Groovy
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Post by Groovy on Sept 15, 2022 10:29:42 GMT -5
We're getting new LNX music in the future.
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dremolus - solarpunk
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Post by dremolus - solarpunk on Sept 15, 2022 10:29:57 GMT -5
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M5AGTS
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Post by M5AGTS on Sept 15, 2022 10:35:22 GMT -5
Rina's new song is really good. I had never actually listened to her before, but I'm really enjoying her new song. It reminds me a lot of Alone by Kelly Clarkson, which is nothing but a compliment. I loved that song as a kid, and I love it even more today. I will say Rina's song isn't as good as Alone, but it's still really good.
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badrobot
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Post by badrobot on Sept 15, 2022 10:38:40 GMT -5
Ah, thank you for those, but those links like they're just shifting the cutoff dates to Jan-Dec. I meant the method where the year-end lists are calculated where the song's full chart run is assigned to the year of its peak. For example, if a song charts from September 2014 through May 2015, with a peak in November 2014, it would have its full chart run counted in a list of the biggest songs of 2014. |
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dremolus - solarpunk
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Post by dremolus - solarpunk on Sept 15, 2022 11:10:46 GMT -5
MIDNIGHT MUSIC PREVIEW ALERT: CARLY RAE JEPSEN AND RINA SAWAYAMA DROPPED NEW MUSIC |
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ephelia
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Post by ephelia on Sept 15, 2022 11:25:12 GMT -5
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Post by Rose "Payola" Nylund on Sept 15, 2022 12:43:30 GMT -5
It's more that what most of us feel the chart should represent (biggest Hot 100 song of 2022) doesn't match up with how the year end chart works. The problem is being illustrated pretty well with Heat Waves vs As It Was...a 5 week #1 vs a (likely) 15-week #1. And yet Heat Waves wins out because it had 4 additional noncompetitive months (including two in 2021) to rack up points. I don't know the solution myself, but there are several ways to tweak the formula to help songs like AIW. Maybe weight weeks in the top 3 higher? Or don't count November/December? Maybe Billboard could factor in the strength of the peak - so the "biggest 10 weeks" are weighted in as part of the ranking. But if song A has more overall points than song B, even if its weeks at #1 are much less, itโs still the bigger song in the context of the Hot 100 yearend chart. Thereโs no other way around that. If Ed Sheeran recorded a Candle in the Wind 2022 for the queen and that somehow sold millions of copies, got billions of streams, and became a radio #1 all in the last three months of the chart year, enough for it to be #1 of the year (as happened in 1997), thereโd be no argument against it. This is simply coming down to what things โfeel likeโ and itโs not what the charts measure. |
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badrobot
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Post by badrobot on Sept 15, 2022 12:45:21 GMT -5
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Music Fan
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Post by Music Fan on Sept 15, 2022 12:58:24 GMT -5
I still don't fully understand why Billboard does not change how they do the year end charts. For one, it's really a tallying up of points that they should already have been accumulating week to week (much like our own predictors on Pulse do). So, it's not like they're going back mid November trying to do all the work.
The most realistic thing I see is having the year end go through the first chart week in December. It's not too much of a difference, but the two-three additional weeks make the year end chart more representative of the actual year. Billboard will want to release their year end chart at the latest mid-December because that's just when everyone releases their lists. They can start writing their articles like they normally would, and creating their website. The reality is that the positions will not change too much (especially the top 10 spots). So, they can easily change the website places and the position #s in their article, if need be.
To me this doesn't seem that hard.
