John’s Blog - Coast To Coast

Most of you are probably very familiar with the show American Idol. In it’s seven years, the singing talent show has uncovered many great stars in a variety of music formats including Carrie Underwood, Daughtry, Jordin Sparks and Kellie Pickler. Idol will always be associated closely with it’s season one winner, Kelly Clarkson. On September 4, 2002, Clarkson was crowned the champion and did a tearful rendition of her soon-to-be released single “A Moment Like This.” The song was released to radio almost immediately, debuting at #41 on the R&R pop chart just nine days after Clarkson’s crowning moment. Four days later, on September 17th, 2002, the single for was made available for purchase.

Due more than anything to the show’s amazing popularity, “A Moment Like This” sold a staggering 236,000 copies in it’s first week. I still remember purchasing this song myself at my local Best Buy and noticed that it was the ONLY song out that was available at the time as a single. Needless to say, since there really wasn’t anything out at the time readily available as a single, it had a HUGE advantage saleswise over anything else charting on the Billboard Hot 100. Due to the strength of it’s Pop (Top 40) and Adult Contemporary airplay, the song had already climbed to #52 on the Hot 100. Needless to say, with it’s huge sales advantage, the song had no problem leaping 51 spots to number one on the Hot 100 after the first week sales were tabulated! Was this fair or right? Hardly. Eventually, the song would climb to #4 on both the Pop and AC charts, while also peaking at #27 on the Hot AC chart. So yes, the song did turn out to be a pretty significant hit, but was it deserving of being called the “number one song in the U.S.” at any point during it’s chart life? No.

Sadly, Billboard did nothing to fix this inherent flaw on the Hot 100 chart methodology. As bad as the Kelly Clarkson example was, it was nothing compared to what followed. Since Clarkson won, a string of songs which hardly anyone outside of fans of the American Idol show would become “number one hits” on the Hot 100. On May 21, 2003, Ruben Studdard narrowly won the second American Idol title over Clay Aiken. Three weeks later, both Studdard and Aiken released singles. On June 28th, 2003, Aiken’s “This Is The Night” debuted at #1 on the Hot 100 chart, while Studdard’s “Flying Without Wings” was right behind at #2. As per the Clarkson example, nothing else was readily available as a single at the time. Aiken’s song would go on to become a VERY minor pop radio hit, peaking at #48 on July 18, 2003, while Studdard’s song never even charted on the pop chart! American Idol as a show was definitely popular, but were these two songs the two “most popular songs in the nation” at the time? Heck no!

And so it went… Fantasia won season three of the show, released a song called “I Believe” which flopped on U.S. radio, but managed to sell enough to reach #1 on the Hot 100 chart. Carrie Underwood won season four of the show and released a song called “Inside Your Heaven” as the first single. Season four runner-up Bo Bice also released a version of the same song as a single. And once again, both Idols would be at #1 and #2 on the Hot 100. While Carrie’s song would eventually peak at #10 on the R&R AC chart, and also barely crack the Top 50 at Country and Top 40 radio, Bice’s song never charted on a radio chart. Once again, we had songs ruling the Hot 100 which were hardly relevant outside of American Idol’s audience.

In season five, Taylor Hicks won Idol in what most to this day still consider a HUGE upset. Anyone who watched the show that year knows that the guy with all of the talent that year was one Chris Daughtry. Daughtry only took fourth place that season, but he would end up having the last laugh as I’m sure you know. Taylor’s coronation song, “Do I Make You Proud” flopped at pop radio as did most of the previous winner’s songs. The song did manage to eventually peak at #20 on the Adult Contemporary chart - not much of a feat, considering it usually takes less than 200 spins in a week nationwide to get to that position. Sales in excess of 228,000 copies though ensured yet another illegitimate #1 Hot 100 debut. Not even two months after release, the song was off the Hot 100 chart as sales for it dramatically fell after the first two weeks.

Jordin Sparks won season six of Idol. Unlike the previous winners, her coronation song, “This Is My Now,” was not released as a physical single. The main reason for this is that Billboard had FINALLY come to the realization that physical singles were no longer relevant. Even if a song sold 150,000 physical copies, it wasn’t going to have a significant impact on the Hot 100 chart now. Like Hicks’ song, Jordin’s song was available for digital download though. The song did not receive signficant airplay and also didn’t sell all that well as many people were probably looking to buy a physical copy. As a result the song “only” reached #15 on the Hot 100 chart. Jordin’s first “official” release from her debut album, called “Tattoo” was released to radio on August 27, 2007. Despite her label, Jive, repressing downloads of the song for four weeks, the song would only manage to get to #8 on the Hot 100. “Tattoo” would turn out to be the second most successful pop radio Idol winner debut hit to date though, reaching #5 on the Mediabase pop chart. It would also crack the top 10 at AC and hit #12 at Hot AC.

