The Effect of Information on the Charts
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Adult Contemporary Radio at the End of the Twentieth Century
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Nielsen Music 2017 Year End Music Report Canada
NIELSEN MUSIC 20I7 YEAR-END MUSIC REPORT CANADA 1 INTRODUCTION The music industry in Canada has never been stronger, with record consumption, growing live music attendance and a new class of emerging artists. Nielsen Music has also had an amazing, transformative year. Technological advancements and new partnerships have allowed us to provide robust, comprehensive data in more accessible, customizable and useful ways in 2017. Over the past year, we received a record number of requests for Nielsen Music research and insight reports. Welcome to the Nielsen Music Year-End Report, which examines the trends that shaped the Paul Shaver Canadian music industry in 2017 with definitive consumption figures and charts. Vice President/ Head of Nielsen Music Canada Overall consumption of albums, songs and On-Demand Audio streaming grew 13.6% year-over- year. On-Demand Audio streaming offset decreases in track and album sales and, on December 3, for the first time in history, it surpassed the 900 million per week mark. Ed Sheeran led all artists in Canada with overall consumption and had the top-selling album of the year. Six Canadians had No. 1 albums on the Billboard Canadian Albums chart in 2017, including The Weeknd’s Starboy, Drake’s More Life, Arcade Fire’s Everything Now, Shania Twain’s Now, Pierre Lapointe’s La Science Du Coeur and Gord Downie’s Introduce Yerself. The passing of Gord Downie captured the nation’s attention. In the week following his death, The Tragically Hip’s overall consumption increased by 1,000% over the previous week. Also, six of the group’s albums re-entered the Billboard Canadian Albums chart. -
MAHANI TEAVE Concert Pianist Educator Environmental Activist
MAHANI TEAVE concert pianist educator environmental activist ABOUT MAHANI Award-winning pianist and humanitarian Mahani Teave is a pioneering artist who bridges the creative world with education and environmental activism. The only professional classical musician on her native Easter Island, she is an important cultural ambassador to this legendary, cloistered area of Chile. Her debut album, Rapa Nui Odyssey, launched as number one on the Classical Billboard charts and received raves from critics, including BBC Music Magazine, which noted her “natural pianism” and “magnificent artistry.” Believing in the profound, healing power of music, she has performed globally, from the stages of the world’s foremost concert halls on six continents, to hospitals, schools, jails, and low-income areas. Twice distinguished as one of the 100 Women Leaders of Chile, she has performed for its five past presidents and in its Embassy, along with those in Germany, Indonesia, Mexico, China, Japan, Ecuador, Korea, Mexico, and symbolic places including Berlin’s Brandenburg Gate, Chile’s Palacio de La Moneda, and Chilean Congress. Her passion for classical music, her local culture, and her Island’s environment, along with an intense commitment to high-quality music education for children, inspired Mahani to set aside her burgeoning career at the age of 30 and return to her Island to found the non-profit organization Toki Rapa Nui with Enrique Icka, creating the first School of Music and the Arts of Easter Island. A self-sustaining ecological wonder, the school offers both classical and traditional Polynesian lessons in various instruments to over 100 children. Toki Rapa Nui offers not only musical, but cultural, social and ecological support for its students and the area. -
Song Writers & Pr Oducers
