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The song is Cardi B’s fifth Hot 100 leader dating to her first, “Bodak Yellow,” in October 2017.

Cardi B‘s “Up” surges from No. 6 to No. 1 on the Billboard Hot 100 to spend its first week atop the tally. The song, which becomes Cardi B’s fifth Hot 100 No. 1, debuted at No. 2 five weeks earlier and tallied three weeks at the runner-up spot before reaching the summit.

Helping power its ascent, Cardi B performed “Up” as part of a medley, with Megan Thee Stallion, of their four-week 2020 Hot 100 No. 1 “WAP” on the 63rd annual Grammy Awards, broadcast on CBS, March 14.

Plus, Dua Lipa‘s “Levitating,” featuring DaBaby, rebounds to the Hot 100’s top 10 (13-7) after the pair performed it on the Grammys (also as part a medley, with her prior hit “Don’t Start Now”).ARTIST MENTIONED

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated March 27) will update on Billboard.com tomorrow (March 23). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Here’s a look at Cardi B’s coronation with “Up,” released on Atlantic Records and the 1,118th No. 1 in the Hot 100’s 62-year history.

Streams, Airplay & Sales: “Up” drew 22.7 million U.S. streams (down 5%) and 18,000 downloads sold (up 96%, good for the Hot 100’s top Sales Gainer award) in the week ending March 18, according to MRC Data. It also attracted 34.9 million radio airplay audience impressions (up 7%) in the week ending March 21.

The track rises 5-3 on the Streaming Songs chart, which it led for two weeks; 7-3 on Digital Song Sales, where it spent a week in the lead; and 17-14 on Radio Songs.

Cardi B’s 5th Hot 100 No. 1: Here’s an updated look at Cardi B’s Hot 100 No. 1s:

Title, Weeks at No. 1, Date Reached No. 1
“Bodak Yellow (Money Moves),” three, Oct. 7, 2017
“I Like It,” with Bad Bunny & J Balvin, one, April 21, 2018
“Girls Like You,” Maroon 5 feat. Cardi B, seven, Sept. 29, 2018
“WAP,” with Megan Thee Stallion, four, Aug. 22, 2020
“Up,” one (to date) March 27, 2021

Cardi B extends her record for the most Hot 100 No. 1s among female rappers. (Of her five leaders, four have also topped the multi-metric Hot Rap Songs chart, all except Maroon 5’s “Girls Like You,” on which she’s featured.)

Meanwhile, “Up” is Cardi B’s first Hot 100 No. 1 with no accompanying acts since “Bodak Yellow.” Thanks to the two leaders, Cardi B is the first female rapper with two Hot 100 No. 1s with no accompanying artists.

Dating to her first week atop the Hot 100 with “Bodak Yellow” (Oct. 7, 2017), Cardi B ties for the most No. 1s among all acts in the span since, matching the five each earned in that stretch by Drake and Ariana Grande.

“Up” to No. 1: Amid an onslaught of No. 1 Hot 100 debuts, “Up” is the first song to rise from another rank to No. 1 for its first week atop the chart in five months, since 24kGoldn’s “Mood,” featuring Iann Dior, elevated 4-1 on the Oct. 24, 2020-dated chart. All five new No. 1s in between spent their first weeks on the chart at No. 1: Ariana Grande’s “Positions”; BTS’ “Life Goes On”; Taylor Swift’s “Willow”; Olivia Rodrigo’s “Drivers License”; and Drake’s “What’s Next.”

(In that stretch, one No. 1 returned to the top, twice from No. 2, for its fourth and fifth weeks at the apex: Mariah Carey’s “All I Want for Christmas Is You.”)

In a word … Only one all-time No. 1 Hot 100 song title is shorter than “Up”: Britney Spears’ “3,” from 2009. “Up” is the shortest proper one-word No. 1 title and ties two other hits for the fewest letters in a leading song: Rihanna’s “S&M,” featuring Spears, and Katy Perry’s “E.T.,” featuring Kanye West, both from 2011.

Here’s a recap of the briefest No. 1 Hot 100 song titles (those encompassing three or fewer letters):

“3,” Britney Spears, 2009
“Up,” Cardi B, 2021
“S&M,” Rihanna feat. Britney Spears, 2011
“E.T.,” Katy Perry feat. Kanye West, 2011
“WAP,” Cardi B, 2020
“Sad!,” XXXTENTACION, 2018
“OMG,” Usher feat. will.i.am, 2010
“Low,” Flo Rida, 2008
“SOS,” Rihanna, 2006
“Bad,” Michael Jackson, 1987
“Ben,” Michael Jackson, 1972
“War,” Edwin Starr, 1970
“ABC,” Jackson 5, 1970
“Why,” Frankie Avalon, 1959

Notably, nine of the 14 titles above have led in the last 15 years, with the advent of social media and hashtags playing into the increase.

Word “up”: “Up” is the 16th Hot 100 No. 1 with the word “up” in its title, including those with variations of the word, such as “upside” or “uptown.” It’s the first since Mark Ronson’s “Uptown Funk!,” featuring Bruno Mars, reigned for 14 weeks beginning in January 2015. The first such “up”-standing hit? Neil Sedaka’s “Breaking Up Is Hard to Do” in August 1962. (You can go to @billboardcharts for the full list.)

Optimists, celebrate (as you figured you would): The 16 No. 1 titles that include “up” outpace the 10 leaders whose titles include “down.” The latter group includes this week’s polar-opposite No. 1 title “Down,” by Jay Sean featuring Lil Wayne, from 2009.

No. 1, R&B/hip-hop, rap: “Up” concurrently rebounds 5-1 and 4-1, respectively, for a fourth week each atop the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same methodology as the Hot 100.

“Up” is the first song by a solo female and no accompanying artists to top the Hot 100, Hot R&B/Hip-Hop Songs and Hot Rap Songs since Lizzo’s “Truth Hurts” in 2019. Before that, Cardi B’s “Bodak Yellow” last earned the honor.

