Lozzy
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Post by Lozzy on Aug 8, 2011 5:43:15 GMT -5
I may or may not be fully correct, but the chart is made of these components: • Sales. Usually just digital sales but there are occasional physical sales too such as with 'Born This Way.' 323,000 sales will equal 323 chart points. • Airplay. All-format audience impressions as tracked by BDS are used. The airplay updates you'll see every week in the Hot 100 threads are Mediabase; but BDS is very similar, varying by usually just 10mil or less. I assume you know what audience impressions are right? And 168mil audience will be 168 chart points of course. • Streaming. I don't think anyone knows how these are determined, but Billboard tracks streams from Yahoo and AOL and possibly YT/VEVO (I'm not sure on that one), and adds them in chart points. They don't usually make a big difference but can make a small difference such as determining LTWYL's last week at #1 last year. All those chart points are then added together to determine the overall ranking. Using a real example, for the 8/6/11 Hot 100, 'Party Rock Anthem' is #1, and it had 209K digital sales and 143M audience as well as probably a few points from streaming, so that would be a little upwards of 352 chart points. I hope that helps. thank you so much for your answer:) now i understand more than before;) but still i am not sure about couple things... so basically which forum topics containing chart should i follow to get a minor knowledge about the uncoming billboard hot 100 chart? also, there are many formats (pop. dance, rock, r&b, hip hop, alternative, rhythmic, urban, contemporary). does every format counts while compiling b100 or they are separated into some groups? can you please give me the examples how is this being tabulated and compiled step by step or is there any nice explanation? is billboard top ac same with mediabase top ac? Sorry I didn't see your response until now. You can follow whichever airplay formats you like, but for Hot 100 purposes, they are all merged together. As I said previously, those audience updates in the Hot 100 threads are all the Mediabase formats added together. Essentially, that's the only airplay 'format' you'd need to follow for the Hot 100, but if you were to follow the CHR (Top 40) charts, you can get a bigger idea of where the trends are heading considering CHR makes up a big part of overall airplay. Does that help? As for how it's tabulated/compiled, I'm not the best person to ask, but I believe it's all what I outlined in my previous posts - overall airplay audience impressions from the BDS panel (which is just those Mediabase updates with slight variation) are then added with sales & streaming to form the chart. I'm not sure about the Billboard AC chart though, I don't know if that one factors in sales as well as airplay. I imagine that if it's solely airplay though that it would be ranked by BDS audience compared to the Mediabase chart which is ranked by spins - shouldn't be all that different.
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dilek85
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Post by dilek85 on Aug 8, 2011 14:28:43 GMT -5
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Lozzy
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Post by Lozzy on Aug 9, 2011 3:17:15 GMT -5
The first of those threads you linked to is basically just a collection of links as to where you can find Mediabase charts. However, just about all of them except the ones above the equal signs (first lot) don't work anymore. That first lot is the individual formats, and that updates daily. The first one of those, "Mainstream Top 40," is the CHR/Pop chart. The second one is the weekly Hot 100 thread, and yes, those are the overall audience updates. A new thread is usually created every Thursday for those as that's when the airplay tracking week begins, so if you look out in that thread and those for subsequent dates you can find those overall Mediabase airplay updates. That last link is the CHR/Pop forum. There are individual song threads for discussion of individual songs, but I get the impression that you're more interested in the charts. If you follow this thread, the top 50 is posted every day along with Kworb's table showing spin gains etc. Some of it is a little outdated, but if you need help with interpreting the stats in that thread, I can point you to the glossary thread which has helpful information in it. However, this is CHR/Pop not overall audience - Katy Perry's current 147 million audience is only about two-thirds from CHR/Pop. ;) So yeah, in summary, the "Hot 100: 8/20/11" type of topics are where you'll find your overall airplay updates, and the CHR/Pop forum is where you'll find CHR/Pop updates, and you can track other formats if you like from the links in that first thread you linked to, or alternatively here. Hope that helps. :)
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dilek85
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Post by dilek85 on Aug 9, 2011 11:14:02 GMT -5
yes, that helps a lot!!! thank you for your kindness and patience!! you are wonderful human being:))))
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Lozzy
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Post by Lozzy on Aug 10, 2011 1:00:13 GMT -5
yes, that helps a lot!!! thank you for your kindness and patience!! you are wonderful human being:)))) Thank you for the compliment Please let me know if you need any help again. :)
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Arabella21
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Post by Arabella21 on Aug 16, 2011 9:15:31 GMT -5
Why is the Hot 100 tracking period for sales Monday-Sunday but Wednesday-Tuesday for airplay? Why not have all the components of the chart measure the exact same time period?
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Lozzy
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Post by Lozzy on Aug 16, 2011 9:23:59 GMT -5
Why is the Hot 100 tracking period for sales Monday-Sunday but Wednesday-Tuesday for airplay? Why not have all the components of the chart measure the exact same time period? That would be SO much better. I don't know.
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Deleted
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Post by Deleted on Aug 16, 2011 11:08:38 GMT -5
Hasn't it been like that since the chart began. Maybe that was the most logical cut off periods back then?
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Lozzy
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Post by Lozzy on Aug 17, 2011 2:21:56 GMT -5
Hasn't it been like that since the chart began. Maybe that was the most logical cut off periods back then? They've changed so much, why wouldn't they change this?
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Post by Deleted on Dec 12, 2011 10:14:13 GMT -5
"Why was Taylor Swift's CD/DVD "Speak Now: World Tour Live" eligible to chart on the Billboard 200 and Adele's "Live at the Royal Albert Hall" CD/DVD was not?"
"Garallang" (billboard.com-menter)
Per Billboard chart rules, CD/DVDs are eligible to chart on either album charts or the Music Video Sales chart, but not both, a policy that streamlines the album and video rankings. Thus, a determination always needs to be made on which way such product will be charted.
So, what's the deciding factor? Billboard looks at the amount of audio and video content on a release, as well as how a product is marketed by the artist's label.
In the case of these two high-profile releases, Big Machine has marketed Swift's product as an album with an accompanying long-form video track, while Columbia has promoted Adele's as a concert video that includes a CD, even screening it as a movie in 26 cities worldwide as part of its premiere.
