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Billboard logo

The Billboard Hot 100 is the United States music industry standard singles popularity chart issued weekly by Billboard magazine. Chart rankings are based on radio play and sales; the tracking-week for sales begins on Monday and ends on Sunday, while the radio play tracking-week runs from Wednesday to Tuesday. A new chart is compiled and officially released to the public by Billboard on Thursday. Each chart is dated with the "week-ending" date of the Saturday two weeks after. Example:

• Monday, January 1 – sales tracking-week begins
• Wednesday, January 3 – airplay tracking-week begins
• Sunday, January 7 – sales tracking-week ends
• Tuesday, January 9 – airplay tracking-week ends
• Thursday, January 11 – new chart released, with issue date of Saturday, January 20.

The first number one song of the Hot 100 was "Poor Little Fool" by Ricky Nelson on August 4, 1958. As of the issue for the week ending June 9, 2012, the Hot 100 has had 1,015 different number-one hits. Its current number-one is "Somebody That I Used to Know" by Gotye featuring Kimbra.^[1]

History[link]

What has always been known as the Hot 100 had existed for nearly fifteen years as numerous charts, tracking and ranking the most popular singles of the day in several areas. During the 1940s and 1950s, popular singles were ranked in three significant charts:

• Best Sellers In Stores—ranked the biggest selling singles in retail stores, as reported by merchants surveyed throughout the country (20 to 50 positions).
• Most Played By Jockeys—ranked the most played songs on United States radio stations, as reported by radio disc jockeys and radio stations (20 to 25 positions).
• Most Played In Jukeboxes—ranked the most played songs in jukeboxes across the United States (20 positions). This was one of the main outlets of measuring song popularity with the younger generation of music listeners, as many radio stations resisted adding rock 'n roll music to their playlists for many years.

Although officially all three charts had equal "weight" in terms of their importance, many chart historians refer to the Best Sellers In Stores chart when referencing a song’s performance prior to the creation of the Hot 100. Billboard eventually created a fourth singles popularity chart that combined all aspects of a single’s performance (sales, airplay and jukebox activity), based on a point system that typically gave sales (purchases) more weight than radio airplay. On the week ending November 12, 1955, Billboard published The Top 100 for the first time. The Best Sellers In Stores, Most Played By Jockeys and Most Played In Jukeboxes charts continued to be published concurrently with the new Top 100 chart.

On June 17, 1957, Billboard discontinued the Most Played In Jukeboxes chart, as the popularity of jukeboxes waned and radio stations incorporated more and more rock-oriented music into their playlists. The week ending July 28, 1958 was the final publication of the Most Played By Jockeys and Top 100 charts, both of which had Perez Prado's instrumental version of "Patricia" ascending to the top.

On August 4, 1958, Billboard premiered one main all-genre singles chart: the Hot 100. Although similar to the Top 100, the first Hot 100 chart reset all songs’ "weeks on chart" status to "1". The Hot 100 quickly became the industry standard and Billboard discontinued the Best Sellers In Stores chart on October 13, 1958.

The Billboard Hot 100 is still the standard by which a song’s popularity is measured in the United States. The Hot 100 is ranked by radio airplay audience impressions as measured by Nielsen BDS, sales data compiled by Nielsen Soundscan (both at retail and digitally) and streaming activity provided by online music sources.

There are several component charts that contribute to the overall calculation of the Hot 100. The most significant ones are shown below.

• Hot 100 Airplay—(per Billboard) approximately 1,000 stations, "composed of adult contemporary, R&B, hip-hop, country, rock, gospel, Latin and Christian formats, digitally monitored twenty-four hours a day, seven days a week. Charts are ranked by number of gross audience impressions, computed by cross-referencing exact times of radio airplay with Arbitron listener data."

• Hot Singles Sales—(per Billboard) "the top selling singles compiled from a national sample of retail store, mass merchant and internet sales reports collected, compiled, and provided by Nielsen SoundScan."

The chart is released weekly and measures sales of physical commercial singles. With the decline in sales of physical singles in the US, songs that become number one on this chart often do not even chart on the Hot 100. Elton John has the record for most physical singles sold in a week, with 3.4 million copies of "Candle in the Wind 1997/Something about the Way You Look Tonight" sold the week of October 11, 1997.

• Hot Digital Songs—Digital sales are tracked by Nielsen SoundScan and are included as part of a title's sales points.

• On-Demand Songs — A collaboration between Billboard, Nielsen SoundScan and National Association of Recording Merchandisers which measures every on-demand play request and plays from unlimited listener-controlled radio channels.

Hot 100 policy changes[link]

This unreferenced section requires citations to ensure verifiability.

The methods and policies by which this data is obtained and compiled have changed many times throughout the chart’s history.

As the advent of a singles music chart spawned chart historians and chart-watchers and greatly affected pop culture and produced countless bits of trivia, the main purpose of the Hot 100 is to aid those within the music industry – to reflect the popularity of the "product" (the singles, the albums, etc.) and to track the trends of the buying public. Billboard has (many times) changed its methodology and policies to give the most precise and accurate reflection of what is popular. A very basic example of this would be the ratio given to sales and airplay. During the Hot 100’s early history, singles were the leading way by which people bought music. At times when singles sales were robust, more weight was given to a song’s retail points than to its radio airplay.