With Billboard’s realization that digital was now the preferred method of single purchase, you would have thought that some sense of accuracy would be applied to the chart… However, as seen with the Mariah Carey and Rihanna examples in Part III, this was hardly at all the case. With season seven Idol winner, David Cook, the Hot 100 chart would arguably reach it’s all-time low. Prior to Cook’s winning of Idol, Billboard decided to attempt to “tweak” the chart again in 2006. Digital sales became a HUGE component of the chart. So much so, that it was now common for songs that no one had heard of to chart. Miley Cyrus had SIX songs debut on the Hot 100 with the release of her Hannah Montana album. Cook would have 11 songs debut on the Hot 100, including four in the top 30, when his album came out earlier this year! Cook’s first single, “The Time Of My Life” debuted at #3 on the Hot 100 on the strength of 236,000 sales in it’s first week. The song has gone on to become a decent-sized hit, reaching #30 at Top 40, #6 at Hot AC and #3 at AC. Since radio airplay is now a bigger component of the Hot 100 chart, the song did not make it to #1 despite it having the second largest week one sales for an Idol winner’s coronation song. Lil’ Wayne’s “Lollipop” and “Bleeding Love” by Leona Lewis - two singles which have sold more than 5,500,000 units to date combined - prevented it for hitting the top spot.

I bring up the sales figures for “Lollipop” and “Bleeding Love” for may reasons, but first and foremost is that huge sales over a long duration (rather than a few weeks)are usually a sure sign of a hit record. Additionally, sales usually run ahead of airplay on the charts today. In other words, a song usually will peak in sales before it has peaked in radio airplay. If the people at Billboard realized this, it would go a long way towards fixing the Hot 100.

In part five, I’ll explain the above statement along with asking the agelong question - why can’t Billboard find a way to incorporate album sales into the Hot 100, especially in cases like Kid Rock??? In case you don’t know, Kid Rock currently has the #5 pop song in the nation with “All Summer Long.” It’s also #4 at Hot AC and even #13 at Country! It’s a bona-fide multi-format smash! Even in Billboard’s much-maligned airplay component, the song is in the top five at the moment with nearly 90 million in estimated listening audience. Kid Rock’s current album Rock N Roll Jesus is selling in excess of 90,000 copies a week. Yet, Kid Rock’s HUGE current hit sits mired at #28 on the Hot 100 chart!!! Why is it sitting so low, despite the fact that over 1,500,000 copies of the song have been sold to date? That’s to come, along with me finally recommending some solutions to fixing the chart.

Next: Part V - The Fix

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As I mentioned in Part II, Billboard revised their Hot 100 chart formula in the mid-1990’s to include all major types of popular music in the airplay end of it, rather than just pop (top 40) radio airplay as it always had been. The very erroneous assumption that all formats of music move sales units equally was made in doing this, an error which to this day Billboard has failed to recognize. This assumption couldn’t be further from the truth! Formats such as Rock, Country, Alternative, Urban and Urban AC were figured into the Hot 100 formula instead of just pop stations. And while there may be many of these kinds of stations around, the fact of the matter is that these formats (no matter how much they play their format’s hits) DO NOT SELL singles!

Since it’s heyday in the early 1980’s, the pop radio format has fragmented somewhat. And while Mainstream Pop (top 40) is still the dominant format, the Rhythmic format was birthed out of it in the 1980’s, and in 1994, we saw the debut of the Adult Top 40 charts (also known as Hot AC). When you study the sales charts of the top selling singles of today, the popular songs from these three formats tend to dominate them. For all it’s popularity, the Country format as a whole does not move singles units. However, Country crossover artists such as Carrie Underwood and Taylor Swift (who both hit the top 10 of the pop chart last year) tend to sell very well.

As a result of the revised Hot 100 policy, the chart began to slant toward the Rhythmic end of things in the mid-1990’s and has continued to do so to this day. Straight ahead pop hits, or pop songs with a rock edge rarely had a chance to hit the top of the chart anymore because formats such as Rhythmic, Urban and Urban AC effectively were not “mass appeal” enough to play a mainstream pop record, no matter how big of a hit it was nationally.