Silk Sonic’s “Leave the Door Open” ascends 4-2 in its second week on the Hot 100. The song by the duo of Bruno Mars and Anderson .Paak, which they performed on the Grammy Awards March 14, claims the chart’s top Airplay Gainer trophy, as it bounds 31-12 on Radio Songs (38.7 million, up 65%). It holds at No. 2 on Digital Song Sales (21,000, down 21%) and No. 4 on Streaming Songs (19.4 million, down 16%).

The collab, billed on the Hot 100 as by Silk Sonic (Bruno Mars & Anderson .Paak), and which contributes to the chart histories of both artists, adds a second week at No. 1 on the multi-metric Hot R&B Songs chart.

Olivia Rodrigo’s former eight-week Hot 100 No. 1 “Drivers License” rises 5-3, as it spends a second week at No. 1 on Radio Songs (72.3 million airplay audience impressions, down 3%).

Drake’s “What’s Next” falls to No. 4 on the Hot 100 a week after it launched at No. 1. It tallies a second week at No. 1 on Streaming Songs (23 million, down 53%) and 3-24 on Digital Song Sales (4,000, down 78%), while debuting on Radio Songs at No. 42 (17.3 million, up 45%).

The Weeknd’s “Save Your Tears” pushes 7-5 on the Hot 100, after reaching No. 4, and his “Blinding Lights” also reverses course by two spots, rising 8-6, after spending four weeks at No. 1 last April-May. “Lights” adds a record-extending 54th week in the top 10, two weeks after it became the first song in the chart’s history to total a year in the bracket.

Dua Lipa’s No. 5-peaking “Levitating,” featuring DaBaby, returns to the Hot 100’s top 10, jumping 13-7 following the act’s Grammy Awards performance of the song March 14 (as part a medley, with Lipa’s “Don’t Start Now,” which reached No. 2 in March 2020).

“Levitating” sports gains of 102% to 12,000 sold and 12% to 14.2 million streams in the week ending March 18.

24kGoldn’s “Mood,” featuring Iann Dior, lifts 10-8 on the Hot 100, after eight nonconsecutive weeks at No. 1 in October through mid-January, as it tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 29th week each, and Ariana Grande’s “34+35” holds at No. 9 on the Hot 100, after it reached No. 2.

Rounding out the Hot 100’s top 10, Drake’s “Wants and Needs,” featuring Lil Baby, falls from No. 2, where it debuted a week earlier, to No. 10. Drake’s “What’s Next,” “Wants and Needs” and “Lemon Pepper Style,” featuring Rick Ross (down 3-31), soared in at Nos. 1, 2 and 3, respectively, on the Hot 100 a week ago, making Drake the first artist ever to open in the chart’s top three spots simultaneously.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated March 27), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (March 23).

Source: billboard.com

Drake is the first artist ever to debut three songs in the top three simultaneously.

The lyrics of Drake‘s new song “What’s Next” have proven prophetic, as the track debuts at numero uno on the Billboard Hot 100 (aka, the “Hot one hundo”). He also becomes the first artist to enter the chart at Nos. 1, 2 and 3 simultaneously, as the song is joined by his “Wants and Needs,” featuring Lil Baby, new at No. 2, and “Lemon Pepper Freestyle,” featuring Rick Ross, new at No. 3.

The tracks were released March 5 on OVO Sound/Republic Records (packaged under the title “Scary Hours 2”).

With “What’s Next,” Drake adds his eighth Hot 100 No. 1, while the three songs up his total to a record-extending 45 top 10s. Drake also joins The Beatles and Ariana Grande as the only acts ever to rank at Nos. 1, 2 and 3 on the Hot 100 simultaneously.

Meanwhile, the week’s top four songs on the Hot 100 are all debuts for the first time in the chart’s six-decade history — as, below Drake’s three-song launch, Silk Sonic’s “Leave the Door Open” enters at No. 4. The duo comprises Bruno Mars and Anderson .Paak.

Plus, as it cedes the Hot 100’s summit after eight weeks at No. 1, Olivia Rodrigo’s “Drivers License” takes over atop the Radio Songs chart.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated March 20) will update on Billboard.com tomorrow (March 16). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Here’s a look at Drake’s unprecedented week with “What’s Next,” the 1,117th No. 1 in the Hot 100’s archives, and his two other new entries. The song is the 49th single to debut at No. 1 (and the second in a row, following Rodrigo’s “License”).

Streams, Airplay & Sales: “What’s Next” opens with 49.1 million U.S. streams and 19,000 downloads sold in the week ending March 11, according to MRC Data. It also drew 11.9 million radio airplay audience impressions in the week ending March 14.

“Wants and Needs” arrives with 41.5 million streams, 17,000 sold and 2.1 million in airplay audience, while “Lemon Pepper Freestyle” starts with 32.1 million streams, 15,000 sold and 869,000 in radio reach.

As on the Hot 100, the tracks start at Nos. 1, 2 and 3, respectively, on the Streaming Songs chart, where Drake widens his lead for the most No. 1s (10) and top 10s (51). On Digital Song Sales, they debut at Nos. 3, 4 and 5, respectively.

Drake’s record arrival at Nos. 1, 2 & 3 / Top four all debuts: Drake is the first artist to debut at Nos. 1, 2 and 3 on the Hot 100 in the same week, while the arrival of Silk Sonic’s “Leave the Door Open” makes this week’s chart the first ever with four simultaneous debuts in the top four.

Previously, songs debuted at Nos. 1 and 2 simultaneously on the Hot 100 three times, and never by the same artist. Most recently, Ariana Grande’s “Positions” and Luke Combs’ “Forever After All” launched at Nos. 1 and 2, respectively, on the chart dated Nov. 7, 2020. Before that, Adele’s “Hello” debuted at No. 1 and Bieber’s “Sorry” started at No. 2 on Nov. 14, 2015, while Clay Aiken’s “This Is the Night” and Ruben Studdard’s “Flying Without Wings” entered at Nos. 1 and 2, respectively (reversing their finishes that season on American Idol), on June 28, 2003.