As the decades passed, the recording industry concentrated more on album sales than singles sales. Musicians eventually expressed their creative output in the form of full-length albums rather than singles, and by the 1990s many record companies stopped releasing singles altogether (see Album Cuts, below). Eventually a song’s airplay points were weighted more so than its sales. Billboard has adjusted the sales/airplay ratio many times to more accurately reflect the true popularity of songs.

Double-sided singles[link]

Billboard has also changed its Hot 100 policy regarding “two-sided singles” several times. The pre-Hot 100 chart "Best Sellers in Stores" listed popular A- and-B-sides together, with the side that was played most often (based on its other charts) listed first. One of the most notable of these, but far from the only one, was Elvis Presley’s "Don’t Be Cruel" / "Hound Dog." During the Presley single’s chart run, top billing was switched back and forth between the two sides several times. But on the concurrent "Most Played in Juke Boxes," "Most Played by Jockeys" and the "Top 100," the two songs were listed separately, as was true of all songs. With the initiation of the Hot 100 in 1958, A- and-B-sides charted separately, as they had on the former Top 100.

Starting with the Hot 100 chart for the week ending November 29, 1969, this rule was altered; if both sides received significant airplay, they were listed together. This started to become a moot point by 1972, as most major record labels solidified a trend they had started in the 1960s by putting the same song on both sides of the singles it serviced to radio.

More complex issues began to arise as the typical A-and-B-side format of singles gave way to 12 inch singles and maxi-singles, many of which contained more than one B-side. Further problems arose when, in several cases, a B-side would eventually overtake the A-side in popularity, thus prompting record labels to release a new single, featuring the former B-side as the A-side, along with a "new" B-side.

The inclusion of album cuts on the Hot 100 put the double-sided hit issues to rest permanently.

Album cuts[link]

As many Hot 100 chart policies have been modified over the years, one rule always remained constant: songs were not eligible to enter the Hot 100 unless they were available to purchase as a single. However, on December 5, 1998 the Hot 100 changed from being a "singles" chart to a "songs" chart. During the 1990s, a growing trend in the music industry was to promote songs to radio without ever releasing them as singles. It was claimed by major record labels that singles were cannibalizing album sales, so they were slowly phased out. During this period, accusations began to fly of chart manipulation as labels would hold off on releasing a single until airplay was at its absolute peak, thus prompting a top ten or, in some cases, a number one debut. In many cases, a label would delete a single from its catalog after only one week, thus allowing the song to enter the Hot 100, make a high debut and then slowly decline in position as the one-time production of the retail single sold out.

It was during this period that several popular mainstream hits never charted on the Hot 100, or charted well after their airplay had declined. During the period that they were not released as singles the songs were not eligible to chart. Many of these songs dominated the Hot 100 Airplay chart for extended periods of time:

• 1995 The Rembrandts – "I’ll Be There For You" (number one for eight weeks)
• 1996 No Doubt – "Don't Speak" (number one for 16 weeks)
• 1997 Sugar Ray featuring Super Cat – "Fly" (number one for six weeks)
• 1997 Will Smith – "Men in Black" (number one for four weeks)
• 1997 The Cardigans – "Lovefool" (number two for eight weeks)
• 1998 Natalie Imbruglia – "Torn" (number one for 11 weeks)
• 1998 Goo Goo Dolls – "Iris" (number one for 18 weeks)

As debate and conflicts occurred more and more often, Billboard finally answered the requests of music industry artists and insiders by including airplay-only singles (or "album cuts") in the Hot 100.

EPs[link]

Extended play (EP) releases were listed by Billboard on the Hot 100 and in pre-Hot 100 charts (Top 100) until the mid-to-late 1960s. With the growing popularity of albums, it was decided to move EPs (which typically contain four to six tracks) from the Hot 100 to the Billboard 200, where they are included to this day.

Paid digital downloads[link]

Since February 12, 2005, the Billboard Hot 100 tracks paid digital downloads from such internet services as iTunes, Napster, Musicmatch, and Rhapsody. With paid digital downloads added to the airplay/sales formula of the Hot 100, many songs benefited on the charts from the change. Billboard initially started tracking downloads in 2003 with the Hot Digital Tracks chart. However, these downloads did not count towards the Hot 100 and that chart (as opposed to Hot Digital Songs) counted each version of a song separately (the chart still exists today along with Hot Digital Songs). This is the first major overhaul of the Hot 100's chart formula since December 1998.

The change in formula has shaken up the chart considerably, with some songs debuting on the chart strictly with robust online sales and others making drastic leaps. In recent years, several songs have been able to achieve 80-to-90 position jumps in a single week as their digital components were made available at online music stores. Since 2006, the all-time record for the biggest single-week upward movement was broken nine times.

