[情報] Billboard Hot 100的歷史

[Eeli2008 (Eeli2008)]

原文: http://tinyurl.com/ljjamlo

這篇文章的內容真的很豐富
看完應該對 Hot 100增加不少認識
能夠比較了解它這樣計算的理由
不過也因為內容龐雜
故只就個人覺得是重點的部分翻譯一下
如果有錯誤或其他想法請不吝指教 謝謝!


How The Hot 100 Became America's Hit Barometer

by Chris Molanphy
August 01, 2013 2:00 PM

Hear that? On the radio? That slick, dreamy crooner dude, singing about how
he's going out of his mind over that girl? Well, she's an animal — baby,
it's in her nature. He used to play around with hearts that hastened at his
call. But when he met that little girl, he knew that he would fall.
Wait a sec ... what song is this? Which dreamy dude is this? What year is
this?

Perhaps it's the first week of August, 1958, when the top song in America was
Ricky Nelson's "Poor Little Fool" — the first No. 1 song ever on the
Billboard Hot 100. The week Billboard launched what would become the premier
singles chart in America, the list was led by the smooth-as-milk Nelson,
acting the part of a player who'd met his match—bewitched by a woman who, it
turns out, is even faster than he is.

Fifty-five years later, to the week, we find the Hot 100 topped by "Blurred
Lines," a ditty from the smooth-as-milk Robin Thicke. It's about a player
who's ... bewitched by a woman who's faster than he is.

第一首 Hot 100冠軍單曲在1958年誕生，和現在的第一名
Blurred Lines恰有類似的主題。

So, yeah, gender politics in pop music have scarcely evolved in a half-century
—plus ça change and all that. (Trust: 28-year-old Ricky Nelson had swag. If
he'd known in 1958 what a music video was, he'd have shot one with ladies in
various states of undress, too.)

The better question is this: How is it that, half a century later, we still
follow a chart called the Hot 100 to measure which songs are dominating our
earbuds, our streets, our beaches, our dancefloors, our American lives? We
don't listen to transistor radios anymore, or buy seven-inch 45-RPM vinyl
(not in quantity, anyway). Why is this chart still around?

為何在經歷了半世紀之後，我們還在關注同一個榜單，
用它來作為評斷(美國)文化生活的指標呢?
許多聆聽的媒介都已經改變，這個排行榜為何如此長壽?

The Hot 100 was designed to adapt. It's a voracious creature, built to absorb
whatever medium is delivering music to the masses at any given time. It's not
perfect — any chart where Bob Dylan, Bruce Springsteen and Missy Elliott
peak only at No. 2 can't be — but this chart, designed for the music
business and followed by pop nerds like me worldwide, is still the best
benchmark we have to measure the bigness of hits.

Hot 100最初設計就是要不斷適應改變的。它像一個貪吃的生物，
不斷吸取任何大眾獲得音樂的媒介。它不是完美的(許多止步於第二位的經典曲目...)，
但它仍然是判斷一首歌成功與否的最佳指標。


常見問題釋疑：

Defining our terms: Before dissecting how the Hot 100 came to be the industry
standard for pop hitography, let's answer some basic questions.

Is "the Top 40" related to the Hot 100?

Top 40和Hot 100的關係?

As a term for a radio format that plays current, popular music, "Top 40"
dates back to the early '50s, before the Hot 100 even existed. But nowadays,
when Americans refer to the Top 40 as "a list of popular songs," generally
they're referring to the first 40 songs on the Hot 100. (The full list of 100
songs is published in Billboard's weekly magazine and online.)

Virtually all music critics and chart historians referencing a "Top 40 hit"
are talking about the Hot 100's first 40 positions, and if a song is
understood to have "missed the Top 40," it peaked on the Hot 100 at No. 41 or
below. This might all seem obvious — but it should be noted that many radio
or TV programs that count down the top 40, top 20 or top 10 don't use the Hot
100. That's usually because the wide range of genres on Billboard's big chart
are a little too wide for their tastes, falling outside of a station's target
demographics — an adult-pop station that doesn't play rap, for example. For
more than 20 years (1970–91), the national syndicated program American Top
40 with Casey Kasem did actually count down the Top 40 of the Hot 100 (for
Boomers and Gen-X pop nerds, it was paradise). But after a 1991 host change,
and in response to longtime station complaints about the edgier hits making
the chart (e.g., "Me So Horny"), AT40 switched to other, more radio-centric
charts for its data. The current edition of AT40, hosted by Ryan Seacrest,
uses an unpublished chart with no direct relationship to Billboard.