So, as we entered the 2000’s, the Billboard Hot 100 continued to be very inaccurate on both the airplay and sales fronts. When digital downloads began to be incorporated into the Hot 100 formula in 2005, there finally was some hope on that end of things. For the first time in about 15 years, you could purchase practically any song you heard on the radio for a reasonable price. Whether it be via iTunes, Walmart, Rhapsody or some other source, the digital download now ruled the singles marketplace.

Unfortunately, Mariah and the evil minds at her new label, Island, figured out a new way to manipulate the sales component of the Hot 100 chart. It was basically the same thing Sony did with the physical singles back in the mid-late 1990’s and early 2000’s - they repressed sales of a new release until it had racked up enough of an estimated listening audience (airplay) to ensure a #1 hit on the Hot 100 chart. And while in early 2005, Mariah had her huge comeback hit, “We Belong Together” - a song which no one can dispute was a legitimate MASSIVE #1 hit on the Hot 100 and otherwise, a lot of funny stuff happened in the two years after that.

On October 11, 2005, Mariah and her label officially released a song called “Don’t Forget About Us” to pop radio. Although a huge hit at several formats, including Pop, Rhythmic, Urban and Urban AC, it “only” managed to reach #2 on the Hot 100 in it’s first 9 weeks of official airplay. It would have reached #1 and probably would have had a very long run at the top of that chart if they had released a single for purchase. Island decided to repress the song, and didn’t make it available for download until December 13, 2005. Not surprisingly, the song sold A TON of units in the weeks that followed, and ended up spending two weeks at #1 on the Hot 100 chart.

Fast forward to 2008. In the two years that passed, other artists such as Rihanna repress singles to purchase a #1 hit on the Hot 100 chart… Mariah in the meantime has completed a new album entitled E=MC². The lead single, entitled “Touch My Body,” is released to radio on February 12th. Since Mariah was coming off a huge 6x Platinum album in The Emancipation of Mimi , it figured that no matter how good or bad the song was, that it would have no problem getting airplay or adds at the formats where her previous hits had been successful. The reception to the song though was VERY lukewarm at pop radio after the initial hype died down. After reaching the top 10 in only five weeks, it was out of the top 10 just six weeks later, peaking at #7. Low callout scores (as with “Honey”) doomed this song’s chances from the start. Quite frankly, the song just wasn’t anywhere close in quality to Mariah’s early albums or her comeback hits from the last album. While a #7 song is nothing to sneeze at, most expected Mariah’s first single to do better.

Which brings us back to the Hot 100 chart. While Rhythmic, Urban and Urban AC stations played “Touch My Body,” it wasn’t as huge as any of the three hits off the previous album either. Yes, it reached the top 10 at all of these formats, but not number 1. As a result, it was stalling in the mid-teens on the Hot 100 chart. Island figured they could get Mariah another easy #1 if they repressed downloads. What the label didn’t expect was the lukewarm reception to the song on all levels. On March 24, 2008, the label finally released the song as a single to all of the digital outlets. Of course, when you build up demand for a song for six weeks, you would expect that when the song was finally released in it’s seventh week on the radio that people would buy it. Think of it as compressing seven weeks of sales into just one. It’s not exactly rocket science here… Sure enough, the 48 days of sales compressed into a week were enough to sell 286,000+ units. “Touch My Body” moved from #15 to #1 on the Billboard Hot 100, knocking off a legitimate number one song in “Bleeding Love” by Leona Lewis. Mariah would spend a second week at #1, before being replaced on top by Leona.

Just five weeks after the Mariah shenanigans, Rihanna’s label bought her another Hot 100 #1 by repressing downloads of her hit, “Take A Bow.” The song entered the top 40 chart on March 23, 2008, but wasn’t available for download until six weeks later, on May 6, 2008. Unlike Mariah’s song though, this song turned out to be a legitimate hit, reaching #1 on the Pop chart the first two weeks of July, 2008.

NEXT: PART IV - American Idol uncovers a new Hot 100 flaw, and Kid Rock exposes the BIG flaw which the Hot 100 had even before the problems of the past two decades…

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After 10 week runs at number one on both the Pop and Hot AC charts, there really was only one music chart left for Leona Lewis to conquer here in the U.S… and after waiting seemingly forever, she finally has reached the top of the Adult Contemporary chart.  With this morning’s update, “Bleeding Love” reached the #1 position, knocking off another song to reach #1 on all three charts, “Love Song” by Sara Bareilles.

