narp
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Post by narp on Jun 11, 2019 19:00:34 GMT -5
Someone You Loved is finally on the USA top 100 on Apple Music. And 58 on Hot 100, I will stream this daily, it deserves to hit the top 40, at least the top 50.
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narp
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Post by narp on Jun 11, 2019 19:03:06 GMT -5
Also a cover of Old Town Road is Top 50 on Digital Song Sales?
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jodakyellow
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Post by jodakyellow on Jun 11, 2019 20:55:51 GMT -5
yall 18 + 1 = 19 and uhhh 19 isnt bigger or the same as 20 GV's point (and they're probably kidding) is that another Mariah single could reach #1 between now and AIWFCIY eventually getting there
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Deleted
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Post by Deleted on Jun 12, 2019 21:43:42 GMT -5
The Beatles have 20 so no. But could be the longest climb to no.1.. With all the weeks it took to get to #1, it's certainly possible. Haha. Iβd hate life.
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Au$tin
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Post by Au$tin on Jun 15, 2019 0:12:29 GMT -5
Moving this over here as to not clutter the main thread. Umm... homophobia?... obviously... (did you even bother to listen to the song... smh) I mean... You're technically right but it's really not that great of a statement. For one verse she tells homophobes to calm down and quit screaming and making signs. While that might be a huge step for Taylor, who before last fall didn't once mention anything political, it's very vanilla compared to the statements being made in the music of her contemporaries. I commend her for speaking out on LGBT+ rights, but isn't as hard hitting and edgy as so many people are insinuating. Especially when it's not even just sorta jam packed into a track where the first section is her adressing her haters and the bridge glosses over a quick mention of how women are always pitted up against each other in the media. It just comes off a little forced and calculated. Maybe if she devoted an entire song to each topic separately it would work, but... I mean, I've been a Taylor Swift fan since I first heard "Our Song" 12 years ago, and, again, while I commend the message in this one verse, I'm disappointed that the message comes in one of the weakest songs she's ever done songwriting wise. I'm personally getting Katy Perry Witness vibes from her weak songwriting and "woke" persona.
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monkeydluffy
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Post by monkeydluffy on Jun 15, 2019 0:33:41 GMT -5
Moving this over here as to not clutter the main thread. Umm... homophobia?... obviously... (did you even bother to listen to the song... smh) I mean... You're technically right but it's really not that great of a statement. For one verse she tells homophobes to calm down and quit screaming and making signs. While that might be a huge step for Taylor, who before last fall didn't once mention anything political, it's very vanilla compared to the statements being made in the music of her contemporaries. I commend her for speaking out on LGBT+ rights, but isn't as hard hitting and edgy as so many people are insinuating. Especially when it's not even just sorta jam packed into a track where the first section is her adressing her haters and the bridge glosses over a quick mention of how women are always pitted up against each other in the media. It just comes off a little forced and calculated. Maybe if she devoted an entire song to each topic separately it would work, but... I mean, I've been a Taylor Swift fan since I first heard "Our Song" 12 years ago, and, again, while I commend the message in this one verse, I'm disappointed that the message comes in one of the weakest songs she's ever done songwriting wise. I'm personally getting Katy Perry Witness vibes from her weak songwriting and "woke" persona. I agree and thatβs what Iβm saying, her songwriting has gone down and thereβs something missing from it to make it a hit like ones sheβs had in the past
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Deleted
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Post by Deleted on Aug 31, 2019 18:15:11 GMT -5
if zeze went #1 it wouldβve probably been the first time one has replaced their spouse at the #1 spot
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dynamac
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Post by dynamac on Sept 1, 2019 0:52:37 GMT -5
Diplo has charted as
Himself Jack U Major Lazer LSD Silk City and now Thomas Wesley
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Deleted
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Post by Deleted on Sept 1, 2019 1:06:52 GMT -5
Diplo has charted as Himself Jack U Major Lazer LSD Silk City and now Thomas Wesley Impressive, but wasn't Jack Γ officially credited as Skrillex & Diplo?
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lights
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Post by lights on Sept 1, 2019 8:26:32 GMT -5
I've been thinking about how certain songs make the year-end by virtue of dodging the recurrent rules. The most recent example is "Talk You Out Of It" by Florida Georgia Line, which will most likely (I know it's not definite) make the 2019 chart, because it charted for 26 weeks, despite only peaking at #57.
Now personally I think this is a bit silly. The only reason it charted for so long is because radio only played it sparingly (but enough for it to chart) for the first 20 weeks, and then started picking it up a bit, meaning it wasn't allowed to go recurrent. But this doesn't make it a bigger hit. Songs like "This Is It", "Miss Me More", "Here Tonight" and "Eyes On You" had better runs than it but have less chance of making the year-end chart, because they had a standard radio run, rather than taking 5 months for them to get proper airplay.