Top 40誕生於 Hot 100之前，現在通常指的就是 Hot 100的前四十名。
不過也有許多電台的前四十名和 Hot 100無關，原因是 Hot 100的曲風
可能對其聽眾來說太廣。

Is the Hot 100 a "pop" chart?

Hot 100 是一個 pop榜嗎?

While the term began as an abbreviation for "popular," pop has also come to
denote a sugary genre unto itself — catchy music, usually meant to appeal to
young people, tailor-made for the radio and mass consumption. But when we
refer to the Hot 100 as "the big pop chart," pop really does mean popular:
Billboard will allow onto the Hot 100 any current song, in any genre, that
radio is playing or people are buying or streaming. R&B, rap, country, rock,
dance and other genres all have their own separate charts, with rules
limiting what kind of song is allowed there. But songs of all of these types
can and do appear on the Hot 100.

pop當然最初是popular的簡稱，通常指上口的、訴求於年輕人等等特質的歌曲，
不過當我們說 Hot 100是個大型的 pop榜時，指的就不只有這些了，
任何類型的歌曲都可以被計入。

At one time, Billboard got its radio data for the Hot 100 only from stations
playing Top 40 music. That's because, in its '60s-to-'80s heyday, Top 40
stations really would play a rock song next to a country song next to an R&B
song. In our modern world of micro-audience, that's no longer the case, and
the Hot 100 reflects it: For roughly the last 15 years, all current-based
radio stations (i.e., not classic rock or oldies) feed into the chart. If
your local hip-hop or alt-rock or adult-contemporary or hot-country station
is playing current stuff, those plays are tracked on the Hot 100.

以前電台資料只來自於播放 Top 40的電台，因為以前的電台播的類型很廣，
搖滾放完可能就接個鄉村。現在聽眾分流化，則改成計入所有跟隨潮流的
不同類型電台(放老歌之類的就不包括)。

What does the date on the Hot 100 mean?

Hot 100的日期是什麼意思?

Each week's Hot 100 chart has a Saturday publication date, and it is a "week
ending" date — the chart is meant to cover the seven days up to and
including that Saturday. So this year, a baby born on July 29 would by
covered by the Hot 100 dated August 3, 2013. (Welcome to the world, "Blurred
Lines" baby!)

However, it should be noted that, for both record-keeping and
magazine-selling purposes, Billboard stamps its charts with a date in the
future, even though the data is from the recent past. This skews timing
considerably — there's a huge gap between when data is collected for the
chart and the week-ending date. You buying a song or hearing it on the radio
on a Monday or Tuesday doesn't get recorded until early the next week; it
isn't announced by Billboard until a couple of days after that; it doesn't
hit newsstands until early the following week; and its "week ending" date is
the Saturday after that. So for example, any iTunes-buying or radio-listening
you're doing right now is going to get captured on a chart dated August 17,
2013.

The pedants among you will want to keep this in mind when you look up "your"
No. 1 song — the Billboard chart that lines up with your birthdate reflects
data from when Mom was still carrying you. (I wish this technicality would
allow me to say my birth song is really Paul and Linda McCartney's "Uncle
Albert/Admiral Halsey" and not this forgettable Donny Osmond song, but alas,
no matter how I cut it, I'm stuck with Donny.)

簡單來說，8月1日買一首歌，幾天之後計入，在下周8月8日發布的榜單中會出現貢獻，但
當天的榜單日期會寫8月17日。(詳情請見上面原文)

What does "Number One with a bullet" mean?

This phrase has so infiltrated popular culture that few know it originated in
Billboard; and even those that know "with a bullet" is pop-chart-related have
no idea why we're talking about ammo. It's actually pretty simple:
Billboard puts a circle — a bullet — around the chart position of any record
that is gaining in chart points and has upward momentum. The Hot 100 was the
first major Billboard chart to receive bullets (at first, in the late '50s,
they were actually stars, denoting a "Star Performer This Week"), but now
virtually all Billboard charts have bullets.

Generally, a song retains its bullet while it's rising and loses it when the
song is slowing at radio or with consumers and, hence, nearing its peak. It's
possible for a song to rise a few positions without a bullet, or fall a
couple of places with a bullet — but generally, you want a bullet, which
means your record has an upward trajectory. The ever-popular "No. 1 with a
bullet" means a record is not only on top of the chart, it's got upward
momentum and will likely stay there for a while since it can't go any higher.

