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MID WEEK Top 40 UPDATE BILLBOARD.COM/NEWSLETTERS .BIZ/NEWSLETTER JANUARY 16, 2014 | PAGE 1 OF 9

INSIDE EDITED BY RICH APPEL [email protected] | @richappel

‘Yeah 3X’: The Prequel How Those Other PAGE 3

Started From Top 40 Folks Do It The ‘Top’ PAGE 4 Even as top 40 on terrestrial radio “[They] follow the mainstream top continues to serve millions of 40, top 40 and hot AC en- ’s listeners with a dependable and vironment closely [and] warm up ‘Horse’ high-quality product, it remains much of the current pop that Wins a wise strategy to check on what’s listeners choose to include on their Two Races happening at top 40 services on- artist stations.” Which is to say that line, on cable TV and on smart- staying ahead of terrestrial top 40 is PAGE 5 phones. Top 40 Update’s done the less important than providing what heavy lifting for a few of these, Pandora hopes is a better environ- Disney’s ‘Frozen’ and here’s what we found out. ment for the same music. “The Holds Atop music played is aligned with the PANDORA: CROWD format charts. Our goal is to pro- PAGE 5 WISDOM vide listeners with similar music While most users are attracted Taylor-made: Music Choice offers “a very different heard on terrestrial radio without to Pandora because of its artist- experience than terrestrial radio,” according to top 40 the chatter, commercial load and PD Tiffany McPherson. She’s seated with Music Choice or track-based personalized and producer Lisa Griffith (left) and (center). contests and promotions.” customizable stations—which lis- While Pandora’s stations also teners can actively “program” by keeping or dumping songs lack imaging of any kind, Nenni points out other distinguishing played—there’s also passive listening features. “Every song contains a ‘backstage’ page [with] lyrics, bio to the service’s nearly 300 prepro- and artist discography, where [consumers] can sample, purchase grammed stations, includ- and ‘like’ songs. This is also where listeners can discover similar ing Today’s Hits, Today’s Hip Hop and artists, comment and find people with similar tastes.” Regarding Pop Hits, and Today’s Adult Hits. Pandora stations’ other key difference—less commercial inter- According to Pandora director of music ruption—Nenni says, “Across the business, there are a variety programming Ron Nenni, the three top of levers and dials we can fine-tune to balance listening hours 40-oriented channels essentially mir- with monetization. With regards to ad loads, we believe what’s NENNI ror what’s happening everywhere else. good for the listener is good for the advertiser, and we focus ad

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trafficking plans with that in mind. We remain focused on ensuring the ads we do serve are relevant and engaging through precision targeting.” As to how Pandora’s top 40 channels influence those that users create, Nenni says, “Listeners gravitate toward recurrents and power currents. ­Listener-created stations contain the most familiar hits from artists most closely related to the seed artist. Think about it as the perfect playlist for each station based on the wisdom of the crowd: thousands of fans deciding what artists and songs are most closely aligned with their favorite artist.”

MUSIC CHOICE: ‘A VERY DIFFERENT EXPERIENCE’ The hits on TV used to mean “American Bandstand” and later, MTV or VH1. Now for 47 million monthly viewers (according to a 2013 Ipsos study), it means essentially radio on TV with Music Choice. Those viewers watch—or listen, if you prefer—on average up to 24 hours each week, with the average consumer at the screen and/or speaker nearly 3.5 hours per day. More traditional lis- tening to Music Choice channels is also available using TV Everywhere, at MusicChoice.com and through iOS and Android apps. These factors explain why Music Choice top 40 PD Tiffany McPherson calls it “a very different experience than terrestrial radio.” It’s also a significantly more shared one, with nearly three- fourths of viewers watching with someone else. In terms of the top 40-based Hit List channel, McPherson says, Out for blood: WHTI (Hot 100.9) Richmond, Va., midday host Allie and some “Our average time spent listening is approximately two special friends helped out at Virginia Blood Services’ annual drive on Jan. 13. hours, and 6 p.m. to midnight is our highest usage period. We usually earmark that time for special programming panded our pop offerings with the addition of [the] Y2K, Pop Country, Teen McPHERSON like our ‘MC100 Countdown’ that aired twice a week MC, Love Songs and Pop Rhythmic music channels,” McPherson says. “The this past December.” new lineup appeals to the network’s largest audiences, including the growing While there are other differences, such as playing more songs per hour than number of millennials.” terrestrial top 40 (15-17, given that there are no commercials), there are also many similarities, especially in regard to imaging. “[How] we brand stations to SLACKER: ‘MONEYBALL FOR RADIO’ consumers [is] with artist images and facts that appear on the screen,” McPher- Not every pure-play mirrors broadcast radio as closely. Take Slacker’s Today’s son says. “Each channel and genre has a unique audience with a distinct per- Hits; ’80s, ’90s and Today; Hip Hop and R&B Hits; and Dance Party. According sonality. For example, on [the] Teen MC [channel], we attract young fans who to Slacker senior radio program manager Mat Bates, “Programming starts love all things pop. This audience wants to know fun, interesting facts about with the curator’s accumulated knowledge and instinct. their favorite artists like who they’re dating, favorite food or their biggest pet They program by gut first, and then our detailed song- peeve. On-air facts and images reflect that.” and station-level metrics provide them with audience Like Pandora, Music Choice uses such other services as Video On Demand and feedback that allows them to adjust accordingly.” the MC Play interactive network to enhance its top 40 brands, McPherson says. The centerpiece of those metrics is the “engagement “All our products are meant to enhance each other. ‘You & A,’ our marquee show— quotient,” or “EQ score,” for each song, based on each a topical interactive talk show that features top 40 artists—airs simultaneously listener’s interaction with it. Bates explains, “We take on MC Play and Hit List, and then is available on Video On Demand. It is a great into account how frequently the song was played all the BATES model that works for us, and our audience is able to tune in on all our platforms.” way through, skipped, ‘hearted,’ ‘banned’ or caused a With Music Choice’s popularity has come growth. “For 2014 we have ex- station punch-out. We aggregate that data and rank the songs accordingly.

