Consie

I'm completely baffled by this too. Not only was I Love It huge but Icona Pop have been everywhere this year, doing Lollapalooza, Virgin Free Fest and numerous other festivals and events. And reviews have been great- a New York Times review from last weekend actually compared Krewella to Icona Pop and declared the latter's album better. Shocked they didn't land a top 10 debut.

Only other I can think of is Kimbra who was featured on Somebody That I Used to Know in 2011.

It's painfully simple: Katy's songs are very radio friendly and appeal to an extremely wide audience. One look at her remarkable collection of top 5 hits on the Hot 100 confirms this. They work on a number of different radio formats. Gaga was on the same track with The Fame (Monster) but has since moved in a less radio-friendly direction musically. They're both extremely popular artists and the rivalry between them was invented by marketing people who have watched it work a thousand times before: Britney vs. Christina, Backstreet vs. 'NSync, Debbie Gibson vs. Tiffany, etc. It sells records, and the kids keep falling for it!

Remarkable that Wake Me Up has risen up to #5 on almost zero airplay. Hopefully streaming will bolster its Hot 100 position.

Ok I may have spoken too soon on Avicci. :P I guess the official radio release date is today. Considering Wake Me Up is up to #12 on iTunes chart, I am hoping radio quickly embraces it. Can I still complain about how long it took for a radio release?? :)

It's sooo annoying! I just don't see what they're waiting for. It doesn't help that pop radio randomly decided Clarity would be the EDM smash of the summer... not that it's a terrible song, it's just not even close to the best to be released this year :P

Pathetic that radio is still refusing to play Wake Me Up despite it having risen to #20 on the iTunes chart after several weeks in the top 30, all on virtually no radio airplay and despite the video having been blocked from US viewers on YouTube for much or all of last week.

With Capital Cities, Awolnation, Imagine Dragons slowly creeping up and Fall Out Boy holding up well -- all of which have been playlisted on rock radio for MONTHS -- I'm wondering if rock is slowly making something of a comeback in the Hot 100.

#23. Yeah, she is apparently more successful on both sides of the Atlantic than I realized.

That and the fact that they were already vetted at home. Once it was proven they had wide appeal and sold a lot of records in the UK, they were marketed heavily in the US. Plenty of UK singing competition winners flopped at home and were accordingly never given a shot in the US (Rebecca Fergusson may be the exception to my point, although she hasn't been huge success in the US either yet). I don't follow these shows at all any more but it seems to me American Idol (and Pop Idol before it) was meant to be a vehicle for Syco to promote an act and eventually sell a ton of records. The Voice seems to me more about lifting NBC's ratings above its usual evening audience of 7 people. As far as X Factor was concerned, the whole thing was just ill-conceived from the beginning and has never been a significant ratings success, and will therefore not sell records for its participants.

I can't think of any. Last summer I REALLY thought Hot Right Now could have been a big hit in the US. I have no idea if it was ever released.

Can we have a new poll in the Int'l Charts Forum this week predicting how many more weeks people will complain about Billboard's latest Hot 100 rule/Harlem Shake-gate 2013?? My bet is on 10 weeks MINIMUM. :lol:

I think you're right. Billboard has been known to respond to criticism with a change in their methodology -- e.g. when Michael Jackson's singles were ineligible to chart on the Hot 100 in 2009. I think everyone is overestimating the potential for novelty songs and memes to reach #1 in the future. Harlem Shake was also the #3 selling digital song this week, topping the iTunes chart for some time. The Billboard article linked above says plainly that sales helped Harlem Shake get to #1 in a big way (it would have been top 15 on sales alone without the change). Now on the point about Taylor Swift and One Direction, I agree we will see more #1 debuts, but it will be on the strength of Youtube as well as paid steaming and paid downloads. It will annoy most of us, but this is a phenomenon faced by every sales-oriented chart in the world (e.g. Westlife debuting at number one approximately 134,789 times between 99 and 2005). I agree this change isn't ideal, but after the payola and Clear Channel political scandals 10 years ago I still just don't trust airplay as a measure of popularity. Radio stations in the US are largely controlled by corporations who have interests of their own. At least people will elect to watch Harlem Shake videos themselves.