My proposal to solve this is that when songs avoid the recurrent rule by being still gaining on airplay, their early weeks are subtracted from their total 'points' that count towards the YEC.
i.e. your 21st week counts, but then your first week is removed, your 22nd week counts, but then your 2nd no longer does etc. I think this would make it a lot fairer and stop putting non-hits like Talk You Out Of It on the YEC. Thoughts?
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rimetm
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Post by rimetm on Sept 1, 2019 9:26:12 GMT -5
Nope, bad idea. It was an active single those first few weeks, making the Hot 100 at all is a sign that a song has some level of relevance. Also, country singles are not where you want to go to claim that things have a standard radio run, that format is notorious for dropping songs abnormally after a final push, that Talk You Out of It survived so long without that happening is a testament to its status as a deserving hit.
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Post by Devil Marlena Nylund on Sept 1, 2019 9:30:40 GMT -5
The fact recurrent rules play into the year end totals is another ridiculous rule billboard has. Songs donβt stop existing and accumulating airplay/sales/streaming because of some arbitrary rule based on a bunch of other arbitrary criteria.
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lights
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Post by lights on Sept 1, 2019 12:21:18 GMT -5
Nope, bad idea. It was an active single those first few weeks, making the Hot 100 at all is a sign that a song has some level of relevance. Also, country singles are not where you want to go to claim that things have a standard radio run, that format is notorious for dropping songs abnormally after a final push, that Talk You Out of It survived so long without that happening is a testament to its status as a deserving hit. But Talk You Out Of It didn't "survive". It wasn't popular. If it had ever got big it would've tanked as you described, but it simply skated along with minimal airplay before getting a (fairly small) push 5 months in. It wasn't a hit.
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lights
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Post by lights on Sept 1, 2019 12:22:57 GMT -5
The fact recurrent rules play into the year end totals is another ridiculous rule billboard has. Songs donβt stop existing and accumulating airplay/sales/streaming because of some arbitrary rule based on a bunch of other arbitrary criteria. But if it didn't count recurrent rules then couldn't songs like Perfect make the 2019 year end chart despite not charting all year?
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rimetm
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Post by rimetm on Sept 1, 2019 16:10:42 GMT -5
Japan's year-end lists point out the problem with both of those things. In 2017, Shake it Off made the year-end despite peaking in the 70s that year with about 2 months of charting. Look What You Made Me Do had more chart points than it, but because SIO was around all year getting points just under the top 100, it got beat narrowly. In addition, songs that start in September with a consistent top 10 showing won't make it unless they get a mammoth week. Dancing Hero in 2017 was in that exact situation and failed to make the year-end list because of both the songs who hung around the bottom 50 and the ones that weren't even charting consistently but building up residual points all year.
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Post by Devil Marlena Nylund on Sept 2, 2019 7:59:13 GMT -5
The fact recurrent rules play into the year end totals is another ridiculous rule billboard has. Songs donβt stop existing and accumulating airplay/sales/streaming because of some arbitrary rule based on a bunch of other arbitrary criteria. But if it didn't count recurrent rules then couldn't songs like Perfect make the 2019 year end chart despite not charting all year? They continued to exist in 2019 and achieved the necessary attention from the people. Other ways this could be remedied is to have a song on the chart for at least one week during the tracking year, but having that song's entire accumulation of points count toward the end of year total.
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iggyamo
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Post by iggyamo on Sept 3, 2019 8:51:04 GMT -5
But if it didn't count recurrent rules then couldn't songs like Perfect make the 2019 year end chart despite not charting all year? They continued to exist in 2019 and achieved the necessary attention from the people. Other ways this could be remedied is to have a song on the chart for at least one week during the tracking year, but having that song's entire accumulation of points count toward the end of year total. This just seems like such a bad idea to me. I mean I already have a problem with radio keeping certain songs forever to the point that I havenβt heard a song in months, but it is still near the top of the charts, *cough* *cough* Without Me *cough* *cough*. I really do not want Believer, Perfect and Sugar making the year end list every year because that just feels not right. Although for the all time year end list, it would make sense to count that.
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Post by Baby Yoda Hot100Fan on Sept 4, 2019 16:39:36 GMT -5
Didn't know where to post this, but since this affects the Hot 100 chart, would probably prevent the ongoing Billboard 200 fiasco, I'm sharing this so the debate can occur:
Rights holders are said to be concerned about the lack of transparency and checks and balances that could result from Billboardβs impending deal to acquire SoundScan from Nielsen. How will this move affect the myriad credibility problems swirling about the Billboard charts, notably regarding ticket and merch bundles and unverified YouTube data? If these video streams are unverifiable and therefore not factored into the album chart, why are they used for the singles chart, where they can frequently sway the result? It defies all earthly logic that theyβre legit enough for one chart but not another. What other changes in methodology might be in store, and what difference will they make, if any? Stay tuned.