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THE CHRONICLER RICH APPEL [email protected] When Radio Said ‘Yeah, Yeah, Yeah’ To

Fifty years ago this week, things really got going. I’m not referring to just the Beatles or the British Invasion, but to top 40 itself. It’s not that the format wasn’t a winner before then. David MacFarland, co-author of “The Birth of Top 40 Radio,” about the successful Storz sta- tion chain (given the Questions Answered treatment on page 4) will attest to that. But the quick ascent to No. 1 of “I Want to Hold Your Hand”—the first Beatles single released by Capitol Records—followed by the release of singles on other labels (such as It’s always a güd time: Carly Rae Jepsen dropped in on CKIS (Kiss 92.5) Toronto morning hosts Roz and Mocha on Jan. 13 to talk about her new job as “She Loves You,” which included spokesperson for Burt’s Bees’ güd personal care line. From left: CKIS’ Roz Weston, the group’s trademark “Yeah, yeah, Jepsen and CKIS’ Mocha. yeah”) sparked the listener-turned- Beatle-fan excitement that took top Huge sample size, actionable data, real-time results—it’s the science part of 40 to the next level. Put another way, the art/science dance we do here. It’s a very powerful tool for our curators: It’s the Beatles raised the bar. Moneyball for radio.” Steve Greenberg’s cover story in The résumé of Today’s Hits curator/host Brittany Danley, aka Parker, the Jan. 18 Billboard made note of top includes time with such stations as KBKS (106.1 Kiss FM) Seattle and WWWQ 40’s heightened level of activity dur- (Q100) Atlanta. “She has full autonomy to break records, play new artists and ing the five weeks between the release test songs as she sees fit,” Bates says. A good recent example is John Newman’s of “I Want to Hold Your Hand” and the Beatles’ arrival in New York to ap- “Love Me Again.” “She singled this track out months ago and thought it was a pear on “The Ed Sullivan Show.” During that time, stations changed their hit. She put it into rotation, and audience response was extremely favorable.” on-air presentation in three significant ways: At the same time, Slacker uses another channel, New Pop First, as a testing • Becoming “the Beatles station”: Any outlet with a “B” in its calls ground for Today’s Hits and other channels. “Right now, the highest-scoring was already ahead of the game (New York’s “W-A-Beatles-C” or Boston’s songs are ’s ‘,’ Beyoncé’s ‘XO’ and Katy Perry’s ‘Dark Horse,’” “W-Beatle-Z”). A jingle package using the group’s hits sealed the deal. Bates says. “Two superstars and one international hit largely unknown in the • Adding Beatles content aside from music: Promotions, contests, U.S., all being identified as equivalent big hits by our audience.” even commercials worked the group in somehow. WABC offered afan Unlike other Internet-based music services, imaging is key to Slacker, Bates club card, and as Greenberg notes, WINS New York DJ Murray the K says. “We run timely packages that acknowledge what is happening at the mo- referred to himself as “the fifth Beatle.” ment, and in doing so we accomplish two things: create an exceptional and fa- • Playing more than just the hits: Perhaps top 40’s biggest break with miliar radio experience, and reinforce the fact that there are real human beings the past, paving the way for contemporary radio’s musical direc- working behind the scenes. Our approach to imaging ensures it’s not as solitary tion. Until that time, with the exception of a few songs from best-selling of an experience as are many digital music platforms.” , it was all about playing the top singles. The Beatles changed that when top 40 played every song on their Capitol debut, Meet the Beatles, and then some. Dick Summer, then an air personality at WBZ, which was (as now) co-owned with WINS, recalls, “Murray had a direct line to the Beatles and got some of their prerelease stuff on tape, which he’d ship to us, much to the chagrin of the rest of the stations in the market.” Top 40’s profile was elevated with two, sometimes three competing sta- tions attaching themselves to the band, racing to be first with any new or found music by the group—and this was before most of the audience had seen it perform. Summer says, “It was a time radio concentrated on MURRAY THE K (center) AND THE BEATLES bringing in new listeners as opposed to not losing those they have. It was such a rush.” Summer, like many other DJs at that time, wasn’t convinced the Beatles would last. “My initial feel- ing was they were setting a youth lifestyle pattern that far overshadowed ‘Classic’ combination. MKTO, which is currently impacting Billboard’s Nielsen BDS-based Mainstream Top 40 chart with “Classic,” recently visited KKDM (107.5 their musical talent. Who had any idea they’d give us Rubber Soul or Sgt. KISS FM) Des Moines, . From left: MKTO’s , KKDM PD/ Pepper? I thought they were just four moptops with a gimmick.” afternoon host Greg Chance and MKTO’s . BILLBOARD TOP 40 MID-WEEK UPDATE JANUARY 16, 2014 | PAGE 4 OF 9