Top 5 by spins:
Date: lw TW Artist Title TW lw Move aud
2 1 LEONA LEWIS Bleeding Love 2149 2071 78 17.543
1 2 SARA BAREILLES Love Song 2086 2240 -154 16.629
4 3 DAVID COOK Time Of My Life 1926 1829 97 14.613
3 4 JOHN MAYER Say 1810 1873 -63 14.110
6 5 TIMBALAND/ONEREPUBLIC Apologize 1497 1335 162 9.699

Leona is now ascending the pop chart here in the U.S. with her second single, “Better In Time” which has already reached the #20 position and is also the biggest airplay gainer on the entire chart the past week.  While it would be crazy to think that “Better In Time” would be able to be as massive a hit as “Bleeding Love” was, it’s not out of the question for the song to duplicate her first hit’s success and hit #1 on the pop chart.  Congratulations to Leona on another #1 and her continued incredible success here in the U.S.!!!

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By the early 1990’s, physical sales singles were no longer a very accurate way to measure a song’s success. Billboard in their infinite wisdom, decided to mess with the one part of the chart which didn’t need fixing - the pop airplay component. Pop radio stations (also known as Top 40) were known as such because they played the songs that were popular regardless of format. Whether it be pop, rhythm and blues, country, easy-listening, etc. a song had a home at top 40 radio if it was truly a hit. That’s always been the beauty of top 40 radio - it’s the “melting pot” of POPular music so to speak. Instead of just tracking pop station airplay, Billboard would eventually combine the airplay of EVERY other popular format into one chart: The Hot 100 airplay chart. This created a whole new monster, one which I will explore in Sunday’s column.

In the meantime, while the “airplay only” hits were finally allowed to chart on the Billboard Hot 100 chart, they still faced a serious disadvantage to any song actually available as a single. The very first song that was #1 in pop airplay after Billboard revised it’s chart policy in late 1998 was “Lullaby” by Shawn Mullins. Despite spending five weeks on top of the Radio & Records pop airplay chart, it only made it to #7 on the Billboard Hot 100 chart. And this handicap was the norm for #1 pop hits without an avaiable single - they rarely ever cracked the top 5 of the Hot 100. Billboard would later revise it’s formula from 60% airplay/40% sales to 80% airplay/20% sales, but the reality was even this wasn’t good enough as for all intents and purposes, the single was dead.

There were so few singles available by this time, that even a song that didn’t get much pop airplay could chart VERY high on Billboard’s Hot 100 chart if it sold a lot of units, so the record companies decided to start the practice of deeply discounting CD singles to the point that they were actually losing lots of money on them. Typically, a deeply discounted single sold for only .49 cents.

The first artist to habitually exploit this loophole in Billboard’s Hot 100, perhaps ironically, was Mariah Carey. As this GREAT article entitled “Hot 100 Blues” by Jon Cummings points out:

“Labels began playing more overt games with the Hot 100 as well during those years. More and more frequently, beginning with Michael Jackson’s “You Are Not Alone” in September 1995, they delayed releasing a single until airplay was cresting – and then often put the singles into stores at a huge discount – so that a song’s combined airplay and sales figures would result in a Number One debut. Sony employed this strategy with Mariah Carey three times between ’95 and ’97.”

Up until the early 1990’s, the Hot 100 had always been a chart that a song would naturally rise up and down based on it’s popularity. As per the above, Michael Jackson’s song was the first song to debut at #1 on the Hot 100. “Fantasy” would do the same for Mariah four weeks later, on September 30, 1995. Sony then began to even more blatently manipulate the chart starting with Mariah’s duet with Boyz II Men, “One Sweet Day.” And while “One Sweet Day” indeed was a huge radio hit, spending eight weeks at the top of R&R’s pop chart, the record label manipulation (i.e: deeply discounting the song), to go along with the fact that so few songs were now available as singles allowed it to spend a ridiculous 16 weeks at #1 on the Hot 100!!!

In the modern era (1965-present), The Beatles were the first act to spend as many as nine weeks at number #1 on the Hot 100 with their hit “Hey Jude” in 1968. Debby Boone broke that record in 1977, scoring 10 weeks at #1 on the Hot 100 with “You Light Up My Life.” Olivia Newton-John tied that record four years later with “Physical.” With the single getting phased out in the early 1990’s, it became easier and easier for songs to have long runs at the top of the Hot 100. In fact, from 1992 to 1994, FOUR songs spent 11 weeks or more at #1! Those four songs would be “I Swear” by All-4-One (11 weeks), “I Will Always Love You” by Whitney Houston (14 weeks), and the Boyz II Men hits “End of The Road” (13 weeks) and “I’ll Make Love To You” (14 weeks). Clearly, even prior to Mariah’s first two chart manipulations in 1995, something was VERY wrong with the Hot 100 chart.