Beatles, Ariana & Drake: Drake, meanwhile, joins The Beatles and Ariana Grande as the only acts ever to rank at Nos. 1, 2 and 3 on the Hot 100 simultaneously. He’s thus the first solo male to earn the honor.

Grande achieved the feat with “7 Rings,” “Break Up With Your Girlfriend, I’m Bored” and “Thank U, Next” on the Hot 100 dated Feb. 23, 2019. No such triple had occurred in 55 years to that point, since The Beatles did so for five weeks in 1964, that March 14, 21 and 28 and April 4 and 25, with “Can’t Buy Me Love,” “Twist and Shout” and “Do You Want to Know a Secret,” respectively, on the last of those dates; on April 4, 1964, the group claimed the entire top five.

Drake’s 8th No. 1: Drake notches his eighth Hot 100 No. 1 with “What’s Next.”

Here’s a recap of all his leaders:

“What’s My Name?,” Rihanna feat. Drake (one week at No. 1, beginning Nov. 20, 2010)
“Work,” Rihanna feat. Drake (nine weeks, beginning March 5, 2016)
“One Dance,” Drake feat. WizKid & Kyla (10 weeks, beginning May 21, 2016)
“God’s Plan,” Drake (11 weeks, beginning Feb. 3, 2018)
“Nice for What,” Drake (eight weeks, beginning April 21, 2018)
“In My Feelings,” Drake (10 weeks, beginning July 21, 2018)
“Toosie Slide,” Drake (one week, April 18, 2020)
“What’s Next,” Drake (one week to-date, March 20, 2021)

“Next” is Drake’s fourth song to debut at No. 1 on the Hot 100, the most among male artists, following “God’s Plan,” “Nice for What” and “Toosie Slide.” Overall, only Ariana Grande boasts more No. 1 beginnings, with five.

With his three latest entrances, Drake also swells his record total to 30 career debuts in the Hot 100’s top 10.

Most weeks at No. 1 among solo males: Drake extends his mark for the most total weeks at No. 1 on the Hot 100 among solo males to 51. Usher ranks second with 47.

Here’s an updated leaderboard among all acts:

84, Mariah Carey
60, Rihanna
59, The Beatles
51, Drake
50, Boyz II Men

Drake ups record to 45 top 10s: Drake pads his record total to 45 Hot 100 top 10s, thanks to “What’s Next,” “Wants and Needs” and “Lemon Pepper Freestyle.” Madonna ranks second with 38 top 10s, followed by The Beatles with 34.

Drake further extends his records to 119 top 40 Hot 100 hits and 231 entries overall.

Lil Baby, Ross reach top 10: With “Wants and Needs,” Lil Baby adds his sixth Hot 100 top 10.

Thanks to “Lemon Pepper Freestyle,” Rick Ross lands his second Hot 100 top 10, and highest placement, following his fellow featured turn on Drake’s “Money in the Grave” (No. 7, 2019). Ross earns his 50th total Hot 100 entry, dating to his first in 2006.

Drake extends R&B/hip-hop No. 1 record: “What’s Next” concurrently launches at No. 1 on on the multi-metric Hot R&B/Hip-Hop Songs chart, where Drake achieves his record-extending 22nd leader. Aretha Franklin and Stevie Wonder share the second-most No. 1s in the chart’s history (20 each).

The track likewise debuts atop the multi-metric Hot Rap Songs chart, where it’s also Drake’s record-furthering 22nd No. 1.

Rounding out the record run of four simultaneous Hot 100 debuts, Silk Sonic’s “Leave the Door Open” starts at No. 4. The song by the duo of Bruno Mars and Anderson .Paak begins with 23.5 million airplay audience impressions, 23.2 million streams and 27,000 sold, as it debuts at No. 2 on Digital Song Sales, No. 4 on Streaming Songs and No. 31 on Radio Songs.

The collab, billed on the Hot 100 as by Silk Sonic (Bruno Mars & Anderson .Paak), contributes to the chart histories of both artists, becoming Mars’ 17th top 10 and Anderson .Paak’s first (after he charted one prior entry, reaching No. 89 in February 2020 as featured on Eminem’s “Lock It Up”).

“Door” debuts at No. 1 on the multi-metric Hot R&B Songs chart, where it’s Mars’ third leader and Anderson .Paak’s first.

Olivia Rodrigo’s “Drivers License” falls to No. 5 after spending its first eight weeks on the Hot 100 at No. 1. Still, it rises 2-1 on Radio Songs (74.3 million, up 1%). It dips 4-9 on Streaming Songs (17.3 million, down 12%) and 5-11 on Digital Song Sales (7,000, down 23%).

“License,” Rodrigo’s first Radio Songs entry, hits No. 1 in its eighth week on the chart. It completes the quickest coronation in nearly two years, since Jonas Brothers’ “Sucker” took over on top in its seventh week in April 2019. Among acts’ first Radio Songs entries (in lead roles), “License” wraps the fastest run to No. 1 since Meghan Trainor’s “All About That Bass” (seven weeks, 2014).

Cardi B’s “Up” drops to No. 6 from its No. 2 Hot 100 high, as it wins the chart’s top Airplay Gainer award (32.4 million, up 17%), and The Weeknd’s “Save Your Tears” slips 6-7, after reaching No. 4, and his “Blinding Lights” falls 3-8, after spending four weeks at No. 1 last April-May. “Lights” adds a record-extending 53rd week in the top 10, a week after becoming the first song in the chart’s history to total a year in the region.

Ariana Grande’s “34+35” slides 4-9 on the Hot 100, after it reached No. 2, and 24kGoldn’s “Mood,” featuring Iann Dior, backtracks 7-10, after eight nonconsecutive weeks at No. 1 in October through mid-January. The latter leads the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 28th week each.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated March 20), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (March 16).