DELETE ME DATA FOR WEEK OF 01.02.2021 HOT 100 SONGWRITERSTM HOT 100 PRODUCERSTM #1 #1 1 8 WKS JOHNNY MARKS 1 4 WKS OWEN BRADLEY 2 MEREDITH WILLSON 2 LEE GILLETTE 3 IRVING BERLIN 3 ROBERT MERSEY 4 JOSE FELICIANO 4 PHIL SPECTOR 5 GEORGE MICHAEL 5 MILT GABLER TIE 6 MARIAH CAREY 6 BING CROSBY TIE 6 WALTER AFANASIEFF 7 RICK JARRARD 8 TAYLOR SWIFT 8 AARON DESSNER TIE 9 JIM BOOTHE 9 GREG WELLS TIE 9 JOE BEAL 10 GEORGE MICHAEL 11 PAUL MCCARTNEY TIE 11 MARIAH CAREY TIE 12 EDWARD POLA TIE 11 WALTER AFANASIEFF TIE 12 GEORGE WYLE 13 GREG KURSTIN 14 KELLY CLARKSON 14 ART SATHERLEY 15 R. ALEX ANDERSON 15 ILYA TIE 16 JULE STYNE 16 FINNEAS TIE 16 SAMMY CAHN 17 JOHN SCOTT TROTTER 18 MARVIN BRODIE 18 D.A. GOT THAT DOPE TIE 19 MEL TORME 19 DAVID FOSTER TIE 19 ROBERT WELLS 20 PAUL MCCARTNEY 21 GREG KURSTIN TIE 21 MR. FRANKS TIE 22 LEROY ANDERSON TIE 21 TBHITS TIE 22 MITCHELL PARISH 23 STEVE SHOLES 24 ARIANA GRANDE 24 LIL JU 25 FINNEAS 25 RYAN METZGER COUNTRY SONGWRITERSTM COUNTRY PRODUCERSTM #1 #1 1 4 WKS MORGAN WALLEN 1 34 WKS JOEY MOI 2 RANDY MONTANA 2 GREG WELLS 3 JOSH OSBORNE 3 DAN SMYERS 4 ERNEST KEITH SMITH 4 ROSS COPPERMAN 5 JON NITE 5 SCOTT MOFFATT TIE 6 GABBY BARRETT 6 ZACH KALE TIE 6 ZACH KALE 7 JON RANDALL 8 LUKE COMBS 8 SCOTT HENDRICKS 9 TAYLOR SWIFT 9 DANN HUFF 10 HILLARY LINDSEY 10 JAY JOYCE R&B/HIP-HOP SONGWRITERSTM R&B/HIP-HOP PRODUCERSTM #1 #1 1 9 WKS LIL BABY 1 1 WK D.A. -
'And I Swear...' – Profanity in Pop Music Lyrics on the American Billboard Charts 2009-2018 and the Effect on Youtube Popularity
INTERNATIONAL JOURNAL OF SCIENTIFIC & TECHNOLOGY RESEARCH VOLUME 9, ISSUE 02, FEBRUARY 2020 ISSN 2277-8616 'And I Swear...' – Profanity In Pop Music Lyrics On The American Billboard Charts 2009-2018 And The Effect On Youtube Popularity Martin James Moloney, Hanifah Mutiara Sylva Abstract: The Billboard Chart tracks the sales and popularity of popular music in the United States of America. Due to the cross-cultural appeal of the music, the Billboard Chart is the de facto international chart. A concern among cultural commentators was the prevalence of swearing in songs by artists who were previously regarded as suitable content for the youth or ‗pop‘ market. The researchers studied songs on the Billboard Top 10 from 2009 to 2018 and checked each song for profanities. The study found that ‗pop‘, a sub-genre of ‗popular music‘ did contain profanities; the most profane genre, ‗Hip-hop/Rap‘ accounted for 76% of swearing over the ten-year period. A relationship between amount of profanity and YouTube popularity was moderately supported. The researchers recommended adapting a scale used by the British television regulator Ofcom to measure the gravity of swearing per song. Index Terms: Billboard charts, popularity, profanity, Soundcloud, swearing, YouTube. —————————— —————————— 1 INTRODUCTION Ipsos Mori [7] the regulator of British television said that profane language fell into two main categories: (a) general 1.1 The American Billboard Charts and ‘Hot 100’ swear words and those with clear links to body parts, sexual The Billboard Chart of popular music was first created in 1936 references, and offensive gestures; and (b) specifically to archive the details of sales of phonographic records in the discriminatory language, whether directed at older people, United States [1]. -
Sofia Reyes- Biography
Sofia Reyes- Biography At just 23-years-old, Sofia Reyes is a successful singer and songwriter who has already been nominated twice to the Latin American Music Awards, MTV Europe Music Awards, Premios Juventud and Latin GRAMMYs among many other. Most of her hits like "Muévelo", "Sólo yo" and "1,2,3", have occupied the first places of the Billboard charts and her latest single (which featured Jason Derulo and De La Ghetto) has nearly half a billion views on YouTube and certifications around the world. Born in Monterrey, Mexico, at age 16, she decided to move to Los Angeles with her independent