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39-621: The Pepsi Chart (previously known as "The Pepsi Network Chart Show") was a networked Sunday afternoon Top 40 countdown on UK radio that started life on 1 August 1993 with Neil 'Doctor' Fox hosting the show live from the Capital Radio studios in London. The Pepsi Chart show carried an emphasis in fun and was the UK's first personality-led chart show: the presenter was live and exciting and big-prize competitions were held. The Pepsi Chart

78-469: A radio format , appeared in 1960. The Top 40, whether surveyed by a radio station or a publication, was a list of songs that shared only the common characteristic of being newly released. Its introduction coincided with a transition from the old ten-inch 78 rpm record format for single "pop" recordings to the seven-inch vinyl 45 rpm format, introduced in 1949, which was outselling it by 1954 and soon replaced it completely in 1958. The Top 40 thereafter became

117-659: A Pepsi Chart branded spin-off aired as a 5-minute slot on Channel 5 on Monday evenings, providing a recap of the previous night's new Top 10 (as in those days, the chart was published on Sundays at 7pm, rather than on Fridays at 5:45pm as is the case now). Despite the end of the Channel 5 TV show, the Pepsi Chart brand remained strong, helped along by its continued use in exclusive promotional CDs and autoscan radios that were offered to consumers of Pepsi and 7-Up soft drinks. Commercial compilation albums featuring artists from

156-520: A complete overhaul of the original show's format. After nine successful years, in late 2002, Pepsi announced the termination of their sponsorship of the show. However, Music & Media reported in July, 2002, that Channel 5 had dropped the Pepsi Chart Show due to poor viewer ratings . In January 2003, the show became Hit40UK , and coincided with launch of the ill-fated rival chart show:

195-616: A number of format and genre charts (Music DVD, Classical, Rock, etc.), as well as a background on sales and airplay analysis from Alan Jones. Following a redesign in October 2008, the magazine introduced live charts based on Tixdaq data, a Box Office chart, and predictive charts based on information from: Rakuten.co.uk , Amazon , Shazam , Last.fm , HMV . Music Week compiled and published weekly club charts from chart returns supplied by DJs in nightclubs; Upfront Club Top 40, Commercial Pop Top 30 and Urban Top 30. The magazine also published

234-402: A number of series featuring retro countdowns on a Friday night, under names such as The Greatest Hits of the 80s and Britain's Biggest 90s Hits . Unlike The Pepsi Chart Show , these shows (featuring a year-by-year countdown of hits from 1970 to 1999) are made in-house by Viacom International Studios UK (VIS) and use data supplied by The Official Charts Company. Doctor Fox's Chart Update was

273-661: A separate free-to-access site for the Music Week Directory listed 10,000 contacts in the UK music industry. In mid-2007, the magazine was redesigned by London company This Is Real Art. In October 2008, another redesign led to major changes. In June 2011, Music Week was sold to Intent Media. The package was sold for £2.4m and also contained titles Television Broadcast Europe , Pro Sound News , Installation Europe , and additional websites, newsletters, conferences, show dailies and awards events, which generated £5.4m of revenue in 2010. As of issue 30 July 2011, UBM

312-465: A specific number of the target 15-24 audience. As well as taking the Sunday afternoon show, stations were requested to air the 5-minute chart checkups as part of their usual programming on Monday and Wednesday evenings. Non-live audio clips were delivered via SMS and so stations were expected to have the facility and equipment already in place. Following the success of the radio show, The Pepsi Chart Show

351-481: A survey of the popularity of 45 rpm singles and their airplay on the radio. Some nationally syndicated radio shows, such as American Top 40 , featured a countdown of the 40 highest-ranked songs on a particular music or entertainment publication. Although such publications often listed more than 40 charted hits, such as the Billboard Hot 100 , time constraints allowed for the airing of only 40 songs; hence,

