CSPC: High School Musical Popularity Analysis

High School Musical 3

Streaming Sales

Streaming is made up of two families – audio and video. Our CSPC methodology now includes both to better reflect the real popularity of each track. The main source of data for each avenue is respectively Spotify and YouTube. As detailed in the Fixing Log article, Spotify represents 132 million of the 212 million users of streaming platforms, while YouTube is pretty much the only video platform generating some revenue for the industry. Below is the equivalence set on the aforementioned article:

Audio Stream – 1500 plays equal 1 album unit
Video Stream – 11,750 views equal 1 album unit

Equivalent Albums Sales = 212/132 * Spotify streams / 1500 + YouTube views / 11750

Streaming Part 1

The teen acts patterns continue to be verified with all High School Musical results. Their streams are incredibly consistent with no real gap between the supposed hits and unknown album tracks. All of them have many millions of streams on both Spotify and YouTube. The second volume even ends up being the very first album we met which has all its tracks at 17 million or more views on YouTube.

This consistency pays off as in spite of the lack of hits, both albums enjoy respectively 172,000 and 219,000 equivalent album sales from streams.

4 thoughts on “CSPC: High School Musical Popularity Analysis”

  1. Thank you for doing this! I was just wondering, was the fourth movie (spin-off) “Sharpay’s Fabulous Adventure” that much of a flop in terms of sales?

  2. Hi MJD!

    I have to say, this is a very interesting read. The 3 soundtracks show similarities to both Frozen soundtrack (Disney movies) and teen acts (eg. Miley, Justin)

    Firstly, the HSM soundtracks sold impressively well in South America, just like 1D did. I remember you saying that that particular region has a large influence from visuals and imagery, hence artists with TV shows or movies sell bucketloads there (Whitney with Bodyguard, Miley Cyrus)

    Another thing similar is what you mentioned, download sales linear for the entire tracklist.

    Finally, a comment about the HSM trilogy sucess: while 25m+ for 3 albums in 3 years is impressive, there was no denying the project was becoming less and less successful, with the last project at barely 5m. Another thing is that album sales are the main provider for their CSPC sales. They achieved tremendous numbers in that format, but underperformed in other formats, the most disappointing one are downloads, as those 3 albums were released when the download market was still healthy.

    Still, the first project was quite successful, matching the success of mega albums of the same period (eg. B’day by Beyonce, Loose by Nelly Furtado, Futuresex/Lovesounds by JT). The 2nd project was also a decent follow up, though highly front loaded compared to its predecessor, as album sales only added 0,3m for the former in their first year, while the first one added a nice 3m after its first year.

    Can you give us any hints on who will be up next for analysis? Thanks and keep uo the good work you all!

  3. Hey! I’ve been browsing your popularity analysis for a while, and I have a question to make. It seems that you’re using the formula of 1500 streams = 1 album sale, but isn’t that a method used only in the USA? For example, if a song has 500,000,000 total streams, it is unrealistic to assume 100% of them are based on the USA to apply this formula to reflect on total album sales, especially that the streaming data seemingly are private and are sent exclusively to Billboard (in the USA).

    If that’s not the case, I hope you can elaborate as I’m confused on your usage of the formula :).

    1. Hi Alfonso!

      I’m not sure to really understand your question. The streaming method is not supposed at all to concern the US only, in fact all streaming numbers are global. Both Spotify and YouTube provide streams of their audio/video tracks.

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