Source: billboard.com

Morgan Wallen’s Dangerous: The Double Album logs a ninth week at No. 1 on the Billboard 200 chart, all consecutively, after having arrived atop the list eight weeks ago (chart dated Jan. 23).

Dangerous now has the most weeks at No. 1 among all albums since Drake’s Views scored 13 nonconsecutive weeks at No. 1 in 2016. Dangerous is also one of just four country albums ever to spend at least nine weeks in the lead.

Dangerous earned 78,000 equivalent album units in the U.S. in the week ending March 11 (down 6%), according to MRC Data.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new March 20, 2021-dated chart (where Dangerous is No. 1 for a ninth week) will be posted in full on Billboard‘s website on March 16. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 78,000 equivalent album units earned in the tracking week ending March 11, SEA units comprise 71,000 (down 5%, equaling 98.10 million on-demand streams of the album’s songs), album sales comprise 6,000 (down 10%) and TEA units comprise 1,000 (down 14%). Dangerous is also the first album to string together nine weeks in a row at No. 1 since Drake’s Views also notched its first nine weeks atop the list.

Dangerous is now one of only four country albums to spend at least nine weeks at No. 1 on the Billboard 200 — since the chart began publishing on a regular weekly basis in March of 1956. (Country albums are defined as those that have charted on Billboard’s Top Country Albums chart.) Dangerous is also the only country set to spend its first nine weeks on the chart at No. 1. Ahead of Dangerous among country sets with the most weeks at No. 1: Garth Brooks’ Ropin’ the Wind (18 weeks, 1991-92), Billy Ray Cyrus’ Some Gave All (17, 1992) and Taylor Swift’s Fearless (11, 2008-09).

Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon rises 3-2 on the latest Billboard 200 with 40,000 equivalent album units earned (down 4%).

Pooh Shiesty’s Shiesty Season hits a new chart peak, as the set climbs 4-3 with 32,000 equivalent album units earned (down 10%). It surpasses its previous high of No. 4, first achieved in its debut week (chart dated Feb. 20).

The Weeknd’s After Hours moves 163-4 with just under 32,000 equivalent album units earned (up 331%). Meanwhile, his best-of compilation The Highlights falls 2-16 with 24,000 units (down 54%). The two albums share a pair of songs, “Blinding Lights” and “Save Your Tears.” On the latest chart, the TEA and SEA units for both songs contribute to After Hours, as a song’s activity is assigned to the artist’s album with the most sales in a week. (After Hours sold 3,000 copies in the latest tracking week, while The Highlights sold 2,000.) A week ago, the TEA and SEA for both songs was directed to The Highlights (which in that frame outsold After Hours). In turn, with the songs’ activity reverting back to After Hours, the album rises 163-4.

Lil Durk’s The Voice is steady at No. 5 with 31,000 equivalent album units earned (down 12%), Dua Lipa’s Future Nostalgia rises 8-6 with 29,500 units (up 1%), Lil Baby’s former No. 1 My Turn is a non-mover at No. 7 with 29,000 units (down 2%) and Ariana Grande’s former leader Positions dips 6-8 with just over 28,000 units (down 13%).

Rock act Chevelle scores its fifth Billboard 200 top 10 album as Niratias debuts at No. 9 with 28,000 equivalent album units earned. Of the album’s starting sum, a little over 24,000 comprise album sales, a little more than 3,000 comprise SEA units (equaling 4.45 million on-demand streams of the songs) and a negligible sum comprises TEA units. Chevelle previously hit the top 10 with The North Corridor (No. 8 in 2016), La Gargola (No. 3, 2014), Sci-Fi Crimes (No. 6, 2009) and This Type of Thinking (Could Do Us In) (No. 8, 2004). The new album was led by the single “Self Destructor,” which rose 3-2 on the most recently published Mainstream Rock Airplay chart (dated March 13). It’s the act’s 15th top 10. Niratias gives the Billboard 200’s top 10 its first debut after a three-week drought of new arrivals.

Rounding out the latest top 10 is Luke Combs’ former chart-topper What You See Is What You Get, shifting 9-10 with nearly 28,000 units (down less than 1%).

Source: billboard.com

“Blinding Lights” is the first song to spend 52 weeks in the Hot 100’s top 10.

Olivia Rodrigo‘s “Drivers License” adds an eighth week at No. 1 on the Billboard Hot 100, encompassing its entire run on the chart so far.

Meanwhile, The Weeknd‘s former leader “Blinding Lights,” at No. 3, becomes the first song in the Hot 100’s history to spend a year in the top 10, as it logs its 52nd week in the region.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated March 13) will update on Billboard.com tomorrow (March 9). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.ARTIST MENTIONED

“License” was released Jan. 8 on Geffen/Interscope Records and debuted at No. 1 on the Jan. 23-dated Hot 100, marking Rodrigo’s first leader (after her debut entry, “All I Want,” reached No. 90 in January 2020). The song from the singer-songwriter and actress, who broke through with roles on Disney Channel’s Bizaardvark and Disney+’s High School Musical: The Musical: The Series, totaled 19.7 million U.S. streams (down 9%) and 9,000 downloads sold (down 30%) in the week ending March 4, according to MRC Data. It also drew 73.2 million radio airplay audience impressions (up 7%) in the week ending March 7.

The track holds at its No. 2 high on the Radio Songs chart; slips 3-4 on Streaming Songs, after four weeks at No. 1; and drops 2-5 on Digital Song Sales, after three weeks at No. 1.

“License” also wins the Hot 100’s top Airplay Gainer award for a seventh consecutive week, becoming the first song to link such a streak since Pharrell’s “Happy” claimed the honor for eight straight weeks in February-March 2014.