390-497: A website and a monthly print magazine. It is published by Future . Founded in 1959 as Record Retailer , it relaunched on 18 March 1972 as Music Week . On 17 January 1981, the title again changed, owing to the increasing importance of sell-through videos, to Music & Video Week . The rival Record Business , founded in 1978 by Brian Mulligan and Norman Garrod, was absorbed into Music Week in February 1983. Later that year,

429-569: A weekly Cool Cuts chart compiled from DJ feedback and sales reports from independent record shops, which traced it roots back to James Hamilton's BPM section in Record Mirror (a publication which ended up as the middle dance music section of Music Week in 1991). Even though the magazine is now a monthly publication, the website still posts weekly Charts Analysis pages for the UK Official Singles and Albums charts. Alan Jones

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468-549: Is still named as publisher, as the new publisher Intent Media took over on 1 August 2011. In the first edition under new ownership it was announced that the title would switch its day of publication Monday to Thursday with immediate effect. NewBay Media acquired Intent Media in 2012. Future acquired NewBay Media in 2018 and decided that the publication would go monthly from March 2021, in keeping with its Louder Sound publications such as Metal Hammer and Classic Rock magazine . Music Week features these British charts:

507-529: The Smash Hits! chart. On 14 June 2009, Hit40UK became The Big Top 40 Show , powered by iTunes . Here is a complete list of the compilation albums released. Additionally, there was a released DVD titled Pepsi Chart Music Quiz in 2002. Top 40 According to producer Richard Fatherley, Todd Storz was the inventor of the format, at his radio station KOWH in Omaha, Nebraska . Storz invented

546-648: The Official Top 75 Singles of the month , the Official Top 75 Albums of the month (similar to charts used by Top of the Pops in the early 1990s and Absolute 80s on Sundays) and the Official Vinyl Charts. Specialist charts include the Official Top 20 Americana, the Official Top 20 Classical, the Official Top 20 Hip-Hop & R&B, the Official Top 20 Jazz, the Official Top 20 Country,

585-589: The Pepsi Chart still had a bigger listening audience. As well as standard reaction interviews with chart-toppers, artists were often asked by Fox to "introduce the number one to the country". At other times, over the course of the show, artists may be asked to phone in to the studio at intervals to "pester" Fox into revealing the number one track way before even the Top 10 had begun being counted down. At these scripted points, Fox would insist that they'd have to wait to

624-754: The Pepsi Chart was the same as the official Top 10 of the UK Singles Chart that was compiled by the Official Charts Company (OCC but then CIN) and which was used by the BBC 's Radio 1 Official Chart Show . However, the lower positions of 11–40 on the Pepsi Chart combined sales with radio airplay data. The Pepsi Chart was a re-branded version of The Network Chart Show which had previously been compiled by MRIB until Pepsi took over sponsorship from Nescafé in August 1993. In 1995, it

663-421: The 45 rpm vinyl record. This includes cassette singles , CD singles , digital downloads and streaming . Many music charts changed their eligibility rules to incorporate some, or all, of these. Some disc jockeys presenting Top 40 and similar format programs have been implicated in various payola scandals. Music Week Music Week is a trade publication for the UK record industry distributed via

702-477: The Charts Analysis posts on 5 November 2021, Alan Jones resumed the role again, writing the 12 November overviews, with no explanation of why he returned (with the pages titled Charts analysis: ABBA's Voyage opens with huge sale of 204,000 for the albums and Charts analysis: Adele spends fourth week at summit ahead of album release for the singles). Music Week is published monthly by Future (from

741-659: The March 2021 edition), though previously it was a weekly magazine (50 editions p.a.). It was available as a B4-sized printed magazine and a PDF digital edition . ISSN   0265-1548 . As of July 2021 print edition Former editors The weekly print circulation in 1997/98 was 12,503, but by the time the publication left the ABC scheme in 2011 it had fallen to around 5,000 weekly copies. In October 2011, Music Week deregistered with ABC after 54 years of membership. The website musicweek.com had 63,904 monthly unique browsers for