In 1997, Sony employed their shady chart tactics a third time as the song “Honey” was released from Mariah’s Butterfly album. Unlike all of her previous releases, “Honey” was not accepted well either by pop radio or Mariah’s huge fanbase. Indeed, at the time I was such a fan of Mariah’s that I would buy her albums the day they came out. Well, Butterfly marked the first time that I was disappointed with a Mariah album. “Honey” was a very highly anticipated single, and within two weeks of relase, it had already reached #18 on the R&R pop chart. It struggled mightily after that though, peaking at #10 just four weeks later. Callout scores (numbers which measure a song’s popularity amongst radio listeners) were also very low for the first time with a Mariah release. Seeing all of this, Sony rush released “Honey” to the record stores just in time to get it three weeks at the top of the Hot 100 chart, again discounting the song to .49 cents just to ensure that it got there.

Over the next three years, Mariah’s label would continue this practice of chart manipulation. “My All” reached only #15 on the R&R pop airplay chart in 1998, “Heartbreaker” reached #21 in 1999, and “Thank God I Found You” peaked at #28 in 2000. Thanks to Sony stalling the release of the deeply discounted singles until the songs were peaking at radio and thanks also to perhaps only 5% of songs at that time even being available as singles, all three of these songs managed a #1 peak on Billboard’s Hot 100. Have any of you out there even heard of these three songs? I didn’t think so. None of these songs was a radio hit, nor the “most popular song in the nation” as the Hot 100 would lead you to believe.

While people could shell out .49 cents for the few singles that were available during the late 1990’s/early 2000’s, the fact of the matter was that for most popular songs, you usually had to purchase a full length CD to get the one song you wanted. So out of public frustation more than anything, the file sharing site called Napster came to prominence as more and more consumers became fed up with having to shell out $10-$11 for a full length CD for their favorite song. By 2001, many other sites, including Kazaa had sprouted up and tried to get a piece of the “illegal file sharing” marketplace. Several years after the illegal sites came into prominence, the record industry finally figured out a way to tap into this source of potential revenue. The single was re-birthed (for the most part) via iTunes, Walmart and many other online sites where you could legally download popular single songs to your computer for .99 cents or so. Unfortunately, Billboard didn’t start using digital downloads in the Hot 100 formula until 2005. With this change, it finally looked like there was hope for the Hot 100 chart…

SUNDAY: Part III … Just when things were looking better, Sony finds yet another way to manipulate the Hot 100.

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As many of you know, when I cite the positions of popular songs, I rarely even mention the word “Billboard” here in this blog. Usually, I will use the radio airplay charts from Mediabase (old Radio & Records), and occasionally, I will cite sales figures from iTunes or Soundscan. For those of you that don’t know the reason why I don’t care for Billboard, it’s because I don’t recognize their main chart, the Hot 100, as being realistic or even close to resembling what is truly popular.

Once upon a time - think back about 20 years - you could buy pretty much any song you wanted to that you heard on the radio in the form of a physical single. Singles were pretty cheap back then, ranging from .99 cents to $1.99 depending on where you went to buy them. If you liked a song, it was much better for the consumer to spend a couple of bucks on a single instead of $9-10 or more on a full-length album. And for the real music fan like me who actually collected singles, it was a GREAT hobby. If I really liked an artist or multiple singles from the album, then I was more likely to buy the album in addition to the single.

At that time, Billboard’s Hot 100 chart was comprised of Pop radio station airplay and physical sales, unlike today where they combine the airplay from stations of all formats (more on this inherent problem later). For a very long time, the method of combining pop airplay and sales produced very reliable and informative charts which represented what was truly popular. Sometimes you’d have songs not be such huge airplay hits such as Golden Earring’s “Twilight Zone” (which never even cracked the top 30 in pop airplay) be such huge sellers, that they would end up in the top 10 of the Hot 100 chart. Conversely, there were songs such as Billy Joel’s “Allentown” which were huge in pop airplay (#3), yet only sold well enough to get to #17 on the Hot 100. And of course, you had other songs that did well in both areas such as “Every Breath You Take” by the Police, which was #1 in airplay for eight weeks and also #1 on the Hot 100 for the same eight weeks as a result of it’s dominance on the sales front.

