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d made available every Sunday (for albums sales) and every Monday (for songs sales) to subscribers, which include record companies, publishing firms, music retailers, independent promoters, film and TV companies, and artist managers. The Nielsen SoundScan is the sales source for the Billboard music charts, Scan "pby the industry as being a possible cause of the early '90s popularization of alternative music in the United States; an explanation floated was that the previous call system provided data that under-represented marginal genres. Under Soundscan, exact data about alternative music sales allowed these acts to appear higher in the Billboard charts than before, and this chart success fed back into increasing the genre's perceived popularity in popular culture. In addition, Soundscan data quickly found use in the promotion departments aiece count data," and the first Hot 100 chart to debut with the system was released on November 30, 1991. Previously, Billboard tracked sales by calling stores acrlate 1970s. Gessle performed in Gyllene Tider, one of Sweden's most popular bands at the time, and Fredriksson in the less successful Strul and MaMas Barn (Mama's Children) before both embarked on solo careers. In 1981, Fredriksson sang for the first time with Gyllene Tider on stage and was featured as a background vocalist for a Swedish-language album the band released in 1982. Gessle also worked with ex-ABBA singer Frida, for a song that appeared on her 1982 album Something's Going On, setting mhe 11-track album was released in February 1984 and sold 45,000 copies in Sweden. According to Gessle, the group's first English-language release was in response to interest expressed by EMI's American label Capitol Records. Capitol took six of the tracks and released an extended play (EP) record in the US with an abridged title, Heartland, but the company insisted on a different name for the band. Gessle and thss the U.S. and asking about sales – a method that was inherently error-prone and open to outright fraud. Indeed, while transitioning from theccessful as its predecessor. Roxette went on to achieve nineteen UK Top 40 hits and several US Hot 100 hits, including four US number-ones with "The Look", "Listen to Your Heart", "It Must Have Been Love", and "Joyride". Other hits include "Dressed for Success", "Dher to form the duo, Fredriksson and Gessle were already established artists in Sweden, with Fredriksson releasing a number of solo albums and Gessle being the lead singer and songwriter of Gyllene Tider, which had three No. 1 albums. On the advice of the managing director of their record label, they came tog calling to tracking methods, the airplay and sales charts (already monitored by Nielsen) and the Hot 100 (then still using the calling system) often did not match (for instance Paula Abdul's "Promise of a New Day" and Roxette's "Fading Like a Flower" reached much higher Hot 100 peaks than their actual sales and airplay would have allowed them to). Although most record company executives conceded that the new method was far more accurate than the old, the chart's volatility and its geographical balance initially caused deep concern, before the change and the market shifts it brought about were accepted across the industry. Tower Records, the country's second-largest retail chain, was originally not included in the sample because its stores are equipped with different technology to measure sales. At first, some industry executives complained that the new system — which relied on high-tech sales measurement rather than store employee estimates — was based on an inadequate sample, one that favored established and mainstream acts over ncording Industry Association of America also tracks sales (or more specif