It was absolutely unforgivable... One More Night succeeded on airplay alone; it was not a big seller, not a popular song by most measures and not well liked generally. To those who rightfully think songs take forever to blow up in the US -- Harlem Shake went from uncharted to #1 on iTunes in less than 9 days. The problem with the morons at Billboard is their insistance on including airplay even in light of the pathetic role radio airplay now plays. NO ONE LISTENS TO THE RADIO ANYMORE, IDIOTS. NO ONE.

Harlem Shake is up to #94. This will be a fun one to watch.

Awesome for Tegan and Sara!! An all around fantastic album.

Thrift Shop is utterly impossible to dislike. Very happy this is #1.

Twice, both with Do You Know (What it Takes) and Show Me Love. Eagle-Eye Cherry reached #5 with Save Tonight in 1998. Europe reached #8 with The Final Countdown in 1986. Nenah Cherry has two top 10s -- Buffalo Stance at #3 (1988) and Kisses on the Wind at #8 (1989). Someone mentioned Ace of Base's The Sign which was indeed the #1 song of 1994 (although it was released in 1993) -- Ace of Base also got to #2 with All That She Wants in 1993, #4 with Don't Turn Around in 1994 and #10 with Cruel Summer in 1998.

I believe it peaked at #15 when first released. I think in this case it's a natural progression of increasing airplay and popularity. It's really an awesome song. Of course it crossed my mind that at some level the lyrics could have some meaning to people in light of recent events... it has certainly happened after other major national tragedies, e.g. Enya's Only Time and Enrique's Iglesias' Hero.

The Cardigans' Lovefool was also around 1996-7 but of course famously didn't chart on the Hot 100 (and it would have made #1) since it wasn't released as a CD single. Yeah there were a handful of Hot 100 top 10 hits by continental acts... DHT (Belgian), Cascada (German), DJ Sammy (Spanish). Today it's all complicated by "featured" artists -- e.g., Afrojack's credit as a featured artist on Pitbull's Give Me Everything gives The Netherlands a Hot 100 #1. Should we give the UK credit for Lauren Bennett's 11 words on Party Rock Anthem?? :P :)

It's funny because Swedish writers and producers play a massive role in American pop music and could probably claim to be involved in a huge number of Hot 100 hits in the last ten years. Max Martin, RedOne, Johan Aberg, etc. But the last credited Swede on a Billboard Hot 100 top 10? I know Avicii, September, the A*Teens, Basshunter, etc. all made appearances but not the top 10. I'm going to guess either Robyn or Eagle-Eye Cherry circa 1997? I hope I'm wrong.

I'm curious about this too. I know this thread isn't tracking Mediabase, but just for reference they are charting Swedish House Mafia at #17 in the Top 40 category: http://www.mediabase.com/USATODAYPDF/MBUSATODAY.pdf

My thoughts exactly! Dubstep went from underground to Taylor Swift in three short years. Amazing times we live in... :lol:

God it has been painful to wait for Swedish House Mafia to climb so slowly! It's now in the top 20 playlist on the biggest pop stations in New York, Washington, Chicago, Miami, Dallas and LA. Can't believe it isn't higher in the national airplay rankings!! In time.....

Excellent suggestions Euphorique... and I agree these are all Eurotrance with the exception of Can You Feel It? which is an old school Chicago House song. But on the Eurotrance front, allow me to add the following suggestions: Coast 2 Coast - Home Paul van Dyk - We Are Alive (or Together we will Conquer) Chicane - Locking Down Flip N Fill - Shooting Star Cygnus X - Superstring Mauro Picotto - Proximus Armin van Buuren - Shivers Angelic - It's My Turn Agnelli & Nelson - El Nino Dario G - Sunchyme Kate Ryan - Lift Me Higher (or Désenchantée or Libertine) Rollergirl - Dear Jessie DJ Elvira - Even if I Want to DJ Encore - I See Right Through to You