In the issue dated August 11, 2007, Billboard began incorporating weekly data from Streaming media and On-demand services into the Hot 100. The first two major companies to provide their statistics to Nielsen BDS on a weekly basis are AOL Music and Yahoo! Music, with more to follow in the future.^[2] On March 24, 2012, Billboard premiered its On-Demand Songs chart, and its data was newly incorporated into the equation that compiles the Hot 100.^[3]

Remixes[link]

Billboard has also answered the call of music industry insiders^[who?] who raised an issue regarding song remixes. A growing trend in the early first decade of the 21st century was to issue a song as a "remix" that was so drastically different in structure and lyrical content from its original version that it was essentially a whole new song. Under normal circumstances, airplay points from a song’s album version, "radio" mix and/or dance music remix, etc. were all combined and factored into the song’s performance on the Hot 100, as the structure, lyrics and melody remained intact. Criticisms began when songs were being completely re-recorded to the point that they no longer resembled the original recording. The first such example of this scenario is Jennifer Lopez’ "I'm Real". Originally entering the Hot 100 in its album version, a "remix" was issued in the midst of its chart run that featured rapper Ja Rule. This new version proved to be far more popular than the album version and the track was propelled to number one.

To address this issue, Billboard now separates airplay points from a song’s original version and its remix, if the remix is determined to be a "new song". Since administering this new chart rule, several songs have charted twice, normally credited as "Part 1" and "Part 2". The remix rule is still in place.

Recurrents[link]

Billboard, in an effort to allow the chart to remain as current as possible and to give proper representation to new and developing artists and tracks, has (since 1991) removed titles that have reached certain criteria regarding its current rank and number of weeks on the chart. Recurrent criteria have been modified several times and currently (as of 2010), a song is permanently moved to "recurrent status" if it has spent 20 weeks on the Hot 100 and fallen below position number 50. Exceptions are made to re-releases and sudden resurgence in popularity of tracks that have taken a very long time to gain mainstream success. These rare cases are handled on a case-by-case basis and ultimately determined by Billboard’s chart managers and staff.

The most notable exception to the recurrent entry policy applies to holiday-themed releases, which are commonly reissued year after year in anticipation of Christmas purchasing. After its initial chart run, a holiday entry cannot re-enter the Hot 100 in subsequent years.

Year-end charts[link]

Billboard's "chart year" runs from the first week of December to the final week in November. This altered calendar allows for Billboard to calculate year-end charts and release them in time for its final print issue on the last week of December. Prior to Nielsen SoundScan, year-end singles charts were calculated by an inverse-point system based solely on a song’s performance on the Hot 100 (for example, a song would be given one point for a week spent at position 100, two points for a week spent at position ninety-nine and so forth, up to 100 points for each week spent at number one). Other factors including the total weeks a song spent on the chart and at its peak position were calculated into its year-end total.

After Billboard began obtaining sales and airplay information from Nielsen SoundScan, the year-end charts are now calculated by a very straightforward cumulative total of yearlong sales and airplay points. This gives a more accurate picture of any given year’s most popular tracks, as a song that hypothetically spent nine weeks at number one in March could possibly have earned fewer cumulative points than a song that spent six weeks at number three in January. Songs at the peak of their popularity at the time of the November/December chart-year cutoff many times end up ranked on the following year's chart as well, as their cumulative points are split between the two chart-years, but often are ranked lower than they would have been had the peak occurred in a single year.

Limitations[link]

The limitations of the Hot 100 have become more pronounced over time. Since the Hot 100 was based on singles sales, as singles have themselves become a less common form of song release, the Hot 100's data represented a narrowing segment of sales until the December 1998 change in the ranking formula.

Few music historians believe that the Hot 100 has been a perfectly accurate gauge of the most popular songs for each week or year. For example, during the 1950s and 1960s, payola and other problems skewed the numbers in largely undetectable ways.^[4]

Further, the history of popular music shows nearly as many remarkable failures to chart as it does impressive charting histories. Certain artists (such as Pink Floyd and Led Zeppelin) had tremendous album sales while being oblivious to the weekly singles charts. Business changes in the industry also affect artists' statistical "records." Single releases were more frequent and steady, and were expected to have much shorter shelf lives in earlier decades, making direct historical comparisons somewhat specious. Of the sixteen singles to top the Billboard chart for more than ten weeks since 1955, just one was released before 1992. During the first forty years of the rock era, no song had ever debuted at number one; since a 1995 change in methodology, nineteen songs have.

Strategizing also plays a role. Numerous artists have taken deliberate steps to maximize their chart positions by such tactics as timing a single's debut to face the weakest possible competition, or massively discounting the price of singles to the point where each individual sale represented a financial loss. Meanwhile, other artists would deliberately withhold even their most marketable songs in order to boost album sales. Particularly in the 1990s, many of the most heavily played MTV and radio hits were unavailable for separate purchase. Because of such countervailing strategies, it cannot be said that a Hot 100 chart necessarily lists the country's 100 most popular or successful songs. Strategies like these were the main reason behind the December 1998 change in the charts.

Some critics have argued that an overemphasis on a limited number of singles has distorted record industry development efforts, and there are nearly as many critics of the Hot 100 as there are supporters. Certain of these criticisms, however, are becoming less and less germane as digital downloads have revitalized the concept of “singles sales.”

