Quotes About Charts

Western world, is the leading authority on the subject. His books, Japanese Candlestick Charting

I've always done quite well as far as the charts are concerned. And yet I always felt I conveyed the spirit of the music I love, which didn't have any chart success.

I think Korea is so focused on just the charts, and what's going to chart and what's not, and I'm sure it's like that way in the States as well, to a certain degree. But I enjoy working in the States a little bit more. Because it's more about making music that is the right sound and the right fit to me, not so much just chasing the charts.

But there was a rumour—which lingered until it became acceptable currency—that I had bought the disc in bulk to get it into the charts. Possible though this would have been—had I the money, which I hadn't—I did no such thing, nor ever have. The Beatles, then as now, progressed and succeeded on natural impetus, without benefit of stunt or back-door tricks and I would like to make this quite clear.

I would go on the iTunes chart and see the hottest songs, then I'd cover them. People would go on YouTube and search for those songs. That's how I got my views. I'd post two or three songs a week.

We never could have foreseen the success of 'Babel.' It's not like banjo records were soaring up the charts, you know.

I grew up in the day when the Beatles sold 1 million singles in a week. And all you've got to do now is sell about 10,000 singles and you're in the charts.

I grew up when the whole Motown thing was huge. The charts in those days were dominated by groups more than solo artists at one point.

Kanban boards are an ideal tool to create visibility, and visibility is a key component in properly recognizing and integrating Ops work into all the relevant value streams. When we do this well, we achieve market-oriented outcomes, regardless of how we've drawn our organization charts.

The packaging of Led Zeppelin's IV doesn't have the name of the band, doesn't have the name of the album: It's got a guy on the cover with a load of sticks on his back. This record didn't quite get to No. 1 in the United States - it went to No. 2 - but stayed on the charts for years and years and years.

It's a songwriter's dream to have a song recorded and run up the charts.

Charts and learning the politics behind making a record - it's pretty soulless.

Traders, when they make profits, have short communications; when they lose they drown you in details, theories, and charts.

We see new male artists have their first single reach No. 1 on the charts, but it generally takes a female a lot longer to build momentum.

Charting is a little like surfing. You don't have to know a lot about the physics of tides, resonance, and fluid dynamics in order to catch a good wave. You just have to be able to sense when it's happening and then have the drive to act at the right time.

I can't see a Twisted Sister on the country charts.

I don't see a Spanish song being No. 1 on the Hot 100. I mean, if it happens, fantastic. But I don't think it will.

I figured the songs wouldn't make much of a splash. I didn't think 'Take Me To Church' would play on the radio or get in the charts, and I didn't think about dealing with a global audience.

DJs are in incredible competition, musically. And they are the most musically creative and sensitive people in all the music charts. I am amazed how they are.

It's interesting, because as a musician, I don't feel like I need to be on the top of the pop charts.

For me, geopolitical issues are becoming more important, because how can you understand economy if you don't understand geopolitics? People think economists just deal with spreadsheets and charts. That's a narrow-minded caricature.

Leni stared down at the sea, rolling inexorably toward her. Nothing you did could hold back that rising tide. One mistake or miscalculation and you could be stranded or washed away. All you could do was protect yourself by reading the charts and being prepared and making smart choices.

When I was doing dancehalls, nobody was doing well in dancehalls. Dancehalls was not mainstream music that was blazing charts and knocking down barriers. This was an underground phenom.

I kept on buying records and listening to them. Finally, I was able to hear the relationship between the jazz improvisers' solos and the underlying structure that it's based on, the chord progression. That was pretty easy to do in the swing era, y'know, when jazz was, like, pop music, you know. It had made the charts and everything like that.