Taylor Swift’s Reputation returns to No. 1 on the Billboard 200 albums chart for a fourth nonconsecutive week, as the set steps 2-1 in its seventh week on the list. Reputation earned 107,000 equivalent album units in the week ending Dec. 28, according to Nielsen Music (down 19 percent). Of that sum, 79,000 were in traditional album sales (down 24 percent).
Taylor Swift’s Reputation album racks up a second week at No. 1 on the Billboard 200 chart, as the set earned 256,000 equivalent album units in the week ending Nov. 23, according to Nielsen Music. Of that sum, 232,000 were in traditional album sales.
Brittany Hodak, writing at Forbes:
Reputation sold north 1.2 million units in its first measured week. The other 199 albums on the Billboard 200 combined sold only 723,000 units when streaming consumption and song sales are excluded (only four tracks from Reputation are available on streaming services). That means for every 10 albums sold last week, more than six of them were Reputation.
When streaming and digital track sales are included, Reputation still accounts for more than a third of all music consumption in the United States last week.
Taylor Swift’s Reputation album sold 1.05 million copies in the US over its first four days of release, according to initial sales reports to Nielsen Music. It’s the first album to sell a million copies in a tracking week in nearly two years, since Adele’s 25 sold 1.16 million copies in the frame ending 12/25/2015 (the album’s fifth week on sale).
Taylor Swift’s Reputation is off to a red-hot start. The album sold around 700,000 copies in the U.S. on its first day of release, according to initial sales reports to Nielsen Music.
The set was released at 12 a.m. ET on Nov. 10, through Big Machine Records. Its first day sales figure could grow larger, after all of Nielsen’s retail reporters have submitted their sales for the day.
Hmm, that seems good.
On Sep. 5, PopFront editor Meghan Herning wrote a post titled “Swiftly to the alt-right: Taylor subtly gets the lower case kkk in formation.” The post is a mix of political speech and critical commentary, and discusses the resurgence of white supremacy and the fact that some white supremacists have embraced Swift. It also provides a critical interpretation of some of Swift’s music, lyrics, and videos. The post ends by calling on Swift to personally denounce white supremacy, saying “silence in the face of injustice means support for the oppressor.”
On Oct. 25, Herning received an intimidating letter from Swift and her attorney labeling the blog post as defamatory and demanding that she issue a retraction, remove the story from all media sources, and cease and desist. The letter threatened a lawsuit.
Seems like a lot of money to pay lawyers instead of just saying “white supremacy is really fucking bad.”
Swift has now officially climbed to the top — the top of the Billboard Hot 100, that is. With her new single “Look What You Made Me Do,” Swift has hit No. 1 on the chart, knocking Luis Fonsi and Daddy Yankee’s “Despacito” down from its 16-week reign.
“Taylor Swift Tix,” her newly unveiled promo with Ticketmaster, requires you to register on TaylorSwift.com to put you on a wait list for tickets. You can then pre-order the album, share her pitch on social media.
You can buy the album at different retailers and get a boost each time, with a limit of 13 items to boost your chances (or spend the same amount on StubHub—not that we’re endorsing such a gambit). And if you buy a CD or a T-shirt—or multiple albums and merch—from her site, each buy ups you in the queue for tickets. But it doesn’t actually guarantee that you’ll get them.
In essence, Swift’s strategy leaves open the option for a bundle at some point closer to release date without cannibalizing her Target exclusive or iTunes now.
This entire strategy for selling tickets, and boosting album sales, is fascinating to me. The gamification of music. It’s kinda brilliant.