Additionally, “License” is just the seventh single to have debuted at No. 1 on the Hot 100 and spent at least its first eight weeks on top. It’s the first to earn the distinction for an artist’s first No. 1 as the sole billed act.

Singles to Spend First Eight Weeks or More on Hot 100 at No. 1
16 weeks, “One Sweet Day,” Mariah Carey & Boyz II Men, 1995-96
14 weeks, “Candle in the Wind 1997″/”Something About the Way You Look Tonight,” Elton John, 1997-98
11 weeks, “God’s Plan,” Drake, 2018
11 weeks, “I’ll Be Missing You,” Puff Daddy & Faith Evans feat. 112, 1997
10 weeks, “Hello,” Adele, 2015-16
8 weeks, “Drivers License,” Olivia Rodrigo, 2021
8 weeks, “Fantasy,” Mariah Carey, 1995

Cardi B’s “Up” keeps at its No. 2 high on the Hot 100; it debuted at the runner-up spot three weeks ago. It returns for a second week atop Streaming Songs (23.9 million, down 1%), repeats at No. 4 on Digital Song Sales (10,000, up 9%) and climbs 33-28 on Radio Songs (27.4 million, up 19%).

“Up” posts a third week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same methodology as the Hot 100.

The Weeknd’s “Blinding Lights” rebounds 5-3 on the Hot 100. The smash spent four weeks at No. 1 last April-May, eventually finishing as the Hot 100’s top hit of all of 2020, and adds a record-extending 52nd week in the top 10, becoming the first song in the history of the chart (which began Aug. 4, 1958) to total a full year’s time in the top 10. After debuting at No. 11 on the chart dated Nov. 14, 2019, it reached the top 10 on Feb. 29, 2020, and has spent all but two frames in the top tier since (ranking at Nos. 11 and 18 for two weeks in December).

Here’s an updated look at the songs that have spent the most time in the Hot 100’s top 10.

Most Weeks in Billboard Hot 100’s Top 10
52, “Blinding Lights,” The Weeknd, 2020-21
39, “Circles,” Post Malone, 2019-20
33, “Sunflower (Spider-Man: Into the Spider-Verse),” Post Malone & Swae Lee, 2018-19
33, “Girls Like You,” Maroon 5 feat. Cardi B, 2018-19
33, “Shape of You,” Ed Sheeran, 2017
32, “Sicko Mode,” Travis Scott, 2018-19
32, “Closer,” The Chainsmokers feat. Halsey, 2016-17
32, “How Do I Live,” LeAnn Rimes, 1997-98
31, “Uptown Funk!,” Mark Ronson feat. Bruno Mars, 2014-15
30, “Bad Guy,” Billie Eilish, 2019
30, “Smooth,” Santana feat. Rob Thomas, 1999-2000

Meanwhile, “Lights” ties for the most time totaled in the Hot 100’s top three, 21 weeks, equaling the sums of The Chainsmokers’ “Closer” and Mark Ronson’s “Uptown Funk!”

Further, “Lights” achieves a record-padding 43rd week in the Hot 100’s top five (no other song has logged more than 27 weeks in the region) and becomes one of just nine hits to have totaled at least 65 weeks on the chart overall, and the first since OneRepublic’s “Counting Stars” wrapped a 68-week run in October 2014. Imagine Dragons’ “Radioactive” spent a record 87 weeks on the Hot 100 in 2012-14.

“Lights” also notches a record-extending 48th week at No. 1 on the multi-metric Hot R&B Songs chart.

Ariana Grande’s “34+35” holds at No. 4 on the Hot 100, two weeks after it revisited its No. 2 peak (sparked by the Feb. 12 premiere of its official video starring Grande, Doja Cat and Megan Thee Stallion).

Chris Brown and Young Thug’s “Go Crazy” dips to No. 5 from its No. 3 Hot 100 high and tallies an eighth week atop Radio Songs (74.7 million in audience, down 5%).

The Weeknd’s other current Hot 100 top 10, “Save Your Tears,” is steady at No. 6, two weeks after reaching its No. 4 high. It becomes his 11th top 10 on Radio Songs (13-10; 42.9 million, up 6%), where, to note yet another superlative, “Blinding Lights” reigned for a record 26 weeks in April-October 2020.

24kGoldn’s “Mood,” featuring Iann Dior, is stationary at No. 7 on the Hot 100, after eight nonconsecutive weeks at No. 1 in October through mid-January. It rules the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 27th week each.

Rounding out the Hot 100’s top 10, Lil Tjay’s “Calling My Phone,” featuring 6LACK, holds at No. 8, two weeks after it launched at No. 3; Pop Smoke’s “What You Know Bout Love” re-enters the region at a new No. 9 high, up from No. 11; and Dua Lipa’s “Levitating,” featuring DaBaby, keeps at No. 10, after hitting No. 5.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated March 13), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (March 9).

Source: billboard.com

Morgan Wallen’s Dangerous: The Double Album continues to rule the Billboard 200 chart for an eighth week, all consecutively, after having bowed atop the tally seven weeks ago (chart dated Jan. 23). Dangerous is now one of only six country albums that have spent at least eight weeks in total at No. 1.

Dangerous earned 82,000 equivalent album units in the U.S. in the week ending March 4 (down 7%), according to MRC Data.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new March 13, 2021-dated chart (where Dangerous is No. 1 for an eighth week) will be posted in full on Billboard‘s website on March 9. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 82,000 equivalent album units earned in the tracking week ending Feb. 25, SEA units comprise 75,000 (down 7%, equaling 103.33 million on-demand streams of the album’s songs), album sales comprise 6,000 (down 4%) and TEA units comprise 1,000 (down 13%).

Dangerous now ties Taylor Swift’s 2020 album Folklore for the second-most weeks at No. 1 on the Billboard 200 in the last five years — among albums of all genres. Each has tallied eight weeks at No. 1. Drake’s Views has the most weeks at No. 1 in the last five years, with 13 nonconsecutive weeks at No. 1 (all in 2016).

