#billboard digital song sales chart

[jimin-updates]

Jimin on the Billboard Charts, week 25 🥳

🥳 It was another insanely impressive week for Who, the little song that could!

🥳 Who is one of only four k-pop songs in history to spend 24 weeks on the Billboard Hot 100:

🥳 Jimin continued to extend his own record on the Streaming Songs Chart:

🥳 MUSE is now tied as the longest-charting k-soloist album at 25 weeks:

An overall look at Jimin, MUSE, and Who on this week’s charts:

Credit

Thank you to everyone who has made this possible through their unending support for Jimin. Let’s keep it going! 🥳

[btsx50states]

Check out BTS' stats on Billboard this week! Notable entries include "Slow Dancing" debuting on the Billboard Hot 100, all the songs from Layover debuting on the Digital Song Sales chart, and "Seven," "Like Crazy," and the songs from Layover on the Billboard Global excluding U.S. chart!

[jungkookiexxx]

[doyoulikethissong-poll]

Harold Faltermeyer - Axel F 1985

"Axel F" is an electronic instrumental track by German musician Harold Faltermeyer. It served as the theme song for the 1984 film Beverly Hills Cop, its eponymous character (as portrayed by Eddie Murphy) and the film franchise it is based from, which became an international number-one hit in 1985. The track reached number one in Ireland as well as on the US Billboard Hot Dance Club Play chart. Additionally, it was a number two hit in Belgium, Canada, the Netherlands, Switzerland, the UK, and West Germany. In addition to the Beverly Hills Cop soundtrack, the song appears on Faltermeyer's 1988 album Harold F. as a bonus track.

Faltermeyer recorded the tune using five instruments: a Roland Jupiter-8 provided the distinctive saw lead, a Moog modular synthesizer 15 provided the bass, a Roland JX-3P provided chord stab brasses, a Yamaha DX7 was used for the marimba sound, and a LinnDrum was used for drum programming. All instruments were played by Faltermeyer. According to Faltermeyer, the initial reaction to his first presentation of the track to the film's producers and director did not result in an immediate approval; it was not until director Martin Brest voiced his approval that the producers showed enthusiasm. A music video was produced to promote the single, directed by Faltermeyer.

"Axel F" has been sampled in many songs, including "Champion" by South Korean singer Psy. In 2005, Crazy Frog's version became a summer hit. It topped the charts in the UK, with some of the best weekly sales of the year, and remained at the top of the UK Singles Chart for four weeks to become Britain's third-best-selling single of 2005, outselling and outperforming the original version. It also reached number 1 in Australia, the Republic of Ireland, Belgium, Denmark, New Zealand, Norway, Ukraine, Spain, and Sweden. In France, the song stayed at number 1 for thirteen weeks, only to be dethroned by Crazy Frog's second single, "Popcorn". This was only the second time that an artist had ever dethroned themself in that country. It peaked at number 3 on the US Digital Sales chart, and number 2 on the US Adult Contemporary Top 20. In 2024, as part of a tribute to celebrate the release of Beverly Hills Cop: Axel F, the Crazy Frog Youtube Channel made a special crossover music video with Netflix, featuring scenes from the movie, but re-edited to feature Crazy Frog in them, being chased by the Beverly Hills Police and Axel Foley.

"Axel F" received a total of 88,3% yes votes!

[tswiftupdatess]

14 years ago today, Taylor Swift released “Mine”

"Mine" peaked at #3 on the Billboard Hot 100 and debuted at #1 on the Hot Digital Songs chart, which led to its appearance on the Billboard Hot 100 at Top 3. This consequently made Swift the second female artist in the history of the Hot 100 to have multiple tracks debut in the top five during a calendar year. With 297,000 downloads, "Mine" became the eighth-biggest debut sales week ever for a digital song, and the fourth-best of 2010!

(August 4)

[seoul-bros]

Billboard End of Year Charts

For a second year in a row, jikook are making their presence felt in the international music markets. JK continues to live up to his name as the Golden Maknae and Jimin is right up there with him despite the short time since Muse and Who were released. Happy Christmas guys!