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gikem
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Post by gikem on Sept 15, 2022 13:17:51 GMT -5
I still don't fully understand why Billboard does not change how they do the year end charts. For one, it's really a tallying up of points that they should already have been accumulating week to week (much like our own predictors on Pulse do). So, it's not like they're going back mid November trying to do all the work. The most realistic thing I see is having the year end go through the first chart week in December. It's not too much of a difference, but the two-three additional weeks make the year end chart more representative of the actual year. Billboard will want to release their year end chart at the latest mid-December because that's just when everyone releases their lists. They can start writing their articles like they normally would, and creating their website. The reality is that the positions will not change too much (especially the top 10 spots). So, they can easily change the website places and the position #s in their article, if need be. To me this doesn't seem that hard. IMO, the decision to stop the typical December-to-November tracking period starting in 2018 was one of the absolute worst decisions Billboard couldโve possibly made with regard to their YEs in the modern era. To be clear, I understand this was the same tracking year in which the โextraโ week before the chart date recalibration happened, but that shouldโve been a one-time thing. There was no excuse for this mess to continue after 2018. At the very least, I still think that the 2019 tracking year shouldโve been 53 weeks. |
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degen
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Post by degen on Sept 15, 2022 17:13:14 GMT -5
I guess Iโll be the only one who says Billboard should stop the year end tracking right before the 2 week break that falls at the end of December/Beginning of January. So that means their tracking should cover everything up to around December 15th-December 20th. Then they can do the year end coverage during the lead up to New Years. The actual week between Christmas and New Years perhaps. Itโs not like they donโt have staff during the holiday break because they do, as they still report data during Christmas. So thatโs my take.
The long term bonus to doing it this way is the first 2 weeks of the new year would cover โthe 2 week breakโ, when barely anything on the chart moves, for the most part (unless thereโs a surprise release or album bomb). It would very much help keep โthe spill over songs of the past yearโ at more of a distance on the year end chart. Especially these days when we have long winded songs spilling into different years and making it on the year end charts twice. Iโm already making a prediction that not only will โAs It Wasโ be #1 on this year end, but it is likely to be in the top 5 in 2023 and I think thatโs just ridiculous.
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Post by Rose "Payola" Nylund on Sept 15, 2022 17:20:38 GMT -5
And by that point, nobody will care because every other publication will have posted their end of year lists and everybody will have moved on from โyear in reviewโ mode. When the new year starts, people want new things, not last yearโs news. Thatโs why it comes early in December. The timing is definitely off but from a publication perspective, before Christmas really ramps up is the only opportune time to do it.
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Post by nathanalbright on Sept 15, 2022 17:27:28 GMT -5
Billboard, quite understandably, wants to do that which will give it the most hype and attention and views, and not what makes perfect chronological sense for most of us. Artists and labels know the patterns and can release accordingly if they so choose.
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enwhy
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Post by enwhy on Sept 15, 2022 17:29:31 GMT -5
It's more that what most of us feel the chart should represent (biggest Hot 100 song of 2022) doesn't match up with how the year end chart works. The problem is being illustrated pretty well with Heat Waves vs As It Was...a 5 week #1 vs a (likely) 15-week #1. And yet Heat Waves wins out because it had 4 additional noncompetitive months (including two in 2021) to rack up points. I don't know the solution myself, but there are several ways to tweak the formula to help songs like AIW. Maybe weight weeks in the top 3 higher? Or don't count November/December? Maybe Billboard could factor in the strength of the peak - so the "biggest 10 weeks" are weighted in as part of the ranking. But if song A has more overall points than song B, even if its weeks at #1 are much less, itโs still the bigger song in the context of the Hot 100 yearend chart. Thereโs no other way around that. If Ed Sheeran recorded a Candle in the Wind 2022 for the queen and that somehow sold millions of copies, got billions of streams, and became a radio #1 all in the last three months of the chart year, enough for it to be #1 of the year (as happened in 1997), thereโd be no argument against it. This is simply coming down to what things โfeel likeโ and itโs not what the charts measure. You and jenglisbe both raise good points. Where I disagree with you