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In the United States, the Recording Industry Association of America (RIAA) awards certification based on the number of albums and singles sold through retail and other ancillary markets. Certification is not automatic; for an award to be made, the record label must request certification and pay a fee to have the sales of the recording audited. The audit is conducted against net shipments after returns (most often an artist’s royalty statement is used), which includes albums sold directly to retailers and one-stops, direct-to-consumer sales (music clubs and mail order) and other outlets.

Catalog product, specifically pre-1972 album releases, are eligible for certification by meeting either the unit shipment or manufacturer’s dollar requirement for each award level. The purpose of this rule is to make certain exceptions for older albums that have very little supporting documentation substantiating that they meet both the unit requirement and the dollar requirement. Without the rule, these titles would potentially be unable to meet the dollar requirement based on the limited documentation available from sales that occurred decades ago.

Multi-disc albums are counted once for each disc within the album if it is over 100 minutes in length or is from the vinyl era. For example, each copy of The Smashing Pumpkins’s Mellon Collie and the Infinite Sadness (running time of 121:39), OutKast’s Speakerboxxx/The Love Below (running time of 134:56), and Shania Twain’s Up! (145:44), all double albums, were counted twice, meaning each album was certified diamond after 5 million copies were shipped. Pink Floyd’s The Wall and The Beatles’ White Album, both vinyl-era, are also counted double even though their running times are under the minimum requirement.

#/Millions Title Artist Label
29 EAGLES/THEIR GREATEST HITS 1971 – 1975 EAGLES ELEKTRA
29 THRILLER MICHAEL JACKSON EPIC/LEGACY
23 LED ZEPPELIN IV LED ZEPPELIN ATLANTIC
23 THE WALL PINK FLOYD COLUMBIA
23 GREATEST HITS VOLUME I & VOLUME II BILLY JOEL COLUMBIA
22 BACK IN BLACK AC/DC EPIC
21 DOUBLE LIVE GARTH BROOKS CAPITOL NASHVILLE
20 COME ON OVER SHANIA TWAIN MERCURY NASHVILLE
20 RUMOURS FLEETWOOD MAC WARNER BROS.
19 THE BEATLES THE BEATLES APPLE

Moving ahead to a problem posed in the 17th century, we’ve got one of many paradoxes related to infinity and geometry.

“Gabriel’s Horn” is formed by taking the curve y = 1/x and rotating it around the horizontal axis, as shown in the picture. Using techniques from calculus that make it possible to calculate areas and volumes of shapes constructed this way, it’s possible to see that the infinitely long horn actually has a finite volume equal to π, but an infinite surface area.

As stated in the MathWorld article on the horn, this means that the horn could hold a finite volume of paint but would require an infinite amount of paint to cover its entire surface.

Via Business Insider

Online Radio Reach & Consumption, 2008-2015 [CHART]

Some 44% of Americans aged 12 and up listen to online radio on a weekly basis, up from 36% last year and 33% the year prior, according to the latest annual “Infinite Dial” report from Edison Research and Triton Digital. Moreover, the percentage of survey respondents listening to online radio (defined as listening to AM/FM radio stations online and/or listening to streamed audio content available only on the internet) on a monthly basis cracked the majority threshold for the first time, reaching 53% of the 12+ population, up from 47% last year.

No surprise, then, that a recent report from the Radio Advertising Bureau found optimism surrounding radio’s digital ad sales growth, expected to be in the double-digit range again this year.

Via Audiolicious.TV

From Uncut:

Neil Young has admitted he once bought thousands of copies of his own album and used them as shingles on the roof of his house.

Young, who recently launched his high quality digital Pono music player and service at South By South West in Austin, Texas revealed that a “mastering error” on the 1978 album Comes A Time left him dissatisfied with the release and forced him to take the existing copies off the market.

Asked if the story was true by Rolling Stone, Young replied: “The tape got damaged when it went through the airport or something. I had to go back and use a copy of the master — it was a copy, but it had better-sounding playback than the other one. No, no, I made a barn roof out of them. I used them as shingles.”