ARTISTS

Hot 100 Artists

Top Artists

Billboard 200 Artist

Global 200 Artist

Global (excl. US) Artist

World Album Artist

Digital Song Sales Artist

SONGS

Billboard Global 200

Global (excl. US)

Digital Song Sales

Streaming Songs

ALBUMS

Billboard 200 Albums

World Albums

Top Current Album Sales

Post Date: 13/12/2024

[solarwynd]

Instagram channel, that tiktok profile thing, remix album on the 4th day, 2 extra album versions on Spotify for a total of 4 covers for the title track, Jimmy Fallon performance, Pop-Up store, etc. This is exactly what Muse got. It's clear that Hybe giving these things to Jimin wasn't them playing favorites, it was just their new album release method that they were testing on Jimin first. And Jin got the improved version of this method. 1 extra remix, 1 extra physical album version, 1 extra digital album version, 2 extra single CDs, radio on week 1, etc.

I saw V stans complaining about him being the only vocal line member to not get a remix album, but that's just because he didn't release an album this year, if he did he definitely would've gotten the same things as Muse and Happy. The equivalent of Layover isn't Muse it's Face and Face didn't get more than 2 remixes or any different album versions either. But you know what Layover did get that neither Face nor Muse got? MVs for every song and multiple performances for all those songs.

The reality is that Hybe has never actually given Jimin anything that the other members didn't get too. And often they get better versions of what Jimin got and even things exclusive to them that Jimin was never even offered. What really happens here is that Hybe will use Jimin to test out new types of release and promotion and because he's given these things first he gets all the heat while everyone after him gets away unscathed. Because seriously, tell me one thing Jimin was given that no one else was? Because I can name several things everyone else but him got.

The difference between Jimin and the other 5 members (cause we all know Jungkook is an exception) is not that Hybe gives Jimin more, no the actual difference is that with the same, if not less tools Jimin manages to achieve way more. And Jin is about to prove this. Happy has everything that Muse got plus more versions, multiple stages, probably more than a month of promotion, the artist behind the album not being in the fuckass military and being able to actually promote the album in person or even just acknowledge the album's existence at all. It has all this but you know damn well it's gonna perform way below Muse. Who got a #14 and later a #12 on the Hot 100 with 6 remixes, 4 covers, 1 CD and 0 radio. Running Wild has 7 remixes, 4 covers, 2 CDs and was sent to radio on the first week but you know it won't even see the top half of the chart (if it even enters it at all). And that's not to mention my girl Like Crazy getting a #1 with 5 dollars and a dream. Running Wild will be lower on it's first week than Like Crazy was on it's second and that's what we call karma. The only thing Happy has over Muse is global physical sales. But no wait, Face has more than both and it was Jimin's actual debut album like Happy is Jin's. And both Face and Muse got #2 on billboard 200 while Happy is not even predicted to get a top 5. So yeah, Jin has literally nothing over Jimin.

And I love this actually. I want every member to get everything Jimin got so they can see exactly what the difference between them and Jimin is. The fans of those 5 have been telling themselves that they could achieve everything Jimin did and more if only they were given the same tools and promotion Jimin got. And I want to see it, I want to see they do what Jimin did. I'll even be nice and not include the sabotage Jimin got, they can try to match him without that. I want to see them try and inevitably fail. And I know their fans will come up with excuses nonetheless but I still want to see it.

The only advantage Jimin actually has compared to hyungline is fan support. But unlike Jungkook Jimin's didn't have the company prime the fandom to be his fans. Every fan Jimin has he gained through his blood, sweet and tears (pun fully intend because the number of fans Jimin got with BST cannot be overstated). We all know armys don't fuck with the rapline but Jin is a vocal line member so if he didn't capture people's attention like Jimin did that's no one's fault but his own. Unless you wanna say it's not Hybe, but instead God who favors Jimin and gave him more talent than Jin, which fair enough, Jimin is in fact God's favorite child. And while Taehyung is popular that popularity comes from visual stans and shippers and we all know how well that popularity translated to his music, and by that I mean that it didn't, man is getting outdone by Jin, I would be embarrassed. And Jungkook (who's fanbase consists exclusively of visual stans, shippers, y/ns and psychopaths) would've faced a similar fate if the company didn't work for him harder then they did for even the group. I have said it before and I'll say it again, Jimin has and will always be the only member who's music and performances people actually care about.