780-554: The Official Top 20 Dance, the Official Top 20 Folk and the Official Top 20 Rock & Metal. Also found in Music Week are charts for streaming and various album compilations, whilst James Masterton's weekly Official UK chart analysis column can now only be accessed online by subscribers. When the magazine was a weekly publication, it included Top 75 Singles, Top 75 Artist Albums, Top 10 Downloads, Top 20 Ringtones, Top 20 Compilation Albums, Top 50 Radio Airplay, Top 40 TV airplay, and

819-511: The Saturday afternoon programme when the show was axed by Kevin Lygo, Channel 5's new programming boss. The last edition went out on 25 June 2002 with Abbie Eastwood and Matt Brown being the final regular presenters of the series. Since The Pepsi Chart Show , the channel has not broadcast a regular weekly chart show in its schedules, though since being owned by ViacomCBS, Channel 5 has broadcast

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858-541: The Sunday before the new year would air with a chart of the year, counting down the Top 40 most popular singles of that particular year. An exception took place in December 1999, the last countdown of the millennium, when the Top 40 of all time was compiled and aired instead. Elton John 's Candle in the Wind came out as top. The Pepsi Chart Show used Satellite Media Services to receive new releases and interview cuts. Over

897-494: The chart were also produced for the mainstream music market, and frequently boasted chart-topping positions in the compilations category. Other than music CDs, annuals, board games and music quiz DVDs also found their way into high street stores. The Pepsi Chart brand had also managed to spread to other parts of the world, including countries such as The Netherlands, Ireland and Thailand. Pepsi took over as sponsors of The Network Chart Show in August 1993 from Nescafé , with

936-468: The end, just as with the rest of the listeners. Artists managing to cling on to the top spot for a total of four weeks would be awarded a Pepsi Chart blue disc. Although not made entirely clear to the listeners what exactly this blue disc was, its appearance was similar to those presented in Silver and Gold Record awards. Requirements for a radio station taking the show were that the station's coverage area

975-622: The format in the early 1950s, using the number of times a record was played on jukeboxes to compose a weekly list for broadcast. The format was commercially successful, and Storz and his father Robert, under the name of the Storz Broadcasting Company, subsequently acquired other stations to use the new Top 40 format. In 1989, Todd Storz was inducted into the Nebraska Broadcasters Association Hall of Fame. The term "Top 40", describing

1014-419: The invention of Storz and others like him, radio would be reborn". Storz is credited by some sources as helping to popularize rock and roll music. By the mid-1950s, his station, and the numerous others which eventually adopted the Top 40 format, were playing records by artists such as " Presley , Lewis , Haley , Berry and Domino ". From the 1980s onwards, different recording formats have competed with

1053-778: The offshoot Video Week launched and the title of the parent publication reverted to Music Week . Since April 1991, Music Week has incorporated Record Mirror , initially as a 4 or 8-page chart supplement, later as a dance supplement of articles, reviews and charts. In the 1990s, several magazines and newsletters become part of the Music Week family: Music Business International (MBI) , Promo , MIRO Future Hits , Tours Report , Fono , Green Sheet , ChartsPlus (published from May 1991 to November 1994), and Hit Music (September 1992 to May 2001). By May 2001, all newsletters (except Promo ) closed. In 2003, Music Week relaunched its website of daily news, features, record release listings and UK sales, airplay and club charts. In early 2006,

1092-576: The participating stations. With the fun element in place, it was not unusual for the show to go "on the road" and broadcast live, backstage, from music events. The Smash Hits Poll Winners Party and Capital FM's own Party in the Park concerts were recurring occasions of popularity with the show. In April, 1997, the Pepsi Chart claimed a larger audience size than BBC Radio 1's Official Chart . In April, 1999, Music Week reported that despite BBC Radio 1's Official Chart receiving record numbers of listeners,

1131-484: The remaining airtime . Criticism from chart purists and fans of the rival Radio 1 Official Top 40 show naturally included comment on the show's 40-11 compilation methods, regular advert slots interrupting the show, and the presenter talking over the starts and ends of music tracks in order to fit the show within the 3 hours. However, this presentation style was typical practice in commercial radio, anyway, and would have been no different from any other show featured on each of