is, I don't think the year end chart should be a measure of what songs of accumulated the most points. I think it should measure the most popular songs of a given year. When a song like Heat Waves lingers in the 5-25 range for months on end, that doesn't make it any "bigger"... it's just there for longer. And like jenglisbe said, every big song now lingers for months. If a song released in May or June absolutely smashes on the chart for the rest of the year, it should have a fighting chance at #1. I understand that what I'm asking for is not how the year end chart is currently intended to function. And that's fine. But if Billboard wants to actually reflect the biggest songs of the year, I think they need to tweak their methodology. I'll put it this way: For the average popular music listener who doesn't follow the intricacies of the charts, they would not get how a 2022 year end list could have heat waves at #1 and ghost, super gremlin, cold heart, etc. in the top 10. |
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kimberly
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Post by kimberly on Sept 15, 2022 17:54:17 GMT -5
I'm sure Billboard wants the year-end lists to represent the year somewhat accurately, but the cultural value of having the "year in review" posts and articles out in early December far outweighs any commitment to satisfy chart fans and follow the Gregorian calendar. I do agree this year in particular feels like a stale Top 10, but it really was a genuinely slow year for music before May. enwhy โ some sort of "recency bonus" that favored more recent weeks of the Hot 100 could probably ensure that, but that's also very arbitrary. would be cool if someone figured out a formula to do that for this year in a way that makes Nov 2021 charts weigh significantly less than Oct 2022 charts. |
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gs
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Post by gs on Sept 15, 2022 18:31:14 GMT -5
And by that point, nobody will care because every other publication will have posted their end of year lists and everybody will have moved on from โyear in reviewโ mode. When the new year starts, people want new things, not last yearโs news. Thatโs why it comes early in December. The timing is definitely off but from a publication perspective, before Christmas really ramps up is the only opportune time to do it. People still care about Luminate's year-end reports (which come in mid-January), and even IFPI (March), so I don't think this holds up |
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Angel
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Post by Angel on Sept 15, 2022 18:33:46 GMT -5
Not really concerned with performance based YE charts but I suppose one enduring example why not to rush into YE season is when Beyoncรฉ released self-titled like the same week most publications had released their YE best-of lists. A real moment of "oh wait maybe exciting things do happen in mid-December". Would've probably been top 3 if not #1 across the board with the way praise was being heaped upon it lol
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iHype.
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Post by iHype. on Sept 15, 2022 18:36:32 GMT -5
Not really concerned with performance based YE charts but I suppose one enduring example why not to rush into YE season is when Beyoncรฉ released self-titled like the same week most publications had released their YE best-of lists. A real moment of "oh wait maybe exciting things do happen in mid-December". Would've probably been top 3 if not #1 across the board with the way praise was being heaped upon it lol As far as critic lists though I think regardless Self-Titled would've made more sense in 2014 review because how can you place an album on a critical year-end ranking after just 1~ week? You have barely let the album settle in on you yet. |
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Darkest Hour
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Post by Darkest Hour on Sept 15, 2022 18:40:52 GMT -5
As far as critic lists though I think regardless Self-Titled would've made more sense in 2014 review because how can you place an album on a critical year-end ranking after just 1~ week? You have barely let the album settle in on you yet. Some 'surprise releases' to general public are not surprise releases to reviewers. |
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iHype.
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Post by iHype. on Sept 15, 2022 18:51:07 GMT -5
As far as critic lists though I think regardless Self-Titled would've made more sense in 2014 review because how can you place an album on a critical year-end ranking after just 1~ week? You have barely let the album settle in on you yet. Some 'surprise releases' to general public are not surprise releases to reviewers. Self-Titled was a complete surprise though and wasnโt sent to reviewers prior. Majority of albums also arenโt sent to reviewers early and they hear them when they drop along with the public. I think ranking something in comparison/amongst other music on a list after 1 week is pretty bold. Iโm aware obviously no matter what cut off or deadline there will always be music on the cusp and itโs a case by case/unique basis. I personally didnโt have anywhere near the opinion I have now on Self-Titled or Renaissance after just one week. I also couldnโt have ranked them in comparison to, say, her other albums. For me that takes at least a good month or so at the very least. |