.🎯

[goldenhickeysandramen]

I guess this article summarises pretty well the power of our favourite duo

Yesterday it was crazy to keep up with all of their accomplishments

In a nutshell, Jimin & Jungkook on 2024 Billboard Year-End Charts:

- Billboard Hot 100 Artist

#81- Jungkook

#89- Jimin

- Billboard Global 200

#15- Seven

#36- Standing Next To You

#106- Who

#129- 3D

#154- Like Crazy

- Billboard Global Excl. US

#7- Seven

#17- Standing Next To You

#78- 3D

#99- Who

#112- Like Crazy

- Billboard 200 Artist

#64- Jungkook

- Billboard Digital Song Sales Artist:

13- Jungkook

15- Jimin

- Billboard Global 200 Artist

#14- Jungkook

#44- Jimin

- Billboard Global Excl. US Artist

#8- Jungkook

#28- Jimin

- Billboard 200 Album

#80- GOLDEN

#200- MUSE

- Billboard Top Artist

#60- Jungkook

- Top Sales Sales

#10- GOLDEN

- Billboard Streaming Songs

#74- Who

- Billboard Digital Song Sales

#5- Standing Next To You

#9- Who

- Top Album Sales Artist

#9- Jungkook

- Top Current Album Sales

#46- MUSE

- Billboard World Albums

#11- MUSE

- Billboard World Album Artist

#6- Jimin

CONGRATULATIONS JIMIN 💛

CONGRATULATIONS JUNGKOOK 💜

[venusvity]

˚˖𓍢ִ໋🍒✧˚.⋆ UR MY BABY! HELLO, I'M BAEBI!

cw: sexualization + controlling company

  JUNG YOONAH took on the stage name BAEBI in 2018 upon her debut with VENUS and the world was never the same.

Baebi would take the world by storm with her solo debut the same year Venus would debut, sparking much discussion among fans over favoritism, a debate that still rages today. But who cares about favoritism when the music is good? Bubble Pop! Would take the Kpop world by storm, becoming the song of the summer.

It peaked at number two on South Korea's Gaon Album Chart and charted atop the US Billboard World Albums. As of 2023, it has sold 560,000 copies in South Korea. 

Bubble Pop! 's commercial success was the main contributor to Angelico Entertainment's leading music sales. The song peaked at number one in South Korea, where it has sold over 2.5 million digital units. To accompany her solo release, Baebi held a series of small concerts called Baebi's Summer Splash. She was awarded Best Female Artist at the 2018 Mnet Asian Music Awards and at the 2019 Golden Disk Awards.

Chart data is boring. Let's talk about something else.

Returning just a few months later with the mini album "Tell Me More" and a title track of the same name, fans grew slightly more concerned over Yoonah's concept as a soloist. According to her most dedicated fans, her sound and look were very mature, very sensual, and bordering on sexual, which didn't really match Yoonah's character.

No one would be shocked at the music and content Baebi would be releasing when looking at her creative team:

The Son Brothers, Jinhwa and Roan, would be the proud creative directors behind all of Baebi's solo work. Bubble Pop! would be Son Roan's, later turned CEO of Angelico after his brother departed from the label to become CEO of Mydol, Angelico's now parent company, first project in the Kpop realm.

"I like working with Baebi because she's something different than what you're used to seeing from the other idols out there. You can do things with Baebi you can't normally do with other idols and I find that very exciting." – Son Roan when asked about the Baebi brand in 2020.

2020 Baebi hit a career-high with her mini album "Glassdoor" and the lead single, Gashina. This song was everywhere, but even more to an extent, no Angelico artist had ever seen. Baebi was an international sensation. She'd go on a mini world tour as a soloist, the first and only Venus member to do so, promoting internationally, being the first soloist under Angelico to do so internationally.