1170-612: The show moved on to the Sound venue at nearby Leicester Square , with Fox himself at the helm of the show, usually broadcast at 3.30pm on Saturdays. Live performances at the Sound nightclub were also used in Pepsi Chart TV shows overseas, combining these English language performances with local ones in countries such as Hungary, Poland, Mexico, Latin America (La Cartelera Pepsi) Russia, Thailand and Australia. The late Caroline Flack

1209-534: The term "top 40" gradually became part of the vernacular associated with popular music. An article in the Spring 2012 issue of Nebraska History magazine offered this comment as to Todd Storz' legacy: "the radio revolution that Storz began with KOWH was already sweeping the nation. Thousands of radio station owners had realized the enormous potential for a new kind of radio. When television became popular, social monitors predicted that radio would die. However, because of

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1248-494: The time, and occasionally a failure in attracting appearances from the bigger-name pop acts. There were notably more live performances from the more 'alternative' acts, and as a result, the TV show sometimes did not fully reflect the music in the radio version of the Pepsi Chart, which was more biased towards commercial radio airplay's hit music. In the programme's last year it lost two-thirds of its audience, with 100,000 viewers watching

1287-400: The years of the show's broadcast, little variation in the format was applied. A typical 3-hour show was aired live between 4pm and 7pm each Sunday, and consisted of the standard 40-1 singles countdown with the inclusion of recaps after every 10 songs. Competition announcements, live calls from contestants, interviews with the artists making that particular week's chart, and advertisements made up

1326-509: Was called the Pepsi Network Chart Show , but in 1996 it was renamed the Pepsi Chart . Different compilation methods of the chart show were employed in its time. Initially, the sales: airplay ratio for its 40-11 positions were 30:70, but later became 50:50. Sales data was provided by Chart Information Network (CIN - now known as The Official UK Charts Company ) and airplay data from Music Control . The final chart show on

1365-598: Was launched on Channel 5 on 4 February 1998, as a rival to the BBC's Top of the Pops weekly music programme. The programme was made for the channel by Endemol's Initial , (with producer Malcolm Gerrie being previously behind Channel 4's The Tube ), and was the channel's first advertiser-supplied programming deal. Filming initially took place at the Hanover Grand venue near to London's Regent Street , with Rhona Mitra and Eddy Temple-Morris as presenters. Over time,

1404-424: Was mostly in a "white-space", i.e. broadcasting to an audience not already covered by a rival participant. There were the odd exceptions to the rule, most notably when existing stations agreed for a new station to carry the show. Other requirements were that the station was a current CRCA member, and the ability to fulfill the obligation of playing a pre-determined number of show promos over the week during primetime to

1443-729: Was produced for the Commercial Radio Companies Association by the Unique Broadcasting Company , who along with the (then) programme director of Capital Radio Richard Park , and Fox, came up with the new show concept. The show was broadcast on between 80 and 110 local commercial radio stations across the UK via SMS satellite. Locums for the 'Doctor' included Capital's own Steve Penk and Key 103 Manchester's Darren Proctor . Occasional guest presenters filled in, such as Richard Blackwood of MTV UK & Ireland fame. The Top 10 of

1482-399: Was the international presenter for several countries including Norway and Tahiti. In 1998 The Pepsi Chart Show was one of the Top 30 most-watched shows on Channel 5, but ultimately the TV show never really made much of an impact on the music television audience share, with likely blames being a combination of both restrictions in the analogue terrestrial transmission coverage of Channel 5 at

1521-407: Was the writer of the section until he retired in March 2020, when Chart Watch UK writer James Masterton was hired to take over the role. Masterton wrote two weekly Charts Analysis pages for the website (as the magazine now features charts compiled from monthly sales and streams) until 29 October 2021, when Music Week staff performed the role. After Andre Paine and Ben Homewood wrote one each of

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