The Billboard charts have endured as the only widely-circulated published report on songs that have been popular across the United States over the last half-century. Competing publications such as Cash Box, Record World, Radio & Records and most recently Mediabase have offered alternate charts, which sometimes differed widely.

Use in media[link]

The Hot 100 served for many years as the data source for the weekly radio countdown show American Top 40. This relationship ended on November 30, 1991, as American Top 40 started using the airplay-only side of the Hot 100 (then called Top 40 Radio Monitor). The ongoing splintering of Top 40 radio in the early 1990s led stations to lean into specific formats, meaning that practically no station would play the wide array of genres that typically composed each weekly Hot 100 chart.

Similar charts[link]

A new chart, the Pop 100, was created by Billboard in February 2005 to answer criticism that the Hot 100 was biased in favor of rhythmic songs, as throughout most of its existence, the Hot 100 was seen predominantly as a pop chart. It was discontinued in June 2009 due to the charts becoming increasingly similar.

The Canadian Hot 100 was launched June 16, 2007. Like the Hot 100 chart, it uses sales and airplay tracking compiled by Nielsen SoundScan and BDS.^[5]

The Japan Hot 100 was launched in the issue dated May 31, 2008, using the same methodologies as the Hot 100 charts for the U.S. and Canada, utilizing sales and airplay data from SoundScan Japan and radio tracking service Plantech.^[6]

See also[link]

• List of number-one hits (United States)
• List of artists who reached number one in the United States
• List of number-one Hot 100 Airplay hits
• Bestseller
• Billboard charts
• Chart-topper
• Single Certifications
• Billboard Music Awards
• List of best-selling music artists
• List of best-charting U.S. music artists
• Billboard Hot 100 50th Anniversary Charts
• List of Billboard Hot 100 chart achievements and milestones

Sources[link]

• Fred Bronson's Billboard Book of Number 1 Hits, 5th Edition (ISBN 0-8230-7677-6)
• Christopher G. Feldman, The Billboard Book of No. 2 Singles (ISBN 0-8230-7695-4)
• Joel Whitburn's Top Pop Singles 1955-2008, 12 Edition (ISBN 0-89820-180-2)
• Joel Whitburn Presents the Billboard Pop Charts, 1955–1959 (ISBN 0-89820-092-X)
• Joel Whitburn Presents the Billboard Hot 100 Charts: The Sixties (ISBN 0-89820-074-1)
• Joel Whitburn Presents the Billboard Hot 100 Charts: The Seventies (ISBN 0-89820-076-8)
• Joel Whitburn Presents the Billboard Hot 100 Charts: The Eighties (ISBN 0-89820-079-2)
• Joel Whitburn Presents the Billboard Hot 100 Charts: The Nineties (ISBN 0-89820-137-3)
• Additional information obtained can be verified within Billboard's online archive services and print editions of the magazine.

References[link]

External links[link]

• Billboard website
• Current Billboard Hot 100

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Ryan Lewis
Ryan Lewis (back) performing with Macklemore (front) at Sasquatch! Music Festival
Background information
Born	(1988-03-25) March 25, 1988 (age 24) Spokane, Washington, U.S.
Origin	Seattle, Washington, U.S.
Genres	Hip hop
Occupations	Producer, DJ
Years active	2006–present
Associated acts	Macklemore
Website	rlewis.com

Ryan Lewis (born March 25, 1988) is an American music producer, musician, music video director, photographer, graphic designer, rapper and DJ currently based in Seattle. He is best known for his collaboration with American rapper Macklemore (Ben Haggerty) producing Macklemore & Ryan Lewis — The VS. EP (2009), The Heist (2012) and a handful of other singles. Since the beginning of their collaboration in late 2008, Ryan has produced, recorded, engineered and mixed all of the music, directed music videos ("Same Love", "Thrift Shop", "And We Danced", "Otherside (Remix)"), designed visuals (album art, web design, posters) and DJed the live show.

In a recent mini-documentary, Lewis recalled meeting Macklemore for the first time. "When I met him, it was a really different time. It was less than a year after [2005's] Language of My World had come out. So he had buzz. For me being a young kid, it was very exciting to link with him. The bulk of our original relationship was photo shoots. I became kind of his photographer."^[1]

[edit] The Heist

On October 9, 2012, Macklemore & Ryan Lewis released The Heist. The album debuted at #2 on the Billboard charts and #1 on the Top R&B/Hip-Hop Albums and Top Rap Albums, selling 78,000 copies in the first week.^[2] The album also debuted at #1 on iTunes Digital Albums chart.^[3] The duo's album has received more than 1 million plays on SoundCloud, 70 million YouTube views and was accompanied by a sold-out 50-date U.S. and Canadian tour.^[4]

Discography[link]

(All credited to Macklemore & Ryan Lewis)

Studio albums[link]

EPs

Singles[link]

Notes[link]

• A ^ "Wing$" did not enter the R&B/Hip-Hop Songs chart, but peaked at number 7 on the Bubbling Under R&B/Hip-Hop Songs chart, which acts as an extension to the R&B/Hip-Hop Songs chart.^[27]
• B ^ "Same Love" did not enter the Billboard Hot 100, but peaked at number 25 on the Bubbling Under Hot 100 Singles chart, which acts as an extension to the Hot 100.^[28]

References[link]

External links[link]

• Official website

de:Ryan Lewis

Mary Lambert (born October 13, 1951) is an American film director. She has directed music videos, television episodes, and feature films, mainly in the horror genre.