A point of contention in Baebi's career is the botched release of her first full album, "Hello Baebi!" with the poorly promoted single, Hello. When Baebi was coming back, you knew about it, your friends knew about it, your mama knew about it, hell, even your grandma knew about it. For Hello Baebi? Not a peep. Even Baebi fans were confused when Ktown4u posted a pre-order poster for the album before Angelico even posted teasers. Which, mind you, she only got four photo teasers and a single video trailer for a full album.

When the comeback happened, promotions only lasted for two weeks, something unheard of for Baebi and the outfits? Fresh off the Forever21 rack. The stages? Bare. Nothing. The MV? Budget cut in half. Something wasn't right...Then when you looked at the album credits, neither of the Son brothers were anywhere to be seen. The entire album was made by Baebi herself, something she shared often on her Instagram or during the few interviews she did during this era.

Either way, Hello Baebi, her one cute era completely controlled by her, was deemed a flop and the Son brothers used that to their advantage, taking full creative control over Baebi's image again.

Which is where Touch came in.

Touch was noted for its overtly sexual music video, on-the-nose sexual lyrics, and latex outfits Baebi would promote in. The single, which was, of course, promoted ions better than Hello Baebi!, was phenomenally on the charts and in sales, "proving" that the mature concept is what people wanted from Baebi. At least, that's Jinhwa's belief.

Baebi's release after Touch would be a mini album titled "Stupid B—" with the promoted track TWIT. Fans that worried for Baebi would be soothed by this less sexual yet mature concept and the actual look of enjoyment on Yoonah's face when performing the song, something that seemed to be lacking when she was performing Touch.

After a year break from solo activities, Baebi would come back swinging in 2024 with her second full album, "Choke On It," and the title track LIPLOCKER, which was a hit, of course. Though the concept was leaning more toward sexual than mature, Baebi seemed more comfortable performing and actually had fun during this promotional period. She'd go on to say that LIPLOCKER was her favorite comeback since Hello Baebi!, which fans are hesitant to believe, but whatever makes her happy!

[blvckrse]

bring me to life. is the debut extended play released by blvckrose on may 26th, 2022 under hysteric mystery. the EP contains six tracks, including the title track, desire, and pre-release, birth.

on may 1st, hysteric mystery announced that their first girl group, blvckrose, will be debuting on the 26th of that same month. teaser photos revealing each member was released the following week. on may 13th the music video for birth, the pre-release for the album, dropped. on may 26th, the music video for desire was released and the group held a live showcase, performing each track from the album.

promotions for desire lasted until june 24th, performing on music shows and doing variety appearances. afterwards, the group would go on to perform birth and dracula on music shows for two weeks. promotions for bring me to life. as a whole would officially conclude on july 8th.

♱ tracklist.

O1. intro : bring me to life. is an intense intro track that begins with a distorted sound, transitioning into a heavy bass, to a soft piano. the track ends with faint whispers, adding curiosity for what’s to come next. the instrumental track sets the tone for the album, being a thematic experience.

O2. birth is a haunting alternative pop track that serves as the formal introduction to blvckrose, being the group’s first release. the song immediately catches the listener’s attention with its unsettling sound, incorporating creepy piano keys, distorted strings, and an electro-industrial sound that perfects the horror aspect of the song.

O3. desire is dramatic, sultry, and dangerous; the perfect candidate for blvckrose’s debut title track. with a burlesque inspired theme, desire aims to put on a show, incorporating piano, snaps, contrabass, and heavy synths. the choreography is more of a modern style, emphasizing on lines, simple yet seductive movements, and a cat-like vibe.

O4. red sun is a hypnotic, medium-tempo alternative track with some trap inspired elements to it. the song is sharp in nature and its lyrics serve as a warning to those who don’t learn from their mistakes.

O5. dracula is a song that stands out compared to other tracks on this album. the song is a perfect halloween-esque pop track that plays into its playfulness. the church organs, strategically placed screams, and “tututu” chorus makes the song catchy and theatrical. dracula seems like the perfect track for blvckrose’s vampire concept.