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Post by Rose "Payola" Nylund on Sept 15, 2022 18:59:53 GMT -5
But if song A has more overall points than song B, even if its weeks at #1 are much less, itโs still the bigger song in the context of the Hot 100 yearend chart. Thereโs no other way around that. If Ed Sheeran recorded a Candle in the Wind 2022 for the queen and that somehow sold millions of copies, got billions of streams, and became a radio #1 all in the last three months of the chart year, enough for it to be #1 of the year (as happened in 1997), thereโd be no argument against it. This is simply coming down to what things โfeel likeโ and itโs not what the charts measure. You and jenglisbe both raise good points. Where I disagree with you is, I don't think the year end chart should be a measure of what songs of accumulated the most points. I think it should measure the most popular songs of a given year. When a song like Heat Waves lingers in the 5-25 range for months on end, that doesn't make it any "bigger"... it's just there for longer. And like jenglisbe said, every big song now lingers for months. If a song released in May or June absolutely smashes on the chart for the rest of the year, it should have a fighting chance at #1. I understand that what I'm asking for is not how the year end chart is currently intended to function. And that's fine. But if Billboard wants to actually reflect the biggest songs of the year, I think they need to tweak their methodology. I totally get that, and it's not that I necessarily disagree. But when you say: I think it should measure the most popular songs of a given year. the response to that is the ultimate question: How? I'm sure to some degree Billboard wishes its charts are the representation of what's popular and I guess to another degree, they are, because they're the best we have using a method that might be the most "accurate" (which itself is a different discussion altogether). But this comes back to what I mean when I say Billboard reports the numbers, but it's up to us how we interpret them. It's us who chooses to rely on their charts as being representative of what's popular when all they really are is a sum of the numbers based on how they compile them. If that isn't the definition of how to measure what's popular, I'm really not sure of how else it can be done. I'll put it this way: For the average popular music listener who doesn't follow the intricacies of the charts, they would not get how a 2022 year end list could have heat waves at #1 and ghost, super gremlin, cold heart, etc. in the top 10. And in response to that, I'd say the average music listener who doesn't follow the charts (and even those who do) couldn't possibly have an accurate view of what the biggest songs of a year would be because all we know individually is what we hear first-hand, or read about online. There will always be songs that might get a ton of coverage, a lot of hype, and a bunch of social media attention that ultimately doesn't do as well as a song that is ever-present on the radio, decently in streams but isn't as interesting to talk about - and this will differ for each person. If I were asked what I thought the biggest songs of the year are, based on my own experiences and perspectives, I'd first ask what the hell "super gremlin" is, and my list wouldn't include any of Drake's new music because I honestly never hear it anywhere and other than on Pulse, I rarely see it mentioned anywhere so if I didn't follow charts, I'd assume 2022 was a between-year for him - whereas "Cold Heart" and "As It Was" were both huge. In today's music/chart landscape, there is no average music listener because music listening has become so segmented, so there just aren't as many songs that "most people" would know as there used to be. Therefore, there's going to be so much more difference of opinion between what the biggest hits of the year "feel like" than there ever would have been. It's the new reality, and I think as each year passes, all-in-one charts like the Hot 100 will have less relevance because people won't be looking to see what the biggest songs are as much as they'll want to know what the biggest songs in their circle/community/demographic are. |
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Post by Rose "Payola" Nylund on Sept 15, 2022 19:01:49 GMT -5
And by that point, nobody will care because every other publication will have posted their end of year lists and everybody will have moved on from โyear in reviewโ mode. When the new year starts, people want new things, not last yearโs news. Thatโs why it comes early in December. The timing is definitely off but from a publication perspective, before Christmas really ramps up is the only opportune time to do it. People still care about Luminate's year-end reports (which come in mid-January), and even IFPI (March), so I don't think this holds up Do they though? Not that I'm doubting you. I'm sure they do, but I also get why Billboard does it the way they do now and I feel like it would be their loss to suddenly switch to a post-New Year unveiling. |
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iHype.
