[Tsuko]

Originally posted by ihaveabono

what the hell is wrong with POP radio? people should storm radio stations and demand to play ASFOS

Pop radio is one of the most annoying and stupid formats ever, but unfortunately it's also the biggest and most important.

It's improved a lot in the past couple of years though. There's a lot more variety now, and a lot more songs crossing over from other formats. Coldplay will probably do well on pop eventually, usually they just take a long time to get on songs that aren't by pure pop or dance artists.

[Haus_of_Will]

37 +3 SIA Chandelier 1124 +81 +0.446

Biggest spin update yet.

[Costea]

PHARRELL WILLIAMS - Come Get It Bae: 5.943 (+ 0.954)

Brb hanging myself

[YM8]

Rhythmic

22 +1 LIL WAYNE Believe Me f/Drake 1304 +91 721 +23 10.264 +0.458

Urban

25 = LIL WAYNE Believe Me f/Drake 1283 +79 550 +10 9.161 +0.402 12

[abrahamjmr]

Originally posted by Euan

You asking this in every thread every single day is really annoying. Look it up yourself

It isn't annoying. This is the airplay thread, he can ask as many times as he wants. If you can not stand it, then don't come in here.

[eteru]

Aint It Fun #3 on Pop tomorrow

[Yooorsh]

MAGIC! - Rude: 42.889 (+ 1.625)

C'mon for the +2 million update

[Superpower]

Originally posted by highwind44029

Rude is gonna sound so good on the radio come summer.

I hear it pretty much everyday. These are the songs that I hear on my local stations everyday. It never fails.
Not A Bad Thing, Sing, Rude, Am I Wrong, Birthday, All Of Me and Sleeping With A Friend.

[brianc33616]

With Parrhell's Happy out of the Top Ten on radio-12-and I-tunes digital sales -14-(not sure about the other 30% of digital sales) Happy appears like it will fall rather quickly, which would limit the song's chances of being the Number One song of 2014.

However, I guess, just like "Blurred Lines", it is not always the lifespan of the single, but also how hot the song was at its peak. ("Radioactive" had unprecedented longevity at all major chart components radio, downloads, streaming/audio, streaming/video, is closing in on Blurred Lines in downloads, and has passed Thicke's song in both audio and streaming video). But Thicke's and Pharrell's hits registered exceptionally high levels of impressions and weekly download reports over several weeks while the songs topped the chart, and earned double digit stays at Number One. So how hot the song was when it was at its peak must count more.

I think Happy will fall faster, but in my opinion Blurred Lines should have fallen quickly about two weeks after Robin Thicke's embarrassing performance with Miley Cyrus, because everyone felt the song was burning out fast and was so tired of hearing it. The song stayed on the Hot 100 for 48 weeks, when 32-35 would have seemed more acceptable. So, Happy may linger longer than I expect, since it otherwise has a chart life so similar to Blurred Lines.

One last note: If Billboard does a decade-end Hot 100, and no song approaches Radioactive through 2019, Imagine Dragons should have the song of the decade.

Originally posted by Kworb

http://kworb.net/radio

[brianc33616]

Yes, every monitored station is taken into consideration and counted the A1 Chart. Billboard also includes Latin, but the website monitors fewer stations than Mediabase.

Originally posted by Super_freddie

I need Bailando Pop and Rhythmic update please

And also does the Latin Airplay count? Today he has a 0.800 update on spanish and tropical alone

[Bilolo]

PHILLIP PHILLIPS - Raging Fire: 28.657 (- 0.026)

Waiting for Pop to slay it, song of the summer is coming

[alexanderao]

Pop Radio Milestones: 21 May 2014

1/3 year (122 days):

DJ Snake & Lil Jon - Turn Down For What (currently #8)

Yesterday's Milestones (20 May 2014):

1.5 years (548 days):

Macklemore & Ryan Lewis - Thrift Shop f/Wanz (currently #70)

1/3 year (122 days):

Pharrell Williams - Happy (currently #12)

[highwind44029]

Originally posted by brianc33616

The song stayed on the Hot 100 for 48 weeks, when 32-35 would have seemed more acceptable.