Regardless of which charts they are inhabiting, both efforts received warm welcomes. Swift's "Speak" started at No. 11 on last week's Billboard 200, and No. 2 on Country Albums, with sales of 77,000, according to Nielsen SoundScan.
Adele's "Live" launched atop this week's Music Video Sales survey with 96,000 sold. The sum is the chart's highest since Garth Brooks' "The Ultimate Hits" (173,000) on the Jan. 5, 2008, chart.
The arrival of the Royal Hall concert combo is the latest honor in a year in which Adele emerged as Billboard chart royalty herself.
As previously reported, Adele is the first woman to earn three of Billboard's biggest year-end honors: No. 1 on Top Artists, the No. 1 Billboard 200 album ("21") and the No. 1 Billboard Hot 100 song ("Rolling in the Deep"). Since Billboard premiered the top overall artist category in 1981, no woman had previously pulled off the triple crown victory.
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Post by Deleted on Dec 16, 2011 8:35:40 GMT -5
Billboard Pricing Policy, Effective November 21, 2011 November 15, 2011
By Billboard staff Unit sales for Albums priced below $3.49 during their first four weeks of release will not be eligible for inclusion on the Billboard album charts and will not count towards sales data presented by Nielsen SoundScan. *The rule also applies to reissued titles. *New Holiday/Seasonal titles must meet the minimum threshold through the final week of the calendar year. *Unit sales for albums or EPs with 8 or less tracks will not be eligible for charting if the retail price is less than the sum of the tracks on the release, multiplied by $0.39. *Minimum pricing for a multi-disc album (not a single disc with extra tracks), where the extra disc is audio content, will be $3.49 times the amount of discs being made available. *For digital-only deluxe editions, any extra content exceeding nine tracks would be considered the equivalent of an extra disc. Each additional 10 tracks thereafter would be the equivalent of an additional disc.
Unit sales for Digital Tracks priced below $0.39 during their first three months of release will not be eligible for inclusion on Billboard's digital songs charts.
If a retailer offering a title for less than the above stated prices is a daily reporter to Nielsen SoundScan, units will be removed for charting purposes solely for the dates in which the title was priced less than the minimum. *If a title was priced under the minimum during a portion of the day, all sales for that title on that day will not count towards the Billboard charts unless accurate transaction data for that title during the specific sales hours can be provided to Nielsen SoundScan for verification.
If a retailer offering a title for less than the above stated prices is a weekly reporter to Nielsen SoundScan, all units for that title sold by the retailer in the week will be removed for charting purposes unless accurate transaction data for that title on the sale date(s) can be provided to Nielsen SoundScan for verification .
Please note that the minimum pricing rule would not apply to any store-wide music liquidation sales.
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Post by Deleted on Dec 19, 2011 11:16:36 GMT -5
Ask Billboard is updated every week. As always, submit your questions about Billboard charts, sales and airplay, as well as general music musings, to askbb@billboard.com. Please include your first and last name, as well as your city, state and country, if outside the U.S.
ARE CHART RULE CHANGES NEEDED?
Dear Gary,
When is Billboard going to change its rules so artists such as Katy Perry cannot release multiple versions (original and remixes) of the same song at the same time and have the song reach the No. 1 spot on the Billboard Hot 100 after all sales are added up?
It would be an insult to music fans to have Perry surpass the late, great Michael Jackson for most No. 1s from one album after she's cheated her way toward the top with her latest song, "The One That Got Away."
Thank you,
Marie Simon West Palm Beach, Florida
Hi Marie,
Thanks for the e-mail. Some details we should probably go over here, and some that will also address the back-and-forth in the comments sections below some of the stories that we've recently posted about Perry.
First, Billboard has a policy in effect by which remixes of current songs are merged with original versions (and radio edits) as long as all versions are judged to be similar enough. Here is exact wording, in fact, from Billboard's charts manual:
"Billboard will treat re-recorded songs that bear no resemblance to the original recording as a separate and distinctive song for the purposes of chart tracking. The guidelines are lyric and melody: if neither element is similar to the original recording, the two versions will not be merged."
In the case of Perry's "One," which has been remixed featuring B.o.B, all versions will be merged, since the remix does not vastly change the original recording; it merely sports additional rapping.
And, the guiding intent of the Hot 100 is that it's a song, not tracks, chart. Therefore, merging titles helps present the clearest picture of a title's overall popularity. Billboard additionally boasts the weekly Hot Digital Tracks chart, on which individual mixes chart separately in order to show the most popular versions of all digital titles. That's where we'll be able to see the difference in sales rank between the album version of "One" and the B.o.B-assisted remix once the latter has been released digitally.
Marie, you also use the word "cheated" when describing Perry's quest for an unprecedented sixth Hot 100 No. 1 from her album "Teenage Dream," an opinion shared by other Billboard.com-menters.
I don't agree.
True, Capitol has discounted "One" to 69 cents in the iTunes Store and released the new remix in hopes of helping "One" reach No. 1. A 69-cent sale price, however, is well within Billboard's chart rules regarding discounted digital tracks. Again, an excerpt from Billboard's sale policy:
" Unit sales for Digital Tracks priced below $0.39 during their first three months of release will not be eligible for inclusion on Billboard's digital songs charts."
That rule is, thus, not applicable to "One."
Also the subject of debate among online readers: a label releasing a remix of a song as it approaches the Hot 100's summit. Such a marketing move is not exclusive to Capitol or Perry. As reported Thursday (Dec. 15), it's already occurred multiple times this year, with, for example, Rihanna's "S&M" and Britney Spears' "Till the World Ends" having been the recipients of guest star-assisted remixes as they scaled the chart's upper ranks.
In my view, Capitol is simply practicing ... capitalism. The label is aware that Perry could surpass Jackson's haul and make history and, of course, it hopes that she does. Ultimately, it's operating within chart rules to help "One" achieve maximum popularity. Still, it's understandable how purists might find some fault when the song is the only one among iTunes' top 75 so discounted, as it has been in the past week. Then again, such is the spotlight in the digital era.