O6. kingdom come is a contemporary r&b track and well as the last group song on the album. it’s a song of devotion and loyalty expressed by the lyrics i got you, you got me. love you til kingdom come. their love, or infatuation, is like a dream they don’t want to wake up from.

total length. 16:34

♱ commercial reception.

bring me to life. performed decently well, coming from an unknown girl group from an unknown company. the album sold a total of 86,000 copies, selling 4,387 on its first day, and debuted at number 17 on the gaon album chart. the album later went on to peak at number 6.

the music video for desire received 2.6 million views in the first 24 hours while birth received 1.7 million. desire debuted at number 87 on billboard’s k-pop hot 100 and peaked at number 63. the song also peaked at number 20 on the world digital song sales chart. it also peaked at number 140 on the korean gaon digital chart.

♱ about the era.

“WHO THE FUCK IS BLVCKROSE AND WHY ARE THEY KINDA SERVING?” is the question everyone wanted to know when blvckrose came onto the scene. they just popped up, completely out of nowhere with this creepy ass music video and creepy ass song.

birth was a love it or hate it track. notably for the arts and not the charts. can’t say the same about desire though, which actually charted. the birth music video is what drew people in, but desire as whole made them stay. the girls stood out for their more mature and sultry sound for desire, reminiscent of some older second generation groups.

what stood out the most was the girls’ styling. during and outside of promotions the girls stuck to a personalized, yet similar alternative aesthetic. dressing in dark colors, bold, silver jewelry, platform boots, and intimidating makeup. they kinda came off as the mean girls in school everyone was afraid to talk to, gaining the title of intimidating rookies.

they got a bit of shit from older netizens, calling their concept and sound “demonic” and whatnot. you tell me if that’s a bad thing or not.

but let’s talk about their stage presence! say whatever you want about blvckrose but you CANNOT call them bad performers. their first day on the job, they knew how to put on a show. their choreography, theatric elements, stage props, background effects, all of it made their performances unforgettable.

on the group’s youtube channel, fans got to see the process of writing each track by none other than lizzie who was revealed to be the group’s main songwriter. she shared her inspiration for each track and how she comes up with her lyrics. she got a lot of praise for her talent and creativity.

cherry had a lot to say about the group’s lore whenever she was asked. it seemed like she knew more than the other members. many brushed it off though, thinking she was just being over-enthusiastic.

the girls had a lot of fun, notably cherry, sujia, and dohee. haena, lizzie, and ryulia looked like they needed a bit more time to adjust, but that’s fine! the girls have plenty of time (we hope!) they had good run, making their mark in the industry. all they had to do now was keep the momentum going.

[a-namjoon-a-day]

I'm begging everyone to buy his album. PLEASE support him. You already know it's going to be genius. He has zero to do with any drama, he's minding his business & serving his country.

Army, it's time for everyone to show up for Namjoon.

[jimin-updates]

Jimin on the Billboard charts, week 21

It was another week of record-breaking and history-making for our Jimin!

💜 We are so, so, so proud of Jimin for beating the recurrent rule; becoming the first k-soloist in a decade and fourth k-act ever to chart for more than 20 weeks on the Hot 100!

Credit

💜 MUSE has risen back to the top of the Billboard World Album charts!

💜 Jimin extends his record as the longest-charting k-soloist this decade on the Billboard Streaming Songs chart!

A look at Jimin on all the Billboard charts this week:

The hate has been prolific and vile this week in an attempt to distract us from continuing to push for Jimin. These chart results are the answer - ignore haters. They do not matter. Report, block, and keep streaming. When you focus on Jimin, the rest takes care of itself!!

[btsx50states]

Check out BTS' stats on the Billboard charts!

[informalmajesty]

Jimin is not being sabotaged by his own label

This tag used to be (mostly) fun and now all I see are large text posts pitting Jimin and JK against each other and, look, it’s not as complicated as many of you are making it out to be, nor is there some grand conspiracy to *checks notes* pit JK and Jimin against each other or *keeps checking notes* a SPECIFIC vendetta against ONLY Jimin, their artist who *scrolls scrolls scrolls through notes* went number 1 on Billboard.

So here is a large text post on the woes of American capitalism (yes. Really).