Eventbrite, the global marketplace of live experiences, today released a list of America’s most event-going cities and the United States of Events, a visualization of the event-going trends across America’s largest 25 cities. The company leveraged its platform of millions of events to zoom in on attendance themes across popular categories including food and drink, live music, art and fitness. Browse the United States of Events interactive to explore each city’s surprising interests, from yoga classes in San Diego to art shows in Houston to bacon events in New York City.

Overall Music Ticket Sales
1. Austin
2. San Francisco
3. Houston
4. New York City
5. Charlotte
6. Los Angeles
7. Dallas
8. Philadelphia
9. Nashville
10. Chicago
11. Denver
12. San Antonio
13. Boston
14. San Diego
15. Portland
16. Washington
17. San Jose
18. Seattle
19. Columbus
20. Phoenix
21. Baltimore
22. Detroit
23. Indianapolis
24. Jacksonville
25. Fort Worth

EDM Event Ticket Sales
1. Austin
2. San Francisco
3. Houston
4. New York City
5. Charlotte
6. Los Angeles
7. Dallas
8. Philadelphia
9. Chicago
10. Boston
11. San Antonio
12. San Diego
13. Nashville
14. Denver
15. Portland
16. San Jose
17. Washington
18. Seattle
19. Columbus
20. Phoenix
21. Detroit
22. Indianapolis
23. Baltimore
24. Jacksonville
25. Fort Worth

Rock n’ Roll Event Ticket Sales
1. Austin
2. San Francisco
3. Houston
4. New York City
5. Charlotte
6. Los Angeles
7. Dallas
8. Philadelphia
9. Nashville
10. Denver
11. Chicago
12. San Antonio
13. San Diego
14. Boston
15. Baltimore
16. Portland
17. Washington
18. San Jose
19. Phoenix
20. Seattle
21. Columbus
22. Detroit
23. Indianapolis
24. Jacksonville
25. Fort Worth

Hip Hop Event Ticket Sales
1. Austin
2. San Francisco
3. Houston
4. New York City
5. Dallas
6. Charlotte
7. Los Angeles
8. Philadelphia
9. Chicago
10. Nashville
11. San Antonio
12. Denver
13. Boston
14. San Diego
15. Washington
16. San Jose
17. Portland
18. Seattle
19. Phoenix
20. Baltimore
21. Columbus
22. Detroit
23. Indianapolis
24. Jacksonville
25. Fort Worth

Jazz Event Ticket Sales
1. Austin
2. San Francisco
3. Houston
4. New York City
5. Charlotte
6. Los Angeles
7. Dallas
8. Philadelphia
9. Nashville
10. Denver
11. Chicago
12. San Antonio
13. Boston
14. Portland
15. San Diego
16. Washington
17. San Jose
18. Seattle
19. Columbus
20. Detroit
21. Phoenix
22. Baltimore
23. Indianapolis
24. Jacksonville
25. Fort Worth

Country Event Ticket Sales
1. Austin
2. San Francisco
3. Houston
4. New York City
5. Charlotte
6. Los Angeles
7. Dallas
8. Philadelphia
9. Nashville
10. Denver
11. Chicago
12. San Antonio
13. Portland
14. Boston
15. San Diego
16. San Jose
17. Washington
18. Indianapolis
19. Columbus
20. Seattle
21. Detroit
22. Phoenix
23. Baltimore
24. Jacksonville
25. Fort Worth

Most Event-Going Cities in US:
1. New York City, NY
2. San Francisco, CA
3. Austin, TX
4. Los Angeles, CA
5. Chicago, IL
6. Houston, TX
7. Boston, MA
8. Dallas, TX
9. Philadelphia, PA
10. San Diego, CA

Eventbrite’s dataset reveals surprising insights that point towards the types of events that each city loves the most.

