Billboard Hot 100: 6/15/19

[Naos]

Jun 8, 2019 13:46:46 GMT -5 brady47 said:

Digital smashes somehow feel so much bigger than streaming smashes to me.

Because in general, they are. 9 million units in sales has far more individuals consuming it than 9 million units in streaming.

[imbondz]

Jun 8, 2019 13:46:46 GMT -5 brady47 said:

In other news, "Ahead of its 10th anniversary, The Black Eyed Peas’ “I Gotta Feeling” becomes the first song to hit 9 million U.S. downloads"

Can't believe it's been 10 years since this monster hit. Digital smashes somehow feel so much bigger than streaming smashes to me.

Agreed. Also the landscape has changed in the past 10 years. There’s so many different outlets to consume music and I think that makes it tougher to have a huge crossover hit that the masses can hear. Radio isn’t as big a deal as it was even 10 years ago.

[renaboss]

It's surprising when I of all people have no problem with "Old Town Road" being #1. Obviously I don't want it to take the record, but I'm also at a point where I probably wouldn't care that much anymore.

[jebsib]

BTW, Fred Bronson was wrong - the Hot 100 policy was changed well before Sept 1995. That's when the first song (MJ) debuted at #1, but it did so because the rule change happened at some point in early 1995 (like Feb).

The first title to make an eye popping leap due to the new policy was Brandy's "Baby";
The first batch of actual Top 10 debuts in the '90s were led by MJ again (Scream) and Biggie (One More Chance), but again, well before Sept 1995.

[fhas]

Jun 8, 2019 13:46:46 GMT -5 brady47 said:

In other news, "Ahead of its 10th anniversary, The Black Eyed Peas’ “I Gotta Feeling” becomes the first song to hit 9 million U.S. downloads"

Can't believe it's been 10 years since this monster hit. Digital smashes somehow feel so much bigger than streaming smashes to me.

It's impossible to compare because there is no way to know how many times that song was listened with those 9M U.S. downloads.

[Kris]

How many streams = 1 digital song in points? Curious to know how many streams 9 million downloads equates to.

[Gary]

With all this talk about Digital Sales I kind of thought 'Mr. Brightside' was back

[fhas]

Jun 8, 2019 14:36:41 GMT -5 Kris said:

How many streams = 1 digital song in points? Curious to know how many streams 9 million downloads equates to.

***Forget about my previous post (now deleted) because I was crazy with that math***

Using the current Hot 100 formula:
1 download =
- 250 paid streams (Apple Music, Tidal, Amazon, Spotify Premium, SoundCould Premium, etc.)
- 375 free/ad-supported streams (Spotify Free, SoundCloud Free, YouTube)
- 500 programmed streams (Pandora and a few others)

As you can see there are three tiers of streaming, but the average is 1,900 streams = 1 Hot 100 point.

6 downloads = 1 Hot 100 point

Average: 316,67 streams = 1 download

9,000,000 downloads = 2,850,000,000 streams

[jebsib]

Jun 8, 2019 14:39:11 GMT -5 @benson said:

Jun 8, 2019 14:10:20 GMT -5 jebsib said:

BTW, Fred Bronson was wrong - the Hot 100 policy was changed well before Sept 1995. That's when the first song (MJ) debuted at #1, but it did so because the rule change happened at some point in early 1995 (like Feb).

The first title to make an eye popping leap due to the new policy was Brandy's "Baby";
The first batch of actual Top 10 debuts in the '90s were led by MJ again (Scream) and Biggie (One More Chance), but again, well before Sept 1995.

Brandy's "Baby" was already on the Hot 100 (via the Airplay chart) at #60 before leaping up after its big first week of sales.  I think the Hot 100 policy Fred's referring to, effective in September, made it so airplay hits couldn't chart on the Hot 100 at all before they completed a week of sales, which is why some commercials singles were then withheld until airplay was really high, resulting in debuts at #1.  

I went back to the February 11, 1995, edition of Billboard, and they credit Brandy's big jump to explosive first week single sales, which included an all-star remix of her huge first hit, "I Wanna Be Down".

You're quite right. Since this all happened pre-internet 25 years ago, it is now a bit fuzzy for me, but now I recall about the Brandy example.