Here’s the reality

Billboard DID Sabotage Jimin

Let’s get the big sabotage that did happen out of the way — BILLBOARD (and friends. Will circle back to this) ARE RACIST SNAKES AND ALWAYS HAVE BEEN.

Billboard has a history of keeping Black artists off of the pop charts. One example, R&B was largely created as a separate chart to move a category of Black artists from the Hot 100 pop charts. It was a big deal—as (1) example—when Boyz II Men crossed over to the pop charts multiple times.

And then what happened? The American music industry caught up and started cranking out white boy bands that wrote and performed R&B but. Funny. Somehow it was now considered JUST pop on the H100 POP charts. They weren’t pushed immediately to R&B and had to work their way over.

This was considered R&B for the R&B charts that was a “crossover”

And this was considered mainstream pop that needed no crossover.

Yeah, Billboard have always been racist snakes.

So flash forward to 2023. We know they tried HARD to keep BTS from the H100. Going into Proof, BB limited digitals, reduced the weight on sales and upped weight on radio. Why? American music labels can control radio. They cannot control sales and it’s legally far more messy for them to do so.

But then. JIMIN happened.

ARMY got Jimin to H100 #1 with the rule change and the American music industry lost their collective shit.

Why do I say COLLECTIVE and not just Billboard? Well.

This is so essential to the punch line of this rant.

American capitalism only cares about its friends.

What does that mean?

I work in Silicon Valley. You want to know why there is a major diversity problem in Silicon Valley? Yes. There is explicit and obscene misogyny and racism, but the biggest problem is less explicit albeit just as systemic.

White men tend to hang out and befriend other white men already in their “circle.” When some rich person or VC firm’s buddy is like “hey I need money for this thing” they are like “yes, of course, buddy, here you go!!” And they get tons of cash without having to prove anything.

I will not say the startup I worked at but it’s valuation was in the billions and their funding was in the billions with NO product built yet. How they got those billions? A well known stunt performer was besties with the then CEO of a major major tech company and he said “hey bestie give my friend over here hundreds of millions of dollars.” And then this startup got hundreds of millions of dollars. Was there due diligence done? Absolutely. But would the CEO of a major tech company give a crap if his best dude didn’t vouch for the startup? No.

Humans are extremely relationally driven. Merit is basically bullshit. Merit is so so rarely considered in anything. Who are you friends with? That’s how most things are done.

So, Billboard has a lot of friends. Those friends are in major record labels. And those friends only care about making as much money as possible while retaining the status quo.

What goes against all of that? A group of non-white, non-American men that they make very little money from because their label is completely seated in a different country.

So when Like Crazy—a solo record by a Korean artist under a Korean label with a Korean songwriting team—comes in and dethrones FLOWERS, Columbia Records’ darling for the year (no hate to Miley or the song, it’s solid, love Miley), oh my god were they SEEING SOME RED.

The MONEY they PAID to see Flowers on top of radio, of playlisting, of cultural consciousness and a NON AMERICAN NON WHITE MAN just dethroned that.

My GUESS (I don’t know, also keep in mind BTS didn’t seem to have the friendliest exit from the Columbia distribution deal) is that Billboard’s BFFs at Columbia threw a fit. And Billboard responded by saying “of course, bestie, we’ll remove the problem.”

And there goes 100k sales in the next week. Deleted. Gone.

Who is going to call them on that? Hybe could propose an investigation, sure, but here’s the thing — it’s not illegal. Billboard didn’t break any law. It’s THEIR completely made up chart that they can change at any time depending on what labels want (this is how Wall Street works too, btw). Everything is made up to appease the same 50 white men. Bleak but true. Music industry is far from the exception.

Okay so moving forward — now we have Jungkook’s Seven coming out. And Billboard a week before release finally decides to tell us the rule they CREATED BECAUSE OF JIMIN (it’s a shitty rule of course but damn Jimin’s power)—D2C sales no longer count.

Jungkoook makes it to #1 anyway because ARMY is freaking amazing AND yes. Yes, Jungkook got more US promotion, help on Spotify, general promo, radio etc than Jimin.