New Yorkers attended fashion shows, plays, comedy acts, and art shows two times more than the next most artsy city, Los Angeles.
Everything is big in Texas, including their appetite for live music events. Houston, Dallas and Austin all rank in the top eight cities for live music show attendance. From Rock to EDM, and even Jazz and Country, Austin’s music reputation stands true by ranking number one across the board in live music.
Californians win the race when it comes to health and fitness experiences. San Francisco, San Jose, Los Angeles and San Diego all made the top ten cities for health and fitness attendance.
Bostonians come in strong for attendance to food and drink events, ranking fifth across the US, proving weather won’t stop Boston from indulging in a tasty time.
Chicagoans are all about the hops and hot dogs, winning out at attendance to beer festivals and tasting, and ranking fifth in stand-up comedy show attendance, busting up with laughter no matter how blustery the weather.

Recent university research indicates that experiential purchases make people happier than things, and Americans today spend on and attend more live experiences than in previous decades. Since 1987, the share of consumer spending on live experiences and events relative to total U.S. consumer spending increased 70% (Source: U.S. Department of Commerce, Bureau of Economic Analysis).

As America’s largest generation, millennials are driving the experiences boom: 3 in 4 millennials (78%) would choose to spend money on a desirable experience or event over buying something desirable, and 55% of millennials say they’re spending more on events and live experiences than ever before.

Millennials interest in live experiences and their increasing ability to spend is driving the growth of the Experience Economy. See Eventbrite’s Millennials: Fueling the Experience Economy report for more information.

“Less than a decade ago, the world had never seen a mud run before, let alone a color run or zombie run. New events of all kinds are rapidly entering the scene because people want to experience more, and technology is a major driver of this growth,” said Julia Hartz, co-founder and president of Eventbrite. “The growing appetite for unique experiences presents a huge business opportunity for people to create new and exciting live events.”

Adele’s 21 is the biggest selling artist album of the millennium to date, the Official Charts Company can reveal. The singer-songwriter’s second studio album – which spent an impressive 23 weeks at Number 1 – has sold nearly 4,740,000 copies in the UK to date.

Amy Winehouse’s Back To Black earns the Number 2 spot with sales of over 3,560,000 since its 2006 release. The former Official Albums Chart Number 1 spawned five Top 40 singles including Rehab, You Know I’m No Good, Back To Black, Tears Dry On Their Own and Love Is A Losing Game.

In at Number 3 is James Blunt’s debut LP Back To Bedlam, which counts 3,310,000 sales this millennium. The album spent 10 weeks at the Official Albums Chart summit, racking up a total of 40 weeks in the Top 40.

Rounding out the Top 5 are chart debuts Leona Lewis’ Spirit with 3,130,000 UK sales and Dido’s No Angel with 3,080,000 sales.

Robbie Williams and Take That tie for the most entries in the Top 50 with four each. Robbie’s Swing When You’re Winning (21), Greatest Hits (25), Sing When You’re Winning (31) and Escapology (35) feature on the list alongside Take That’s Beautiful World (13), Progress (22), Never Forget – The Ultimate Collection (24) and The Circus (30).

Other acts with multiple entries include; Coldplay (3), Adele (2), Dido (2), Ed Sheeran (2), Michael Buble (2) and Rihanna (2).

Of the Top 50 Official Biggest Selling Artist Albums of the Millennium, only two were released before the year 2000 – David Gray’s White Ladder and ABBA’s Gold – Greatest Hits, which sit at Numbers 8 and 19, respectively.

Only 39 albums have passed the 2 million UK sales mark this millennium, with the latest addition to the list, Ed Sheeran’s X, tipping over just this week.