Biography[link]

Early life[link]

Lambert was born in Helena, Arkansas, the daughter of Martha Kelly and Jordan Bennett Lambert III, a rice and cotton farmer.^[2] Her younger sister is Senator Blanche Lincoln of Arkansas.^[1] Lambert graduated from the Rhode Island School of Design with a B.F.A.

Career[link]

Music videos[link]

Lambert directed Chris Isaak's first music video "Dancin'" and Janet Jackson's "Nasty" and "Control" music videos. She also directed videos for Annie Lennox, Mick Jagger, The Go-Go's, Whitney Houston, Alison Krauss, Live, Mötley Crüe, Queensryche, Sting, Debbie Harry, Tom Tom Club and others. She directed many of Madonna's early videos including "Borderline", "Like a Virgin", "Material Girl", "La Isla Bonita", and "Like a Prayer".

Feature films[link]

In 1987 she released her debut feature, the stylish and controversial Siesta, starring Ellen Barkin and Jodie Foster. It was nominated for the IFP Spirit Award for best first feature. She is known to horror fans for directing the 1989 adaptation of Stephen King's novel Pet Sematary and its sequel, Pet Sematary II. More recently, Lambert directed the 2011 Syfy horror film Mega Python vs. Gatoroid.^[3]

Video game[link]

She directed the 1993 Digital Pictures FMV video game Double Switch.

Filmography[link]

Director

• Mega Python vs. Gatoroid (2011)
• The Attic (2008)
• 14 Women (2007, documentary)
• Urban Legends: Bloody Mary (2005)
• Halloweentown II: Kalabar's Revenge (2001)
• Strange Frequency (2001)
• The In Crowd (2000)
• Clubland (1999)
• Pet Sematary II (1992)
• Grand Isle (1991)
• Pet Sematary (1989)
• Siesta (1987)

As herself

• Pretty Bloody: The Women of Horror (2009, documentary)

References[link]

External links[link]

• Mary Lambert at the Internet Movie Database

Seongha Jeong (정성하) (colloquially: Sungha Jung) (born 2 September 1996) is a South Korean professional acoustic finger-style guitarist who has risen to fame on YouTube and other sites. As of 2012, his channel had over 17 million views, with his videos getting a total of over 454 million views, and also over 726,000 subscribers.^[1]

Seongha typically takes three days to learn and practice a new piece, and video-record it for upload onto YouTube.^[2] His genre selection is rather broad, as he learns and plays many pieces that are playable on guitar, therefore consequently spread across numerous genres.

Seongha has won 13 awards on YouTube, including 6 "#1" awards. Also on YouTube, Seongha has 523 videos with over one million views. Seongha's video with the most views is the one which shows him playing the theme from "Pirates Of The Caribbean".

In 2010, he was featured on Narsha's solo album "Narsha" for the song "I'm in Love" Seongha has composed 18 pieces as of February 2011, two of which are featured in his debut album, "Perfect Blue". He released his second album, "Irony", on 21 September 2011.

In 2011, he performed in the US with Trace Bundy, as well as touring in Scandinavia and Japan.^[1]

See also[link]

• Yuto Miyazawa, Seongha's Japanese electric guitar-playing counterpart
• Trace Bundy, Fellow acoustic guitarist with whom Seongha collaborates
• Ulli Bögershausen, Fellow acoustic guitarist who helped him get his sponsorship with Lakewood Guitars

References[link]

External links[link]

• Official website

Jay-Z
Jay-Z at the Shawn Carter Foundation Carnival in September 2011.
Background information
Birth name	Shawn Corey Carter
Born	(1969-12-04) December 4, 1969 (age 42) Brooklyn, New York, United States
Genres	Hip hop
Occupations	Rapper
Instruments	Vocals
Years active	1989–present
Labels	Roc Nation
Associated acts	Memphis Bleek, Foxy Brown, Big Jaz, The Notorious B.I.G., Beyoncé, Rihanna, Kanye West, Linkin Park, R. Kelly, Big L

Shawn Corey Carter (born December 4, 1969),^[1] better known by his stage name Jay-Z, is an American rapper, songwriter, record producer, entrepreneur, and occasional actor. He is one of the most financially successful hip hop artists and entrepreneurs in America, having a net worth of over $450 million as of 2011.^[2][3]He has sold approximately 50 million albums worldwide, while receiving fourteen Grammy Awards for his musical work, and numerous additional nominations.^[4][5] He is consistently ranked as one of the greatest rappers of all-time. He was ranked #1 by MTV in their list of The Greatest MCs of All-Time in 2006. Two of his albums, Reasonable Doubt (1996) and The Blueprint (2001) are considered landmarks in the genre with both of them being ranked in Rolling Stone magazine's list of the 500 greatest albums of all time. Blender included the former on their 500 CDs You Must Own Before You Die.^[6]

Jay-Z co-owns the 40/40 Club, is part-owner of the NBA's Brooklyn Nets and is also the creator of the line Rocawear.^[7] He is the former CEO of Def Jam Recordings, one of the three founders of Roc-A-Fella Records, and the founder of Roc Nation.^[8] As an artist, he holds the record for most number one albums by a solo artist on the Billboard 200 with eleven.^[9] Jay-Z also has had four number ones on the Billboard Hot 100, one as lead artist.

