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The Canadian Hot 100 is a music singles popularity chart issued weekly by Billboard magazine which ranks songs in Canada. The chart debuted in the Billboard issue dated June 16, 2007 and was made available for the first time via their online services on June 7, 2007.^[1] With this launch, it marked the first time that Billboard created a Hot 100 chart for a country outside the United States. The first number-one song on this chart was "Umbrella" by Rihanna featuring Jay-Z.^[2]

As of the issue dated June 2, 2012, the Canadian Hot 100 has had 63 number-one songs. The current number-one song is "Payphone" by Maroon 5 featuring Wiz Khalifa.^[3]

The Canadian Hot 100 is similar to Billboard's U.S.-based Hot 100 in that it combines sales via digital downloads, as measured by Nielsen SoundScan, and Canadian radio audience levels as measured by Nielsen BDS. Canada's airplay chart is the result of monitoring more than 100 stations representing rock, country, adult contemporary and Top 40 genres.^[4][5] As they have traditionally done with the rollout of other new charts, Billboard compiled unpublished "test" charts prior to its premiere. (These ranks were displayed in the first chart's "last week" and "two weeks ago" columns.) The online version of the chart formerly featured Canadian flag icons next to tracks that qualify as Canadian content.

Billboard charts manager Geoff Mayfield announced the premiere of the chart, explaining "the new Billboard Canadian Hot 100 will serve as the definitive measure of Canada's most popular songs, continuing our magazine's longstanding tradition of using the most comprehensive resources available to provide the world's most authoritative music charts."

Song achievements[link]

Number-one debuts[link]

• "Crack a Bottle" by Eminem, Dr. Dre & 50 Cent (February 21, 2009)^[6]
• "Today Was a Fairytale" by Taylor Swift (February 20, 2010)^[7]
• "Wavin' Flag" by Young Artists for Haiti (March 27, 2010)^[8]
• "Not Afraid" by Eminem (May 22, 2010)^[9]
• "California Gurls" by Katy Perry featuring Snoop Dogg (May 29, 2010)^[10]
• "Hold It Against Me" by Britney Spears (January 29, 2011)^[11]
• "Born This Way" by Lady Gaga (February 26, 2011)^[12]
• "Part of Me" by Katy Perry (March 3, 2012)^[13]
• "Boyfriend" by Justin Bieber (April 14, 2012)^[14]

Artists with the most number-one hits[link]

1. Katy Perry (7) : ("I Kissed a Girl", "Hot N Cold", "California Gurls", "Firework", "E.T.", "Last Friday Night (T.G.I.F.)", "Part of Me")

2. Rihanna (6) : ("Umbrella", "Take a Bow", "Love the Way You Lie", "Only Girl (In the World)", "S&M (Remix)", "We Found Love")

3. Britney Spears (5) : ("Gimme More", "Womanizer", "3", "Hold It Against Me", "S&M (Remix)")

4. Lady Gaga (4) : ("Just Dance", "Poker Face", "Bad Romance", "Born This Way")

5. Eminem (3) (tie) : ("Crack a Bottle", "Not Afraid", "Love the Way You Lie")

5. The Black Eyed Peas (3) (tie) : ("Boom Boom Pow", "I Gotta Feeling", "The Time (Dirty Bit)")

5. Pitbull (3) (tie) : ("I Like It", "On the Floor", "Give Me Everything")

5. Flo Rida (3) (tie) : ("Low", "Right Round", "Wild Ones")

Most weeks at number one[link]

16 weeks

• The Black Eyed Peas – "I Gotta Feeling", 2009

14 weeks

• OneRepublic featuring Timbaland – "Apologize", 2007–2008

11 weeks

• Rihanna featuring Calvin Harris – "We Found Love", 2011–2012

10 weeks

• Maroon 5 featuring Christina Aguilera – "Moves Like Jagger", 2011

9 weeks

• Madonna featuring Justin Timberlake – "4 Minutes", 2008
• Katy Perry – "I Kissed a Girl", 2008
• Lady Gaga – "Poker Face", 2008–2009
• Flo Rida – "Right Round", 2009
• The Black Eyed Peas – "Boom Boom Pow", 2009
• Katy Perry featuring Snoop Dogg – "California Gurls", 2010
• Kesha – "Tik Tok", 2009–2010