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Post by iHype. on Sept 15, 2022 19:48:43 GMT -5
And by that point, nobody will care because every other publication will have posted their end of year lists and everybody will have moved on from โyear in reviewโ mode. When the new year starts, people want new things, not last yearโs news. Thatโs why it comes early in December. The timing is definitely off but from a publication perspective, before Christmas really ramps up is the only opportune time to do it. People still care about Luminate's year-end reports (which come in mid-January), and even IFPI (March), so I don't think this holds up Because they are the only ones who provide those type of reports. They are specialized reports with data that isn't available anywhere else, not a generic 'best of' list. Which is also the same case with Billboard, which is why I don't buy too much into the excuse of Year-Ends being early in order to get maximized traffic/views. Billboard Year-Ends are based on statistics and are the only ones that measure those charts/formats/etc besides maybe Mediabase's radio year ends (which aren't even public). Regardless of if they are posted in early December or early January, they will get specific attention and media coverage because they are an authoratative ranking of music popularity. Their year-end lists do not serve the same purpose as a Pitchfork or Rolling Stones Best of 2022 list. |
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kimberly
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Post by kimberly on Sept 15, 2022 20:26:34 GMT -5
People still care about Luminate's year-end reports (which come in mid-January), and even IFPI (March), so I don't think this holds up Because they are the only ones who provide those type of reports. They are specialized reports with data that isn't available anywhere else, not a generic 'best of' list. Which is also the same case with Billboard, which is why I don't buy too much into the excuse of Year-Ends being early in order to get maximized traffic/views. Billboard Year-Ends are based on statistics and are the only ones that measure those charts/formats/etc besides maybe Mediabase's radio year ends (which aren't even public). Regardless of if they are posted in early December or early January, they will get specific attention and media coverage because they are an authoratative ranking of music popularity. Their year-end lists do not serve the same purpose as a Pitchfork or Rolling Stones Best of 2022 list. well, Billboard is a magazine/music publication, much like Rolling Stone and Pitchfork. owned by the same media corporation as Rolling Stone, in fact. even though their year-end charts aren't purely opinion-based, it's based on a subjective formula that is part of their brand as a media outlet. so they definitely don't want to be late to that conversation. not to mention, by publishing it earlier, they get to lead other publications and get mentions in their lists, as well as have a hand in shaping what their lists look like. their year-end charts also generate some other content from creators and journalists that base lists off of the Billboard year-end survey, which increases brand awareness. January is about new beginnings and looking forward โ they can't have the same reach with their year-end charts if they publish them after people have already had their Spotify Wrapped and Pitchfork conversations for weeks. it'll be played out already. sure, stans on twitter will care, but it won't have the wider appeal it usually has in December. losses outweighs gains if they were to try and move year-end charts to January. Billboard isn't a government organization, they naturally prioritize industry competition and their own brand recognition more than year-end timeline making sense to chart fans and stans (who will follow and talk about the year-end lists regardless, let's be real). |
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fridayteenage
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Post by fridayteenage on Sept 15, 2022 22:37:03 GMT -5