Either in Billboard or BB's then companion magazine Billboard Airplay Monitor, there was an article answering several chart watchers wondering about the suddenly high debuting titles that year. It was explained that policy had changed not allowing titles to chart until they had been available commercially for a full 7 days. It was then explained that had the policy been operational in February, "Baby" would have been the first notable top 10 debut in more than 20 years, debuting at #5 on Feb 11, not #60 the week before.

[jenglisbe]

Jun 8, 2019 15:09:49 GMT -5 @benson said:

Jun 8, 2019 15:01:23 GMT -5 jebsib said:

You're quite right. Since this all happened pre-internet 25 years ago, it is now a bit fuzzy for me, but now I recall about the Brandy example.

Either in Billboard or BB's then companion magazine Billboard Airplay Monitor, there was an article answering several chart watchers wondering about the suddenly high debuting titles that year. It was explained that policy had changed not allowing titles to chart until they had been available commercially for a full 7 days. It was then explained that had the policy been operational in February, "Baby" would have been the first notable top 10 debut in more than 20 years, debuting at #5 on Feb 11, not #60 the week before.

Now I'm confused after looking up "Scream".  June 17, 1995, it had already reached the top 20 of the  Hot 100 Airplay chart (and been on for a couple weeks) before it debuted at #5.  So, why wouldn't it have charted on airplay alone like "Baby" did, if the policy didn't take effect until September?  

I’m pretty sure the policy change happened before September, so the column was wrong on that. But it took place after “Baby” debuted.

As was mentioned, “One More Chance” also debuted top 10 in 1995 (June I believe).

[Rose "Payola" Nylund]

Jun 8, 2019 9:13:15 GMT -5 weaver said:

I have a theory as to how Old Town Road is remaining so huge. Young kids love it, it doesn't really go anywhere as a song (it seems like little more than a loop to me), so kids just keep it on repeat.

I have to think it's something like that, because people actually liking that song so much makes me so depressed about the current state of the music listening public...

Or it’s just a fun harmless song? 🤷‍♀️

This post alone shows you’ve given it more thought to why than was necessary. It helps to relax sometimes. #SelfCare

[brady47]

Jun 8, 2019 13:50:21 GMT -5 Naos said:

Jun 8, 2019 13:46:46 GMT -5 brady47 said:

Digital smashes somehow feel so much bigger than streaming smashes to me.

Because in general, they are. 9 million units in sales has far more individuals consuming it than 9 million units in streaming.

Didn't mean it like that. Even 1.5 billion streams (or something like that) is considered diamond. That's a huge number, but 10 million sales just has this impressiveness to me that streams can't replace.

[kierz7]

Jun 8, 2019 15:54:53 GMT -5 brady47 said:

Jun 8, 2019 13:50:21 GMT -5 Naos said:

Because in general, they are. 9 million units in sales has far more individuals consuming it than 9 million units in streaming.

Didn't mean it like that. Even 1.5 billion streams (or something like that) is considered diamond. That's a huge number, but 10 million sales just has this impressiveness to me that streams can't replace.

Of course.

Regardless of what streaming connoisseurs say (and I am a big streaming fan for one), a song selling +5-10M units that individuals mostly purchased with their hard-earned money will forever be more impressive than a song having acquired a Diamond certificate through mostly streaming units.

“I Gotta Feeling” selling +9M units in the Digital era was and will remain just as humongous as “I Will Always Love You” selling +4.5M CD singles in the Physical era.

••••••••••

That said, I’m looking forward to the day when an album goes Diamond based on pure streams on more than +75% streams alone. That would absolutely INSANE.

[Baby Yoda Hot100Fan]

^Given that RIAA still has the album equivalent of 1500 on-demand song streams, that would require the songs from it to be streamed 15 billion times which would take several years to accomplish.

[pnobelysk]

Jun 8, 2019 13:46:46 GMT -5 brady47 said:

In other news, "Ahead of its 10th anniversary, The Black Eyed Peas’ “I Gotta Feeling” becomes the first song to hit 9 million U.S. downloads"

Can't believe it's been 10 years since this monster hit. Digital smashes somehow feel so much bigger than streaming smashes to me.

Is there any article to go along with this? It hit 8 million in 2012, took 7 years to move that last million

[forg]

Jun 8, 2019 9:36:07 GMT -5 @benson said:

Jun 8, 2019 9:13:15 GMT -5 weaver said:

I have a theory as to how Old Town Road is remaining so huge. Young kids love it, it doesn't really go anywhere as a song (it seems like little more than a loop to me), so kids just keep it on repeat.