label, Bakab, and start her solo career after leaving the girl band where she started. Sofia shared her original music and covers through YouTube and the popularity of these videos caught the attention of Warner Music Latina, which in partnership with D'Leon Records (Prince Royce’s record label) and Bakab, would boost her career. Sofia’s first single, "Muévelo"- alongside Wisin- automatically charted at Billboard's Top 20 Latin Pop Songs, where it stayed for 5 months. The song also entered Spotify’s Global 200 Chart, along with artists such as Ed Sheeran and Meghan Trainor, being Sofia the only Mexican on that list. Sofia recorded the track "Sólo yo" with Prince Royce in 2016, a song that led her to become the first female singer in five years to reach the first position in Billboard’s Latin Pop chart (2016), after Jennifer Lopez. She also received platinum and gold certifications in markets such as Spain, Argentina and Mexico due to its high sales. -
An Examination of Contemporary Christian Music Success Within Mainstream Rock and Country Billboard Charts Megan Marie Carlan
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 8-21-2019 An Examination of Contemporary Christian Music Success Within Mainstream Rock and Country Billboard Charts Megan Marie Carlan Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Music Business Commons An Examination of Contemporary Christian Music Success Within Mainstream Rock and Country Billboard Charts By Megan Marie Carlan Arts and Entertainment Management Dr. Theresa Lant Lubin School of Business August 21, 2019 Abstract Ranging from inspirational songs void of theological language to worship music imbued with overt religious messages, Contemporary Christian Music (CCM) has a long history of being ill-defined. Due to the genre’s flexible nature, many Christian artists over the years have used vague imagery and secular lyrical content to find favor among mainstream outlets. This study examined the most recent ten-year period of CCM to determine its ability to cross over into the mainstream music scene, while also assessing the impact of its lyrical content and genre on the probability of reaching such mainstream success. For the years 2008-2018, Billboard data were collected for every Christian song on the Hot 100, Hot Rock Songs, or Hot Country Songs in order to detect any noticeable trend regarding the rise or fall of CCM; each song then was coded for theological language. No obvious trend emerged regarding the mainstream success of CCM as a whole, but the genre of Rock was found to possess the greatest degree of mainstream success. Rock also, however, was shown to have a very low tolerance for theological language, contrasted with the high tolerance of Country. -
The Top 7000+ Pop Songs of All-Time 1900-2017
The Top 7000+ Pop Songs of All-Time 1900-2017 Researched, compiled, and calculated by Lance Mangham Contents • Sources • The Top 100 of All-Time • The Top 100 of Each Year (2017-1956) • The Top 50 of 1955 • The Top 40 of 1954 • The Top 20 of Each Year (1953-1930) • The Top 10 of Each Year (1929-1900) SOURCES FOR YEARLY RANKINGS iHeart Radio Top 50 2018 AT 40 (Vince revision) 1989-1970 Billboard AC 2018 Record World/Music Vendor Billboard Adult Pop Songs 2018 (Barry Kowal) 1981-1955 AT 40 (Barry Kowal) 2018-2009 WABC 1981-1961 Hits 1 2018-2017 Randy Price (Billboard/Cashbox) 1979-1970 Billboard Pop Songs 2018-2008 Ranking the 70s 1979-1970 Billboard Radio Songs 2018-2006 Record World 1979-1970 Mediabase Hot AC 2018-2006 Billboard Top 40 (Barry Kowal) 1969-1955 Mediabase AC 2018-2006 Ranking the 60s 1969-1960 Pop Radio Top 20 HAC 2018-2005 Great American Songbook 1969-1968, Mediabase Top 40 2018-2000 1961-1940 American Top 40 2018-1998 The Elvis Era 1963-1956 Rock On The Net 2018-1980 Gilbert & Theroux 1963-1956 Pop Radio Top 20 2018-1941 Hit Parade 1955-1954 Mediabase Powerplay 2017-2016 Billboard Disc Jockey 1953-1950, Apple Top Selling Songs 2017-2016 1948-1947 Mediabase Big Picture 2017-2015 Billboard Jukebox 1953-1949 Radio & Records (Barry Kowal) 2008-1974 Billboard Sales 1953-1946 TSort 2008-1900 Cashbox (Barry Kowal) 1953-1945 Radio & Records CHR/T40/Pop 2007-2001, Hit Parade (Barry Kowal) 1953-1935 1995-1974 Billboard Disc Jockey (BK) 1949, Radio & Records Hot AC 2005-1996 1946-1945 Radio & Records AC 2005-1996 Billboard Jukebox -