BUT THIS DID NOT HAPPEN BECAUSE BIG HIT FAVORS JUNGKOOK AND SABOTAGED JIMIN

Remember — everything is determined by rich men in power and who they are friends with.

What did Jungkook do? He went to an American producer who is besties with Scooter Braun (Andrew Watt has worked with several of Scooter’s artists including Justin Bieber, namely on Peaches) who has power to contact his besties at Spotify and wherever else.

And what does going to an American producer unlock for Jungkook? A pop track highly likely to do well in America. So then what does Bang PD do? Recognize that because the dude is a billionaire and he likes money and he says (and we know he said this) “this is going to be a hit.” And there you go, you have the Seven marketing campaign that Like Crazy didn’t quite get.

This isn’t “oh my god BigHit / Hybe hates Jimin.” This is “Jungkoook took an easier, more commercial route.”

If Jimin wants to go get a song like Seven….he can go get a song from an American producer who is friends with the right people.

Instead he wanted to work on a personal project with Korean producers and it’s amazing and beautiful and also went number one and was also a huge success.

And Jungkook wanted this really great and incredibly commercial pop song.

Both are valid. Both are going to unlock different resources for the artist. And both Jimin and JK know this. They chose what they chose. That’s it. End of story.

As for Seven v LC album stock— stock is highly likely determined by basic predictive analytics models (exponential smoothing, maaybe a regression, maybe even something as simple as moving avg idk). LC was a sizable increase from Astronaut and other BTS singles. So then Seven likely adjusted to that increase. Again. That’s it guys. That’s literally it.

So can we please have the tag back and stop pitting JK and Jimin against each other and respect that Jimin chose to do a more artistic, personal project while JK (at least for now) did not?

If you want to be mad at something, be mad at American wealthy white men and their friends.

[doyoulikethissong-poll]

The Prodigy - Smack My Bitch Up 1997

"Smack My Bitch Up" is a song by English electronic dance music band The Prodigy. It was released in November 1997 as the third and final single from their third album, The Fat of the Land (1997). In 2013, Mixmag readers voted it the third greatest dance track of all time. The song caused considerable controversy because of its suggestive title and explicit music video. The video, directed by Jonas Åkerlund, was rarely seen on television due to its controversial subject matter. It was filmed entirely in first-person perspective and depicts a drug-and-alcohol-fueled night out through the eyes of a mostly-unseen character, and utilises different camera movements corresponding with the protagonist's altered state of mind. Despite the controversy, the video was nominated for four awards in the 1998 MTV Video Music Awards, and eventually won Best Dance Video and Breakthrough Video. In 2010, the song was voted as the most controversial song of all time in a survey conducted by PRS for Music.

The lyrics "Change my pitch up/Smack my bitch up" are sampled and altered from the song "Give the Drummer Some" by the Ultramagnetic MCs. The female vocals were performed by Shahin Badar. Her vocals and harmonies are based on "Nana (The Dreaming)" performed by Sheila Chandra. Initially Liam Howlett used a direct sample of Chandra's song, but later had the vocal resung after sample clearance issues. The track also contains samples from "Funky Man" by Kool & the Gang, "In Memory Of" by Randy Weston, "House of Rising Funk" by Afrique, "Like This" by Mixmaster Gee and the Turntable Orchestra and "Bulls on Parade" by Rage Against the Machine.

In the UK the song peaked at number 8, ultimately spending 16 weeks in the top 100, despite limited air time. The song reached the top 15 in several countries, such as Canada, New Zealand, Norway, and Sweden. The song performed best in Finland, securing the band their third Finnish number 1 hit alongside "Firestarter" and "Breathe" (poll #112). It peaked at number 22 in the Netherlands, 41 in Australia, and 89 in the US. The single also returned to the Billboard charts after Keith Flint's death, entering number 23 on its Dance/Electronic Digital Songs Sales chart in March 2019.

The song appeared in a fight scene in the 2000 film Charlie's Angels. In 2020, a cutscene in the game Cyberpunk 2077 had a corresponding song on the soundtrack titled "Smack My Chip Up". Released the same year, Assassin's Creed Valhalla includes a sidequest called "The Prodigy", where the player character boxes a clergyman, prompting a character named Keith to sing "Smack my bishop!"