I don't understand the logic. The song spent 12 weeks at #1. A song of that magnitude doesn't just drop like a rock. Even moderate hits spend over 40 weeks in the Hot 100.

Demons: 55
Counting Stars: 47
Wake Me Up!: 46
Let Her Go: 41
Pompeii: 39
Burn: 36

Granted CS and WMU! are more considered smashes than moderate hits, but point still stands.

[$leazy]

Any update for something bad by miranda lambert?

[LostInStereo100]

Originally posted by alexanderao

Pop Radio Milestones: 21 May 2014

1/3 year (122 days):

DJ Snake & Lil Jon - Turn Down For What (currently #8)

1/3 year (122 days):

Pharrell Williams - Happy (currently #12)

Just saying

[brianc33616]

Originally posted by highwind44029

I don't understand the logic. The song spent 12 weeks at #1. A song of that magnitude doesn't just drop like a rock. Even moderate hits spend over 40 weeks in the Hot 100.

Demons: 55
Counting Stars: 47
Wake Me Up!: 46
Let Her Go: 41
Pompeii: 39
Burn: 36

Granted CS and WMU! are more considered smashes than moderate hits, but point still stands.

Okay making sure I write AFTER the quote this time lol! This is a long answer though.

It is not unusual for songs that peak at lower positions to have longer chart lives than those hits that reach Number One songs, and this makes sense when you think about it. The songs with longer chart longevity often crossover from one format to another; too slowly for the song to reach Number One, but quickly enough that the song charts longer while peaking at a lower position.

Also, if sales, streaming and airplay get mismatched because radio is slow to notice a really big selling song, the song will stop short of Number One, but have a lengthy chart life. Oftentimes sales will get way ahead of the airplay, so by the time Radio is spinning the song at a higher rotation fewer people are downloading the songs.

Songs such as Blurred Lines and Happy peaked at Radio, Sales, and Streaming at almost the same time, and there was no crossover delay. Therefore, these songs sold a high number of downloads, amassed an enormous number of impressions, and dominated at streaming the same time. However, Blurred Lines had, and Happy appears to be having, a major burnout rate at most of the formats. Many people are tired of hearing these songs, but since AC picks up songs more slowly and keeps playing them for a longer amount of time, so the songs fluctuate between 35 and 50 for ten weeks or more. Without AC support helping the songs hang on longer after stations at the other formats had/have dropped the track to a much lower rotation, the songs would have fallen off more quickly. Since streaming and downloads had dropped dramatically for Blurred Lines, the songs chart life would have been 36 to 40 weeks because every other radio format had worn the song out. I admit, 32 to 35 was too low of an estimate.

Here are several examples of songs that because either the sales and airplay did not synchronize properly, or because the crossovers took too long, and missed out on charting higher, but stayed on the Hot 100 for a longer period of time/

Radioactive by Imagine Dragons -- This song would have still spent 70 weeks even if airplay, sales, and streaming had synchronized properly. Radioactive reached number two on both the Digital Songs and Radio Songs Chart, and the Top Three in Streaming, but not at the same time, and the sales numbers began to drop before the non-Rock stations fully embraced the song. By the time the song reached the Top Five, the song was already past 40 weeks on the Hot 100, and had sold at least three million downloads. One way Imagine Dragons could have sacrificed some longevity for a Number One position would have been to release the mash-up with Kendrick Lamar 30 to 35 weeks earlier. This would have boosted airplay at Rhythmic and Urban, and increased downloads with two totally different versions of the song available for download. However, the band waited until more than 70 weeks after the songs initial debut to release the other version of the song. The remix added 10 to 12 weeks to the song's chart life, and 700,000 or so extra downloads, but putting out the remix sooner would have likely put the song at Number One.