Midyear Report Canada 2020
NIELSEN MUSIC / MRC DATA MIDYEAR REPORT CANADA 2020 1 Introduction HAT A DIFFERENCE A FEW MONTHS MAKE. IT’S HARD TO BELIEVE THAT IT WASN’T even six months ago that Shakira and Jennifer Lopez performed for a tightly packed crowd of more than 60,000 people in Miami at the Super Bowl, while Billie Eilish and her brother Finneas picked up five Grammys at what turned out to be 2020’s last major music business gathering since COVID-19 halted live events. WBy Friday, March 13, the NBA and NHL had suspended play, the NCAA had canceled its spring tournaments, and theaters and live music venues had closed. As “safer at home” orders spread throughout the country, our homes became our offices, our schools, our daycares and our social hubs. Quickly and dramatically, life had changed. Our routines were disrupted, and we struggled to find balance. Still, the music industry was experiencing a strong start to the year. Audio streaming was growing through early March, up 20.9% over the same period in 2019. Total music consumption was up 10.8% in the first 10 weeks of the year. As working from home became a reality for many, some of the key music listening hours, such as during commutes, were disrupted. But one thing that has remained consistent as the pandemic has unfolded is entertainment’s place in helping consumers escape, relax and feel energized. In fact, in our recent consumer research studies, 73% of people said they would go crazy without entertainment during this time. Then, just as many communities began to slowly reopen, the country was shaken by the senseless May 25 killing of George Floyd by Minneapolis police. -
Access the Best in Music. a Digital Version of Every Issue, Featuring: Cover Stories
Bulletin YOUR DAILY ENTERTAINMENT NEWS UPDATE MARCH 25, 2020 Page 1 of 28 INSIDE Coronavirus Causes Dip in • Paradigm’s Streaming, But Children’s Music, Coronavirus Layoffs Panned by Music Video on Demand & Catalog Industry: ‘This Is Really Just Greed’ Are Bright Spots • LA Clippers Owner Reaches $400M BY ED CHRISTMAN Deal to Purchase The Forum From MSG Music industry executives hoped that the coronavirus Within that, all sales formats, as summarized by • Radio Stations quarantines might buoy music streaming activity with albums plus track equivalent albums, fell a whopping Adjust to Social- so much of the population isolated indoors. So far, 25.6% last week to 1.94 million from the prior week Distancing, Work- the opposite has occurred. In the last two full weeks total of 2.61 million units. From-Home Studios as the Covid-19 pandemic was spreading across the Before Covid-19 took hold in the U.S., streaming Amid Coronavirus world, the U.S. industry has had a moderate downturn was soaring: the week ending March 5 marked 2020’s • As Dow Jones in streaming, with even bigger drops in physical. highest streaming week, with 25.55 billion plays. Scores Single-Day Two weeks ago, in the week ended March 12, the But there is a bigger cloud on the horizon: as mil- Record, Live Nation industry saw a dip in music streaming — down by 1% lions of people lose their jobs due to the vast economic & MSG Stocks Post to 25.3 billion streams from 25.55 billion streams. But shutdowns, some music executives fear that they will Big Gains it would appear that the longer people stayed out of get rid of fixed expenses —- namely, music stream- • Spotify Pledges the office, the less music they consumed. -