"Smack My Bitch Up" received a total of 57,2% yes votes! Previous Prodigy polls: #8 "No Good (Start the Dance)", #112 "Breathe". (Maxim & Skin: #245 "Carmen Queasy")

[lokisasylum]

BTS' Jimin dominated the entire Billboard chart, showing off his world-class presence as a solo singer.

According to the latest chart (dated August 3) released by Billboard, an American music media outlet, Jimin's "Who" ranked 14th on Billboard's main song chart, the "Hot 100," demonstrating its potential to achieve the highest K-pop ranking in 2024 with only streaming and sales, without any radio promotion, on a chart filled with hits from powerful pop stars.

With this, Jimin has achieved the feat of entering the charts with a total of 6 songs in just over 2 years since his solo activities, including “Like Crazy,” the first K-pop solo to reach No. 1 on the “Hot 100,” along with “Set Me Free Part 2” (No. 30), “Angel Part 1” (No. 65), “Vibe” (No. 76), and “Smeraldo Garden Marching Band” (No. 88).

‘Who’ is the third K-pop artist to simultaneously top Billboard’s ‘Global 200’ and ‘Global (Excl. US)’ charts. Along with ‘Who’, ‘Smeraldo Garden Marching Band’ (60th), ‘Be Mine’ (123rd), ‘Slow Dance’ (159th), and ‘Reverse’ (187th) also entered the ‘Global 200’ chart. On the ‘Global (Excl. US)’ chart, all of the songs on the album successfully entered the chart, including ‘Smeraldo Garden Marching Band’ (22nd), ‘Be Mine’ (74th), ‘Slow Dance’ (96th), ‘Reverse’ (112th), ‘Closer Than This’ (123rd), and ‘Interlude: Showtime’ (200th).

Not only that, "Who" also topped Billboard's "Digital Song Sales" chart, making Jimin the K-pop solo artist with the most number-one hits (six) on the same chart. Jimin also made it to the chart for the 14th time with "Be Mine" at number 21.

Jimin, who became the first and only K-pop solo artist to top Billboard's "Artist 100" chart with "Face" last year, rose to No. 2 this time, achieving a total of 12 weeks on the chart, and "Who," which ranked 25th on the "Streaming Songs" chart, recorded the highest ranking solo song by a K-pop solo artist in the past 10 years.

The new album 'Muse' ranked 2nd on the main album chart 'Billboard 200', and also ranked high in the detailed charts such as 2nd on 'Top Album Sales', 2nd on 'Top Current Album Sales', and 2nd on 'World Albums'. In particular, it ranked 48th on the 'Top Streaming Albums' chart, making it the first K-pop artist album to enter the streaming chart this year.

Also, on the Canadian Billboard, “Who” debuted at No. 32 on the “Hot 100,” making it the highest-ranking K-pop song of the year, and took No. 2 on the “Digital Song Sales” chart, while “Muse” debuted at No. 24 on the “Album Chart.” It debuted at No. 6 and No. 19 on the German and Italian “Album Charts,” respectively, breaking “Face”’s previous records of No. 7 and No. 28.

In Brazil, the song debuted at No. 31 on the Billboard Hot 100, setting a new record for a K-pop artist since the chart was reorganized in August 2023, and was the second song to enter the chart after Smeraldo Garden Marching Band at No. 84. In Argentina, the song also entered the Billboard Hot 100 at No. 71, and in the Philippines, Smeraldo Garden Marching Band entered the chart for the third week in a row at No. 74, along with Who, who reached the highest K-pop solo ranking of all time at No. 11.

In Japan, Jimin's activities did not stop either. Who rose to No. 53 after ranking No. 21 on the Hot 100, No. 20 on the Streaming Songs, and No. 6 on the Download Songs in its first week. ‘Muse’ ranked 6th on the ‘Hot Albums’ after its first week at 3rd place, and 8th on the ‘Top Albums’ after its 3rd debut, and ranked 2nd on the ‘Download Albums’ chart after its first week at 1st, and 15th on the ‘Artist 100’ chart.