I'm Yours by Jason Mraz peaked at number six, but reached the Top Three in both sales and airplay. And its crossover process was so slow and extended over so many formats that it spent 76 weeks on the Hot 100. I'm Yours started at AAA, then Alternative, then AC, then Hot AC, then Top 40, and at the very end rhythmic. The slow crossover from format to format kept the song from reaching any higher than six, but kept the song on the chart for almost 1 1/2 years.

Apologize by Timberland/One Republic -- another example of a song that peaked at different formats at different times, and sales had begun to drop by the time Airplay had picked up. Billboard even noted this song would have been a Number One hit had the sales and airplay peaked closer together. The result was a number two peak, 25 weeks in the Top Ten, and almost a year on the Hot 100.

Need You Now by Lady Antebellum -- this song would have reached Number One had Rihanna's "Rude Boy" not have made a larger than expected gain, and moved from 4 to 1 while Lady Antebellum got stuck at number two in early 2010. Here also, the song had already sold nearly three million downloads by the time Top 40 caught onto this Country crossover sleeper. So the song finally reached number two in its 34th week (I think) on the Hot 100. The song went on to top the Radio Songs Chart, and was the Number One Radio song of 2010. If the airplay and sales has synchronized better, when the song was selling 200,000 a week, the song would have reached Number One with a shorter chart life. Instead, it peaked at number two, but spent 60 weeks on the Hot 100. Only so many people can buy a song, and in this songs case, since the regular Pop and Country versions sounded so similar, and the Dance Remix was not widely played or promoted, there was no reason to download what was virtually the same song twice.

Second Chance by Shinedown -- this song was the last song of Active Rock origin to do well at Top 40 Radio (Imagine Dragons crossed over to Active Rock several weeks after Alternative put the song in heavy rotation, so this doesn't count. True, this song "only" hit number seven, but had the song progressed from Rock to Pop and AC more quickly, it would have likely reached the Top Three. Second Chance topped Active Rock, Alternative, Heritage Rock, and Hot AC; and reached the Top Three at Top 40 and around 15 on AC. The songs slow crossover prevented it from reaching a higher position, but allowed the song to remain on the chart over 40 weeks.

Finally, from back in 1999-2000, there is Breathe by Faith Hill, which spent five weeks at number two, but 18 weeks in the Top Five and 53 weeks on the Hot 100, and wound up being the Number One song of 2000. With Breathe peaking at Country (six weeks at Number One) between Thanksgiving and New Years, Top 40 waited until after New Years to pick up the song. By this time, Country was moving onto the follow-up song. One note here -- Breathe did in fact have a dance remix. Had the label released a maxi-single with dance remixes of Breathe, I think the song would have reached Number One weekly, because the point totals were so close several of those weeks Hill was stuck at number two. However, the dance remix was a radio-only version of the song, so the extra sales boost that could have finally gotten the song to Number One never came to be..

[alexanderao]

Great update for Latch today

[FilthyBae]

Originally posted by brianc33616

Okay making sure I write AFTER the quote this time lol! This is a long answer though.

It is not unusual for songs that peak at lower positions to have longer chart lives than those hits that reach Number One songs, and this makes sense when you think about it. The songs with longer chart longevity often crossover from one format to another; too slowly for the song to reach Number One, but quickly enough that the song charts longer while peaking at a lower position.

Also, if sales, streaming and airplay get mismatched because radio is slow to notice a really big selling song, the song will stop short of Number One, but have a lengthy chart life. Oftentimes sales will get way ahead of the airplay, so by the time Radio is spinning the song at a higher rotation fewer people are downloading the songs.