In the late 1980’s though, the first signs of true corporate greed within the music industry began to take hold. Record companies were looking at ways to generate more revenue. Short-sightedly, they inferred that sales of singles cut dramatically into album sales. As a result, the physical single started to become harder to come by in 1989 as record labels began to limit their releases. By 1991, this trend got to the point that even releases by very popular artists such as Mariah Carey were affected. Mariah’s hit “Emotions” reached #1 on the pop airplay chart for four weeks late in 1991, and #1 on the Hot 100 for three weeks. However, due to the fact that the label didn’t release a ton of copies of the single, it only reached #10 in sales. Songs that weren’t even reaching the top 40 in either sales or airplay were becoming top 40 hits on the Billboard Hot 100 chart. For example, Nelson’s “Only Time Will Tell” reached #28 on the Hot 100, yet only reached #42 on the airplay chart and #51 in sales. Cher’s “Love and Understanding” reached #17 on the Hot 100 on the “strength” of reaching #38 on the pop airplay chart and #45 in sales. Clearly, the once reliable Hot 100 chart had some major problems… and it only got worse! 17 years later it’s STILL trying to recover!

The main reason the Hot 100 lost it’s accuracy in the early 1990’s is that Billboard was slow (and I mean VERY slow) to react to the fact that the record companies were phasing out the single. “Airplay only” hits became more and more prevalent as a result. In 1994, the Counting Crows had a HUGE #1 pop radio hit called “Mr. Jones.” Their follow-up single, “Round Here” also cracked the top 10, peaking at #9 on the Radio & Records airplay chart. Not surpringly, their debut album August and Everything After was a huge success here in the U.S., eventually going 7x platinum. If you were watching the Billboard Hot 100 chart during their 1994 run though, you would have completely missed out on the Counting Crows. Since neither song had a physical single released, neither was eligible to chart on the Hot 100.

Remember the T.V. show Friends? Of course, you do!!! And yes, it’s true that I’ve been known to recognize Courtney Cox-Arquette just from seeing her amazing blue eyes on a magazine cover! Anyways, a band called the Rembrandts had a song called “I’ll Be There For You” which turned out to be used as the theme for the show. The song spent eight weeks at #1 on the R&R pop chart in mid-1995, but once again didn’t chart on the Hot 100 while it was huge on the radio. Over 3 1/2 months after it peaked at radio, the song was finally released as a single. By that time, most of us had shelled out $10 for the Rembrandts’ LP album and didn’t need a copy of the single. As a result, it only reached #35 in sales, and a #17 Hot 100 peak.

In 1996, a band from Southern California called No Doubt was gaining national prominence… Their debut song, “Just A Girl” hit #22 on the R&R pop airplay chart. The follow-up, “Spiderwebs,” hit #11 on the chart. Late that year, the song which probably more than any other single song caused Billboard to FINALLY start to rethink their Hot 100 chart policy, “Don’t Speak,” spent nine weeks at #1 on the R&R pop airplay chart. As with the Counting Crows, none of the No Doubt songs was available as a single and of course none of them charted on the Hot 100. By the end of 1997, their Tragic Kindgom album was 11x Platinum here in the U.S…

To further add insult to Billboard’s injury, the Cardigans came from across the Atlantic to have their hit “Lovefool” spend six weeks at #1 on the R&R Pop airplay chart in early 1997… once again, no single available, so no Hot 100 chart appearance. The next year, Natalie Imbruglia’s “Torn” would spend 11 weeks at #1 on the Pop airplay chart. Later that year, “Iris” by the Goo Goo Dolls would spend four weeks at #1 and an amazing 28 weeks in the top 10 of the R&R pop airplay chart. On December 5, 1998, Billboard FINALLY made the change to their Hot 100 chart which had been many years overdue - they allowed airplay only hits to chart… but did that fix the problem? No. In fact, the colective record company greed of the 90’s decade finally caught up with them, creating it’s own “piranha” so to speak the very next year in the form of a little thing called NAPSTER.

TOMORROW: Part II…

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Six months ago, if you said the name Leona Lewis here in the U.S., it’s very likley you would have had no idea who she was. Fast forward to present day, where Leona has a number one and platinum debut album in Spirit, along with a single in “Bleeding Love” which has sold over 2.6 million downloads in America this year. FYI, it’s the most downloaded song of the 2008 calendar year so far.

While Leona’s sales achievements are impressive, the accomplishments of “Bleeding Love” continue to mount. It recently set all-time records for spins and estimated listening audience on the Mediabase CHR/Pop chart during it’s 10 week run at the top earlier this year. This week, Leona moves into some truly elite compnay as “Bleeding Love” spends it’s 10th week on top of the Mediabase Hot Adult Contemporary chart. In doing so, it becomes the second song EVER to spend double-digit weeks on top of both charts! In 1998, Natalie Imbruglia’s #1 hit “Torn” spent 11 weeks on top of the CHR/Pop chart, to go along with 13 weeks on top of the Hot AC chart. Yes, this is a VERY rare accomplishment… In fact, no other song has ever spent nine or more weeks on top of both charts (though several have spent eight or more on top of both).