KOWH started out playing closer to 10 current hits. How and why did it get to QUESTIONS the 40 we know today? When Storz bought WTIX in New Orleans, his main competition was WDSU, which was playing the top 20. Answered He and Bud Armstrong decided to one-up WDSU by offering twice as many hits. That had the effect of quadrupling the number of David MacFarland tunes on network radio shows like “Your Hit Co-author, ‘The Birth of Top 40 Radio’ Parade” and made room for more variety.

How did the attention-getting contests get started? Why don’t we see promo- For a format with so much history, few books have delved into the de- tions like this anymore? Big-money trea- tails of top 40’s beginnings, until now. “The Birth of Top 40 Radio” tells sure hunts made headlines in local newspapers and national radio trade magazines, the story of station owner Todd Storz, whose chain saved radio from because tens of thousands of “prospectors” created traffic jams and damaged pub- its predicted demise after TV replaced it as the living-room medium. lic property. Storz gladly paid any fines since such stunts proved to potential adver- The book follows the format’s evolution from its start at Storz’s KOWH tisers that lots of people were listening. Today, the threat of litigation and heavy Omaha, Neb., to its spread across stations in New Orleans, Kansas City, penalties forces promotions to be safer and lower-key. Miami, Minneapolis, St. Louis and Oklahoma City. Storz PD/air person- ality Richard Fatherley began writing the company’s history while he As rock‘n’roll, which appealed primarily to teenage listeners, took over was still an employee but didn’t live to complete the project. That job fell the format, did it become more challenging to sell advertising on Storz to author/historian and one-time DJ David MacFarland. stations? The Storz stations ran ads in the major radio trade magazines, which effectively showed that they had plenty of adult listeners. Airchecks from that era The birth of top 40 is often wrapped in legend—what’s the real include commercials for airlines, housing developments and cars. The music may story? How did KOWH go from offering programming that was have been made by and for teenagers, but their parents tuned in, too. all over the road to becoming the originator of the format? Many non-network stations like KOWH offered their own countdown shows, Which Storz station stands out as the strongest among the chain dur- usually playing the 10 biggest-selling recorded songs. Todd Storz com- ing its peak years? Which were most competitive as far as station wars missioned a simple Omaha radio listening survey for KOWH, and when went? WHB in Kansas City was often referred to as the flagship of the Storz chain it indicated high tune-in to that show, he increased the number of hours because its high ratings with both adults and teens invited nationwide imitation. when hit records were aired. By the mid-1950s, KOWH dumped nearly But KXOK in St. Louis was the zenith of the Storz sound, thanks to strong person- all of its talk programming [and] concentrated on playing current hits. alities with great voices, continuously updated promotions, smart music choices and strong management. KXOK was the only station that ever beat CBS power- Did the station’s morning host really beat none other than house KMOX in the top 40 era. Johnny Carson in the ratings? Yes. Johnny Pearson was KOWH’s morning man, opposite Carson on WOW. Pearson, a bright guy with a Did the formula for ratings success work the same way in every mar- clear vision of what top 40 programming could be, later took a job as ket, or were adjustments made based on differences in musical taste PD of WKY in Oklahoma City. When word got out that Storz had bought or audience makeup, whatever made one city stand out from another? KOMA there, he convinced WKY’s management to switch from their There never was a single Storz formula that worked for all stations. For example, staid network programming to a Storz-style top 40 format, in effect pre- the book’s chapter on WTIX provides glimpses of how what had succeeded nicely empting most of KOMA’s promotions, contests and special features. It on Omaha’s KOWH needed to be tweaked for the more laid-back, blues-oriented worked so well that KOMA only beat WKY in one ratings book. New Orleans market. —Rich Appel

