GLOBAL NO.1 - 30 YEARS AGO... "Batdance" was released on June 8, 1989 for the Batman soundtrack. Helped by the film's popularity, the song reached no.1 in the United States, Canada, Norway, Switzerland, New Zealand and no.2 in United Kingdom and Australia. It was a last-minute replacement for a brooding track titled "Dance With The Devil", which Prince felt was too dark. "Batdance" is almost two songs in one, a chaotic, mechanical dance beat that changes gears into a slinky, funky groove before changing back for the song's conclusion. The track is an amalgam of many musical ideas of Prince's at the time. The music video, directed by Albert Magnoli and choreographed by Barry Lather, featured dancers costumed as multiple Batmen, Jokers and Vicki Vales.

USA
Billboard Report (excerpt)
'Truth Hurts' tops Billboard Hot 100 for third week
Tuesday, September 17, 2019
by Keith Caulfield & Gary Trust, Los Angeles

Post Malone charges in at No. 1 on the Billboard 200 chart with Hollywood’s Bleeding. The set opens with 489,000 equivalent album units earned in the week ending Sept.12

in the U.S., according to Nielsen Music -- the second-biggest week of 2019 for any album. Of that total unit sum, 200,000 were in album sales. Further, the album racked up 365.4 million on-demand audio streams for its tracks in its first week, delivering 2019’s biggest streaming week for an album. Hollywood’s Bleeding is Post Malone’s second No. 1, following 2018’s beerbongs & bentleys, which debuted with 461,000 units (of which 153,000 were in album sales). The new album was released on Sept. 6 via Republic Records. Hollywood’s Bleeding was preceded by four smash singles on the Billboard Hot 100: “Sunflower (Spider-Man: Into the Spider-Verse)” with Swae Lee (No. 1), “Wow.” (No. 2), “Goodbyes,” featuring Young Thug (No. 3) and “Circles” (No. 7, through the most recently published chart, dated Sept. 14). Of Hollywood’s Bleeding’s total debut of 489,000 units, album sales contributed 200,000, while TEA units were 11,000 and SEA units

equaled 278,000. The latter sum translates to 365.4 million on-demand audio streams of the album’s 17 songs during the tracking week. As noted earlier, that sum is the biggest streaming week for an album in 2019. (The previous biggest streaming week of the year belonged to the debut frame of Ariana Grande’s Thank U, Next, with 307.1 million racked up in the week ending Feb. 14.) Hollywood’s Bleeding’s total unit start logs the second-largest frame of 2019, trailing only the debut week of Taylor Swift’s Lover (867,000 on the chart dated Sept. 7). The ladder holds in the runner-up slot for a second time this week, with 104,000 equivalent album units earned (down 42%). Lover is in its third week on the list, and bowed at No. 1 with 867,000. Thus, Lover has earned over 100,000 in its first three weeks on the list, making it just the second album to tally 100,000-plus units in three weeks in 2019 after Grande’s Thank U, Next (which claimed 100,000-plus in its first three weeks as well). Melanie Martinez earns her second top 10 album and highest charting set yet, as K-12 debuts at No. 3 on the new Billboard 200 with 57,000 equivalent album units (with 30,000 of that sum in album sales). K-12 is Martinez’s second full-length studio set, following 2015’s Cry Baby, which debuted and peaked at No. 6 on the Sept. 5, 2015-dated list with 40,000 units in its first week (32,000 in album sales). Cry Baby went on to earn 1.4 million units, and collecting 1.1 billion on-demand audio streams for its tracks. Young Thug’s former No. 1 So Much Fun rises one spot to No. 4 on the new Billboard 200, with 53,000 equivalent album units (down 14%). Lil Tecca’s We Love You Tecca dips 4-5 with 49,000 units (down 28%) and Lizzo’s Cuz I Love You is steady at No. 6 with 39,000 units (down 14%). Tool’s Fear Inoculum falls from No. 1 to No. 7 in its second week, with 38,000 equivalent album units earned (down 86%). Billie Eilish’s When We All Fall Asleep, Where Do We Go? descends 7-8 with 37,000 equivalent album units earned (down 4%). The album debuted at No. 1 six months ago, and has yet to depart the top 10. Lana Del Rey’s Norman Fucking Rockwell! falls 3-9 in its second week, with 35,000 equivalent album units earned (down 66%). Lastly, all-star quartet The Highwomen sees their self-titled debut album bow at No. 10 with 34,000 equivalent album units (with 29,000 of that sum in album sales). The four-member act comprises Brandi Carlile, Natalie Hemby, Maren Morris and Amanda Shires. Lizzo logs a third week atop the Billboard Hot 100 with her first No. 1 on the chart, "Truth Hurts." It spends also a third week atop the Digital Song Sales chart, although down 19% to 31,000 sold in the week ending Sept. 12, according to Nielsen Music. It rises 4-2 on Radio Songs, up 6% to 110.8 million audience impressions in the week ending Sept. 15, while tumbling 3-14 on Streaming Songs, down 16% to 29.2 million U.S. streams in the week ending Sept. 12. Shawn Mendes and Camila Cabello's "Señorita" holds at No. 2 on the Hot 100, after topping the Aug. 31-dated chart. It rules Radio Songs for a second week, up 2% to 111.9 million in audience. Post Malone's "Goodbyes" flies 10-3 on the Hot 100, matching its high first set upon its July 20 entrance; "Circles" soars 7-4 in its second week; "Take What You Want" launches at No. 8 on the chart; and "Sunflower" rebounds 14-10. The songs drew 39.1 million, 33 million, 35.7 million and 32.1 million U.S. streams, respectively, in the tracking week; on Radio Songs, "Circles" debuts at No. 32 (28.1 million impressions) and "Goodbyes" and "Sunflower" rank at Nos. 9 (65.8 million) and 33 (27.7 million), respectively. Billie Eilish's "Bad Guy," which led the Hot 100 dated Aug. 24, drops 3-5; Lil Tecca's "Ran$om" retreats to No. 6 from its No. 4 high, as it spends a fourth week atop Streaming Songs (46.7 million, down 5%); and Chris Brown's "No Guidance," featuring Drake, descends to No. 7 from its No. 6 Hot 100 peak, while earning a third week at No. 1 on Hot R&B Songs. Lewis Capaldi collects his first Hot 100 top 10, as "Someone You Loved" rises 11-9. The ballad bumps 6-4 on Digital Song Sales (17,000, up 2%) and 8-6 on Radio Songs (79 million, up 11%), while dipping 13-23 on Streaming Songs, but with a 9% increase to 22.3 million.