Congratulations to Leona on yet another incredible accomplishment! By the way, her follow-up single “Better In Time” is doing just fine, already at #33 less than two weeks since it went for adds with over 3/4 of the reporting panel playing it. Today alone, “Better” gained 162 more spins. Yes, Leona’s got another HUGE hit on her hands here!

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OK, we’re almost a quarter of the way into the 2008 baseball season and a few players have become a bit beyond annoying to some of us. Actually, there’s probably one who has caused more ire than anyone else for fantasy leaguers: Andruw Jones of the Dodgers.

What can I say? 19 hits in 112 at bats for a .170 batting average???!!! He has all of ONE home run and FIVE runs batted in on the year so far. Lance Berkman of the Astros recently had almost as many hits in a week ( 18 ) as Jones has for the entire season! Yes, this is the same Andruw Jones who hit 92 home runs and drove in 257 over the 2005 and 2006 seasons for the Braves. Nagging injuries and a pre-season diet where he took off 20 pounds were thought to be the main reasons why he slumped to a .222 batting average, 26 home runs and 94 RBI’s last year. He put the weight back on (plus about 5-10 more pounds) and he has simply fallen into an abyss this year. He looks completely lost at the plate, and is striking out more than once for every three at bats. If Joe Torre is as smart of a manager as he’s supposed to be, he should bench Andruw until further notice and go with an outfield of Juan Pierre, Matt Kemp and Andre Ethier for the foreseeable future.

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I remember the day almost as if it was yesterday. It was the morning of July 22, 2007 as Sergio Garcia looked poised to get the monkey of his back and win the first major of his career. A four stroke lead early in the final round of the British Open, only to see it evaporate courtesy of a balky putter. A heartbreaking lip-out of a 10 foot putt to win the tournament on the 72nd hole extended the major to a four hole playoff where Sergio lost to Padrig Harrington by two strokes. With the loss, Sergio’s reputation as the “best player in the world to not win a major” grew. Would he ever win “the big one?” How would he bounce back from such a tough loss?

Fast forward to Saturday afternoon in Ponde Vidra, Florida, the site of golf’s so-called “fifth major,” the Players Championship. The leader at the end of the third round was an unheralded journeyman named Paul Goydos at 7-under par, with nine time tour winner, 47 year-old Kenny Perry a stroke back. Sergio sat in third at 4-under par, with another journeyman (Jeff Quinney) and defending Players champion Phil Mickelson lurking five strokes back at 2-under par. Perhaps more important than the position of the leaders was the weather forecast: wind, and lots of it. When I saw that forecast, I made two quick mental notes: Sergio with his vast experience in playing in inclement/windy conditions would likely be a serious contender. Mickelson, with his deft short game and high ball flight would most likely not be a factor.

Sergio got off to a rocky start in round four, bogeying his first hole. Fortunately for him, those ahead were also stumbling. Goydos bogeyed 2 & 3, while Perry bogeyed two of his first four holes. Mickelson double-bogeyed his first hole and was never a factor, ballooning to a 7-over par 78 in the tough conditions. Sergio continued to hang close to the leaders, posting a 37 on the front nine to lie at 3-under, only two strokes back. Perry was at 4-under par through his first nine, but things began to unravel for him soon after that. Bogeys on 10 and 11 dropped him to 2-under par. Then, a disastrous triple bogey 7 after knocking a ball into the water on the par-4 15th hole ended his chances. Perry would finish the day with a 9-over-par 81, and tied for 15th.

As his playing partner Perry fell out of contention, Goydos almost gained command of the tournament. Birdies on 10 and 12 got him to 7-under par, right where he began the final round. Sergio had birdied 11 and 12 himself moments earlier to get to 5-under par. A bogey on 13 pushed him back to 4-under par, but he righted the ship with a long birdie putt at 14 to get to 5-under par. Under the radar, Quinney made some waves on the closing nine. Birdies at 11,13 and 16 got him to 5-under par as well. It had become a three horse race. Goydos though then had some struggles of his own, bogeying both 14 and 15 to fall to 5-under par. He did right the ship though, with a birdie on 16 to get back to 6-under par.