He married American R&B superstar Beyoncé Knowles on April 4, 2008.^[10] On December 11, 2009, Jay-Z was ranked as the 10th most successful artist of 2000s by Billboard and ranking as the 5th top solo male artist and as the 4th top rapper behind Eminem, Nelly, and 50 Cent.^[11]

Early life[link]

Originally from Marcy Houses, a housing project in the Bedford-Stuyvesant neighborhood of Brooklyn in New York City,^[12] the future "Jay-Z" then known as Shawn Carter, was abandoned by his father and in 1982, he shot his brother in the shoulder for stealing his jewelry.^[13][14] Carter attended Eli Whitney High School in Brooklyn, along with future rapper AZ, until it was closed down. After that he attended George Westinghouse Career and Technical Education High School in Downtown Brooklyn, with fellow future rappers The Notorious B.I.G. and Busta Rhymes, and Trenton Central High School in Trenton, New Jersey, but did not graduate.^[15] In his music he refers to having been involved in selling crack cocaine.^[14]

According to his mother, Gloria Carter, her son Shawn used to wake his siblings up at night banging out drum patterns on the kitchen table. Eventually, she bought him a boom box for his birthday, sparking his interest in music. He began freestyling, writing lyrics, and followed the music of many artists popular at the time.^[16] In his neighborhood, Carter was known as "Jazzy", a nickname that eventually developed into his showbiz/stage name, "Jay-Z". The moniker is also an homage to his musical mentor, Jaz-O, as well as to the J/Z subway lines that have a stop at Marcy Avenue in Brooklyn.^[12]

Jay-Z can briefly be heard on several of Jaz-O's early recordings in the late 1980s and early 1990s, including "The Originators" and "Hawaiian Sophie".^[17] Jay-Z was also involved in and won several battles with rapper LL Cool J in the early 90's as part of a plan to get a sought-after record deal.^[18] He first became known to a wide audience by being featured on the posse cut "Show and Prove" on the 1994 Big Daddy Kane album Daddy's Home. Jay-Z has been referred to as Big Daddy Kane's hype man during this period,^[19] though Kane explains that he didn't fill the traditional hype man role, instead Jay-Z "basically made cameo appearances on stage. When I would leave the stage to go change outfits, I would bring out Jay-Z and Positive K and let them freestyle until I came back to the stage".^[20][21] He made an appearance on a popular song by Big L, "Da Graveyard", and on Mic Geronimo's "Time to Build", which also featured early appearances by DMX, and Ja Rule in 1995. His first official rap single was called "I Can't Get With That", for which he released a music video.^[22]

Music career[link]

[edit] 1995–97: Reasonable Doubt and In My Lifetime, Vol. 1

From the beginning of his professional recording career, when no major label gave him a record deal, Jay-Z, Damon Dash, and Kareem Biggs created Roc-A-Fella Records as their own independent label in 1995. After striking a deal with Priority to distribute his material, Jay-Z released his 1996 debut album Reasonable Doubt with beats from acclaimed producers such as DJ Premier and Super DJ Clark Kent and a notable appearance by The Notorious B.I.G.. The album reached number 23 on the Billboard 200, and was well-received by critics.^[12] This album would later be included in Rolling Stone's "500 Greatest Albums of All Time" as No.248 and eventually reach platinum status.^[23]

After reaching a new distribution deal with Def Jam in 1997, Jay-Z released his follow-up In My Lifetime, Vol. 1. Executively produced by Sean "Puff Daddy" Combs, it sold better than his previous effort. Jay-Z later explained that the album was made during one of the worst periods of his life, he was reeling from the death of his close friend The Notorious B.I.G. The album was a personal revelation for Jay-Z as he spun the tale of his hard knock upbringing.^[24] The album's glossy production stood as a contrast to his first release, and some dedicated fans felt he had "sold out". However, the album did feature some beats from producers who had worked with him on Reasonable Doubt, namely DJ Premier and Ski. Like its predecessor, In My Lifetime, Vol. 1 earned Platinum status in the United States.^[23]