Songs such as Blurred Lines and Happy peaked at Radio, Sales, and Streaming at almost the same time, and there was no crossover delay. Therefore, these songs sold a high number of downloads, amassed an enormous number of impressions, and dominated at streaming the same time. However, Blurred Lines had, and Happy appears to be having, a major burnout rate at most of the formats. Many people are tired of hearing these songs, but since AC picks up songs more slowly and keeps playing them for a longer amount of time, so the songs fluctuate between 35 and 50 for ten weeks or more. Without AC support helping the songs hang on longer after stations at the other formats had/have dropped the track to a much lower rotation, the songs would have fallen off more quickly. Since streaming and downloads had dropped dramatically for Blurred Lines, the songs chart life would have been 36 to 40 weeks because every other radio format had worn the song out. I admit, 32 to 35 was too low of an estimate.

Here are several examples of songs that because either the sales and airplay did not synchronize properly, or because the crossovers took too long, and missed out on charting higher, but stayed on the Hot 100 for a longer period of time/

Radioactive by Imagine Dragons -- This song would have still spent 70 weeks even if airplay, sales, and streaming had synchronized properly. Radioactive reached number two on both the Digital Songs and Radio Songs Chart, and the Top Three in Streaming, but not at the same time, and the sales numbers began to drop before the non-Rock stations fully embraced the song. By the time the song reached the Top Five, the song was already past 40 weeks on the Hot 100, and had sold at least three million downloads. One way Imagine Dragons could have sacrificed some longevity for a Number One position would have been to release the mash-up with Kendrick Lamar 30 to 35 weeks earlier. This would have boosted airplay at Rhythmic and Urban, and increased downloads with two totally different versions of the song available for download. However, the band waited until more than 70 weeks after the songs initial debut to release the other version of the song. The remix added 10 to 12 weeks to the song's chart life, and 700,000 or so extra downloads, but putting out the remix sooner would have likely put the song at Number One.

I'm Yours by Jason Mraz peaked at number six, but reached the Top Three in both sales and airplay. And its crossover process was so slow and extended over so many formats that it spent 76 weeks on the Hot 100. I'm Yours started at AAA, then Alternative, then AC, then Hot AC, then Top 40, and at the very end rhythmic. The slow crossover from format to format kept the song from reaching any higher than six, but kept the song on the chart for almost 1 1/2 years.

Apologize by Timberland/One Republic -- another example of a song that peaked at different formats at different times, and sales had begun to drop by the time Airplay had picked up. Billboard even noted this song would have been a Number One hit had the sales and airplay peaked closer together. The result was a number two peak, 25 weeks in the Top Ten, and almost a year on the Hot 100.

Need You Now by Lady Antebellum -- this song would have reached Number One had Rihanna's "Rude Boy" not have made a larger than expected gain, and moved from 4 to 1 while Lady Antebellum got stuck at number two in early 2010. Here also, the song had already sold nearly three million downloads by the time Top 40 caught onto this Country crossover sleeper. So the song finally reached number two in its 34th week (I think) on the Hot 100. The song went on to top the Radio Songs Chart, and was the Number One Radio song of 2010. If the airplay and sales has synchronized better, when the song was selling 200,000 a week, the song would have reached Number One with a shorter chart life. Instead, it peaked at number two, but spent 60 weeks on the Hot 100. Only so many people can buy a song, and in this songs case, since the regular Pop and Country versions sounded so similar, and the Dance Remix was not widely played or promoted, there was no reason to download what was virtually the same song twice.

Second Chance by Shinedown -- this song was the last song of Active Rock origin to do well at Top 40 Radio (Imagine Dragons crossed over to Active Rock several weeks after Alternative put the song in heavy rotation, so this doesn't count. True, this song "only" hit number seven, but had the song progressed from Rock to Pop and AC more quickly, it would have likely reached the Top Three. Second Chance topped Active Rock, Alternative, Heritage Rock, and Hot AC; and reached the Top Three at Top 40 and around 15 on AC. The songs slow crossover prevented it from reaching a higher position, but allowed the song to remain on the chart over 40 weeks.