這句諺語沒聽過，就不翻了XD 有興趣可以看看內容，大概是在講還在
上升趨勢的歌就在名次打一個圈

So that's a glossary of Hot 100 concepts. But how does the chart actually
work?

實際運作方式

Radio and sales, the perfect blend: The main thing to keep in mind about the
Hot 100 is that it doesn't measure just one thing. That is its genius.

電台與銷售的完美結合

Many music charts are fairly simple. The album chart, for example — the
Billboard 200 — is essentially a straight-up ranking of pure sales as
tallied by Nielsen Soundscan, with a few minor rules applied regarding which
albums qualify. But the Hot 100 is more like Coca-Cola, or the Dow Jones
Industrial Average — it has a formula.

Hot 100像可口可樂或是道瓊工業指數一樣，有個計算的公式：

A bit of history: By 1955, at the start of the Rock Era, The Billboard, as
the magazine was then called, had been tracking the amusements business
(circuses, vaudeville, fairgrounds) for decades; and it had been tracking
record sales for the better part of 20 years. At the time, the magazine ran
separate charts that tracked best-selling records in stores, disc jockey
playlists and jukebox plays (self-reported by retailers, DJs and jukebox
operators, respectively, back in those pre-computer days). But the magazine's
brain trust began experimenting with a chart that would mash up all of these
pools of music data into one chart to rule them all. After three years of
tinkering with a proto-chart (the "Top 100," 1955–58), on August 4, 1958,
they launched the Hot 100 with great fanfare as the "first true blend" of
sales-plus-plays.

經過三年的研究，於1958年發布了一個包含銷售與其他播放媒介的榜單。

This is still the premise of the Hot 100. To this day, the two biggest data
pools feeding into it are radio airplay and song sales. (Jukeboxes, already
on the wane in '58 as box sales slowed, were eliminated from the chart by '59
— just one of many ways the Hot 100 has changed since inception.)

現在最大的兩個計算元素是電台點播與銷售，1959年取消的點唱機只是Hot 100開始以來
所做的諸多改變之一。

The reason this airplay-plus-sales system works so well is that the songs
doing well at radio and retail are broadly similar at any given time, but
they are different enough from each other that averaging them together gives
a fairly full picture of the current state of pop hit–dom.

點播與銷售結合的方式成功的原因是因為，任何時刻的在
電台與銷售表現良好的歌曲有許多重疊，但還是有一些不同，
因此平均它們能得到最佳的指標。

Radio is a more passive, top-down medium. It is certainly responsive to
listener requests, but it's also driven by the demands of advertisers and the
limits of formatting. However, radio is — still — how tens of millions of
Americans are exposed to current music, which makes it valuable to track.
Music retail, on the other hand, provides a better, more direct line into
what songs consumers are obsessing over in any given week. But record retail
over-samples the most obsessive fan (the one guaranteed to buy an Elvis
single or a Madonna single in its first week), and it can be driven by
momentary fads or short-lived event recordings.

電台比較由上而下，對消費者而言是比較被動的接受方式，跟聽眾有關卻也受
廣告商等其他因素影響。然而，上千萬的美國人仍透過這種方式接觸流行的音樂，
故有追蹤的價值。

銷售則是更為直接和消費者連結，卻可能會過度反應鐵粉的行動，
或是太過短暫的風潮。

Not unlike a bicameral legislature, the Hot 100 is a system of checks and
balances. In any given week, the chart will be populated by songs consumers
are buying that radio has barely begun to play (or may never play); songs
radio is heavily rotating that consumers are losing interest in; and — when
everything works perfectly — songs whose sales and airplay are peaking
simultaneously. But all these different types of songs are hits.