[edit] 1998–2000: Vol. 2..., criminal charges and mainstream success

In 1998, Jay-Z released Vol. 2... Hard Knock Life which spawned the biggest hit of his career at the time, "Hard Knock Life (Ghetto Anthem)". He relied more on flow and wordplay, and he continued with his penchant for mining beats from the popular producers of the day such as Swizz Beatz, an upstart in-house producer for Ruff Ryders, and Timbaland. Other producers included DJ Premier, Erick Sermon, The 45 King, and Kid Capri. Charting hits from this album included "Can I Get A...", featuring Ja Rule and Amil, and "Nigga What, Nigga Who", also featuring Amil. Vol. 2 would eventually become Jay-Z's most commercially successful album; it was certified 5× Platinum in the United States and has to date sold over five million copies.^[23] The album went on to win a Grammy Award, although Jay-Z boycotted the ceremony protesting DMX's failure to garner a Grammy nomination.^[25] In 1999, Jay-Z dueted with Mariah Carey on "Heartbreaker", a song from her seventh album, Rainbow. In that same year, Jay-Z released Vol. 3... Life and Times of S. Carter, the album proved to be successful and sold over 3 million records.^[23] Vol. 3's most successful single was "Big Pimpin'", featuring UGK. Around the same time, Jay-Z was accused of stabbing record executive Lance "Un" Rivera for what Jay-Z perceived was Rivera's bootlegging of Vol. 3... Life and Times of S. Carter. The stabbing allegedly occurred at the record release party for Q-Tip's debut solo album Amplified at the Kit Kat Klub, a now defunct night club in Times Square, New York City, on December 9. Jay-Z's associates at the party were accused of causing a commotion within the club, which Jay-Z allegedly used as cover when he supposedly stabbed Rivera in the stomach with a five-inch (127 mm) blade.^[26] In his book Decoded, Jay-Z addresses his assault case. While he didn't apologize for his actions, he did express regret that the incident happened and attributed it to a loss of control, saying that there was no reason for him to get into a situation that put him and people who depended on him at risk. He also vowed to never get involved in a similar situation again.^{[citation needed]}

Jay-Z initially denied the incident and pleaded not guilty when a grand jury returned the indictment. Jay-Z and his lawyers contended he was nowhere around Rivera during the incident and they had witnesses and videotape evidence from the club that showed Jay-Z's whereabouts during the disturbance. Nevertheless, he later pleaded guilty to a misdemeanor charge that resulted in a sentence of three years probation.^[27] In 2000, Jay-Z released The Dynasty: Roc La Familia, which was originally intended to become a compilation album for Roc-A-Fella artists but somehow turned into a Jay-Z album.^[28] The album helped to introduce newcomer producers The Neptunes, Just Blaze, Kanye West and Bink, which have all gone on to achieve notable success. This is also the first album where Jay-Z utilizes a more soulful sound than his previous albums. The Dynasty sold over two million units in the U.S. alone.^[23]

[edit] 2001–02: Feud with Nas, The Blueprint and The Blueprint²

In 2001, Jay-Z spoke out against Prodigy after he took an issue with a Jay-Z line from "Money, Cash, Hoes" that he felt were subliminal shots at Mobb Deep and referenced Mobb Deep's beef with Tupac Shakur, Snoop Dogg, and Death Row Records. He later performed the song "Takeover", at Summer Jam 2001, which initially attacked Prodigy and revealed photos of Prodigy dressed like Michael Jackson.^[29] A line at the end of "Takeover" referenced Nas, who criticized him on "We Will Survive".^[30] Nas responded with a diss track called "Ether" and almost instantly, Jay-Z added a verse to "Takeover" which dissed Nas and would start a feud between the two rappers. Jay-Z later released his sixth studio album The Blueprint which was later considered by many to be one of hip hop's "classic" albums, receiving the coveted 5 mic review from The Source magazine. Released during the wake of September 11 attacks, the album managed to debut at number one on the Billboard 200, selling more than 427,000 units;^[31] the album's success was overshadowed by the tragic event. The Blueprint has been certified 2x Platinum in the United States.^[23] The Blueprint was applauded for its production and the balance of "mainstream" and "hardcore" rap, receiving recognition from both audiences. The Blueprint was written in only two days.^[32] Eminem was the only guest rapper on the album, producing and rapping on the song "Renegade". Four of the thirteen tracks on the album were produced by Kanye West and represents one of West's first major breaks in the industry. The Blueprint includes the popular songs "Izzo (H.O.V.A.)", "Girls, Girls, Girls", "Jigga That Nigga" and "Song Cry".

Jay-Z's next solo album was 2002's The Blueprint²: The Gift & the Curse, a double-album. The album debuted on the Billboard 200 at number one, selling over 3 million units in the U.S. alone^[23] and surpassing The Blueprint.^[33] It was later reissued in a single-disc version, The Blueprint 2.1, which retained half of the tracks from the original. The album spawned two massive hit singles, "Excuse Me Miss" and "'03 Bonnie & Clyde", which featured Jay-Z's future wife Beyoncé Knowles. "Guns & Roses", a track featuring rock musician Lenny Kravitz, and "Hovi Baby" were two successful radio singles as well. The album also contained the tracks "A Dream", featuring Faith Evans and the late The Notorious B.I.G.; and "The Bounce", featuring Kanye West. The Blueprint 2.1 featured tracks that do not appear on The Blueprint²: The Gift & the Curse, such as "Stop", "La La La (Excuse Me Again)", "What They Gonna Do, Part II" and "Beware" produced by and featuring Panjabi MC.^[34]

[edit] 2003–05: The Black Album, initial retirement and collaborative albums

After returning from a trip in the south of France,^[35] Jay-Z announced work on his 8th studio album The Black Album at the opening of the first the 40/40 Club.^[36] He worked with several producers including Just Blaze, The Neptunes, Kanye West, Timbaland, Eminem, DJ Quik, 9th Wonder and Rick Rubin. Notable songs on the album included "What More Can I Say", "Dirt Off Your Shoulder", "Change Clothes", and "99 Problems". The Black Album has sold 3 million copies in the US.^[23] Jay-Z collaborated with R. Kelly and released a collaborative studio album, The Best of Both Worlds.