Finally, from back in 1999-2000, there is Breathe by Faith Hill, which spent five weeks at number two, but 18 weeks in the Top Five and 53 weeks on the Hot 100, and wound up being the Number One song of 2000. With Breathe peaking at Country (six weeks at Number One) between Thanksgiving and New Years, Top 40 waited until after New Years to pick up the song. By this time, Country was moving onto the follow-up song. One note here -- Breathe did in fact have a dance remix. Had the label released a maxi-single with dance remixes of Breathe, I think the song would have reached Number One weekly, because the point totals were so close several of those weeks Hill was stuck at number two. However, the dance remix was a radio-only version of the song, so the extra sales boost that could have finally gotten the song to Number One never came to be..

so interesting thank u

[biomind101]

Originally posted by brianc33616

Okay making sure I write AFTER the quote this time lol! This is a long answer though.

It is not unusual for songs that peak at lower positions to have longer chart lives than those hits that reach Number One songs, and this makes sense when you think about it. The songs with longer chart longevity often crossover from one format to another; too slowly for the song to reach Number One, but quickly enough that the song charts longer while peaking at a lower position.

Also, if sales, streaming and airplay get mismatched because radio is slow to notice a really big selling song, the song will stop short of Number One, but have a lengthy chart life. Oftentimes sales will get way ahead of the airplay, so by the time Radio is spinning the song at a higher rotation fewer people are downloading the songs.

Songs such as Blurred Lines and Happy peaked at Radio, Sales, and Streaming at almost the same time, and there was no crossover delay. Therefore, these songs sold a high number of downloads, amassed an enormous number of impressions, and dominated at streaming the same time. However, Blurred Lines had, and Happy appears to be having, a major burnout rate at most of the formats. Many people are tired of hearing these songs, but since AC picks up songs more slowly and keeps playing them for a longer amount of time, so the songs fluctuate between 35 and 50 for ten weeks or more. Without AC support helping the songs hang on longer after stations at the other formats had/have dropped the track to a much lower rotation, the songs would have fallen off more quickly. Since streaming and downloads had dropped dramatically for Blurred Lines, the songs chart life would have been 36 to 40 weeks because every other radio format had worn the song out. I admit, 32 to 35 was too low of an estimate.

Here are several examples of songs that because either the sales and airplay did not synchronize properly, or because the crossovers took too long, and missed out on charting higher, but stayed on the Hot 100 for a longer period of time/

Radioactive by Imagine Dragons -- This song would have still spent 70 weeks even if airplay, sales, and streaming had synchronized properly. Radioactive reached number two on both the Digital Songs and Radio Songs Chart, and the Top Three in Streaming, but not at the same time, and the sales numbers began to drop before the non-Rock stations fully embraced the song. By the time the song reached the Top Five, the song was already past 40 weeks on the Hot 100, and had sold at least three million downloads. One way Imagine Dragons could have sacrificed some longevity for a Number One position would have been to release the mash-up with Kendrick Lamar 30 to 35 weeks earlier. This would have boosted airplay at Rhythmic and Urban, and increased downloads with two totally different versions of the song available for download. However, the band waited until more than 70 weeks after the songs initial debut to release the other version of the song. The remix added 10 to 12 weeks to the song's chart life, and 700,000 or so extra downloads, but putting out the remix sooner would have likely put the song at Number One.

I'm Yours by Jason Mraz peaked at number six, but reached the Top Three in both sales and airplay. And its crossover process was so slow and extended over so many formats that it spent 76 weeks on the Hot 100. I'm Yours started at AAA, then Alternative, then AC, then Hot AC, then Top 40, and at the very end rhythmic. The slow crossover from format to format kept the song from reaching any higher than six, but kept the song on the chart for almost 1 1/2 years.

Apologize by Timberland/One Republic -- another example of a song that peaked at different formats at different times, and sales had begun to drop by the time Airplay had picked up. Billboard even noted this song would have been a Number One hit had the sales and airplay peaked closer together. The result was a number two peak, 25 weeks in the Top Ten, and almost a year on the Hot 100.