Other achievements[link]

• The Black Eyed Peas are the only act to replace themselves at number one: (June 27) "Boom Boom Pow" for 9 weeks → (July 4) "I Gotta Feeling" for 16 weeks.
• Teenage Dream by Katy Perry is the album with most number-one singles (4).

See also[link]

• List of number-one singles (Canada)
• Canadian Singles Chart
• Canadian Albums Chart

References[link]

External links[link]

• Current Canadian Hot 100

v t e Lists of number-one singles in Canada CHUM Chart 1957 1958 1959 1960 1961 1962 1963 RPM Top Singles 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 RPM Alternative 30 1995 1996 1997 1998 1999 2000 RPM Country singles chart 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 RPM Dance Chart 1976 1977 1978 1979 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 Canadian Singles Chart 2001 2002 2003 2004 2005 2006 2007 Canadian Hot 100 2007 2008 2009 2010 2011 2012 Hot Canadian Digital Singles Chart 2010 2011 2012 R3-30 2006 2007 2008 2009 2010 2011 2012

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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

v t e Music industry Genres Avant-garde · Blues · Contemporary R&B · Country · Crossover · Dance · Drum and bass · Easy listening · Electronica · Experimental · Folk · Funk · Gospel · Hip hop · Instrumental · Jazz · Latin · Motown · New age · Operatic pop · Pop · Reggae · Rock · Soul · Soundtrack · World Sectors and roles Album cover design · Artists and repertoire (A&R) · Distribution · Entertainment law · Music education · Music executive · Music journalism · Music publisher · Music venue · Musical instruments · Promotion · Radio promotion · Record label · Record shop · Road crew · Talent manager · Tour promoter Production Arrangement · Record producer · Recording artist · Session musician · Songwriter · Sound engineer Record labels Major: EMI · Sony Music Entertainment · Universal Music Group · Warner Music Group · Independent: Independent UK record labels Release formats Album · Extended play (EP)/Mini album · Single Awards American Music Award · ARIA Music Awards · Billboard Music Awards · Brit Awards · Choice Music Prize · Classic Brit Awards · Diapason d'Or · Echo Award · Golden Disk Awards · Grammy Award · Grand Prix du Disque · Juno Award · Latin Grammy Awards · Meteor Music Awards · MTV Europe Music Awards · MTV Video Music Awards · MuchMusic Video Awards · Music of Black Origin Awards · New Zealand Music Awards · NRJ Music Award · TEC Awards · World Music Awards Charts ARIA Charts · Billboard Hot 100 · Canadian Hot 100 · RIANZ Singles Chart · Irish Singles Chart · UK Singles Chart Sales certifications ARIA (Gold · Platinum) · BPI (Silver · Gold · Platinum) · CRIA (Gold · Platinum · Multi-Platinum · Diamond) · PROMUSICAE (Gold · Platinum) · RIAA (Gold · Platinum · Multi-Platinum · Diamond) Publications Billboard · HitQuarters · Hot Press · Kerrang! · Mojo · NME · Q · Rolling Stone · Smash Hits · Top of the Pops Retailers Amazon.com · Fnac · HMV Group · Online music stores (iTunes Store) · Trans World Entertainment · Virgin Megastores Television Black Entertainment Television · Country Music Television · Fuse TV · Idol · Juice TV · MTV · MuchMusic · The Music Factory · Star Academy · Viva · The Voice · The X Factor Other A-side and B-side · Christian music industry  · Hidden track  · Grammy Museum  · White label Category