Never before was there such a national store available for scrutiny at any hour in consumers' homes. Tower Records, for instance, may have discounted titles years ago; it's just that perhaps not all stores would've participated. And, certainly, any sale at any store, no matter how far-reaching nationally, was simply not as visible as an iTunes one (or, for that matter, open to message board debate). Any complete account of discounts of singles throughout the rock era would be practically impossible to compile.
Beyond its retail push, "One" is an unquestionable airplay hit, rising 7-6 on Radio Songs this week with 92 million all-format impressions, according to Nielsen BDS (to go along with more than 34 million YouTube views for its video).
OK, last semi-rant: your, and other readers', claim that Perry's passing of Jackson's record would be an "insult" to the King of Pop.
Again, I don't share that view. Chart records are routinely broken. Earlier this year, the "Glee" cast passed Elvis Presley's mark for most Hot 100 hits. Does that mean that the McKinley High singers are better than Presley? Of course not. The facts simply show that they've charted on the Hot 100 more times than Presley, nothing more. Presley's contributions to music, if not - no exaggeration - human, history are, on so many levels, unparalleled. He just doesn't hold every Billboard chart record.
Similarly, Jackson and Perry have notched five Hot 100 No. 1s each from their albums "Bad" and "Teenage Dream," respectively, the most leaders from an album in the chart's archives. Despite differences in eras, consumer tastes, radio preferences and single configurations, each of the 10 No. 1s from the sets faced the same competition: to pass 99 other weekly chart contenders to become the most popular song in the country.
Has Jackson had more overall impact than Perry? Hard to argue against that. Jackson's career spanned more than 40 years. Perry has been scoring hits for three. Jackson broke color barriers on MTV. He was instrumental in making music videos an art form. And, his images of the Moonwalk, his glittering glove and his songcraft have lifted him to, like Presley, elite status among all-time American performers.
Just because one of his records could be broken simply implies that another artist's music has inspired fans of another era.
Who knows, had the internet existed in prior decades before the public became attached to a 24/7 flow of information, Billboard readers in 1964 might've argued that the Beatles wouldn't have placed a record 14 titles simultaneously on the Hot 100 if they hadn't appeared on the "Ed Sullivan Show." Cheap ploy or savvy marketing? Same argument. (And, again, one involving Capitol artists).
Times change. Music changes. Music fans' passion to rank artists and their legacies, however, does not.
Thankfully.
It's spirited discussions like these that reinforce our love for music, and charts.
"We take very seriously reader feedback," Billboard editorial director Bill Werde recently stated. "It's important for us to have a genuine exchange and dialogue with you, whether it's via e-mail or comments section(s).
"While further changes in our charting policy are not currently planned, we will always remain responsive
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Post by Deleted on Feb 15, 2012 22:03:00 GMT -5
Whitney Houston Returns to Hot 100's Top 10
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Whitney Houston .
Whitney Houston returns to the Billboard Hot 100 top 10 this week as her signature hit from 1992 -- it reigned for 14 weeks -- "I Will Always Love You" re-enters at No. 7, fueled by an enormous resurgence in digital sales (195,000, up 6723%, according to Nielsen SoundScan) and radio airplay (18 million audience impressions, up 915%, according to Nielsen BDS).
Houston places two other former No. 1s on the chart: "I Wanna Dance With Somebody (Who Loves Me)" (from 1987) at No. 35 and "Greatest Love of All" (1986) at No. 41.
While historically, catalog or recurrent songs have not been eligible for inclusion on the Hot 100, this is not the first time Billboard has charted such activity. As recently as 2001, following the attacks of Sept. 11, the Hot 100 welcomed Lee Greenwood's 1984 country hit "God Bless the USA" and Houston's spine-tingling rendition of "The Star Spangled Banner," the latter of which had reached the chart's top 20 a decade earlier. At the time, the inclusion of these songs properly captured the musical mood as the nation reacted to that tragic day.
"As the digital age has progressed," says Billboard director of charts Silvio Pietroluongo, "with the immediacy it provides, the line has blurred between the relevancy of new and older recordings, which are for the most part equally accessible from one's home computer."
"Going forward we feel that it is the proper move to allow older titles posting enough activity to return to the Hot 100 if ranking in the chart's upper half." (Billboard's policy of removing descending songs from the Hot 100 after 20 weeks if ranking below No. 50 remains unchanged).
Houston's posthumous chart activity is hardly the only headlines on this week's Hot 100.
Kelly Clarkson logs a second week at No. 1 on the Hot 100 with "Stronger (What Doesn't Kill You)," which claims top Airplay Gainer honors for a second week. The song soars 15-7 on Radio Songs (76 million, up 31%). On Digital Songs, "Stronger" slips 1-2, although with a 10% gain to 260,000.
Adele's former two-week No. 1 "Set Fire to the Rain" holds at No. 2 on the Hot 100. The song becomes her third No. 1 on Radio Songs, following "Rolling in the Deep" and "Someone Like You," as it gains by 7% to 136 million. "Rain" drops 2-4 on Digital Songs but with a 14% improvement to 187,000.
Following its exposure in Chevrolet's Sonic Super Bowl ad Feb. 5, fun.'s "We Are Young," featuring Janelle Monae, vaults 41-3 as the Hot 100's top Digital Gainer for a second week, powering 22-1 on Digital Songs (296,000 downloads, up 338%). On last week's Hot 100, the song had bounded 63-41, fueled by early sales gains owed to its TV limelight (as last week's sales tracking period ended mere hours after the Super Bowl the night of Feb. 5).
After LMFAO performed with Madonna as part of the Super Bowl's halftime show, the duo's former two-week No. 1 "Sexy and I Know It" rebounds 9-4 on the Hot 100. (The "Glee" cast's cover of the self-confidence [confi-dance?] anthem, featuring Ricky Martin, concurrently debuts at No. 81).
Flo Rida's "Good Feeling" descends 3-5 on the Hot 100; Rihanna's former 10-week topper "We Found Love," featuring Calvin Harris, drops 4-6; David Guetta's "Turn Me On," featuring Nicki Minaj, slides 5-8; and, Tyga's "Rack City" falls 7-9.