一首熱門歌曲可能電台跟銷售顛峰時間不一或同時達到，無論哪種情況
它都還是一首紅曲。

以最近的歌曲來說，Jay Z的 Holy Grail主要是因為銷售表現登上第八名，
它的銷售位居第四名，點播卻只在第四十位；Justin Timberlake的 Mirrors
位於第十則是大多來自點播，它的點播是第四名，銷售只在第十七位
(Mirrors最高在第二名時，點播高居冠軍已長達兩個月，然而最高的銷售名次
一直只是在第三，所以平均下來很合理)

In the most recent Top 10, for example, Jay Z's new single "Holy Grail"
featuring Justin Timberlake has a berth at No. 8 thanks largely to sales, not
airplay — it's the country's fourth biggest-selling song, but at radio, the
still-new track ranks only 40th. On the other hand, Timberlake's "Mirrors" at
No. 10 is mostly an airplay story; it clings to the Top 10 because it's got
the fourth-highest radio audience, but it's only the 17th best-seller with
consumers. (This has been true for "Mirrors" throughout its chart run — when
it peaked at No. 2 on the Hot 100 in June, it was in the midst of a nearly
two-month run as America's most-played song at radio, but it never got higher
in sales than third place. Average that out, and you get a No. 2 Hot 100 hit.)
It should be noted that, while radio and retail are still the two biggest
components of the Hot 100, they're not the only ones — other digital media
like YouTube and Spotify now play a role in what makes a hit, too. Never mind
the fact that "retail," nowadays, largely means iTunes, not record stores.

Let's talk about how the big chart has evolved.

當然現在榜單裡還計入了串流服務，更不用提所謂的銷售早從實體轉到數位，
Hot 100是如何進化到現在的? 以下列出四個重要的改變時間點：

Rules are made to be broken: The Hot 100 has been retooled frequently
throughout its history. Arguably, this is what has prolonged the chart's life
— Billboard has added new data streams or even changed the chart's ground
rules when necessary. Most of the changes have had to do with the consumer
side of the equation, reflecting changing norms in the ways fans buy songs,
are permitted to acquire songs or have songs made available to them.

Some rule changes have been technical and fairly invisible — the weighting
of sales versus airplay, for example, or the addition or subtraction of
stations to the radio panel. Some are relics of a bygone era: For roughly the
first 40 years of the Hot 100, when singles were physical and came with
A-sides and B-sides, Billboard had difficulty deciding how to track the
B-sides and, a couple times per decade, kept changing its mind over whether
they should chart together with their A-sides or in their own, separate chart
positions. (In the digital era, that's no longer an issue: a song is a song,
and each one gets its own Hot 100 real estate.)

在還是實體單曲的年代，A-side和B-side要不要一起計算就曾困擾Billboard

Other changes, however, have had huge effects on how the Hot 100 functions.
In the last quarter-century, there have been four major formula changes that
took a sledgehammer to the chart, all arguably necessary to keep it relevant.

1991年十一月

資料取得更加準確 – 加入SoundScan(現在為Nielsen所有)的資料

買一張專輯結帳自動計入，取代過去較不精確的各個銷售商提供的資料，
而這也改變許多過去的觀念，包括鄉村與饒舌的市場比想像中更大，
以及專輯銷售不是慢慢上升，而是像電影票房一樣在首周衝高

之後 Broadcast Data Systems電腦化的紀錄點播也加入，這讓歌曲更快獲得突破，
而不必等老半天驗證，同時歌曲在榜上的時間也拉長，許多紀錄紛紛被打破

November 1991 — the addition of more accurate data: 1991 isn't just "the
year punk broke"; for my fellow pop nerds, it's the B.C./A.D. moment for
chart-following, as it was the year Billboard added data from SoundScan to
its major charts. The direct cash-register sales data provided by the company
(now owned by Nielsen) was so much more accurate than Billboard's old system
of collecting retailers' fudgeable sales lists, it completely changed how we
perceive music popularity. (Some examples: we learned country and rap were
bigger sellers nationwide than we thought; and that most albums open like
movies, with a big opening week, not a gradual rise.)

The album chart changed first, switching to SoundScan data in May of that year. In November,
SoundScan came to the Hot 100, along with radio data from Broadcast Data
Systems — computerized counting of song plays, to match SoundScan's
computerized tallying of sales. The result was a radically different Hot 100.
Songs could now break faster — no more waiting weeks for retailers and
programmers to acknowledge them — but they also lingered longer, both on the
Hot 100 as a whole and at No. 1. Numerous all-time records were broken:
Elvis's record for most weeks at No. 1 (11, with 1956's "Don't Be
Cruel"/"Hound Dog") was beaten four times within the new chart's first five
years (and finally set for all time in 1995–96 with Mariah Carey and Boyz II
Men's 16-week blockbuster "One Sweet Day"). The Hot 100's first-ever song to
debut at No. 1 appeared in 1995 (Michael Jackson's "You Are Not Alone"), and
another 20 songs since then have repeated the feat.