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lights
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Post by lights on Sept 22, 2019 14:40:52 GMT -5
Random question: I seem to remember seeing on here a while ago, a link to a page that listed every year-end hit by artists in alphabetical order. It might have been 2010s only I don't remember. Does anyone have a link to this or just recognise what in talking about? (I hope I'm not imagining this)
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Sambalada
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Post by Sambalada on Sept 23, 2019 8:02:27 GMT -5
Random question: I seem to remember seeing on here a while ago, a link to a page that listed every year-end hit by artists in alphabetical order. It might have been 2010s only I don't remember. Does anyone have a link to this or just recognise what in talking about? (I hope I'm not imagining this) You're not imagining things. Here's the link: docs.google.com/document/d/1SSYa1y33HFYbrdS_Pukv50YzfYjAzmqOUrbB2pyJivM/edit?usp=drivesdkThis list goes all the way to 1946. I got the pre-1959 data from bobborst.com
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lights
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Post by lights on Sept 29, 2019 17:52:28 GMT -5
Random question: I seem to remember seeing on here a while ago, a link to a page that listed every year-end hit by artists in alphabetical order. It might have been 2010s only I don't remember. Does anyone have a link to this or just recognise what in talking about? (I hope I'm not imagining this) You're not imagining things. Here's the link: docs.google.com/document/d/1SSYa1y33HFYbrdS_Pukv50YzfYjAzmqOUrbB2pyJivM/edit?usp=drivesdkThis list goes all the way to 1946. I got the pre-1959 data from bobborst.com I'm very late getting back to this, I forgot that I asked this question. Thank you very much!
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spoons
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Post by spoons on Sept 29, 2019 22:38:03 GMT -5
Anyone feel the hot 100 is extremely stagnant recently? I thought last year had much more activity.
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lights
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Post by lights on Sept 30, 2019 7:49:54 GMT -5
Anyone feel the hot 100 is extremely stagnant recently? I thought last year had much more activity. In terms of fewer album bombs, yes. Otherwise, not really.
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Post by campbellssoup on Oct 18, 2019 16:19:23 GMT -5
The UK chart just had 5 songs enter the top 10 this week. Meanwhile on the Hot 100, the only week to debut more than 2 songs in the top 10 this year was the week following Christmas. I know the UK chart's rules make it a lot less accurate than the Hot 100, but it would be exciting to see such a huge shift in the top 10 that isn't just due to an album bomb.
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rimetm
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Post by rimetm on Oct 19, 2019 3:34:23 GMT -5
You do realize the exact reason 5 songs entered the top 10 is because 5 other songs got ACR'd (their streams cut in half), right? I know you acknowledged the UK charts aren't as accurate, but I'd think you wouldn't hail the feat if you knew in this case.
TW LW WO Song, Artist 23 06 16 Higher Love, Kygo & Whitney Houston 25 07 15 Sorry, Joel Corry 26 04 33 Ladbroke Grove, AJ Tracey 32 09 24 3 Nights, Dominic Fike 38 10 19 Strike a Pose, Young T. & Bugsey feat. Aitch
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Post by campbellssoup on Oct 19, 2019 16:57:06 GMT -5
You do realize the exact reason 5 songs entered the top 10 is because 5 other songs got ACR'd (their streams cut in half), right? I know you acknowledged the UK charts aren't as accurate, but I'd think you wouldn't hail the feat if you knew in this case. TW LW WO Song, Artist23 06 16 Higher Love, Kygo & Whitney Houston 25 07 15 Sorry, Joel Corry 26 04 33 Ladbroke Grove, AJ Tracey 32 09 24 3 Nights, Dominic Fike 38 10 19 Strike a Pose, Young T. & Bugsey feat. Aitch I actually was unaware. That would make sense why they all fell outside the top 20.
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85la
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Post by 85la on Oct 19, 2019 18:43:20 GMT -5
yeah 3 or more songs debuting in the top 10 the same week, aside from album bombs, is an extremely rare occurrence. I imagine it happens only once or twice a year, if that?
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Deleted
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Post by Deleted on Oct 19, 2019 19:05:33 GMT -5
second time it ever happened was in 2012 when Red by Taylor swift Skyfall by Adele and some random 1D song debuted at 6,8, and 10
First time it happened was after the 2011 Grammy when Part of Me by Katy perry, starships by Nick and turn up the music by Chris Brown debuted at 1,9 and 10
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tanooki
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Post by tanooki on Oct 28, 2019 20:30:36 GMT -5
bump
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rimetm
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Post by rimetm on Oct 31, 2019 9:38:08 GMT -5
Yeah, there's been some fascinating talk about charts in 2000 or so in the most recent Hot 100 thread that more belong here.
In any case, I made a Twitter thread that I think is germane to general Hot 100 talk:
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