Rounding out the top 10, Madonna's "Give Me All Your Luvin'," featuring Nicki Minaj and M.I.A, bounds 13-10 on the Hot 100 to become Madonna's record-extending 38th top 10. (The Beatles ranks second with 34).
"Luvin'" jumps 7-6 on the Digital Songs survey with 165,000 downloads sold (up 44%) in the list's tracking week. The period encompassed the first full week following Madonna's Super Bowl halftime performance.
The track slides, however, 28-59 on the Radio Songs chart (20 million audience impressions, down 54%). "Luvin'" had benefitted last week from special promotion on Channel Media and Entertainment's more than 50 monitored pop stations, which played it at the top of every hour from Friday, Feb. 3, at 9 a.m. ET until the big game's kickoff.
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Post by Deleted on Mar 14, 2012 23:28:16 GMT -5
Billboard, Nielsen, DigitalMusic.org Launch First-Ever Subscription Services 'On-Demand Songs' Chart March 14, 2012 By Billboard staff Billboard, Nielsen and NARM's digitalmusic.org announced today the launch of the first-ever subscription services "On-Demand Songs" chart, and that this data will also be included in the Billboard Hot 100. On-demand streaming data is now factored into the chart's ranking, enhancing a formula that includes digital download track sales and physical singles sales, as tracked by Nielsen SoundScan; as well as radio airplay and other streaming services, as tracked by Nielsen BDS. This new Billboard chart, in coordination with digitalmusic.org's Subscription Music Work Group, and powered by Nielsen BDS, which began tracking streaming activity in 2005, measures every on-demand play request and plays from unlimited listener-controlled radio channels on MOG, Muve Music, Rdio, Rhapsody, Slacker and Spotify; data from Zune and Sony Music Unlimited is expected to be added in the coming weeks. The plays tracked for the On-Demand Songs chart include streams and tethered downloads by both paying and free/trial tier users. Through the first 70 days of 2012, Nielsen BDS has captured more than 4.5. billion audio streams. "Billboard always recognizes trends in the way fans experience music. With some of these services growing exponentially and integrating into the social web, the time is right to launch a streaming chart and to incorporate this activity into the Hot 100," said Bill Werde, Billboard's editorial director. "Nielsen has been capturing streaming data since 2005 when the impact of digital music consumption was clear," said Chris Muratore, VP, Merchant Services & Emerging Growth for Entertainment, Nielsen. "As our relationships have grown to include most of the largest music streaming services in the business, we have measured an all-time weekly high of more than 625 million total streams in the past week alone. We look forward to continuing to work closely with Billboard and partners like NARM to provide the most comprehensive measurement and analysis for the industry and our clients." "The last year has seen an explosion of both subscribers and traffic to music subscription services, and the business is now contributing meaningfully to the music industry's growing digital music revenues. This chart marks a significant milestone in the evolution of the music subscription business," said Bill Wilson, VP of Business Development and Digital Strategy, NARM/digitalmusic.org. "The new Billboard chart is the definitive endorsement of the importance of the music subscription market and, as Nielsen continues to track tremendous growth, its influence can only become more important in the future." The number and types of outlets that people utilize to consume music continues to grow, and due to the rise of so many user-based platforms, the impact consumers have also continues to increase. Never in the 50-plus year history of the Hot 100 has a music fan had more of an influence on the chart's rankings as they do today. "The methodology behind all of the Billboard charts is ever-evolving to incorporate new technologies and the emerging ways consumers listen to and buy music" said Silvio Pietroluongo, Billboard's director of charts. "Accounting for an interactive medium such as streaming, both in the Hot 100 chart and the On-Demand Songs chart, provides an even more accurate gauge of the songs that are truly the most popular in the country." The Hot 100 formula, in addition to tracking terrestrial radio and digital track sales, will now account for the streaming data that makes up the On-Demand Songs chart, as well as non-demand radio streams from Rhapsody and Slacker. The chart rankings will also measure plays on video request service Akoo and audio on-demand streams from MySpace and Guvera. Yahoo! radio streams and Yahoo! on-demand video plays, which were previously part of the Hot 100 formula, will continue to contribute to the chart's ranking. The streaming data is provided to and processed by Nielsen BDS, which provides music research and monitoring services for the entertainment industry. The first-ever No. 1 atop On-Demand Songs belongs to New York act Fun. and its hit "We Are Young," featuring Janelle Monae, with a total of 1.1 million streams, according to Nielsen BDS. The track also tops the re-formatted Billboard Hot 100 for a second consecutive week. The rest of the On-Demand Songs top five are as follows: "Somebody That I Used To Know" by Gotye featuring Kimbra, "Rack City" by Tyga, "N---as In Paris" by Jay-Z & Kanye West and "Take Care" by Drake featuring Rihanna. Each of those songs posts a better ranking on this week's Hot 100 than it would have had the chart not undergone this week's addition of greater streaming data. For instance, Gotye's track ranks at No. 5 on the Hot 100, instead of No. 8, while the Drake/Rihanna collaboration re-enters the top 10 at a new peak of No. 7; it would have remained outside the top 10 under the old formula. Other notable titles on the On-Demand Songs chart that are outperforming their sales rankings and airplay placements on the Hot 100's main component charts (Digital Songs and Radio Songs) include Tyga's "Rack City," Big Sean's "Dance (A$$)" and Avicii's "Levels." The addition of streaming data to the Hot 100 thusly boosts these songs' standings on that chart, as evidenced by the No. 15 rank for Tyga (instead of No. 18), the No. 40 rank for Big Sean (instead of No. 52) and the No. 66 rank for Avicii (instead of No. 80). Moreover, artists such as M83 at No. 74 (with "Midnight City"), and Skrillex at No. 83 (with "Scary Monsters and Nice Sprites"), debut and re-enter, respectively, on the Hot 100 primarily due to the influx of data from the newly incorporated streaming services. Also, a prior established hit, "You Da One" by Rihanna (No. 31 on On-Demand Songs), moves 97-76 on this week's Hot 100, whereas it would have fallen off the chart if the list's methodology had not been changed. Other recent updates to the Billboard charts include the launch of the Social 50 chart that measures artist engagement activity on Facebook, Twitter and other leading social networks and Uncharted, a ranking of top artists yet to land on another major Billboard chart that is also based on activity on social and streaming platforms. The updated Hot 100 and the new On-Demand Songs chart will be available on Billboard.com and Billboard.biz tomorrow morning (March 15) and will be featured in the March 24 issue of Billboard magazine, which hits newsstands on March 16. The On-Demand Songs chart will also be featured each week on www.digitalmusic.org. For more information on the Billboard charts, please visit Billboard.com.