1998年11月

加入了沒有銷售，純粹在電台播放的歌曲

許多耳熟能詳的歌曲未能在榜上出現迫使 Billboard終於改變，然而此時
實體單曲銷售也開始衰退，唱片公司因而失去了發行它的動機，
在1999-2004年間 Hot 100幾乎被點播所支配，直到...

November 1998 — the inclusion of non-retail, radio-only songs: For its first
40 years, the Hot 100 was a singles chart. Billboard's ironclad rule was that
a song had to be available for sale as a 45, a 12-inch maxi-single, a
cassingle or a CD-single to make the big chart — no album cuts, no
promotional-only tracks just for radio or DJs. This rule, designed to compel
labels to release their hits as singles, was thwarted by the industry in the
'90s, when the labels waged a decade-long campaign to kill the single as a
retail medium and compel consumers to purchase full-length CDs. (Remember the
joy of ponying up $18 in 1999 to own Lou Bega's "Mambo No. 5"?)

These label shenanigans made the Hot 100 look out of touch for much of the '90s
— some of the biggest songs you heard on the radio (Green Day's "When I Come
Around"; No Doubt's "Don't Speak"; the Fugees' "Killing Me Softly"; Natalie
Imbruglia's "Torn") didn't appear on the big chart at all, because they
weren't for sale as retail singles. Billboard held out a long time in
changing this rule, but in 1998, bowing to label pressure, they relented,
allowing radio-only songs with no retail single to appear on the Hot 100 for
the first time. It restored the Hot 100's pop relevance, but it also removed
the labels' last incentive to release singles and get Hot 100 bragging
rights. From 1999 to 2004, the Hot 100 was an airplay-skewed chart, with
big-selling singles only occasionally having an impact. That is, until ...

2005年二月

數位下載在2003年蘋果 iTunes音樂商店開幕之後展開，
一首歌曲為0.99美元，兩年後其蓬勃發展使 Billboard開始計入數位銷售

數位銷售的加入使榜單又動起來了(2002年只有9首新歌登上冠軍)，
消費者的口味比起電台播放清單變動得快，許多快速空降與跳升的歌曲開始出現

同使榜上歌曲的類型也有所改變，Gwen Steffani、Plain White T's以及
Owl City在以前可能很難上榜現在卻有機會出線(為什麼?)

February 2005 — the addition of digital sales: Singles fans have Apple
founder Steve Jobs to thank for the return of the a la carte song purchase.
The legal-digital-music era began in earnest in 2003 when Apple launched the
iTunes Music Store, with a uniform price of 99 cents per song and a
requirement (insisted upon by Jobs in his negotiations with the labels) that
virtually all songs be available for individual purchase. Two years later,
with digital music booming, Billboard responded in kind, adding digital song
sales to the Hot 100.

In effect, the addition of iTunes and other digital song retailers proved a
vital counterweight to the 1998 rule change allowing radio-only tracks on the
chart. After a half-decade of sluggish Hot 100 action (e.g., only nine new
songs hit No. 1 in all of 2002), the digital infusion energized the chart
considerably. Consumers' tastes change faster than radio playlists, and
consumers' ability to satisfy song cravings instantly — faster, even, than in
the heyday of the 45-RPM single — allowed songs to make huge debuts and
quantum leaps up the chart. Digital music even hifted the kinds of songs that
would chart, in a more centrist-pop direction. No. 1 hits by the likes of Gwen
Stefani, Plain White T's and Owl City would have been unthinkable without the
viral effect spurred by iTunes. Of course, when it came to viral hits, iTunes
wasn't the last word.

2012年三月/2013年二月

計入串流服務

Billboard開始注意到許多人是點歌來聽卻不曾擁有它們，
2012年春天加入 Spotify以及其他串流服務，
造成的改變是許多搖滾以及電子舞曲上榜 (We Are Young以及Levels等)，
不過並沒有真正讓榜單有什麼大變動

最大的改變是2013年開始計入 YouTube以及其他影音網站的觀看次數，
這包含了官方 MV與歌迷自製至少包含30秒該歌曲的影片，
Harlem Shake隨即在改變之後奪冠，這讓許多人擔心 Hot 100會變成流行舞步風潮榜，
不過這暫時還沒發生，就讓我們看下去...