Dangerous continues to move up the list of country albums with the most weeks at No. 1 on the Billboard 200, since the chart began publishing on a regular weekly basis in March of 1956. (Country albums are defined as those that have charted on Billboard’s Top Country Albums chart.) Dangerous is also the only country set to spend its first eight weeks on the chart at No. 1.

Country Albums With Most Weeks at No. 1 on Billboard 200:

Artist, Title, Weeks at No. 1 (Year[s])
Garth Brooks, Ropin’ the Wind, 18 (1991-92)
Billy Ray Cyrus, Some Gave All, 17 (1992)
Taylor Swift, Fearless, 11 (2008-09)
Garth Brooks, The Hits, eight (1995)
Eagles, Hotel California, eight (1977)
Morgan Wallen, Dangerous: The Double Album, eight to-date (2021)

For the third week in a row, no albums debut in the top 10 on the Billboard 200. The chart last housed top 10 arrivals on the Feb. 20-dated list, when Foo Fighters’ Medicine at Midnight and Pooh Shiesty’s Sheisty Season debuted at Nos. 3 and 4, respectively.

The last time the chart went without top 10 debuts for three straight weeks in January of 2019 on the Jan. 12, 19 and 26-dated charts (thanks to a quiet post-Christmas release schedule). The last time the top 10 was absent of debuts for three weeks in a row outside of the post-Christmas period was on the charts dated Dec. 16, 23 and 30, 2000 (when the chart ranked titles only by album sales, before it transitioned to a multi-metric consumption ranking in December 2014). In 2000, the only album released after Thanksgiving (Nov. 23) to bow in the top 10 was Snoop Dogg’s Tha Last Meal, which was released on Dec. 19 and debuted at No. 9 on the Jan. 6, 2001-dated chart.

Back on the new Billboard 200, The Weeknd’s compilation album The Highlights rises 12-2, matching its peak, with 52,000 equivalent album units earned (up 96%). The set includes many of the artist’s best-known hits, including “Blinding Lights” and “Save Your Tears” — both of which are also on his last studio album, 2020’s After Hours.

On the latest chart, the TEA and SEA units for both songs contribute to The Highlights, as a song’s activity is assigned to the artist’s album with the most sales in a week. (The Highlights sold 3,000 copies in the latest tracking week, while After Hours sold 2,000.) A week ago, the TEA and SEA for both songs were directed to After Hours (which in that frame outsold The Highlights 3,000 to 2,000). In turn, with the songs’ activity moving to The Highlights, the After Hours album moves 6-163.

Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon is a non-mover at No. 3 with 42,000 (down 1%), Pooh Sheisty’s Sheisty Season climbs 5-4 with 36,000 (down 4%) and Lil Durk’s The Voice dips 4-5 with 36,000 (down 7%).

A pair of former No. 1s are next, as Ariana Grande’s Positions falls 2-6 with 32,000 units (down 34%) and Lil Baby My Turn rises 10-7 with 30,000 units (up 4%). Dua Lipa’s Future Nostalgia is steady at No. 8 with 29,000 units (down 2%), Luke Combs’ former chart-topper What You See Is What You Get is stationary at No. 9 with 28,000 units (down 2%) and Juice WRLD’s former leader Legends Never Die is up 11-10 with 27,000 units (down 2%).

Source: billboard.com

Brown claims his highest Hot 100 rank since 2008.

Olivia Rodrigo‘s “Drivers License” logs a seventh week at No. 1 on the Billboard Hot 100, encompassing its entire run on the chart so far.

The song also accelerates to No. 1 on the Pop Airplay radio chart.

Meanwhile, Chris Brown and Young Thug‘s “Go Crazy” vaults from No. 8 to No. 3 on the Hot 100, surpassing its prior No. 5 high, aided by a new remix.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated March 6) will update on Billboard.com tomorrow (March 2). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“License” was released Jan. 8 on Geffen/Interscope Records and debuted at No. 1 on the Jan. 23-dated Hot 100, marking Rodrigo’s first leader. The song from the singer-songwriter and actress, who broke through with roles on Disney Channel’s Bizaardvark and Disney+’s High School Musical: The Musical: The Series, totaled 21.5 million U.S. streams (down 4%) and 13,000 downloads sold (up 38%) in the week ending Feb. 25, according to MRC Data. It also drew 67.3 million radio airplay audience impressions (up 13%) in the week ending Feb. 28.

Enhancing the song’s profile in the tracking week, NBC’s Saturday Night Live aired a skit Feb. 20 in tribute to its popularity. (Rodrigo, who celebrated her birthday that day, approved of the gift.)

The track rebounds 8-2 on the Digital Song Sales chart (after three weeks at No. 1), as it wins the Hot 100’s top Sales Gainer award; pushes 5-2 on Radio Songs; and slips 2-3 on Streaming Songs (after four weeks at No. 1).

“License” also claims top Airplay Gainer honors on the Hot 100 for a sixth consecutive week, becoming the first song to link such a streak since Sia’s “Cheap Thrills,” featuring Sean Paul, in June-July 2016.

Helping power its radio surge, “License” shifts 2-1 on the Pop Airplay chart (which reflects plays on a panel of over 160 mainstream top 40 stations). The song reaches the summit in its seventh week, completing the fastest trip to the top since Ed Sheeran’s “Shape of You” (also seven weeks, in 2017).

As “License” is Rodrigo’s first Pop Airplay entry, it’s the first initial hit by an artist in a lead role to rule the chart so quickly since fun.’s “We Are Young,” featuring Janelle Monae (seven, 2012), and the first maiden entry by a soloist in a lead role in almost 18 years — since 50 Cent’s “In Da Club” (seven, 2003). No woman with lead billing had sent a first Pop Airplay entry to No. 1 as fast as Rodrigo has in nearly 20 years — since Blu Cantrell’s “Hit ‘Em Up Style (Oops!)” (seven, 2001).