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dilek85
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Post by dilek85 on Jul 1, 2012 10:10:55 GMT -5
guys, i'm searching all the internet for some Billboard Triple A charts' archive, but unfortunately they are nowhere to be found... found this site www.bdsradio.com/pdweb/pdweb.dll/login where i can see all the current charts. does anyone know where i can find old Billboard Triple A charts or BDS radio charts?
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Post by tommymonster44 on Oct 24, 2012 22:01:12 GMT -5
The first of those threads you linked to is basically just a collection of links as to where you can find Mediabase charts. However, just about all of them except the ones above the equal signs (first lot) don't work anymore. That first lot is the individual formats, and that updates daily. The first one of those, "Mainstream Top 40," is the CHR/Pop chart. The second one is the weekly Hot 100 thread, and yes, those are the overall audience updates. A new thread is usually created every Thursday for those as that's when the airplay tracking week begins, so if you look out in that thread and those for subsequent dates you can find those overall Mediabase airplay updates. That last link is the CHR/Pop forum. There are individual song threads for discussion of individual songs, but I get the impression that you're more interested in the charts. If you follow this thread, the top 50 is posted every day along with Kworb's table showing spin gains etc. Some of it is a little outdated, but if you need help with interpreting the stats in that thread, I can point you to the glossary thread which has helpful information in it. However, this is CHR/Pop not overall audience - Katy Perry's current 147 million audience is only about two-thirds from CHR/Pop. ;) So yeah, in summary, the "Hot 100: 8/20/11" type of topics are where you'll find your overall airplay updates, and the CHR/Pop forum is where you'll find CHR/Pop updates, and you can track other formats if you like from the links in that first thread you linked to, or alternatively here. Hope that helps. :) Thank you for all your posts here! You really broke down the basic concepts and resources of the charts. I still have a few questions, though, if anyone could answer them: 1) What exactly is mediabase? I understand that it's a group that compiles charts, but would anyone with knowledge about it be able to shine more light on the subject? Who has access to their charts? What charts do they release? 2) I have a question about how this person may compile their calculations on another website. Here is their post: "BB Hot 100 calculations for the week based on all 7 days of itunes bars, current airplay and a streaming estimate #position, sales (000's) + Mediabase airplay (A.I. millions) + streaming (Ks x 6%) = points, artist, song, (change on Hot 100) #1 183 + 150 + 48 = 259 Maroon 5 One More Night (=) #2 281 + 56 + 48 = 250 PSY Gangnam Style (=) #3 368 + 28 + 3 = 236 One Direction LWWY (New) #4 141 + 120 + 44 = 210 Fun. Some Nights (-2) #5 359 + 0 + 0 = 208 Taylor Swift Red (New)" The list keeps going, but I think that portrays the point. I understand how the calculations are made, but how/where would they have gathered the information? Thank you so much guys!
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Lozzy
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Post by Lozzy on Oct 25, 2012 0:06:02 GMT -5
The first of those threads you linked to is basically just a collection of links as to where you can find Mediabase charts. However, just about all of them except the ones above the equal signs (first lot) don't work anymore. That first lot is the individual formats, and that updates daily. The first one of those, "Mainstream Top 40," is the CHR/Pop chart. The second one is the weekly Hot 100 thread, and yes, those are the overall audience updates. A new thread is usually created every Thursday for those as that's when the airplay tracking week begins, so if you look out in that thread and those for subsequent dates you can find those overall Mediabase airplay updates. That last link is the CHR/Pop forum. There are individual song threads for discussion of individual songs, but I get the impression that you're more interested in the charts. If you follow this thread, the top 50 is posted every day along with Kworb's table showing spin gains etc. Some of it is a little outdated, but if you need help with interpreting the stats in that thread, I can point you to the glossary thread which has helpful information in it. However, this is CHR/Pop not overall audience - Katy Perry's current 147 million audience is only about two-thirds from CHR/Pop. ;) So yeah, in summary, the "Hot 100: 8/20/11" type of topics are where you'll find your overall airplay updates, and the CHR/Pop forum is where you'll find CHR/Pop updates, and you can track other formats if you like from the links in that first thread you linked to, or alternatively here. Hope that helps. :) Thank you for all your posts here! You really broke down the basic concepts and resources of the charts. I still have a few questions, though, if anyone could answer them: 1) What exactly is mediabase? I understand that it's a group that compiles charts, but would anyone with knowledge about it be able to shine more light on the subject? Who has access to their charts? What charts do they release? 2) I have a question about how this person may compile their calculations on another website. Here is their post: "BB Hot 100 calculations for the week based on all 7 days of itunes bars, current airplay and a streaming estimate #position, sales (000's) + Mediabase airplay (A.I. millions) + streaming (Ks x 6%) = points, artist, song, (change on Hot 100) #1 183 + 150 + 48 = 259 Maroon 5 One More Night (=) #2 281 + 56 + 48 = 250 PSY Gangnam Style (=) #3 368 + 28 + 3 = 236 One Direction LWWY (New) #4 141 + 120 + 44 = 210 Fun. Some Nights (-2) #5 359 + 0 + 0 = 208 Taylor Swift Red (New)" The list keeps going, but I think that portrays the point. I understand how the calculations are made, but how/where would they have gathered the information? Thank you so much guys! I'll try to answer your questions. If you want to have a look at the charts Mediabase publicly release, I'd suggest signing up for a free account on AllAccess and browsing the "Mediabase" section yourself. They have charts for various radio formats as well as fancier things like adds information, year-to-date charts and so on. Mediabase of course have far more information that they keep to themselves and their subscribers (not open to the general public). A few people on this board including myself have some access. They got the sales information from following the iTunes popularity bars. I assume you're not familiar with the system; what they do is show each song's sales as a percentage of the #1 song's sales, so you can track how far apart songs are which helps with estimations. You can find them here or here. I don't follow iTunes/sales data that closely so I can't really help you more on this topic. Airplay information is much more accessible than it is for sales. Have a look in each week's Hot 100 thread in the General Music News forum, and the all-format Mediabase updates are posted each day. The update posted each Wednesday corresponds to the BDS tracking week (BDS is the system Billboard uses for their airplay figures), and the BDS figures usually amount to roughly 0.75 of the Mediabase ones. If you don't like the Hot 100 threads, you can go here to find the daily airplay updates, or when that doesn't update, this is the next best thing. As for streaming, I'm not totally sure, but I'm guessing they tracked the Spotify charts and maybe crosschecked that with some other streaming services and somehow estimated based on that. It's not all that accurate (or at least I don't think it is), but streaming is so negligible compared to sales and airplay that minor error doesn't matter too much. Anyway, hope I helped. Feel free to correct me if I'm wrong.