Need You Now by Lady Antebellum -- this song would have reached Number One had Rihanna's "Rude Boy" not have made a larger than expected gain, and moved from 4 to 1 while Lady Antebellum got stuck at number two in early 2010. Here also, the song had already sold nearly three million downloads by the time Top 40 caught onto this Country crossover sleeper. So the song finally reached number two in its 34th week (I think) on the Hot 100. The song went on to top the Radio Songs Chart, and was the Number One Radio song of 2010. If the airplay and sales has synchronized better, when the song was selling 200,000 a week, the song would have reached Number One with a shorter chart life. Instead, it peaked at number two, but spent 60 weeks on the Hot 100. Only so many people can buy a song, and in this songs case, since the regular Pop and Country versions sounded so similar, and the Dance Remix was not widely played or promoted, there was no reason to download what was virtually the same song twice.

Second Chance by Shinedown -- this song was the last song of Active Rock origin to do well at Top 40 Radio (Imagine Dragons crossed over to Active Rock several weeks after Alternative put the song in heavy rotation, so this doesn't count. True, this song "only" hit number seven, but had the song progressed from Rock to Pop and AC more quickly, it would have likely reached the Top Three. Second Chance topped Active Rock, Alternative, Heritage Rock, and Hot AC; and reached the Top Three at Top 40 and around 15 on AC. The songs slow crossover prevented it from reaching a higher position, but allowed the song to remain on the chart over 40 weeks.

Finally, from back in 1999-2000, there is Breathe by Faith Hill, which spent five weeks at number two, but 18 weeks in the Top Five and 53 weeks on the Hot 100, and wound up being the Number One song of 2000. With Breathe peaking at Country (six weeks at Number One) between Thanksgiving and New Years, Top 40 waited until after New Years to pick up the song. By this time, Country was moving onto the follow-up song. One note here -- Breathe did in fact have a dance remix. Had the label released a maxi-single with dance remixes of Breathe, I think the song would have reached Number One weekly, because the point totals were so close several of those weeks Hill was stuck at number two. However, the dance remix was a radio-only version of the song, so the extra sales boost that could have finally gotten the song to Number One never came to be..

maybe put a collapse tag on this, please? it's kinda long. thanks

[Pop pop123]

Originally posted by brianc33616

Okay making sure I write AFTER the quote this time lol! This is a long answer though.

It is not unusual for songs that peak at lower positions to have longer chart lives than those hits that reach Number One songs, and this makes sense when you think about it. The songs with longer chart longevity often crossover from one format to another; too slowly for the song to reach Number One, but quickly enough that the song charts longer while peaking at a lower position.

Also, if sales, streaming and airplay get mismatched because radio is slow to notice a really big selling song, the song will stop short of Number One, but have a lengthy chart life. Oftentimes sales will get way ahead of the airplay, so by the time Radio is spinning the song at a higher rotation fewer people are downloading the songs.

Songs such as Blurred Lines and Happy peaked at Radio, Sales, and Streaming at almost the same time, and there was no crossover delay. Therefore, these songs sold a high number of downloads, amassed an enormous number of impressions, and dominated at streaming the same time. However, Blurred Lines had, and Happy appears to be having, a major burnout rate at most of the formats. Many people are tired of hearing these songs, but since AC picks up songs more slowly and keeps playing them for a longer amount of time, so the songs fluctuate between 35 and 50 for ten weeks or more. Without AC support helping the songs hang on longer after stations at the other formats had/have dropped the track to a much lower rotation, the songs would have fallen off more quickly. Since streaming and downloads had dropped dramatically for Blurred Lines, the songs chart life would have been 36 to 40 weeks because every other radio format had worn the song out. I admit, 32 to 35 was too low of an estimate.