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“Horse” additionally claims the not to a breakout radio hit or BULLET POINTS GARY TRUST AND KEITH CAULFIELD Hot 100’s top Airplay Gainer award special sale pricing, but to its parent for a second week, barreling 18-11 on film, which continues to do block- (70 million all-format buster business in theaters. Accord- audience impressions, up 36%). ing to Box Office Mojo, “Frozen” has earned $318 million at the U.S. and 1 YOU WON’T FORGET: Pitbull Canada box offices through Jan. 13. and Ke$ha spend a second week at It finished at No. 2 at the box office No. 1 on the Hot 100 with “Timber.” during the weekend ($15.1 million), Pitbull’s second Hot 100 No. 1 and behind the new release “Lone Sur- Ke$ha’s third leader remains atop vivor” ($38.5 million). the Hot 100 despite not ruling any Since the wide release of “Fro- of the survey’s three main component zen” on Nov. 27, 2013, the movie charts: , Radio Songs has been among the top three films and . Still, the cut’s every weekend at the box office. It’s continued multiplatform success currently the fourth-highest-grossing keeps the song atop the Hot 100. It film released in 2013, behind “The falls 1-2 after four weeks in charge of Hunger Games: Catching Fire,” “Iron Digital Songs with 227,000 down- Man 3” and “Despicable Me 2.” loads sold (down 25%); reaches a new So far, the multi-artist “Frozen” peak on Radio Songs (5-3), gaining by soundtrack has sold 589,000 in seven 15% to 125 million audience impres- weeks, while Beyoncé has sold 1.5 mil- sions; and slips from its No. 2 high lion in five weeks. point to No. 3 on Streaming Songs Lead R&B/hip-hop Beyoncé single (although with a 3% gain) to 5.4 mil- “Drunk in Love,” featuring Jay Z, lion U.S. streams. jumps 45-35 on Radio Songs (38 mil- Katy Perry’s ‘Horse’ Races lion audience impressions, up 29%), Katy Perry ascends to the Billboard and and Taylor Swift ‘FROZEN’ STILL HOT: The while the pop-focused “XO” debuts Hot 100’s top five with “Dark Horse,” (six each). Perry first topped the tally soundtrack to Disney’s “Frozen” at No. 49 (27 million, up 21%). featuring (6-4), fueled by its for six weeks in 2008 with her break- holds for a second week at No. 1 on coronations on the Digital Songs and through hit, “I Kissed a Girl.” the Billboard 200, while Beyoncé’s On-Demand Songs charts. “Horse” likewise finishes first on self-titled album is also stationary, “Horse,” the third single from the subscription services-based On- at No. 2. ­Perry’s former Billboard 200 No. 1 Demand Songs chart, rising 5-1 with “Frozen” sold another 86,000 album PRISM, gallops 4-1 on Digi- 1.9 million U.S. streams (up 25%), ac- copies in the week ending Jan. 12, tal Songs, where it charges by 6% to cording to Nielsen BDS, a surge that according to SoundScan, down 48% 243,000 downloads sold, according grants the song the Hot 100’s top from its 165,000 haul the previous to Nielsen SoundScan. The track is Streaming Gainer award. The cut is week. (That sum was bolstered by Perry’s milestone 10th No. 1 on Digi- Perry’s second On-Demand Songs No. sale pricing in the iTunes Store, an as- tal Songs, the second-best sum after 1, following lead PRISM single “Roar,” sist that wasn’t provided in the most ’s 13. Eminem ranks third which reigned for two weeks in Sep- recent tracking week.) N-ice job: The soundtrack to Disney’s with nine Digital Songs leaders, fol- tember. On Streaming Songs, “Horse” Sources credit the continued suc- “Frozen” tops the Billboard 200 for a lowed by Britney Spears (seven) hoofs 10-5 (4.8 million, up 33%). cess of the “Frozen” companion second week. BILLBOARD TOP 40 MID-WEEK UPDATE JANUARY 16, 2014 | PAGE 6 OF 9

