinyl/CD sales, because neither seemed to be too significant, and I'm assuming the downloads would have to be redeemed by the consumer in order to be counted, which all of them might not have. I'm actually not surprised though by the real sales number; it's in line with my rough mental calculations just based on the wide lead she had the first couple days, I was almost certain 150k was a lock, and was shocked why kworb put it so low.
Actually, I'm really wondering what those vinyl sales were because Billboard didn't mention them right? They probably didn't sell that much, maybe only a few thousand copies at most, because if they were significant and put up a potential challenge to OTR surely that's something interesting they would have mentioned.
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