50 Biggest Selling Artist Albums of the Millennium in the U.K.

NO. TITLE ARTIST LABEL
1 21 ADELE XL RECORDINGS
2 BACK TO BLACK AMY WINEHOUSE ISLAND
3 BACK TO BEDLAM JAMES BLUNT ATLANTIC
4 SPIRIT LEONA LEWIS SYCO MUSIC
5 NO ANGEL DIDO ARISTA
6 1 BEATLES APPLE CORPS
7 CRAZY LOVE MICHAEL BUBLE REPRISE
8 WHITE LADDER DAVID GRAY EAST WEST
9 THE FAME LADY GAGA INTERSCOPE
10 A RUSH OF BLOOD TO THE HEAD COLDPLAY PARLOPHONE
11 LIFE FOR RENT DIDO CHEEKY
12 ONLY BY THE NIGHT KINGS OF LEON HAND ME DOWN
13 BEAUTIFUL WORLD TAKE THAT POLYDOR
14 HOPES AND FEARS KEANE ISLAND
15 SCISSOR SISTERS SCISSOR SISTERS POLYDOR
16 X&Y COLDPLAY PARLOPHONE
17 PARACHUTES COLDPLAY PARLOPHONE
18 COME AWAY WITH ME NORAH JONES VIRGIN
19 GOLD – GREATEST HITS ABBA POLYDOR
20 THE MARSHALL MATHERS LP EMINEM INTERSCOPE
21 SWING WHEN YOU’RE WINNING ROBBIE WILLIAMS ISLAND
22 PROGRESS TAKE THAT POLYDOR
23 EYES OPEN SNOW PATROL FICTION
24 NEVER FORGET – THE ULTIMATE COLLECTION TAKE THAT RCA
25 GREATEST HITS ROBBIE WILLIAMS ISLAND
26 NUMBER ONES MICHAEL JACKSON EPIC
27 19 ADELE XL RECORDINGS
28 CHRISTMAS MICHAEL BUBLE REPRISE
29 ROCKFERRY DUFFY A&M
30 THE CIRCUS TAKE THAT POLYDOR
31 SING WHEN YOU’RE WINNING ROBBIE WILLIAMS ISLAND
32 OUR VERSION OF EVENTS EMELI SANDE VIRGIN
33 HOT FUSS KILLERS VERTIGO
34 AMERICAN IDIOT GREEN DAY REPRISE
35 ESCAPOLOGY ROBBIE WILLIAMS ISLAND
36 EMPLOYMENT KAISER CHIEFS B-UNIQUE/POLYDOR
37 SONGS ABOUT JANE MAROON 5 A&M
38 BY THE WAY RED HOT CHILI PEPPERS WARNER BROS
39 X ED SHEERAN ASYLUM
40 STRIPPED CHRISTINA AGUILERA RCA
41 JUSTIFIED JUSTIN TIMBERLAKE JIVE
42 THE GREATEST HITS TEXAS MERCURY
43 I DREAMED A DREAM SUSAN BOYLE SYCO MUSIC
44 + ED SHEERAN ASYLUM
45 LOUD RIHANNA DEF JAM
46 GOOD GIRL GONE BAD RIHANNA DEF JAM
47 CALL OFF THE SEARCH KATIE MELUA DRAMATICO
48 BORN TO DO IT CRAIG DAVID WEA
49 UNBREAKABLE – THE GREATEST HITS – VOL 1 WESTLIFE S
50 GREATEST HITS GUNS N’ ROSES GEFFEN

Live in Paris & Ottawa 1968 is a posthumous live album by The Jimi Hendrix Experience, released on September 5, 2008 by Dagger Records. The album contains songs from the band’s performances at the Olympia Theatre in Paris, France on 29 January 1968 and the Capitol Theatre in Ottawa, Ontario, Canada on March 19, 1968.

The concert in Paris was previously issued as part of the 1991 box set Stages. The songs from the concert in Ottawa are sourced from a previously undiscovered tape and were recorded during the first show of that evening. The second show at the Capitol Theatre in Ottawa was previously issued on Live in Ottawa.
[edit]Track listing

All songs written and composed by Jimi Hendrix except where noted.
Live at the L’Olympia Theatre, Paris, France, January 29, 1968
No. Title Length
1. “Killing Floor” (Chester Arthur Burnett) 4:32
2. “Catfish Blues” (Robert Petway) 8:46
3. “Foxey Lady” 5:29
4. “Red House” 4:24
5. “Drivin’ South” 9:24
6. “The Wind Cries Mary” 3:55
7. “Fire” 4:16
8. “Little Wing” 3:40
9. “Purple Haze” 5:59
Live at the Capitol Theatre, Ottawa, Ontario, Canada, March 19, 1968
No. Title Length
10. “Sgt. Pepper’s Lonely Hearts Club Band” (John Lennon, Paul McCartney) 2:16
11. “Fire” 3:29
12. “Purple Haze”