AIRPLAY ™ MONITORED BY ® Top 40 Airplay MAINSTREAM TOP 40™ MOST ADDED™ TITLE Imprint/Label Artist ADDS ADORE YOU RCA Miley Cyrus 39 1 2 13 COUNTING STARS Interscope OneRepublic 15656 +1033 l TAKE ME HOME Big Beat/RRP Cash Cash Feat. Bebe Rexha 31 l2 3 13 TIMBER RCA Pitbull Feat. Ke$ha 15314 +1327 TALK DIRTY Beluga Heights/Warner Bros. Jason Derulo Feat. 30 l3 1 11 THE MONSTER Interscope Eminem Feat. Rihanna 15209 +564 4 4 18 DEMONS Interscope Imagine Dragons 10627 -1167 XO Parkwood/Columbia Beyonce 24 l5 7 13 BURN Interscope  10141 +1449 THINKING ABOUT YOU Ultra/Roc Nation/Columbia Feat. Ayah Marar 22 6 6 14 STAY THE NIGHT Interscope Zedd Feat. Hayley Williams 9485 +554 l YOUNG GIRLS Atlantic Bruno Mars 18 l7 8 11 Interscope  Feat. R. Kelly 9237 +749 POMPEII Virgin/Capitol Bastille 13 l8 10 10 STORY OF MY Columbia One Direction 8906 +1024 l9 9 14 LET HER GO Warner Bros. Passenger 8723 +805 HEY BROTHER PRMD/Island/IDJMG Avicii 11 10 5 23 WAKE ME UP! IDJMG Avicii8304 -672 BEST DAY OF MY LIFE Island/IDJMG 11 15 6 DARK HORSE Capitol Katy Perry Feat. Juicy J 7906 +2006 l11 DRUNK IN LOVE Parkwood/Columbia Beyonce Feat. Jay Z 9 12 11 25 SWEATER WEATHER Columbia The Neighbourhood 7801 -36 l13 16 7 TEAM Republic 6871 +1044 l14 13 15 WHITE WALLS Warner Bros. & Feat. & Hollis 6753 +402 BUILDING GAINERS™ l15 17 8 SAY SOMETHING Epic A Great Big World & 6712 +1016 TITLE Imprint/Label Artist GAIN 19 9 POMPEII Capitol Bastille5523 +823 l16 CAN’T REMEMBER TO FORGET YOU RCA Shakira Feat. Rihanna +978 17 14 18 WRECKING BALL RCA Miley Cyrus 5128 -1145 DARK HORSE Capitol Katy Perry Feat. Juicy J +841 l18 20 11 LOVE ME AGAIN Republic John Newman 4258 +474 l19 24 3 XO Columbia Beyonce3942 +1189 ADORE YOU RCA Miley Cyrus +501 l20 23 4 YOUNG GIRLS Atlantic Bruno Mars 3539 +773 TALK DIRTY Beluga Heights/Warner Bros. Jason Derulo Feat. 2 Chainz +446 l21 22 12 REPLAY Hollywood Zendaya3085 +257 BURN Cherrytree/Interscope Ellie Goulding +407 l22 27 15 BRAVE Epic Sara Bareilles 2622 +95 YOUNG GIRLS Atlantic Bruno Mars +381 23 21 18 ALONE TOGETHER IDJMG Fall Out Boy 2499 -332 TEAM Lava/Republic Lorde +331 l24 30 5 NEON LIGHTS Hollywood Demi Lovato 2467 +473 l25 28 8 HOW I FEEL Atlantic Flo Rida 2439 +108 STORY OF MY LIFE Columbia One Direction +294 l26 33 9 THINKING ABOUT YOU Columbia Calvin Harris Feat. Ayah Marar 2301 +450 SAY SOMETHING Epic A Great Big World & Christina Aguilera +290 27 37 2 ADORE YOU RCA Miley Cyrus 2244 +1038 l POMPEII Virgin/Capitol Bastille +288 28 26 9 PERFUME RCA Britney Spears 2142 -402 Building Gainers reflects titles with the top increases in plays from Monday through 5pm ET Wednesday, 29 25 12 UNCONDITIONALLY Capitol Katy Perry 1809 -908 as compared to the same period in the previous week, according to Nielsen BDS. l30 39 3 TAKE ME HOME RRP Cash Cash Feat. Bebe Rexha 1733 +579 l31 34 3 CHOCOLATE Interscope The 1975 1718 +285 INDICATOR HIGHLIGHTS™ 32 31 16 TKO RCA Justin Timberlake 1716 -237 NO. 1 l33 36 4 BEST DAY OF MY LIFE IDJMG American Authors 1542 +327 ARTIST Title Label l34 35 5 HEY BROTHER IDJMG Avicii 1539 +238 ONEREPUBLIC Counting Stars Interscope