Additionally, “License” is just the seventh single to have debuted at No. 1 on the Hot 100 and spent at least its first seven weeks on top. It’s the first to earn the distinction for an artist’s first No. 1 as the sole billed act.

Singles to Spend First Seven Weeks or More on Hot 100 at No. 1
16 weeks, “One Sweet Day,” Mariah Carey & Boyz II Men, 1995-96
14 weeks, “Candle in the Wind 1997″/”Something About the Way You Look Tonight,” Elton John, 1997-98
11 weeks, “God’s Plan,” Drake, 2018
11 weeks, “I’ll Be Missing You,” Puff Daddy & Faith Evans feat. 112, 1997
10 weeks, “Hello,” Adele, 2015-16
8 weeks, “Fantasy,” Mariah Carey, 1995
7 weeks, “Drivers License,” Olivia Rodrigo, 2021

Cardi B’s “Up” jumps 5-2 on the Hot 100, returning to its highpoint where it debuted two weeks ago. It rises 3-2 on Streaming Songs (24.3 million, up 8%), 5-4 on Digital Song Sales (9,000, down 17%) and 41-33 on Radio Songs (22.8 million, up 20%).

“Up” rebounds for a second week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same methodology as the Hot 100.

Chris Brown and Young Thug’s “Go Crazy” soars 8-3 for a new Hot 100 high, besting its prior No. 5 peak, following the Feb. 19 release of its remix featuring Future, Lil Durk and Mulatto. The track adds a seventh week atop Radio Songs (77.6 million in audience, down 2%); blasts 50-12 on Streaming Songs (13.2 million, up 74%); and re-enters Digital Song Sales at No. 35 (3,000 sold, up 76%). (Future, Lil Durk and Mulatto are not credited on the song on the Hot 100, as the remix did not draw the majority of its activity in the tracking week.)

Brown posts his highest Hot 100 rank in over a dozen years, since “Forever” peaked at No. 2 for two weeks in summer 2008.

“Go Crazy” concurrently scores a third week atop the multi-metric Hot R&B Songs chart.

Ariana Grande’s “34+35” drops to No. 4 on the Hot 100, a week after it revisited its No. 2 high (when it was sparked the Feb. 12 premiere of its official video starring Grande, Doja Cat and Megan Thee Stallion).

The Weeknd’s “Blinding Lights” dips 4-5 on the Hot 100. The song spent four weeks at No. 1 last April-May (eventually finishing as the Hot 100’s top hit of all of 2020) and posts its 64th total week on the chart. It adds a record-extending 51st week in the top 10 and record-padding 42nd week in the top five.

The Weeknd boasts back-to-back hits in the Hot 100’s top 10, as “Save Your Tears” holds at No. 6, two weeks after reaching its No. 4 high.

24kGoldn’s “Mood,” featuring Iann Dior, keeps at No. 7 on the Hot 100, after eight nonconsecutive weeks at No. 1 in October through mid-January. It rules the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 26th week each.

Lil Tjay’s “Calling My Phone,” featuring 6LACK, falls to No. 8 on the Hot 100, a week after it launched at No. 3. It adds a second week atop Streaming Songs (25.4 million, down 25%).

Rounding out the Hot 100’s top 10, Grande’s “Positions” rises 10-9, after spending its first week on the chart at No. 1 in November, and Dua Lipa’s “Levitating,” featuring DaBaby, backtracks 9-10, after reaching No. 5.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated March 6), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (March 2).

Source: billboard.com

Morgan Wallen’s Dangerous: The Double Album makes chart history as the only country album to spend its first seven weeks at No. 1 in the 64-year history of the Billboard 200. The set rules the list for a seventh total week, all consecutive, after having debuted atop the list six weeks ago (chart dated Jan. 23).

Dangerous earned 89,000 equivalent album units in the U.S. in the week ending Feb. 25 (down 5%), according to MRC Data.

The only other country set to tally its first six weeks at No. 1 was Garth Brooks’ The Chase. It debuted at No. 1 on the Oct. 10, 1992-dated list and spent six weeks in the lead (through Nov. 14, 1992). It then slipped from the top slot for two weeks, returning for one more week at No. 1 (Nov. 28, 1992).
Dangerous and The Chase are two of only eight country albums that have spent at least seven weeks in total at No. 1.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new March 6, 2021-dated chart (where Dangerous is No. 1 for a seventh week) will be posted in full on Billboard‘s website on March 2. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 89,000 equivalent album units earned in the tracking week ending Feb. 25, SEA units comprise 80,000 (down 1%, equaling 110.79 million on-demand streams of the album’s songs), album sales comprise 7,000 (down 31%) and TEA units comprise 2,000 (down 22%).

Dangerous is one of just eight country albums that have spent at least seven weeks in total at No. 1 since the Billboard 200 began publishing on a regular weekly basis in March of 1956. (Country albums are defined as those that have charted on Billboard’s Top Country Albums chart.) Dangerous is the only country set to spend its first seven weeks on the chart at No. 1.

Country Albums With Most Weeks at No. 1 on Billboard 200:
Artist, Title, Weeks at No. 1 (Year[s])
Garth Brooks, Ropin’ the Wind, 18 (1991-92)
Billy Ray Cyrus, Some Gave All, 17 (1992)
Taylor Swift, Fearless, 11 (2008-09)
Garth Brooks, The Hits, eight (1995)
Eagles, Hotel California, eight (1977)
Morgan Wallen, Dangerous: The Double Album, seven to-date (2021)
Taylor Swift, Red, seven (2012-13)
Garth Brooks, The Chase, seven (1992)

The last album to spend seven weeks in a row at No. 1, regardless of genre, was Drake’s Views, which spent its first nine weeks at No. 1 in 2016 (May 21-July 16-dated charts). Views spent a total of 13 nonconsecutive weeks at No. 1, all in 2016. Only three albums of any genre have spent at least seven weeks at No. 1 in the last five years: Dangerous, Taylor Swift’s Folklore (eight nonconsecutive weeks, 2020) and Drake’s Views (13 nonconsecutive weeks, 2016).

