What is happening with the Hot 100, or, more to the subject, the top ten? why is that a single can get lodge itself at the top of the charts for months on end?
Take a look at Olivia Rodriguez numbers for the week dated March 6th (here):
“License” was released Jan. 8 on Geffen/Interscope Records and debuted at No. 1 on the Jan. 23-dated Hot 100, marking Rodrigo’s first leader. The song from the singer-songwriter and actress, who broke through with roles on Disney Channel’s Bizaardvark and Disney+’s High School Musical: The Musical: The Series, totaled 21.5 million U.S. streams (down 4%) and 13,000 downloads sold (up 38%) in the week ending Feb. 25, according to MRC Data. It also drew 67.3 million radio airplay audience impressions (up 13%) in the week ending Feb. 28.
Enhancing the song’s profile in the tracking week, NBC’s Saturday Night Live aired a skit Feb. 20 in tribute to its popularity. (Rodrigo, who celebrated her birthday that day, approved of the gift.)
The track rebounds 8-2 on the Digital Song Sales chart (after three weeks at No. 1), as it wins the Hot 100’s top Sales Gainer award; pushes 5-2 on Radio Songs; and slips 2-3 on Streaming Songs (after four weeks at No. 1).
“License” also claims top Airplay Gainer honors on the Hot 100 for a sixth consecutive week, becoming the first song to link such a streak since Sia’s “Cheap Thrills,” featuring Sean Paul, in June-July 2016.”
What does this mean? After its initial spurt brought on by High School Musical’s life imitates love triangle, it zipped onto radio, it zipped onto video, weeks into its run it doesn’t matter if people are tired of it in the slightest, the incredible 67M radio plays has nothing to do with listeners choice (clearly they have none), the numbers are a self-fulfilling prophecy. It started with a bang and everything else that counts to chart dominance immediately aligned itself while the Top Ten used to be about one thing: sales, today it is multi-format popularity contests.
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