June 8, 201213 yr Can someone explain how a song can fall 52 places in a week? (It just seems strange that Moves Like Jagger would fall like that :unsure:) If a song has more than 20 weeks on the chart and falls out of the top 50 it falls off the chart completely. Glad to see MLJ finally gone. To expand on this, these songs then go to a 'recurrent' chart and as such, Moves Like Jagger is now #1 on the recurrent chart this week.
June 8, 201213 yr What a dull chart. They should really change the ruling or something, to spicen it up a bit, or at least make it reflect what the most popular songs of that week actuallyare :blink: How, just take out airplay? I don't think that's ever happening :lol: It is very dull. I can only hope it will speed up in the near future!
June 8, 201213 yr If a song has more than 20 weeks on the chart and falls out of the top 50 it falls off the chart completely. Glad to see MLJ finally gone. To expand on this, these songs then go to a 'recurrent' chart and as such, Moves Like Jagger is now #1 on the recurrent chart this week. Thanks, that makes sense, means the chart won't be clogged up with old songs all the way down to #100. Edited June 8, 201213 yr by Oliver
June 8, 201213 yr Yep. So much different than the 2000-05 days when all you had were rappers. Um, no, it was hardly dominated by rappers in 2000: http://en.wikipedia.org/wiki/Hot_100_numbe...s_of_2000_(USA) It was in 2003-2006, because 50 Cent, Sean Paul and Lil Jon basically completely changed the landscape of mainstream music, and then digital downloads came in 2005 and helped the rap songs even more!! But then Timbaland came in 2006/2007 time and changed the landscape of mainstream music again to electropop. Very surprised by this, as she's only #107 on iTunes. Hot 100 points clearly coming from airplay/streaming. Another reason why she's higher than she looks like she would be based on iTunes is because of that recurrent rule that people are talking about in this thread. A lot of the songs above Rita are ineligible to chart on the Hot 100 now because they've been in the chart for 20+ weeks and are not in the top 50, so if you take out all the ineligible songs she's probably 10-20 places higher on iTunes. What a dull chart. They should really change the ruling or something, to spicen it up a bit, or at least make it reflect what the most popular songs of that week actually are :blink: Good to see The Wanted entering. I would say this is a good representation of what songs are popular. Not perfect obviously, but certainly much better than the UK chart does for our country!! I wouldn't mind Billboard changing some of the mechanics of the chart to make it move faster somehow though, for "entertainment" purposes. But you could argue Billboard's charts aren't for that, they're for people in the music industry to see how their songs are ranking, so they might not want do anything about it if that's the case. The chart moving so slow could potentially cause a lot of problems though, but I won't go into that now. I'll give it a few months to see what happens, but I'm already noticing a couple of things... Edited June 8, 201213 yr by Eric_Blob
June 8, 201213 yr Um, no, it was hardly dominated by rappers in 2000: http://en.wikipedia.org/wiki/Hot_100_numbe...s_of_2000_(USA) It was in 2003-2006, because 50 Cent, Sean Paul and Lil Jon basically completely changed the landscape of mainstream music, and then digital downloads came in 2005 and helped the rap songs even more!! But then Timbaland came in 2006/2007 time and changed the landscape of mainstream music again to electropop. I think I'm ready to hear more on your theory that Timbaland and Atlanta crunk led to electropop... :)
June 8, 201213 yr I think I'm ready to hear more on your theory that Timbaland and Atlanta crunk led to electropop... :) Well, the Timbaland bit is obvious. He had about a dozen massive electropop hits during 2006-2007, and then a couple of years later the entire chart is filled with them. The crunk bit is a bit more complex, but I've actually read in a few places other people saying the same thing, so it turns out I'm not the only person that thinks crunk -> electropop. This is normally the type of thing I'd get carried away about and type a massive essay that makes no sense, so I'll try and keep it as brief as possible, but the four main reasons why everybody thinks crunk morphed into electropop and dance-pop are: - Crunk and electro/dance pop generally serve the same purpose. They're songs made for clubs. They're the most up-beat things you heard on the radio at the time. They're both very synth-heavy, and musically, they're not that dis-similar. Both styles of music focus primarily on the beat, and the lyrics can be any old nonsense. I can easily imagine Give Me Everything being a crunk song, for example, without having to change THAT much in the song. - It's the same (types of) artists who did crunk that now do most of the electropop. Ludacris, Usher, Chris Brown, etc. who used to have the crunk hits now have the dance-pop hits. Likewize, I'm pretty sure Far East Movement, LMFAO, Pitbull, etc. would have been doing crunk if they were around in 2005. I'm not going to be