I feel like the #1 song this year that captured the cultural zeitgeist the best was We Don't Talk About Bruno. There were certainly a lot of people talking about it.
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Post by nathanalbright on Sept 15, 2022 22:55:59 GMT -5
But it didn't have that longevity, so while people talked about it, and will talk about it again, likely, come list season, it's not as big over the course of the whole year as other songs that did stick around longer.
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dremolus - solarpunk
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Post by dremolus - solarpunk on Sept 16, 2022 0:07:16 GMT -5
US Spotify - 09/14/22
1(=) Steve Lacy - Bad Habit 1,521,940 (+13,661)
2(+1) Bad Bunny, Chencho Corleone - Me Porto Bonito 1,016,491 (+31,073)
3(-1) Harry Styles - As It Was 1,011,950 (+14,935)
4(+2) Bad Bunny - Titรญ Me Preguntรณ 952,134 (+19,477)
5(=) Nicki Minaj - Super Freaky Girl 944,498 (+1,843)
6(+1) d4vd - Romantic Homicide 912,469 (+82,600)
7(+1) Drake, 21 Savage - Jimmy Cooks 770,279 (+8,185)
8(+1) OneRepublic - I Ain't Worried 762,926 (+1,526)
9(+2) Post Malone, Doja Cat - I Like You (A Happier Song) 744,248 (+6,229)
10(=) David Guetta, Bebe Rexha - I'm Good (Blue) 741,773 (-2,598)
Others:
11(+1) Joji - Glimpse of Us 707,767 (+1,303)
12(+1) Zach Bryan - Something in the Orange 693,277 (+14,328)
13(+1) Morgan Wallen - You Proof 680,475 (+19,315)
14(+1) The Weeknd - Die For You 667,081 (+10,517)
15(+1) Bad Bunny - Efecto 658,369 (+22,967)
16(+1) Kate Bush - Running Up That Hill (A Deal With God) 633,230 (+8,842)
17(+1) JVKE - golden hour 627,666 (+5,741)
18(+1) Doja Cat - Vegas 617,070 (+3,074)
19(+1) Steve Lacy - Dark Red 607,372 (+7,865)
20(+2) Future, Drake, Tems - WAIT FOR U 603,695 (+11,869)
22(+1) Harry Styles - Late Night Talking 600,230 (+12,053)
23(-19) PnB Rock - Selfish 589,123 (-385,094)
25(+1) Kanye West - Bound 2 576,989 (+11,355)
26(-2) Yeat - Talk 563,056 (-15,497)
27(+1) Bad Bunny - Moscow Mule 547,202 (+20,069)
28(-1) Yung Gravy - Betty (Get Money) 537,028 (+5,214)
29(+1) Nicky Youre, dazy - Sunroof 535,188 (+14,213)
30(-1) Steve Lacy - Static 528,638 (+6,636)
31(=) Lizzo - About Damn Time 521,609 (+7,857)
32(=) J. Cole - No Role Modelz 508,210 (+9,258)
34(+1) Stephen Sanchez - Until I Found You 494,333 (+3,443)
35(+1) Bailey Zimmerman - Rock and A Hard Place 493,608 (+3,443)
36(+2) Chris Brown - Under the Influence 486,107 (+16,875)
38(+2) Luke Combs - The Kind of Love We Make 475,232 (+16,438)
39(=) Nardo Wick - Dah Dah DahDah 471,085 (+5,319)
40(-7) Ghost - Mary On A Cross 470,284 (-27,012)
41(=) Bad Bunny, Bomba Estรฉreo - Ojitos Lindos 469,532 (+12,166)
42(=) Bad Bunny - Neverita 463,265 (+12,066)
43(=) BLACKPINK - Pink Venom 450,472 (+1,841)
44(+1) DJ Khaled, Drake, Lil Baby - STAYING ALIVE 441,018 (+5,459)
46(=) Cole Swindell - She Had Me At Heads Carolina 438,049 (+9,525)
47(-3) Elton John, Britney Spears - Hold Me Closer 436,227 (-3,544)
48(+1) Morgan Wallen - Wasted On You 435,772 (+17,567)
49(-2) Bizarap, Quevedo - Quevedo: Bzrp Music Sessions, Vol. 52 428,113 (-135)
51(+1) Bad Bunny, Rauw Alejandro - Party 416,397 (+16,243)
53(+2) Omar Apollo - Evergreen 403,570 (+15,939)
54(+12) Tory Lanez - The Color Violet 401,188 (+43,340)
56(+3) Bad Bunny - Despuรฉs de la Playa 393,981 (+14,604)
57(=) Baby Keem - HONEST 390,238 (+3,967)
58(-2) Childish Gambino - Me and Your Mama 388,012 (+1,628)
59(-1) KAROL G - PROVENZA 387,322 (+6,888)
60(+7) Beyoncรฉ - CUFF IT 382,959 (+25,156)
61(+3) Kanye West, Dwele - Flashing Lights 377,113 (+14,153)
62(=) Beyoncรฉ - BREAK MY SOUL 372,173 (+2,086)
63(-3) Cigarettes After Sex - Apocalypse 372,173 (-4,188)
66(-3) The Weeknd, Lana Del Rey - Stargirl Interlude 363,864 (-233)
67(+5) Bad Bunny, Jhay Cortez - Tarot 363,187 (+17,083)
70(+1) Kane Brown, Katelyn Brown - Thank God 362,203 (+9,662)
71(-10) Yeat, Lil Uzi Vert - Flawlรซss 355,523 (-18,617)
72(-3) The Weeknd, Gesaffelstein - I Was Never There 352,842 (-2,110)
74(+1) Hotel Ugly - Shut up My Moms Calling 347,647 (+6,507)