On November 25, 2003, Jay-Z held a concert at Madison Square Garden, which would later be the focus of his film Fade to Black. This concert was his "retirement party". All proceeds went to charity. Other performers included collaborators like The Roots (in the form of his backing band), Missy Elliott, Memphis Bleek, Beanie Siegel, Freeway, Mary J. Blige, Beyoncé, Twista, Ghostface Killah, Foxy Brown, Pharrell and R. Kelly with special appearances by Voletta Wallace and Afeni Shakur, the mothers of The Notorious B.I.G. and Tupac Shakur respectively.^{[citation needed]} While Jay-Z had attested to a retirement from making new studio albums, various side projects and appearances soon followed. Included in these were a greatest hits record, as well as the release and tour of Unfinished Business, the second collaborative album between Jay-Z and R. Kelly.

In 2004, Jay-Z collaborated with rock group Linkin Park, in which they released their collaborative remix EP Collision Course, which featured mashups of both artists' songs, as well as a concert DVD. The album's only single, "Numb/Encore", went on to win a Grammy for Best Rap/Sung Collaboration, and was performed with Linkin Park live at the Grammys, with a special appearance by Paul McCartney, who added verses from the song "Yesterday". The EP sold over 1 million copies in the US.^[23] Jay-Z was the executive producer of The Rising Tied, the debut album of Fort Minor, the hip hop side project of Linkin Park rapper Mike Shinoda.

Later in 2004, Jay-Z was named president of Def Jam Records, which led to Jay-Z, Dash and Biggs selling their remaining interests in Roc-A-Fella Records and Jay-Z taking control of both of the companies.^[37] Reportedly this major industry move was prompted by disagreements between Jay-Z and Dash as to what direction Roc-A-Fella could undertake.^[38] The publicized split between Jay-Z, Dash and Biggs led to the former partners sending jabs at each other in interviews.^[39]

[edit] 2005–07: "I Declare War", comeback with Kingdom Come and American Gangster

Jay-Z at a concert in 2006.

On October 27, 2005, Jay-Z headlined New York's Power 105.1 annual concert, Powerhouse. The concert was entitled the "I Declare War" concert leading to intense speculation in the weeks preceding the event on whom exactly Jay-Z would declare war. As he had previously "declared war" on other artists taking lyrical shots at him at other events, many believed that the Powerhouse show would represent an all-out assault by Jay-Z upon his rivals.^[40] The theme of the concert was Jay-Z's position as President and CEO of Def Jam, complete with an on-stage mock-up of the Oval Office. Many artists made appearances such as the old roster of Roc-A-Fella records artists, as well as Ne-Yo, Teairra Mari, T.I., Young Jeezy, Akon, Kanye West, Paul Wall, The LOX, and Diddy.^[41]

At the conclusion of the concert, Jay-Z put many arguments to rest to the surprise of hip hop fans. The most significant development in this show was closure to the infamous hip hop rivalry between Jay-Z and Nas. The two former rivals shook hands and shared the stage together to perform Jay-Z's "Dead Presidents" blended with Nas's song "The World is Yours".^[42]

Jay-Z returned with his comeback album on November 21, 2006 titled Kingdom Come.^[43] Jay-Z's comeback single, "Show Me What You Got", was leaked on the Internet in early October 2006, scheduled to be released later on that month, received heavy air-play after its leak, causing the FBI to step in and investigate.^[44] Jay-Z worked with video director Hype Williams, and the single's video was directed by F. Gary Gray. The album features producers such as Just Blaze, Pharrell, Kanye West, Dr. Dre and Coldplay's Chris Martin (single entitled "Beach Chair").^[45][46] The first week saw 680,000 sales of the CD, which Entertainment Weekly said was "the highest single-week total in Jay's decade long career".^[47] This album has sold 2 million copies in the US.^[23]

Jay-Z released his tenth album entitled American Gangster on November 6, 2007. After viewing the Ridley Scott film of the same name, he was heavily inspired to create a new "concept" album that depicts his experiences as a street-hustler.^[48] The album is not the film's official soundtrack, although it was distributed by Def Jam.^[49] Jay-Z's American Gangster depicts his life in correlation to the movie American Gangster. At the start of the album's first single, "Blue Magic", Jay-Z offers a dealer's manifesto while making references to political figures of the late 1980s with the lyric: "Blame Reagan for making me to into a monster, blame Oliver North and Iran-Contra, I ran contraband that they sponsored, before this rhymin' stuff we was in concert."^[50] Also notable about the "Blue Magic" music video was Jay-Z flashing 500 euro notes, in what Harvard Business School professor Rawi Abdelal has called a "turning point in American pop culture's response to globalization." The album has sold 1 million copies in the US.^[23] On December 24, 2007, Jay-Z stated that he would not remain at Def Jam as the company's President, and vacated the position effective of January 1, 2008.^[51]