surprised if Ciara has a dance-pop single on her new album. - Crunk decreased in popularity at the same time that electro/dance pop increased in popularity. Crunk peaked at a time when there was almost no dance-pop in the charts, and started decreasing in popularity from then on, which coincidentally was when electropop songs like SOS, Sexy Back, Smack That, etc. started happening. The last big crunk hit I can think of is from 2008, and by then the charts were full of songs like Disturbia, Hot N Cold, Forever, Low, Lollipop and Womanizer. This suggests that one basically just replaced the other. People always want songs to dance to, up-beat songs, etc, but you get bored of those same crunk synths after a while. - There were all those "songs that sound like crunk songs but aren't really" or "electropop songs that sound like crunk with different synths" that started being hits. Some that I already mentioned like Low, Lollipop, Smack That. Other notable ones being Love in This Club and, of course, Crank That. Lil Jon, who was probably the main one that brought crunk to mainstream success, himself has said he ended up making it by trying to combine hip hop with European dance and electronic music.
June 8, 201213 yr I would say this is a good representation of what songs are popular. Not perfect obviously, but certainly much better than the UK chart does for our country!! I wouldn't mind Billboard changing some of the mechanics of the chart to make it move faster somehow though, for "entertainment" purposes. But you could argue Billboard's charts aren't for that, they're for people in the music industry to see how their songs are ranking, so they might not want do anything about it if that's the case. The chart moving so slow could potentially cause a lot of problems though, but I won't go into that now. I'll give it a few months to see what happens, but I'm already noticing a couple of things... How is this a better representation of what is popular when compared to the official UK charts. Radio stations can completely manipulate the charts (and do), and just because a song is getting hammered by radio, doesn't make it popular with the general public. In the UK if a song is popular it will sell, and the chart reflects this. So no, as much as we'd like to believe it, Rack City was not very popular in the UK :lol:
June 8, 201213 yr How is this a better representation of what is popular when compared to the official UK charts. Radio stations can completely manipulate the charts (and do), and just because a song is getting hammered by radio, doesn't make it popular with the general public. In the UK if a song is popular it will sell, and the chart reflects this. So no, as much as we'd like to believe it, Rack City was not very popular in the UK :lol: No. :lol: Airplay actually hurt Rack City's performance in the US charts for starters. It would've done better if it was a sales only chart. But I mean the UK chart is a sales chart, and only a sales chart. It's not meant to reflect what's popular. There was a statement from someone who works for the OCC saying that exact thing recently, when they were being asked if they would ever include streaming in the UK chart. He said it's NOT a popularity chart, and never will be. The US charts, however, are supposed to represent what's popular (or try to). It IS a popularity chart. Again, it's probably not brilliant at representing popularity, but at least Billboard are actually trying to with this chart. The UK chart is just a sales chart, so of course the Hot 100 is more accurate. I agree that radio stations can manipulate the charts (and it pisses me off, since all my favourite songs like Niggas in Paris, Look At Me Now, Black and Yellow, etc. did much worse because of radio being included), but at least they chart it on audience impressions, rather than play count. So if a station is playing music that nobody likes, people will stop listening to it, so it's audience impression will decrease, and then it'll contribute less to the Hot 100.
June 9, 201213 yr Author 96 90 Rita Ora - How We Do (Party) Very surprised by this, as she's only #107 on iTunes. Hot 100 points clearly coming from airplay/streaming. Another reason why she's higher than she looks like she would be based on iTunes is because of that recurrent rule that people are talking about in this thread. A lot of the songs above Rita are ineligible to chart on the Hot 100 now because they've been in the chart for 20+ weeks and are not in the top 50, so if you take out all the ineligible songs she's probably 10-20 places higher on iTunes. To be honest, that shouldn't affect her too much. It's just highly unusual to see a song by a 'new artist' chart so high that isn't selling. Radio may be playing it, and the public might be streaming it, but they're not willing to pay $1.29 for it :lol:
June 9, 201213 yr To be honest, that shouldn't affect her too much. It's just highly unusual to see a song by a 'new artist' chart so high that isn't selling. Radio may be playing it, and the public might be streaming it, but they're not willing to pay $1.29 for it :lol: Yeah, you may be right. Just I noticed it happen to a lot of other songs before.