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Post by moozentertainment on Nov 22, 2012 8:22:23 GMT -5
When you going to release the chat, am eagerly waiting for that. because i dont have idea about it "chart procedures". so am waiting to seen that.
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Post by Deleted on Dec 1, 2012 16:20:13 GMT -5
..Chart Watch Extra: Where “Thriller” Ranks ..By Paul Grein .Posts .By Paul Grein | Chart Watch – Fri, Nov 30, 2012 2:38 PM EST ........Thirty years after its release, Michael Jackson's Thriller is tied with Eagles' Their Greatest Hits 1971-1975 as the best-selling album of all time in the U.S., according to the Recording Industry Assn. of America. Both albums have shipped 29 million copies. (The RIAA measures shipments to stores, not actual sales.) No album comes close to Thriller as the all-time international best-seller, but Eagles' hit-studded album has proved to be a surprisingly strong competitor in the U.S. Both albums have extraordinarily broad appeal. Thriller and its key hits brought Jackson Grammys in the pop, rock and R&B fields. Eagles are the only group to have won Grammys in the pop, rock and country fields. Here's a factoid that will surprise you: Until 1976, there was no official recognition of sales achievements beyond gold, which denoted sales of 500,000 copies. That led the RIAA to introduce platinum awards for albums (released after Jan. 1, 1976) that sold 1 million copies. Eagles' Their Greatest Hits was the first album to qualify. On Feb. 24, 1976, it became the first platinum album. In October 1984, the RIAA introduced multiplatinum certifications. Thriller led the pack. The album, which had been out less than two years, was certified at the 20 million level, far more than Fleetwood Mac's Rumours, which was in second place at 12 million. Eagles' album was just platinum until August 1990, when it was belatedly submitted for multiplatinum certification. It was certified that month at the 12 million level. It first tied Thriller for the lead in the multiplatinum race in March 1997, when both albums stood at 24 million. The two albums have been battling it out ever since. In 1999, the RIAA introduced Diamond Awards, signifying sales of 10 million copies. Thriller is Jackson's only Diamond album, but Eagles have two others besides Their Greatest Hits. Hotel California is certified at 16 million. Eagles Greatest Hits, Volume 2 is certified at 11 million. (The Beatles and Garth Brooks are the overall Diamond champs, with six Diamond albums each. Led Zeppelin is runner-up, with five.) Here's the RIAA's current list of the top 10 albums of all time. First, a clarification. The RIAA counts double-disk albums as two albums. That explains why four double-disk albums show up in its all-time top 10. I think double counting is excessively generous to double albums, which cost more than single-disk albums, but not twice as much. But that's the RIAA's long-time policy. Here's how I dealt with this: Right after the top 10, I show the four single-disk albums that were displaced from the top 10 by this policy. If you agree with me that the RIAA's double-counting policy creates a distorted picture, just pretend the four double-disk albums aren't there and move each of the single-disk albums up a notch. 1 (tie). Eagles, Their Greatest Hits 1971-1975, 29 million. This 1976 album is the best-selling greatest hits album of all time. It features five top 10 hits, including the group's first two #1s, "Best of My Love" and "One Of These Nights." 1 tie). Michael Jackson, Thriller, 29 million. This 1982 classic spawned seven top 10 hits, including the #1s "Billie Jean" and "Beat It." Thriller won eight Grammys, including Album of the Year. 3 (tie). Billy Joel, Greatest Hits Volume I & Volume II, 23 million. This 1985 release is a double album, so it has shipped about 11.5 million copies. It features seven top 10 hits, including Joel's first two #1s, "It's Still Rock And Roll To Me" and "Tell Her About It." Joel has a second Diamond Album: 1977's The Stranger, which is is certified at 10 million. 3 (tie). Led Zeppelin, Led Zeppelin IV, 23 million. This 1971 release is the best-selling hard rock/heavy metal album of all time. The album includes "Stairway To Heaven," one of the most famous tracks that was never released as a single. The band has four other Diamond Albums: the double-disk Physical Graffiti (16 million), Led Zeppelin II (12 million), Houses Of The Holy (11 million) and Led Zeppelin (10 million). 3 (tie). Pink Floyd, The Wall, 23 million. This 1979 release is a double album, so it has shipped about 11.5 million copies. Pink Floyd's 1973 classic The Dark Side Of The Moon, certified at 15 million, has sold more copies. The Wall spawned the #1 hit "Another Brick In The Wall Part II." 6. AC/DC, Back In Black, 22 million. This 1980 release, the second best-selling hard rock album, yielded two top 40 hits, the title song and "You Shook Me All Night Long." 7. Garth Brooks, Double Live, 21 million. This 1998 release is a double album, so it has shipped about 10.5 million copies. Two of Brooks' albums have outsold it: No Fences, which is certified at 17 million, and Ropin' The Wind (14 million). Brooks has three more Diamond Albums, which are certified at 10 million: Garth Brooks, The Hits and Sevens. "It's Your Song," from Double Live, was a top 10 hit on Hot Country Songs and became Brooks' first Hot 100 entry. The album also included long versions of "The Thunder Rolls" and "Friends In Low Places." 