l35 NEW TALK DIRTY Warner Bros. Jason Derulo Feat. 2 Chainz 1478 +716 36 32 17 MARRY ME Warner Bros. Jason Derulo 1326 -583 MOST ADDED 37 38 7 OLD SCHOOL LOVE Atlantic Lupe Fiasco Feat. 970 -206 ARTIST Title Label NEW ST. l38 RE-ENTRY KEEP ME CRAZY ThinkSay Chris Wallace 913 +79 MILEY CYRUS Adore You RCA 13 l39 NEW ANIMALS Republic Martin Garrix 839 +194 GREATEST GAINER l40 NEW CLASSIC Columbia MKTO800 + 118 ARTIST Title Label GAIN Billboard’s Mainstream Top 40 chart ranks total weekly plays (for the week ending Sunday) on 163 stations, as monitored 24 hours a day, seven days a week by Nielsen BDS. Titles receive bullets if even or gaining in ELLIE GOULDING Burn Interscope 679 weekly plays. New and Active lists the top titles gaining in plays below the Mainstream Top 40 chart. © 2014, Prometheus Global Media, LLC and Nielsen BDS, Inc. All rights reserved. INDICATOR EXCLUSIVES ™ TW NENEW AND ACTIVE TW LW ARTIST Title Label PLAYS +/– TITLE Imprint/Label Artist PLAYS GAIN TOTAL ST. - - THE FRAY Love Don’t Die Epic 271 83 PUMPIN BLOOD Warner Bros. NONONO 596 +54 50 LOVE DON’T DIE  Epic The Fray 450 +0 38 - - 3AM TOKYO Can We Kick It BBMG 246 26 SHOW ME Tha Alumni Group/88 Classic/RCA Kid Ink Feat. 434 +73 43 - - JAYSIN VOXX Cause Everytime Jaysin Voxx 199 68 MISS JACKSON Decaydance/Fueled By Ramen/RRP Panic! At The Disco Feat. Lolo 371 +50 22 23  Eardrummers/Interscope Mike WiLL Made-It Feat. Miley Cyrus, & Juicy J 359 +15 46 - - MIKE WILL MADE-IT 23 Interscope 191 37 LOVESICK  5280 Camryn 334 +0 49 STATE OF MIND  Z-entertainment Colby O’Donis 265 +9 9 - - COLBIE CAILLAT Hold On Republic 171 34 WORLD IS OUR PLAYGROUND Fight Club Vice Feat. Mike Taylor 260 +20 38 Billboard’s Top 40 Indicator chart, viewable in full via Nielsen BDS Music Tracking, ranks total weekly plays on WAITING FOR SUPERMAN  19/RCA Daughtry 233 +63 21 70 stations that report their playlists online. Indicator Exclusives lists the top titles on the Top 40 Indicator chart (or gaining in plays below the chart) that have not yet appeared on the Nielsen BDS-monitored Mainstream LA LA LA  Naughty Boy/Relentless/Virgin/Capitol Naughty Boy Feat. Sam Smith 232 +63 25 Top 40 chart. BILLBOARDTOP 40MID-WEEK UPDATE data aggregated byNielsenBDS. aggregated ©2014,Prometheusdata LLC Media, Global andNielsen BDS, Inc.All reserved. rights Hot 100ranksThe Billboard theweek’s acrossallgenres, songs popular most ranked byradio airplay audienceimpressionsmeasured as byNielsenBDS, measuredandstreaming as byNielsenSoundScan salesdata l l l l l l l l l l l l l l 23 20 22 13 14 19 17 25 24 21 16 15 12 18 10 11 9 8 7 3 Elmira, N.Y. Duluth, Minn. Dubuque, Iowa Dothan, Ala. Cookeville, Tenn. Concord (Lakes Region),N.H. Va.Charlottesville, Cedar Rapids, Iowa Casper, Wyo. Carbondale, Ill. Vt. Burlington, TexasBryan-College Station, Ill. Bloomington, Billings, Mont. Amarillo, Texas La. Alexandria, Abilene, Texas TOP 40INDICATOR PANEL —70STATIONS 6 5 4 2 1 THIS WEEK 27 79 31 23 22 20 21 13 12 16 15 18 14 17 10 11 7 5 6 2 1 9 8 4 3 LAST WEEK 21 32 42 27 23 13 12 14 16 15 19 18 17 10 11 — 7 5 3 2 9 4 1 6 8 2 WEEKS

