![]() The Hot 100 did not incorporate Pandora data in 2013. In the new point system, 103 million video streams will equal 77 million. When “The Harlem Shake” hit #1 on the Hot 100, the song had 103 million YouTube streams and only 309,000 audio streams. The new methodology effectively imparts a 33% penalty on video streams and any viral hit is created on YouTube. Streams from audio programmed streams – Pandora, Slacker et al – fall from 29% to 19%. The shares of ad-supported streams – Spotify Free, YouTube, et al – would drop from 32% to 28%. This is what the total market looks like before and after the new weighting scheme:Īs you can see, across the entire 2017 US recorded music market, on-demand audio’s share of streaming points would jump from 40% to 53% under Billboard’s new rules. Then I applied Billboard’s new point system to these 2017 numbers. ![]() ![]() I took 2017 US year-end numbers from BuzzAngle, estimated the total number of streams for each category above, and then calculated each category’s share of total annual streams. Finally, programmed streams by Internet radio services – non-interactive and limited functionality, meaning you can’t choose a song or listen to an entire album from start to finish – like Pandora and Slacker Radio are given 0.5 points each.On-demand video streams from YouTube, Vevo and others receive 0.67 points apiece.Streams from on-demand audio services – Spotify, Apple Music, et al – are given one point.This new scheme will work on a points basis: The Harlem Shake might not have reached No.1 if released in 2018. Starting in July, Billboard’s new weighting system for the Hot 100 will create a hierarchy that discriminates paid services from ad-supported services – and audio from video. To exclude video streams from the Hot 100 would have ignored the public’s newfound ability to turn a song into a pop culture phenomenon almost overnight.įive years later, Billboard has decided that a YouTube stream is no longer worth the same as a Spotify stream. The song was also helped by 262,000 downloads – driven by YouTube viewing, no doubt – but it got little help from a radio audience of just two million. When The Harlem Shake hit No.1 in the US, just 309,000 of its 103 million first-week streams came from audio services like Spotify. In doing so, it recognized that YouTube and social media help make hits. “The music business today – much to its credit – has started to learn that there are lots of different ways a song can be a hit, and lots of different ways that the business can benefit from it being a hit.”īillboard decided that a stream on YouTube should be given the same weight on the Hot 100 as a stream on Spotify, Rhapsody, or other audio streaming services. “The notion that a song has to sell in order to be a hit feels a little two or three years ago to me,” Bill Werde, Billboard’s then-Editorial Director, told the New York Times that year. Suddenly, Bauer had one of those rare songs that transcends age, ethnicity, class, and geography.īillboard’s chart was able to capture that swell of interest. Its sudden popularity caused Billboard to quickly add YouTube streams to its chart methodology. In February 2013, The Harlem Shake reached No.1 on the Billboard Hot 100 singles chart. The Harlem Shake was an internet sensation. In the matter of a week, a viral hit was born. In 2012, Harry Rodrigues, an underground DJ and producer who goes by the name Bauer, released a single via Jeffree’s – an imprint of Mad Decent, a dance label founded by ubiquitous DJ and producer Diplo.įor nearly a year the song toiled in near anonymity.īut, in 2013, something happened: a meme swept the United States as people uploaded videos of themselves dancing to the song.
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