Here are several examples of songs that because either the sales and airplay did not synchronize properly, or because the crossovers took too long, and missed out on charting higher, but stayed on the Hot 100 for a longer period of time/

Radioactive by Imagine Dragons -- This song would have still spent 70 weeks even if airplay, sales, and streaming had synchronized properly. Radioactive reached number two on both the Digital Songs and Radio Songs Chart, and the Top Three in Streaming, but not at the same time, and the sales numbers began to drop before the non-Rock stations fully embraced the song. By the time the song reached the Top Five, the song was already past 40 weeks on the Hot 100, and had sold at least three million downloads. One way Imagine Dragons could have sacrificed some longevity for a Number One position would have been to release the mash-up with Kendrick Lamar 30 to 35 weeks earlier. This would have boosted airplay at Rhythmic and Urban, and increased downloads with two totally different versions of the song available for download. However, the band waited until more than 70 weeks after the songs initial debut to release the other version of the song. The remix added 10 to 12 weeks to the song's chart life, and 700,000 or so extra downloads, but putting out the remix sooner would have likely put the song at Number One.

I'm Yours by Jason Mraz peaked at number six, but reached the Top Three in both sales and airplay. And its crossover process was so slow and extended over so many formats that it spent 76 weeks on the Hot 100. I'm Yours started at AAA, then Alternative, then AC, then Hot AC, then Top 40, and at the very end rhythmic. The slow crossover from format to format kept the song from reaching any higher than six, but kept the song on the chart for almost 1 1/2 years.

Apologize by Timberland/One Republic -- another example of a song that peaked at different formats at different times, and sales had begun to drop by the time Airplay had picked up. Billboard even noted this song would have been a Number One hit had the sales and airplay peaked closer together. The result was a number two peak, 25 weeks in the Top Ten, and almost a year on the Hot 100.

Need You Now by Lady Antebellum -- this song would have reached Number One had Rihanna's "Rude Boy" not have made a larger than expected gain, and moved from 4 to 1 while Lady Antebellum got stuck at number two in early 2010. Here also, the song had already sold nearly three million downloads by the time Top 40 caught onto this Country crossover sleeper. So the song finally reached number two in its 34th week (I think) on the Hot 100. The song went on to top the Radio Songs Chart, and was the Number One Radio song of 2010. If the airplay and sales has synchronized better, when the song was selling 200,000 a week, the song would have reached Number One with a shorter chart life. Instead, it peaked at number two, but spent 60 weeks on the Hot 100. Only so many people can buy a song, and in this songs case, since the regular Pop and Country versions sounded so similar, and the Dance Remix was not widely played or promoted, there was no reason to download what was virtually the same song twice.

Second Chance by Shinedown -- this song was the last song of Active Rock origin to do well at Top 40 Radio (Imagine Dragons crossed over to Active Rock several weeks after Alternative put the song in heavy rotation, so this doesn't count. True, this song "only" hit number seven, but had the song progressed from Rock to Pop and AC more quickly, it would have likely reached the Top Three. Second Chance topped Active Rock, Alternative, Heritage Rock, and Hot AC; and reached the Top Three at Top 40 and around 15 on AC. The songs slow crossover prevented it from reaching a higher position, but allowed the song to remain on the chart over 40 weeks.

Finally, from back in 1999-2000, there is Breathe by Faith Hill, which spent five weeks at number two, but 18 weeks in the Top Five and 53 weeks on the Hot 100, and wound up being the Number One song of 2000. With Breathe peaking at Country (six weeks at Number One) between Thanksgiving and New Years, Top 40 waited until after New Years to pick up the song. By this time, Country was moving onto the follow-up song. One note here -- Breathe did in fact have a dance remix. Had the label released a maxi-single with dance remixes of Breathe, I think the song would have reached Number One weekly, because the point totals were so close several of those weeks Hill was stuck at number two. However, the dance remix was a radio-only version of the song, so the extra sales boost that could have finally gotten the song to Number One never came to be..

Realty Cool and Interesting Britney .gif