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31 23 24 30 22 28 21 38 29 23 12 19 14 16 17 17 17 17 10 10 11 11

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IDINA MENZEL LET ITGO ALOE BLACC THE MAN MIKE WILLMADE-IT FEATURING MILEY CYRUS,WIZKHALIFA &JUICY J 23 MACKLEMORE & RYAN LEWIS FEATURING SCHOOLBOY Q &HOLLIS WHITE WALLS KID INK FEATURING CHRIS BROWN SHOW ME  SWEATER WEATHER LADY GAGA FEATURING R. KELLY DO WHAT U WANT ZEDD FEATURING HAYLEY WILLIAMS STAY THENIGHT  FEATURING MAJIDJORDAN HOLD ON, WE’REGOING HOME BEYONCE FEATURING JAY Z DRUNK IN LOVE ELLIE GOULDING BURN MILEY CYRUS WRECKING BALL KATY PERRY ROAR BASTILLE POMPEII LORDE TEAM ONE DIRECTION STORY OF MY LIFE IMAGINE DRAGONS DEMONS AVICII WAKE MEUP! LORDE ROYALS PASSENGER LET HER GO A GREAT BIG WORLD & CHRISTINA AGUILERA SAY SOMETHING KATY PERRYFEATURING JUICYJ DARK HORSE EMINEM FEATURING RIHANNA THE MONSTER ONEREPUBLIC COUNTING STARS PITBULL FEATURING KE$HA TIMBER ARTIST (Imprint/Label) TITLE ARTIST (Imprint/Label) TITLE (PRMD/ISLAND/IDJMG)  (LAVA/REPUBLIC) (LAVA/REPUBLIC)   (VIRGIN/CAPITOL) 

(CAPITOL)  (BLACK CROW/NETTWERK/WARNER BROS.)  (ALOE BLACC/XIX/INTERSCOPE)   (RCA) (MOSLEY/INTERSCOPE)   (WALT DISNEY) WWHX W WKMX WBNQ  (SYCO/COLUMBIA) KD WHT (CHERRYTREE/INTERSCOPE)  K WP KNDE WL KR W WNKI KX K W W K K ORQ XZO TRS  (KIDINAKORNER/INTERSCOPE) QID GIC JYY WZ CIL ZIA SQ SS VY VL  ([R]EVOLVE/COLUMBIA) E No. 1(2 (MR. 305/POLO GROUNDS/RCA)   (PARKWOOD/COLUMBIA) (WEB/SHADY/AFTERMATH/INTERSCOPE)  (CAPITOL)  (STREAMLINE/INTERSCOPE)   (YOUNG MONEY/CASH MONEY/REPUBLIC) (THA ALUMNI GROUP/88 CLASSIC/RCA)  Joplin, Mo. N.Y.Ithaca, Idaho Falls, Idaho W.Huntington, Va. Hudson Valley, N.Y. Hot Springs, Ark. Harrisonburg, Va. Hamptons, N.Y. Hagerstown, Md. Grand Island-Kearney, Neb. Grand Forks, N.D. Smith, Ark. Ft. Florence, S.C. Fargo, N.D. Fairbanks, Alaska Erie, Pa.

 (INTERSCOPE) ® Weeks Hot 100 (BLACK MAGNETIC/EPIC) 

(MACKLEMORE/ADA/WARNER BROS.)  )

(EARDRUMMERS/INTERSCOPE) 

4 0 1 4 1 0 0 1 2 W WNU WBE WD WKEE W WR W K

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 Matrix &Futurebound Feat. MaxMarshall









 Eminem Feat. Rihanna 

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 ® Ellie Goulding ™

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® 2013 2014 The 20/20Experience(2Of2) The MarshallMathersLP2 Here’s To TheGoodTimes - Nothing Was TheSame Because TheInternet Midnight Memories *Digital album sales are also counted within album sales. album within counted also are sales album *Digital Change This Week LastYear Change Last Week This Week 2014 2013 Album Sales Weekly UnitSales Crash MyParty Black Panties My OwnLane Night Visions Pure Heroine Bad Blood The Heist Foreverly Beyonce ARTPOP Bangerz NOW 48 Tribute PRISM Native Frozen Title Title AM COMPILED BY SALES DATA 1 1 0 1 1 1 CERT. 5,094,000 5,380,000 4,252,000 24 14 19 -16.5% -21.0% 11 4 1 4 2 1 1 1 3 1 3 1 1 2 6 1 7 1 4 1 3 1 PEAK ALBUMS PEAK

POSITION and NielsenBDS, Inc.All reserved. rights viewsandweeklyplays, song measuredpage as byNextSound.©2014,Prometheus Big LLC Media, Global isdeterminedby aformulapopularity offriends/fans/followers blending theirweekly additions along withartist Billboard’s ontheworld’s ranksartists active 50chart themost Artists’ Social sites. networking social leading l l l l l l l l l l l 25 24 23 22 2,390,000 2,723,000 2,033,000 19 18 15 14 10 11 12 21 20 16 13 17 9 7 6 5 8 4 3 2 1

