NEWS
Mariah Carey
Dennis LeupoldHow quickly a year goes by. Michael Jackson's "Thriller" leads a rush of Halloween songs on the Nov. 13-dated Billboard Global 200 at No. 28, just as the holiday music season begins to jingle with the re-entry of Mariah Carey's "All I Want for Christmas Is You" at No. 105.
The tracking week for this week's charts spanned Oct. 29 through Nov. 4, thus, encompassing the final three days leading up to and including Halloween.
Blasting 109-28 on the Global 200, "Thriller" drew 22.1 million streams (up 105%) and sold 8,800 downloads (up 78%) around the world in the tracking week, according to MRC Data. Notably, that's a nearly 30% stronger streaming showing than last year, when the zombie-terror classic scared up 17 million streams (up 95%) during Halloween week, hitting its initial high of No. 51.
Of course, it's not an apples-to-apples (or apple cider …) comparison; since Halloween falls on a different day of the week each year, the portion of the tracking week most devoted to spooky listening ebbs and flows year-to-year. In 2020, the corresponding Friday-Thursday tracking week covered Oct. 30-Nov. 5.
Similarly, Rockwell's "Someone's Watching Me" hits No. 35 (18.5 million streams) despite not appearing on the chart at all in 2020 (when it logged 5.6 million Halloween-week streams), while Ray Parker, Jr.'s "Ghostbusters" ranks at No. 46 (14.4 million) after reaching No. 119 last year (9.6 million). Additionally, Bobby "Boris" Pickett and the Crypt-Keepers creep to No. 54 with "Monster Mash" (11.8 million; No. 89 high in 2020, 10 million); Andrew Gold's "Spooky, Scary Skeletons" debuts at No. 120 (5.6 million last year); and AC/DC's "Highway to Hell" is No. 142 (10.4 million; No. 160 in 2020, 9.7 million).
Of the seven Halloween-themed songs on the Global 200, four make the Global Excl. U.S. chart, all at lower positions than on the worldwide tally. "Thriller" is No. 60, "Someone's Watching Me" is No. 77, "Ghostbusters" is No. 151 and "Highway to Hell" rounds out the list at No. 183.
Meanwhile, Carey's ever-dominant "Christmas" ushers in the Yuletide season on Billboard's global charts. The song re-enters the Global 200 at No. 105 with 11.7 million streams and 2,600 sold in the tracking week, up 128% and 256%, respectively. Continuing with our year-over-year comparisons, the song started its chart ascent the same week in 2020 (on the Nov. 14 tally), although at No. 139 with 11.1 million streams. Its 2021 mid-chart re-entry will likely be followed in the coming weeks by classics from Brenda Lee, Burl Ives, Wham! and a sleighful of others.
Just as Halloween songs fare better on the latest Global 200 than on the Global Excl. U.S. ranking, the same goes for Christmas titles. Over the 2020-21 season, 93 holiday-themed songs appeared on the Global 200, including the entire top nine songs on the Jan. 2 chart, with Carey's carol at No. 1 for four weeks. On the Global Excl. U.S. list, however, 52 such songs charted, including five of the Jan. 2 top 10 and Carey reigning for one week. And as "Christmas" debuts mid-chart on the Global 200, it is so far shy of the Global Excl. U.S. tally, likely to re-enter next week.
NEWS
No matter what you thought of the Kendrick Lamar and Drake battle, there was only one undisputed winner by the end of it all: the reaction community in the worlds of streaming and YouTube. Your favorite content creators broke down the bars, reacted to all the most shocking moments, and helped this showdown become one of hip-hop's most culturally significant and resonant moments in a long time... For better or worse. See, the battle's technically not over yet, but only because the 6ix God's idea of victory is clearly quite different. In his federal defamation lawsuit against Universal Music Group – his label – for releasing K.Dot's "Not Like Us," he named various content creators who allegedly helped boost the track's widespread popularity and, as a result, its supposedly defamatory nature.
Furthermore, the specific allegation that Drake brings up in this highly controversial lawsuit is that UMG "whitelisted" copyright claims for YouTubers, streamers, etc. concerning "Not Like Us." This means that they would be able to monetize their content without facing a copyright claim from UMG over "Not Like Us," and this isn't really an allegation because various creators have backed this up. But a few important (alleged) caveats that people are talking about online need to be clear. First, "whitelisting" supposedly happens on behalf of a record label behind a song like the West Coast banger, and UMG is instead the distributor of that track. Secondly, as rapper and online personality ScruFaceJean brings up as seen in the post below, tracks like "Push Ups" were also "whitelisted" by its team.
Along with Jean, many other of your favorite content creators spoke out against this Drake lawsuit. Zias! and B.Lou, for example, spoke with their lawyer about the possibility of countersuing for emotional distress, as they found the Toronto superstar's accusations and his implication of them very disturbing and misguided. NoLifeShaq also dragged The Boy through the mud, calling him "soft" and positing that, whether "whitelisting" happened or not, they would react to "Not Like Us" accordingly as they did to his own tracks.
In addition, it's important to bring up that many others fans have pointed to how Drake excitedly used streamers to generate hype and reaction clips for his own diss tracks against Kendrick Lamar. The most direct example is with Kai Cenat, whom he texted to "stay on stream" before dropping "Family Matters." Ironically, the Twitch giant appears in this clowned-upon defamation lawsuit as an example of what the OVO mogul's accusations and implications are. And one more thing: there is no direct link between monetization and algorithmic boosting on sites like YouTube. With all this in mind, content creators seem to feel almost insulted at the idea that they only reacted to the two biggest rappers in the world beefing with each other because one of them would allow them to make money. If Drizzy knew the first thing about the reaction community, maybe he wouldn't have included this...