8. Shania Twain, Come On Over, 20 million. This is the best-selling country album of all time, once you account for the doubling of Double Live. The album spawned three top 10 hits, "You're Still The One," "From This Moment On" and "That Don't Impress Me Much." Twain has three Diamond Albums, more than any other female artist. Her others are The Woman In Me (12 million) and the double-disk Up! (11 million). 9 (tie). The Beatles, The Beatles, 19 million. This 1968 release, better known as The White Album, is a double album, so it has shipped about 9.5 million copies. Three of the Fab Four's albums have outsold it: Abbey Road (12 million), Sgt. Pepper's Lonely Hearts Club Band (11 million) and the hit-studded compilation 1 (11 million). The group's 1973 double-disk compilations The Beatles/1967-1970 and The Beatles/1962-1966 are certified at 17 million and 15 million, respectively. "Revolution," from The White Album, was released as the B side of "Hey Jude." Other well-known songs on the album include "Back In The U.S.S.R," "Ob-La-Di, Ob-La-Da," "While My Guitar Gently Weeps," "Blackbird," "Julia," "Helter Skelter" and "Good Night." 9 (tie). Fleetwood Mac, Rumours, 19 million. This 1977 classic spawned four top 10 hits: "Go Your Own Way," "Dreams," "Don't Stop" and "You Make Loving Fun." It was the first album to generate four top 10 hits. It also won a Grammy as Album of the Year. 11. Guns N' Roses, Appetite For Destruction, 18 million. This 1987 release is the best-selling debut album of all time, edging out Boston's Boston (17 million). It spawned three top 10 hits: "Sweet Child O' Mine," "Welcome To The Jungle" and "Paradise City." 12 (tie). Garth Brooks, No Fences, 17 million. This 1990 album spawned four #1 hits on Hot Country Songs: "Friends In Low Places," "Unanswered Prayers," "Two Of A Kind, Workin' On A Full House" and "The Thunder Rolls." It won a CMA Award as Album of the Year. 12 (tie). Whitney Houston & Various Artists/The Bodyguard soundtrack, 17 million. This 1992 album is the best-selling soundtrack of all time, edging out Bee Gees' double-disk Saturday Night Fever (15 million) and Prince and the Revolution's Purple Rain (13 million). The Bodyguard spawned three top five hits: "I Will Always Love You," "I'm Every Woman" and "I Have Nothing." It also won a Grammy as Album of the Year. Houston has a second Diamond album: Her 1985 debut album Whitney Houston, which is certified at 13 million. 12 (tie). Boston, Boston, 17 million. This 1976 album spawned the top five hit, "More Than A Feeling," a cornerstone of the album-rock radio format. If you want to see the RIAA's entire list of Diamond Award winners, go to www.RIAA.com, hit the link for Gold and Platinum, and then hit the link for Diamond Awards. But first I'm going to attempt to explain why the RIAA numbers sometimes differ from the Nielsen/SoundScan numbers. The Beatles' 1 has sold 12,108,000 copies as of this week, according to Nielsen/SoundScan, yet is certified at just 11 million. The RIAA is behind on updating this certification. But it's probably not their fault. Record companies have to submit albums for certification updates. They generally do this when they have something to promote and can use the publicity. It's more common for the RIAA figures to be greater than the Nielsen/SoundScan figures. Garth Brooks' Double Live is certified at 21 million (which we can take down to 10.5 million because it' a double album), but has sold only 6,017,000 copies, according to Nielsen/SoundScan. Shania Twain's Come On Over is certified at 20 million, yet has sold 15,552,000 copies. Whitney Houston's The Bodyguard soundtrack is certified at 17 million, yet has sold 12,051,000. As I noted at the outset, the RIAA measures shipments, not sales. It's possible that 20 million copies of Come On Over have been shipped, and that about 4.5 million remain unsold. It's possible that a large number of those have been sold at non-traditional retailers that Nielsen/SoundScan doesn't track. It's possible that the Nielsen/SoundScan number is low or (more likely) that the RIAA figure is high. Record companies may (brace yourself) hype their numbers to make their artists look hotter than they actually are. The RIAA audits the record company claims, but I suspect their audits are a shade less rigorous than an IRS audit. I tend to put more stock in the Nielsen/SoundScan numbers than the RIAA certifications, though they add to the overall picture. They are most helpful on albums that were released before 1991, when Nielsen/SoundScan began tracking sales for Billboard. A good general rule: You take all the available numbers into account and you tend to get the full story. ..