THIS SOCIAL 50 THIS WEEK -14.9% -25.3%

ALBUMS* WEEK RE-ENTRY 35 24 22 21 23 13 12 15 16 14 19 18 17 10 11 DIGITAL 2 1 8 7 9 5 6 3 4 LAST 9.4 Million LAST WEEK WEEK 161 164 135 161 161 163 164 163 163 164 154 162 128 164 151 154 164 153 164 113 92 60 66 25 WKS ON ONCHART 11.3 Million MILEY CYRUS JUSTIN TIMBERLAKE ARIANA GRANDE PITBULL BRITNEY SPEARS SHAKIRA TAYLOR SWIFT BEYONCE EMINEM KATY PERRY DEMI LOVATO CHRISTINA AGUILERA SELENA GOMEZ P!NK NICKI MINAJ WIZ KHALIFA AVICII LADY GAGA BRUNO MARS RCA PARKWOOD/COLUMBIA WEB/SHADY/AFTERMATH/INTERSCOPE CAPITOL EPIC SYCO/COLUMBIA REPUBLIC HOLLYWOOD SRP/DEF JAM/IDJMG HOLLYWOOD SCHOOLBOY/RAYMOND BRAUN/ISLAND/IDJMG RCA IMPRINT/LABEL ARTIST RCA YOUNG MONEY/CASH MONEY/REPUBLIC ROSTRUM/ATLANTIC MJJ/EPIC PRMD/ISLAND/IDJMG STREAMLINE/KONLIVE/INTERSCOPE MR. 305/FAMOUS ARTIST/POLO GROUNDS/SONY MUSICLATIN/RCA RCA ATLANTIC VOLTRON RECORDZ TYRESE SONY MUSIC LATIN/EPIC BIG MACHINE RCA ONE DIRECTION RIHANNA IMPRINT/LABEL ARTIST 28,827,000 30,568,000 25,624,000 -11.1% -16.2% DIGITAL TRACKS ™

*Includes track equivalent album sales (TEA) with 10 track downloads equivalent to one album sale. album one to equivalent downloads 10 track with (TEA) sales album equivalent track *Includes YEAR-TO-DATE ® Other Vinyl Digital CD Album w/TEA* Total Store Singles Digital Tracks Albums Sales by AlbumFormat Overall UnitSales l l l l l l l l l 37 36 34 33 32 31 27 49 48 47 45 44 42 41 40 39 35 30 29 28 26 50 46 43 38 5,455,000 5,655,000 74,847,000

17,684,500 63,355,000 11,349,000 THIS THIS WEEK

216,000 WEEK RE-ENTRY RE-ENTRY RE-ENTRY J 29 34 37 30 26 28 25 32 36 33 27 45 42 31 49 41 46 40 39 38 20 47 24,000 143,000 LAST ANUARY 16, 2014 |PAGE 9OF 9 WEEKLAST WEEK 2012 163 100 151 147 148 163 163 150 105 106 119 35 75 56 20 48 19 16 14 14 10 8 2013 WKS ON ONCHART BOB MARLEY KE$HA ELLIE GOULDING DRAKE ADELE CHRIS BROWN LANA DEL REY LINKIN PARK JENNIFER LOPEZ SKRILLEX SYCO/COLUMBIA TUFF GONG/ISLAND/UME DTP/DEF JAM/IDJMG UNIVERSAL MUSIC LATINO/REPUBLIC KEMOSABE/RCA LAVA/REPUBLIC DESI HITS/INTERSCOPE ISLAND/IDJMG YOUNG MONEY/CASH MONEY/REPUBLIC SONY MUSIC LATIN CHERRYTREE/INTERSCOPE G UNIT/SHADY/AFTERMATH/INTERSCOPE 50 CENT IMPRINT/LABEL ARTIST APPLE/CAPITOL/UME THE BEATLES A&M/OCTONE/INTERSCOPE YOUNG MONEY/CASH MONEY/REPUBLIC XL/COLUMBIA SONY MUSIC LATIN RCA KIDINAKORNER/INTERSCOPE LIVE NATION/INTERSCOPE POLYDOR/INTERSCOPE MACHINE SHOP/WARNER BROS. WHAT A MUSIC/ASTRALWERKS/CAPITOL ISLAND/IDJMG BIG BEAT/OWSLA/ATLANTIC LORDE PRIYANKA CHOPRA PRINCE ROYCE ROMEO SANTOS IMAGINE DRAGONS IMPRINT/LABEL ARTIST 65,911,000 15,251,100 56,191,000 4,756,000 4,572,000 9,632,000 288,000 16,000 88,000 2014 2014 MONITORED BY SOCIAL 50DATA -11.9% -38.5% -13.8% -11.3% -15.1% -33.3% -12.8% -19.2% 33.3% CHANGE CHANGE