As the players approached the 18th hole, they all basically knew what they needed to do. Sergio and Quinney both found the rough with their tee shots. Sergio’s ball found some VERY deep rough and it took all of his strength to punch the ball out into the fairway to give himself at least an opportunity to get up and down for par. Quinney’s approach found the bunker at the back of the green. With a horrible lie, it was pretty much a guaranteed bogey for him. Sergio then pulled off two of the best shots he’s ever hit. His approach shot stoppped about seven feet behind the pin and he made a confident stroke with his putter and found the bottom of the cup. Quinney’s 4-under total put him in third place. Sergio was in the clubhouse with a 1-under par 71 and a 5-under par total.

Goydos simply needed to par the 18th hole to win, but his tee shot found the rough as well. He hacked out to about 50 yards from the green, and then chunked his approach shot to 15 feet under the hole. His par putt never had a chance, and with the bogey, he finished at 5-under par as well and fell into a sudden death playoff with Sergio.

For only the second time in tournament history, the Players Championship was going to a playoff. And there could not be a more appropriate place to begin a playoff than the famous island green of the 17th hole. It’s 128 yards of sheer terror. With the winds gusting, a little luck was a necessity if you wanted to escape with a score of par. Both Goydos and Sergio escaped it the first time on Sunday with pars, Sergio’s shot barely staying dry as he two-putted from the fringe 45 feet away.

In the playoff, Goydos won the draw and hit first. As the ball came off his club, it looked good, but as has happened so many times over the years, a gust of wind ballooned his shot and caused it to drift right and short. Goydos had found the water. All Sergio would need to do is find the land to secure the tournament. Much easier said than done as I’m sure you know. Well, Sergio hit what can arguably be called the shot of his life, landing his ball just to the right of the center of the green 20 feet away and then having it trickle with the aid of the wind to within 4 1/2 feet of the hole. Finally, the demons could be exercised. Two putts later, Sergio claimed his first “major” title and the $1,710,000 paycheck that went with it.

Even though he’s only 28 years old, Sergio Garcia has been through a lot in his career. Will he be the next to challenge Tiger Woods? Well, I’m not sure if he’s there yet. As he accepted the 2008 winner’s trophy from Mickelson he said “thank you Tiger for not playing this week.” Everyone in the gallery got a kick out of that comment… One thing though was very evident though throughout the day… The joy that the 19 year-old kid displayed in almost winning the 1999 PGA Championship (won by Woods over him by a single stroke) was back! On Sunday, he made the important putts - six of them being eight feet or longer. He pumped his fist confidently each and every time he made a putt. For those of us who have seen him go through so much, it was so nice to see him FINALLY triumph. Congratulations to Sergio on a great tournament and win!

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I just wanted to give a quick note of congratulations to country music star Carrie Underwood on her induction into the Grand Ole Opry! Fellow Oklahomian Garth Brooks presented Carrie with a 14-inch bronze and oak wood replica of the Opry’s vintage microphone stand as she became the latest member of this exclusive fraternity. The presentation and Carrie’s performance of three of her songs was shown live on GAC TV from 8-9 pm ET/5-6 pm PT on Saturday night.

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There was a reason the Utah Jazz made the playoffs this year - their 37-4 record on their home court also known as the Salt Palace. That mark was the best home record of any NBA team this year. One of those four defeats came at the hands of the Los Angeles Lakers. The Lake Show was hoping to add another loss to the Jazz home ledger, and for a few minutes tonight, that looked like it might happen. The Lakers jumped out to a quick 11-3 lead over the first 2:53 of the game. The Jazz stormed back though, going on a 15-3 run over the next six minutes to take a four point lead. The Lakers managed to forage ahead one last time at 23-21 on a Ronny Turiaf dunk with 1:24 to play in the opening period.

From there, the Jazz took control of the game. A 28-15 run put them up by 13 with 2:32 to play in the first half. The Jazz took a 52-43 halftime lead. The Lakers tried to rally in the third quarter, but could never trim the margin below six points. After three quarters, the Jazz led by seven at 79-72. The Jazz extended the lead to 12 points at 86-74 with 9:02 to play in the final period. The Lakers though would rally, going on an 18-9 run to cut the Jazz lead to 95-92 with 3:21 to play. The Jazz and Carlos Boozer would put the game away though as he made three consecutive shots over the next minute and a half, while a turnover and two Laker misses on three-pointers pushed the lead back to nine with 1:57 to play. The Lakers simply ran out of time and ended up losing 104-99.

Game four of the series will be on your local ABC station starting at 3:30 ET/12:30 PT on Sunday.

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