Networked Insights Measuring the Social Report Part 2: Music Charts
Networked Insights Measuring the Social Report Part 2: Music Charts Summary In the last Measuring the Social report, we compared Nielsen’s television ratings to Networked Insights’ list of top 10 television shows based on online interactions and influence. The results showed significant differences and new insights proving that the online population is an audience unto its own, and needs to be measured that way. This second installment of the Networked Insights Measuring the Social report takes a similar look at music, comparing the online audience, through Networked Insights’ interaction-based audience measurement methodology, to Billboard’s Hot 100 chart that combines sales data and radio airplay information to determine song rankings. While Billboard’s list provides a clear picture of the sales, streaming and airplay of songs, Networked Insights adds a new dimension to song rankings by analyzing the millions of social interactions occurring around individual songs online and compiling a new chart based on these interactions and their influence. Key findings include: • 7 of the songs on Networked Insights’ top 10 list do not appear in Billboard’s top 10 songs indicating a large discrepancy between song purchase/airplay and audience interactions online • While both lists consist mostly of pop and hip-hop/R&B songs, Networked Insights’ chart shows a different genre with two songs in the “alternative” category: Secondhand Serenade – “Fall For You” (5) and Coldplay – “Viva La Vida” (7) • Secondhand Serenade’s lyrics are popular among social network users as they lend themselves well to posting as comments and on friends’ pages as evidenced by “Fall For You” taking the fifth spot on the Networked Insights chart How We Do It Today, companies are only measuring 15% of their audience, at most. -
I Will Survive”--Gloria Gaynor (1978) Added to the National Registry: 2015 Essay by Louis Niebur (Guest Post)*
“I Will Survive”--Gloria Gaynor (1978) Added to the National Registry: 2015 Essay by Louis Niebur (guest post)* Gloria Gaynor Original single Original single sleeve On the surface, Gloria Gaynor's disco anthem, "I Will Survive" tells the straightforward story of a woman unwilling to put up with a cheating partner. But immediately upon its release in 1978, it was endowed by listeners with much more power than this simple premise, through its universal themes of strength, pride, independence, and overcoming self-doubt. It had, and continues to have, particular resonance with the groups most closely connected with disco since its creation in the early 1970s: African-Americans, gays, and women. Gaynor's story isn't one of overnight success. Rather, her title as the first "Queen of Discos" was earned after years of struggle as a touring live musician, sacrificing security and stability for the less tangible but more fulfilling rewards of a musical career. Gaynor was born on September 9, 1949 as Gloria Fowles in Newark, New Jersey. After high school, she spent nearly a decade singing in a string of semi-regular nightclub gigs, and touring the chitterling circuit, performing standards alongside the latest Top 40 hits with house bands up and down the east coast. She recorded her first single, “She’ll Be Sorry” for Johnny Nash’s Jocida Records in 1965. Nash also recommended she change her name to the alliterative “Gloria Gaynor,” in the hopes that people would call her by the catchy “G.G.” (a nickname that stuck). Throughout the second half of the 1960s and the first half of the 1970s, she and her band, City Life, achieved some renown with their upbeat disco sound, playing venues around the East and Midwest.