I have to think it's something like that, because people actually liking that song so much makes me so depressed about the current state of the music listening public...

I do think it's the kind of song that if you enjoy it for whatever reason, you end up listening to it at least twice in a row each time (until you get sick of it).  Its brief length plays a big role in this, for sure. It's also become a must-hear (or see) just based on how huge it is, even if it's just one listen out of curiosity. That's a lot of streams right there.

Agreed, short song with 2 versions counting for it really makes it an easy streaming monster. Plus it's doing both on airplay and sales too, it really is a big smash across all metrics.

At this point, it's not really declining on any metric yet so it really could challenge for the 16 weeks at #1 record.

I feel bad for Bad Guy too, looks like destined to be one of those long time #2 hits. It would've really been nice for Billie Eilish to have a #1 hit too with the year she's having.

[aussie1]

I personally wouldn't class OTR as a meme song at this point. Its approaching 1M sales, has huge on demand streaming and has for 9 weeks or so now. Obviously youtube is huge but I think it is beyond a meme song now. The song is a hit because its catchy. Unlike say Harlem shake, which was a hit purely for the meme aspect of it.

[narp]

I kind of feel like it’s not just the kids listening anymore, but adults as well. Everyone’s listening, maybe that’s why it’s still so big

[forg]

The Billy Ray Cyrus remix really helped it to move beyond just a meme song IMO.

[narp]

I mean, good for him. He’s got the longest running number one of 2019 so far and he got Billy Ray Cyrus on his song. Not bad for a former TikTok meme song

[Xander]

Never really over’s music video only got 4.9 million views from the United States in its first week.

[Baby Yoda Hot100Fan]

Jun 8, 2019 19:54:44 GMT -5 aussie1 said:

I personally wouldn't class OTR as a meme song at this point. Its approaching 1M sales, has huge on demand streaming and has for 9 weeks or so now. Obviously youtube is huge but I think it is beyond a meme song now. The song is a hit because its catchy. Unlike say Harlem shake, which was a hit purely for the meme aspect of it.

At least on YouTube it is. It got over 41 million views with the official videos accounting for around 11 million of the views.

[Ｓｏｕｎｄｃｌ🕤ｃｋ]

Jun 8, 2019 20:18:16 GMT -5 Xander said:

Never really over’s music video only got 4.9 million views from the United States in its first week.

Expected? 15% of her views are coming from the US.

For example:

Never Really Over: Global 37M / US 5M
Press: Global 12M / US 6.3M (more than 50%)

[fhas]

Jun 8, 2019 19:54:44 GMT -5 aussie1 said:

I personally wouldn't class OTR as a meme song at this point. Its approaching 1M sales, has huge on demand streaming and has for 9 weeks or so now. Obviously youtube is huge but I think it is beyond a meme song now. The song is a hit because its catchy. Unlike say Harlem shake, which was a hit purely for the meme aspect of it.

I agree with you and even if it was just a meme song that's not a bad thing. I'd rather have a meme song at #1 than a song that people are listening passively on radio (Girls Like You).

[Deleted]

Jun 8, 2019 20:18:16 GMT -5 Xander said:

Never really over’s music video only got 4.9 million views from the United States in its first week.

Ms flop

[kimberly]

Never Really Over's #10 on YouTube US with 5.32M
Press is #9 with 6.27M

Suge had a 15% drop but it's still #2, narrowly leading over Bad Guy

[85la]

Jun 7, 2019 9:46:08 GMT -5 L.Kennedy said:

Jun 7, 2019 9:36:42 GMT -5 kcdawg13 said:

How did ME! gain that much audience? I swear her call out scores were awful.

Spanish radio, another inaccurate overall update. 

Can you provide a link to this or show this chart, because I wasn't able to find it anywhere. It's also not on the 50-position Billboard Latin Airplay chart for the June 8 chart, which surely it would be on because the song was getting 3+ million a day updates by Sunday when the tracking period for this chart ended, unless this "Spanish radio" chart doesn't count towards the Latin Airplay chart.