From Billboard:

Mark Ronson’s “Uptown Funk!,” featuring Bruno Mars, this week becomes just the 19th No. 1 in Hot 100 history to lead for at least 11 weeks. It’s just the second to reach that level this decade: Robin Thicke’s “Blurred Lines,” featuring T.I. and Pharrell, began a 12-week command in June 2013.

“Funk” logs an 11th week atop the Digital Songs chart with 189,000 downloads sold (down 10 percent) in the week ending March 15, according to Nielsen Music. It’s now one of just three songs to lead Digital Songs for at least 11 weeks: Flo Rida’s “Low,” featuring T-Pain, racked a record 13 weeks on top in 2007-08, while Pharrell Williams’ “Happy” dominated for 11 weeks last year.

Ronson and Mars’ collab, thus, leads the Hot 100 and its three main component charts (Digital Songs, Radio Songs and Streaming Songs) simultaneously for a record-extending seventh week (nonconsecutively).

While Mark Ronson’s “Uptown Funk!” holds down the #1 spot on the Billboard Hot 100 for the 10th week, Ed Sheeran’s “Loud” ranks at its #2 peak on the Hot 100 for an 8th time, all behind “Funk.” How rare is it for two songs to hold at #1 and #2 for at least eight straight weeks, specifically with the latter never reaching the top of the charts? Here’s an updated look at the longest placements:

10 weeks
No. 1: “Lose Yourself,” Eminem / No. 2: “Work It,” Missy “Misdemeanor” Elliott, 2002-03

9 weeks
No. 1: “Macarena (Bayside Boys Mix),” Los Del Rio / No. 2: “I Love You Always Forever,” Donna Lewis, 1996
No. 1: “Physical,” Olivia Newton-John / No. 2: “Waiting for a Girl Like You,” Foreigner, 1981-82

8 weeks
No. 1: “Uptown Funk!” / No. 2: “Thinking Out Loud,” 2015
No. 1: “Smooth,” Santana feat. Rob Thomas / No. 2: “Back at One,” Brian McKnight, 1999-2000
No. 1: “The Boy Is Mine,” Brandy & Monica / No. 2: “You’re Still the One,” Shania Twain, 1998

7 weeks
No. 1: “Candle in the Wind 1997″/”Something About the Way You Look Tonight,” Elton John / No. 2: “You Make Me Wanna…,” Usher, 1997
No. 1: “All for You,” Janet Jackson / No. 2: “Survivor,” Destiny’s Child, 2001
No. 1: “Let Me Love You,” Mario / No. 2: “1, 2 Step,” Ciara, 2005
No. 1: “One More Night,” Maroon 5 / No. 2: “Gangnam Style,” PSY, 2012

Via Billboard

From Billboard:

Mark Ronson’s “Uptown Funk!,” featuring Bruno Mars, hits hallowed ground atop the Billboard Hot 100: It reigns for a 10th week, joining the exclusive club of leaders that have reigned for double-digit weeks.

“Funk!,” released on RCA Records, becomes just the 29th No. 1 in Hot 100 history to lead for at least 10 weeks. If 29 seems like a high number, that’s out of 1,041 leaders dating to the chart’s Aug. 4, 1958, debut. In other words, only 3 percent of all Hot 100 No. 1s, now including “Funk,” have logged rules of 10 weeks or more.

Some at-ten-tion-getting trivia: The first song to lead for at least 10 weeks? Debby Boone’s “You Light Up My Life,” for 10 frames in 1977. The last before “Funk”? Pharrell Williams’ “Happy,” which led for 10 weeks last year and went on to become the Hot 100’s No. 1 song of 2014. The song with the most weeks at the summit: Mariah Carey and Boyz II Men’s “One Sweet Day,” which ruled for 16 weeks in 1995-96.