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Gary
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Post by Gary on Feb 7, 2014 10:54:02 GMT -5
Peigan - I just emailed Silvio over at Billboard about that no airplay Hot 100 period - he says that no one knows about it... and he's been there for 15 years! He was fascinated, and double checked with two Billboard historians: They think it didn't in fact last 5 years, but probably just a matter of months as an experiment. Until we find a definitive article explaining when they brought back airplay, I guess that's it. There is some evidence to support it being five years. Special thanks to JDM1961 at Top40MusicOnCD for finding this a year or two ago: I did a little research of my own, and here's the evidence that the policy quite possibly lasted up to five years: A full year after this policy was announced, in June or July of 1969 (there are missing issues online) up through 6/9/73, the notation at the top of each chart explaining what a "star" next to a song meant was changed. It had previously been defined as the somewhat vague, "Sides registering greatest proportionate upward progress this week." But in the summer of '69, it was changed to read: "STAR PERFORMER--Records showing greatest increase in RETAIL SALES ACTIVITY over the previous week, based on actual market reports." So, from the summer of '69 until Jun 9, 1973, the Hot 100 SPECIFICALLY said that their "star" awards were for retail sales ONLY. If the "no-airplay top 50" was a very brief experiment, as the Billboard employees believe, why did Billboard change their definition of a "Star Performer" to a sales-only description a full year after the policy was announced, and then leave that description intact for another four years? On 6/9/73, a front-page article in Billboard entitled "Billboard Launches Super Singles Chart" detailed that, due to the dwindling commercial singles market, the Hot 100 would expand its singles surveys to one-stops (which supplied juke box operators, Billboard estimating that 50% of all singles sales were to jukebox ops), and also "increase" its airplay component. It's not clear what "increase" entailed, but it could mean that it was being factored back into the top 50 rather than only utilized for positions 51-100. Then the following week, beginning on 6/16/73, the "Star Performer" definition was again changed to: "STAR PERFORMERS: 'This Week' and 'Last Week' stars are conveyed to show records that have the greatest increase in point values." (So they scrubed the sales reference beginning that week.) So... no definitive proof that the top 50 was sales-only from 5/11/68 until 6/9/73, but I do think it's quite possible. Great post. Just wanted to make sure it didn't get lost
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Daniel Collins
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Post by Daniel Collins on Apr 5, 2014 14:17:13 GMT -5
RAISING THE 'DEAD' QUESTIONHi Gary, I was intrigued by William Gruger's analysis about Soko's one-week appearance on the Hot 100, at No. 9, with "We Might Be Dead By Tomorrow." While I absolutely agree that the chart should reflect the popularity of a song, no matter how briefly, there's another aspect of Soko's chart placement that has me confused. A few weeks ago, when millions of people went online to watch the Budweiser/Super Bowl commercial featuring Passenger's "Let Her Go," those streams were deemed ineligible for the chart. However, the "First Kiss" video that features Soko's song is also an ad, for the Wren clothing label, but its streams did aid its Hot 100 fortunes. So, why did streams for the Budweiser ad not help "Let Her Go," while streams for the Wren ad did help "… Tomorrow"? From the outside looking in, this seems pretty arbitrary. What prompted the decision? Thanks for any insight you can provide! Mark Blankenship New York, New York Hi Mark, Soko set a Hot 100 record by falling off the chart from the highest rank (No. 9) ever, besting three songs that had departed from No. 11. In Sunday's "Ask Billboard," we recounted how it disappeared: essentially, since almost all its chart points were from streaming, "Tomorrow" didn't have enough points to score a second week on the Hot 100 once its U.S. streaming total plummeted by 86 percent to 1.6 million streams, according to Nielsen BDS. That sum followed its breakout week of 11.5 million. On Streaming Songs, the song sunk 1-42. Your question, of course, centers more on how popular viral ads featuring songs affect our charts. I forwarded your email to William to further expound on Soko's chart action. While I try to watch the Budweiser "Puppy Love" ad, below, without getting emotional (still), here's his response. It's a little tech-driven, but I think helpful: "Hi Mark. Thanks for your question. Billboard is only able to include YouTube views in chart calculations for songs that are properly registered by the video clip content owner, claimed by a licensed representative of the song being used in the clip, or identified by YouTube's content ID system. This also includes user-generated videos utilizing official song audio.
Due to superseding licensing agreements between the video clip content owner and song owner, or the song owner and YouTube, views of certain clips that feature song audio might not be counted.In regards to the two songs you mention, the licensing agreements most likely differed, leading to data from only one of the titles making its way from YouTube to Billboard. For more about YouTube's content ID system, please feel free to check here."
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bat1990
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Post by bat1990 on Feb 18, 2015 16:16:18 GMT -5
Here's a question to which I can't seem to find an answer on my own:
How does iHeartRadio factor into the Hot 100 (if at all)? Streaming? Airplay?
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rimetm
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Post by rimetm on Feb 19, 2015 21:11:18 GMT -5
So, what charts/metrics don't follow the Monday-Sunday tracking regiment? I thought it was just one of the Hot 100 metrics, but now I notice this article. That's the #1 for *next* week, and it's only Thursday!
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Au$tin
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Post by Au$tin on Feb 19, 2015 21:19:27 GMT -5
So, what charts/metrics don't follow the Monday-Sunday tracking regiment? I thought it was just one of the Hot 100 metrics, but now I notice this article. That's the #1 for *next* week, and it's only Thursday! Dance Club Songs may be its own monster since it's compiled from reports from a national sample of club DJs. Since it's not actually tracked through airplay tracking software or downloads or streaming, DJs can probably give a quick estimate as to what they plan on playing a lot of in advance, making the chart ahead of the rest. That would be my guess anyway.
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House Lannister
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Post by House Lannister on May 25, 2015 11:56:41 GMT -5
I was under the impression that songs that were on the chart for 20 or more weeks would fall off the chart when it fell below the top 50 or the song reached its 20th week.
But recently, I've seen a pair of exceptions:
Imagine Dragons, I Bet My Life: Went 54 (w 20) 54 (w 21), and 58 (w 22) before finally falling out on its 23rd week.
Sheppard, Geronimo: Went 55 (w 20) to 54 (w 21) and is presently still on the chart.
Is there something that can keep these songs on the charts past 20 weeks? Perhaps it's as simple as increasing airplay or sales?
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lyhom
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Post by lyhom on May 25, 2015 12:57:57 GMT -5
yeah they had bullets on the weeks past the 20th, so billboard decided to keep them on for those weeks
idk that much though
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Dylan :)
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Post by Dylan :) on May 25, 2015 13:05:10 GMT -5
A song goes recurrent/falls off the chart if it is below the top 50 on its 21st+ week if it loses chart points. If it gains in chart points that week, it can continue to stay on the chart.
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rimetm
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Post by rimetm on May 26, 2015 16:47:12 GMT -5
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House Lannister
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Post by House Lannister on May 27, 2015 9:33:26 GMT -5
Thanks for Lyhom, DylanGLC, and Rimetm for your quick responses to my question. I think I understand now.
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MTSChart21
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Post by MTSChart21 on Oct 27, 2015 16:12:52 GMT -5
I dont know much when it comes to this so can you help me figure this out
How do the weekly points add up and what websites can I find the points for each category?
I don't understand where to find the airplay because I never have the right website for it. Where do I find the YouTube and Spotify weekly stats? Can someone give an example of a song and take it's streaming, sales, and airplay points and add them together because I am lost.
Please answer in good detail so I can understand this.
Also, where would I find the Monday chart highlights at?
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