June 9, 201213 yr To be honest, that shouldn't affect her too much. It's just highly unusual to see a song by a 'new artist' chart so high that isn't selling. Radio may be playing it, and the public might be streaming it, but they're not willing to pay $1.29 for it :lol: Unusual but not unique! I do believe the same happened with Dev's In The Dark last year. It's very odd. In other news, Emeli Sandé's album has been released and 'Daddy' is the free iTunes single of the week. I wonder how she'll do? Our Version of Events is currently #13 on iTunes.
June 12, 201213 yr And fantastic to see Gotye overtaking fun.'s weeks at #1 :D I hope he can overtake their total sales as well. He already has.
June 12, 201213 yr He already has. Has he? Ah, I must have missed Billboard saying about this. STIUTK should hopefully have the year end worldwide #1 wrapped up now then :P Edited June 12, 201213 yr by Bré
June 12, 201213 yr I think Billboard hasn't said it but the latest figures I've seen were 4,757,000 for STIUTK and 4,733,000 for WAY.
June 12, 201213 yr Author Unusual but not unique! I do believe the same happened with Dev's In The Dark last year. It's very odd. She was already known for 'Bass Down Low' though.
June 12, 201213 yr I would expect Cher on the Hot 100 yes! She was already known for 'Bass Down Low' though. I forgot about that, only a very minor hit in the US but perhaps a bad example all the same!
June 12, 201213 yr It was in 2003-2006, because 50 Cent, Sean Paul and Lil Jon basically completely changed the landscape of mainstream music, and then digital downloads came in 2005 and helped the rap songs even more!! But then Timbaland came in 2006/2007 time and changed the landscape of mainstream music again to electropop. Another reason why she's higher than she looks like she would be based on iTunes is because of that recurrent rule that people are talking about in this thread. A lot of the songs above Rita are ineligible to chart on the Hot 100 now because they've been in the chart for 20+ weeks and are not in the top 50, so if you take out all the ineligible songs she's probably 10-20 places higher on iTunes. I would say this is a good representation of what songs are popular. Not perfect obviously, but certainly much better than the UK chart does for our country!! Totally disagree with you. Digital sales didn't help rap songs AT ALL. In fact, 2005 rap domination had NOTHING to do with digital sales since they only started getting relevant 2 years later, in 2007. The best-selling digital single in 2005 was Beverly Hills by Weezer and only in 2007 a single surpassed 1 million downloads. In 2006, even though digital sales were still not as relevant, the iTunes charts started to influence radio playlists but prior to that, it had null impact. The 2003-2005 domination was only due to one reason: airplay. Since urban songs were playlisted in both URBAN and TOP 40, they had a much bigger advantage and hence the domination. The moment iTunes started to be a dominant player, rap music stopped dominating and we never saw Lil Jon or Sean Paul near the top 10 again.
June 12, 201213 yr 01 01 Gotye featuring Kimbra - Somebody That I Used To Know 02 02 Carly Rae Jepsen - Call Me Maybe 03 03 Maroon 5 featuring rapper Wiz Khalifa - Payphone 04 04 Fun featuring Janelle Monae - We Are Young 05 05 Nicki Minaj - Starships 07 06 One Direction - What Makes You Beautiful 06 07 Flo Rida featuring Sia - Wild Ones 09 08 Justin Bieber - Boyfriend 11 09 Rihanna - Where Have You Been 08 10 The Wanted - Glad You Came Yawn all these songs feel so old. The UK Chart is definitely a lot faster moving then the US, but obviously the size of the countries and the style of the charts will mean very different charts.
June 12, 201213 yr Well Payphone might be old but it's not even been released in the UK yet :P Edited June 12, 201213 yr by SKOB
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