CSPC: High School Musical Popularity Analysis

High School Musical 3!!!! :)

Digital Singles Sales

As a reminder, the weighting is done with a 10 to 1,5 ratio between albums and digital singles.

High School Musical (2006) – 975,000 equivalent albums

Start of Something New – 1,000,000
Get’cha Head In the Game – 700,000
What I’ve Been Looking For – 600,000
Breaking Free – 1,600,000
We’re All in This Together – 800,000
Remaining tracks – 1,800,000

High School Musical 2 (2007) – 758,000 equivalent albums

What Time Is It? – 600,000
You Are the Music in Me – 650,000
I Don’t Dance – 400,000
Gotta Go My Own Way – 850,000
Bet on It – 550,000
Everyday – 600,000
Remaining tracks – 1,400,000

High School Musical 3: Senior Year (2008) – 420,000 equivalent albums

Now or Never – 350,000
Right Here, Right Now – 300,000
I Want It All – 200,000
A Night to Remember – 250,000
Can I Have This Dance? – 600,000
Remaining tracks – 1,100,000

Teen acts are among the best examples to illustrate that digital sales of singles truly replaced album sales in terms of consumption. As previously mentioned, the High School Musical LPs had no successful hit. No airplay means no digital sales. Most members of the general public never heard these tunes.

Still, this page shows they sold a total of 14 million downloads. How come? If one checks carefully, they will notice the same phenomenon that happened with Justin Bieber, One Direction and Hannah Montana, e.g. consistent sales over the entire track lists, rather than a couple of hits selling a lot. This is due to kids liking High School Musical but at times with no money to buy the albums. Instead, they had access to iTunes with gift cards to consume. Our Commensurate Sales to Popularity Concept relocate accurately this behavior by translating downloads of singles into equivalent album sales, more than 2 million in the case of this franchise.

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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