March 2012/February 2013 — the addition of streaming music: Over the last 18
months the Hot 100 has begun to reckon with the world of digital music that
fans play on demand but never acquire. Billboard's opening gambit came in the
early spring of 2012, when it added Spotify and other subscription streaming
music services (e.g., Muve Music, Rdio, Rhapsody, Slacker) to the chart. The
effects were noticeable but not earth-shaking — a few more rock-oriented or
EDM songs, such as fun.'s "We Are Young" or Avicii's "Levels," got a bit of a
boost from on-demand streams, but not enough to shift the chart's
direction.

The bigger change came just this past winter, when YouTube and
other video streaming was finally added to the Hot 100. This latest move by
Billboard was exceedingly populist — not only are plays of official,
label-sanctioned videos on Vevo now chart-legal, but YouTube fan videos
incorporating at least half a minute of a current song count, as well. In a
bit of clever P.R., Billboard introduced the change at a moment it wouldn't
be missed, when the "Harlem Shake" phenomenon was dominating YouTube. The
result: Baauer, producer of the "Harlem Shake" recording, became an instant
Hot 100 chart-topper, as streams of some 100 million views (most of them of
viral fan videos, not the full-length song itself) leapfrogged "Shake" to the
penthouse. Six months later, Baauer still hasn't scored a followup hit, and
worries by chart fans that the Hot 100 would become choked with viral dance
fads have not yet come to pass. But we'll see what happens when the next
music mega-meme explodes.

這些改變讓 Hot 100目前是個三腳凳，銷售和點播是兩個腳，
串流是另一個，目前前兩者的比重還是比較高，
但是串流最高還是能占有30%的影響力

The result of all these changes is that the Hot 100 is now essentially a
three-legged stool. Sales and airplay are the first two legs, as they have
been historically (albeit with digital sales now standing in for the 45); and
streaming music — the combination of YouTube, Spotify and their ilk — is
the third. According to Billboard, the formula continues to weigh sales and
airplay more heavily than streaming. But in a week where streaming activity
is high (read: a "Harlem Shake"–like phenomenon, or the release of a buzzy
video like Miley Cyrus' "We Can't Stop"), the streaming component can make up
as much as 30% of the Hot 100's data.

In short, to hit the upper reaches of the Hot 100 in 2013, a song must place
well in all three categories: sales, airplay and streaming. That's how Robin
Thicke has dominated the chart all summer. At various times in the last two
months, "Blurred Lines" has been most played and purchased, and near the top
in streams. (It's also why the generally acclaimed Song of Summer, Daft
Punk's "Get Lucky," has fallen short; despite stronger streaming numbers than
Thicke, "Lucky's" sales and airplay have been lighter than "Blurred's," and
consequently, as I predicted, on the big chart "Lucky" peaked at No. 2.)

所以一首歌要獲得高名次需要三者兼具，Blurred Lines就是如此，
Get Lucky雖然串流比較高，但銷售和點播都不如 BL，所以peak在第二

How much longer can the Hot 100 remain relevant? In a world of music
disaggregation and fan-driven hitmaking, won't the chart become a relic?

在現今極端分眾化的音樂世界中，Hot 100還能保持多久的指標性?
它有一天會變成遺跡嗎?

It's certainly possible. But Billboard's malleable formula is a remarkably
versatile tool, helping this Lazarus-like chart survive numerous paradigm
shifts in the last two decades. In a world of adapt or die, as long as
there's a music business to track, the Hot 100 can — and, I would argue,
should — continue to exist, if only to maintain a benchmark with decades of
history.

這當然是有可能的，但 Billboard有彈性的公式是它的利器，
這讓它在許多劇變中得以生存下來，(本篇作者)相信它將來
仍將具有其在音樂市場上的指標性

Plus, let's just say it: Pop charts are fun. Who doesn't want an
authoritative answer to the question, "What's No. 1 in the USA this week?"

--

Mediocre people do exceptional things all the time.

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◆ From: 180.176.109.212
推 wilson200106:推!!!
推 ayuELT:推~
推 JHPeace:M起來!
推 Snowmiss:passive翻譯成被動會比較適合
→ Snowmiss:基本上 HOT100所追求的是目前最流行 最多人喜歡的音樂
→ Snowmiss:結果完全是又聽眾來主導... 需求和供給 本事互利共生的
※ 編輯: Eeli2008        來自: 180.176.109.212      (08/04 14:19)
推 pollyMAN:推!翻譯大大辛苦了
推 kevin1029:推!!!!
推 carb628:推
推 jeremylyc:推~
推 Minesweeper:推
→ sneak: 基本上 HOT100所 https://noxiv.com