[Au$tin]

Jun 8, 2019 21:10:01 GMT -5 fhas said:

Jun 8, 2019 19:54:44 GMT -5 aussie1 said:

I personally wouldn't class OTR as a meme song at this point. Its approaching 1M sales, has huge on demand streaming and has for 9 weeks or so now. Obviously youtube is huge but I think it is beyond a meme song now. The song is a hit because its catchy. Unlike say Harlem shake, which was a hit purely for the meme aspect of it.

I agree with you and even if it was just a meme song that's not a bad thing. I'd rather have a meme song at #1 than a song that people are listening passively on radio (Girls Like You).

I don't know why people always bring up "Girls Like You" as an example of that. Was it not also a smash on sales and streaming? I'm not looking for an answer, I already know it's yes. I'm being rhetorical. Like, sure, all three components didn't line up "perfectly" like some other recent hits, but that doesn't negate the fact it was, indeed, a hit on all three components, and actually still relatively high on all three while it was number one and for many weeks afterwards.

Y'all act like it was literally only charting on radio and that was the only reason it ever went number one and had such great longevity. What kind of revisionist history? I hate "Girls Like You" as much as the next guy, but not enough to falsify information about it. Goodness.

Just in case anyone is itching for the receipts:
09/29/2018: #1 Hot 100; #1 Radio; #4 Digital; #10 Streaming
10/06/2018: #1 Hot 100; #1 Radio; #3 Digital; #13 Streaming
10/13/2018: #1 Hot 100; #1 Radio; #8 Digital; #19 Streaming
10/20/2018: #1 Hot 100; #1 Radio; #9 Digital; #16 Streaming
10/27/2018: #1 Hot 100; #1 Radio; #9 Digital; #11 Streaming
11/03/2018: #1 Hot 100; #1 Radio; #9 Digital; #12 Streaming
11/10/2018: #1 Hot 100; #1 Radio; #13 Digital; #13 Streaming

Overall Peaks:
Hot 100: #1
Radio: #1
Digital: #1
Streaming: #5

Given these numbers, it's ridiculous to say people were only listening to "Girls Like You" passively. It was very a song in high demand, including all seven weeks it was #1 on the Hot 100.

[Au$tin]

Jun 8, 2019 23:45:37 GMT -5 85la said:

Jun 7, 2019 9:46:08 GMT -5 L.Kennedy said:

Spanish radio, another inaccurate overall update. 

Can you provide a link to this or show this chart, because I wasn't able to find it anywhere. It's also not on the 50-position Billboard Latin Airplay chart for the June 8 chart, which surely it would be on because the song was getting 3+ million a day updates by Sunday when the tracking period for this chart ended, unless this "Spanish radio" chart doesn't count towards the Latin Airplay chart.

www.allaccess.com/mediabase/q/report/sevenDay/format/L1/panel/N/detail/C/reportType/undefined

Spanish Contemporary
47 44 TAYLOR SWIFT ME! f/Brendon Urie 133 128 5 2.002

It's common for the biggest hits on pop to bounce around in and out of this chart below the top 40. "I Don't Care" is #43, "Sucker" is #48, and "Here with Me" is #50.

The Latin Airplay chart that Billboard publishes is, I'm assuming, a conglomeration of the Spanish Contemporary, Regional Mexican, Tropical Latin, and Latin Urban radio formats.

[tanooki]

Jun 9, 2019 1:19:56 GMT -5 Au$tin said:

Jun 8, 2019 21:10:01 GMT -5 fhas said:

I agree with you and even if it was just a meme song that's not a bad thing. I'd rather have a meme song at #1 than a song that people are listening passively on radio (Girls Like You).

I don't know why people always bring up "Girls Like You" as an example of that. Was it not also a smash on sales and streaming? I'm not looking for an answer, I already know it's yes. I'm being rhetorical. Like, sure, all three components didn't line up "perfectly" like some other recent hits, but that doesn't negate the fact it was, indeed, a hit on all three components, and actually still relatively high on all three while it was number one and for many weeks afterwards.

Y'all act like it was literally only charting on radio and that was the only reason it ever went number one and had such great longevity. What kind of revisionist history? I hate "Girls Like You" as much as the next guy, but not enough to falsify information about it. Goodness.

By the time it had reached #1, it was the case that radio was holding it up. First week at #1 vs. last week at #1. It was really only being bolstered by radio and YouTube, but it was still extremely weak for a #1.