78(+2) Charlie Puth, Jung Kook - Left and Right 341,513 (+4,353)
81(-4) NAV, Lil Baby, Travis Scott - Never Sleep 338,309 (-515)
83(+1) Rosa Linn - SNAP 336,166 (+2,483)
85(-2) Manuel Turizo - La Bachata 334,990 (+26)
86(=) Joji - SLOW DANCING IN THE DARK 332,738 (+585)
88(+4) Tyler Hubbard - 5 Foot 9 330,582 (+8,740)
89(=) Frank Ocean - Novacane 326,369 (+1,730)
90(+10) Noah Kahan - Stick Season 323,240 (+17,512)
92(-2) Beach Weather - Sex, Drugs, Etc. 321,887 (-2,655)
93(-5) ROSALรA - DESPECHร 321,187 (-4,682)
94(+1) Armani White - BILLIE EILISH. 319,519 (+4,751)
95(-2) KAROL G, Maldy - GATรBELA 316,856 (-4,657)
97(+1) Imagine Dragons - Bones 310,577 (+4,633)
101(+7) Lil Baby - Freestyle 310,577 (+14,432)
105(-18) Zach Bryan - Burn, Burn, Burn 305,547 (-20,465)
117(-1) AJR - World's Smallest Violin 291,379 (+6,891)
121(-1) Frank Ocean - Pink + White 284,166 (+4,293)
122(+6) Marshmello, Khalid - Numb 282,687 (+5,216)
123(-5) Rema, Selena Gomez - Calm Down 282,641 (+701)
126(+9) Central Cee - Doja 281,010 (+9,926)
127(-6) Jax - Victoria's Secret 280,841 (+1,078)
128(-14) Gorillaz, Tame Impala, Bootie Brown - New Gold 280,624 (-5,247)
130(+4) Lizzo - 2 Be Loved (Am I Ready) 277,676 (+6,389)
131(-2) Brent Faiyaz - ALL MINE 276,320 (+1,309)
140(+1) $uicideboy$ - Antarctica 267,784 (+3,679)
142(+5) Morgan Wallen - Thought You Should Know 267,758 (+8,194)
143(-7) Lil Tjay - Beat the Odds 265,946 (-3,090)
148(-2) Beyoncรฉ - ALIEN SUPERSTAR 262,888 (+2,783)
149(-5) Harry Styles - Matilda 262,831 (+1,704)
150(-3) Pierce the Veil, Kellin Quinn - King for a Day 262,181 (+2,321)
156(+4) Tyler the Creator - ARE WE STILL FRIENDS? 260,482 (+5,683)
164(-3) Ruth B. - Dandelions 256,442 (+2,111)
165(-2) Mr.Kitty - After Dark 256,005 (+1,962)
166(-13) Tom Odell - Another Love 255,393 (-2,629)
174(+1) Ivan Cornejo - J. 250,991 (+4,351)
175(-10) Ivan Cornejo, Eslabon Armado - La Curiosidad 250,950 (-873)
178(-2) Arctic Monkeys - I Wanna Be Yours 249,358 (+3,030)
181(-9) Lil Baby - Detox 247,891 (-95)
182(-4) Bailey Zimmerman - Fall in Love 247,554 (+2,195)
190(-19) Lewis Capaldi - Forget Me 244,453 (-3,959)
197(-9) TV Girl - Lovers Rock 242,157 (+1,606)
Biggest Gains (50K+): Romantic Homicide
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TakeMe
Charting
Joined: November 2017
Posts: 350
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Post by TakeMe on Sept 16, 2022 8:45:47 GMT -5
Can anyone explain the reason for that Chris Brown song blowing up all a sudden
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jenglisbe
Diamond Member
Joined: January 2005
Posts: 35,611
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Post by jenglisbe on Sept 16, 2022 8:54:19 GMT -5
And by that point, nobody will care because every other publication will have posted their end of year lists and everybody will have moved on from โyear in reviewโ mode. When the new year starts, people want new things, not last yearโs news. Thatโs why it comes early in December. The timing is definitely off but from a publication perspective, before Christmas really ramps up is the only opportune time to do it. People still care about Luminate's year-end reports (which come in mid-January), and even IFPI (March), so I don't think this holds up What people? Chart watchers will care no matter what time things are released because it's a thing they care about in general. Year-end publications and such are more for the general public/media. I'll put it this way: For the average popular music listener who doesn't follow the intricacies of the charts, they would not get how a 2022 year end list could have heat waves at #1 and ghost, super gremlin, cold heart, etc. in the top 10. Why are you specifically addressing the "average popular music listener" there? The charts aren't intended to only reflect the average popular music listener. |
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Post by areyoureadytojump on Sept 16, 2022 9:02:26 GMT -5
I never pay attention to the year end charts for the Hot 100. I just look at the peak positions during the year.
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