At No. 2 on the Billboard 200, Ariana Grande’s former No. 1 Positions rises seven spots with 49,000 equivalent album units earned (up 66%). The album was reissued on Feb. 19 with five additional tracks. Pop Smoke’s Shoot for the Stars Aim for the Moon rises 4-3 with 43,000 units (up 13%).

Lil Durk’s The Voice falls 3-4 with 38,000 equivalent album units earned (down 3%), Pooh Shiesty’s Sheisty Season is a non-mover at No. 5 with 37,000 units (up less than 1%) and The Weeknd’s former No. 1 After Hours falls 2-6 with just under 37,000 units (down 13%).

BTS’ former No. 1 Be bounds 74-7 with 36,000 equivalent album units earned (up 254%) after the album was issued on Feb. 19 in a new deluxe CD package, dubbed the “essential edition.” Of the album’s units earned in the week ending Feb. 25, album sales comprise 28,000 (up 888%). No additional tracks were added to the essential edition of the album, which sells for $30.98 on BTS’ official U.S. webstore. The essential edition offers different packaging and internal paper goods (including one randomized collectible photocard) as compared to Be’s original CD release, which sold for $50.98 and had more paper goods (though none were randomized).

Dua Lipa’s Future Nostalgia slips 7-8 on the latest Billboard 200 with 30,000 equivalent album units earned (down 7%), Luke Combs’ former No. 1 What You See Is What You Get climbs 11-9 with just over 28,000 units (up 4%) and Lil Baby’s former leader My Turn bumps 13-10 with 28,000 units (up 11%).

Source: billboard.com

Plus, Ariana Grande’s “34+35” returns to its No. 2 high following the premiere of its video with Doja Cat & Megan Thee Stallion.

Olivia Rodrigo‘s “Drivers License” rolls to a sixth week at No. 1 on the Billboard Hot 100, encompassing its entire run on the chart so far after it debuted atop the chart five weeks ago.

Ariana Grande‘s “34+35” returns to its No. 2 Hot 100 best, from No. 6, following the arrival of its official video with Doja Cat and Megan Thee Stallion.

Plus, Lil Tjay‘s “Calling My Phone,” featuring 6LACK, launches at No. 3 on the Hot 100, marking the highest career rank for each artist.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated Feb. 27) will update on Billboard.com tomorrow (Feb. 23). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“License” was released Jan. 8 on Geffen/Interscope Records and debuted atop the Jan. 23-dated Hot 100, marking Rodrigo’s first No. 1. The song from the singer-songwriter and actress, who broke through with roles on Disney Channel’s Bizaardvark and Disney+’s High School Musical: The Musical: The Series, totaled 22.4 million U.S. streams (down 19%) and 10,000 downloads sold (down 42%) in the week ending Feb. 18, according to MRC Data. It also drew 59.1 million radio airplay audience impressions (up 11%) in the week ending Feb. 21.

The track holds at No. 2 after four weeks atop the all-genre Streaming Songs chart, reaches the Radio Songs top five, pushing 7-5, and retreats 4-8 after three weeks atop Digital Song Sales.

“License” claims top Airplay Gainer honors on the Hot 100 for a fifth consecutive week, becoming the first song to achieve such a streak since Post Malone’s “Circles” in September-October 2019.

Plus, “License” is just the eighth single to have debuted at No. 1 on the Hot 100 and spent at least its first six weeks on top. It’s the first to earn the distinction for a female artist’s first No. 1 with a song on which she’s the sole billed act.

Singles to Spend First Six Weeks or More on Hot 100 at No. 1
16 weeks, “One Sweet Day,” Mariah Carey & Boyz II Men, 1995-96
14 weeks, “Candle in the Wind 1997″/”Something About the Way You Look Tonight,” Elton John, 1997-98
11 weeks, “God’s Plan,” Drake, 2018
11 weeks, “I’ll Be Missing You,” Puff Daddy & Faith Evans feat. 112, 1997
10 weeks, “Hello,” Adele, 2015-16
8 weeks, “Fantasy,” Mariah Carey, 1995
6 weeks, “Drivers License,” Olivia Rodrigo, 2021
6 weeks, “Born This Way,” Lady Gaga, 2011

(The hit’s latest week atop the Hot 100 makes for a slightly belated birthday present for Rodrigo, as her real-life driver’s license surely reflects that she was born Feb. 20, 2003.)

Ariana Grande’s “34+35” surges 6-2 on the Hot 100 after first reaching the rank four weeks earlier, when it was sparked by the Jan. 15 release of its remix featuring Doja Cat and Megan Thee Stallion. Now, the song returns to its high following the Feb. 12 premiere of its official video starring all three artists, and the release that day of the deluxe edition of parent album Positions.

“34+35” ascends with 60.2 million in airplay audience (up 2%), 18.1 million streams (up 35%) and 16,000 sold (up 863%), the latter two metrics good for the song’s dual wins for top Streaming and Sales Gainer on the Hot 100.

(Doja Cat and Megan Thee Stallion are not credited on the Hot 100 this week on “34+35”; they were listed in the song’s first frame at No. 2, when, unlike this week, the trio’s version drew the majority of its activity; Still, and regardless of future activity, they will remain credited in their individual chart histories on the song.)

Lil Tjay’s “Calling My Phone,” featuring 6LACK, bounds onto the Hot 100 at No. 3, after buzz for the song built via previews on TikTok. Released in full Feb. 12, it opens with 34 million streams, 1.4 million in radio reach and 3,000 sold.

Lil Tjay (born Tione Jayden Merritt) earns his first Hot 100 top 10, after reaching a prior No. 11 best as featured on Polo G’s “Pop Out” in June 2019. 6LACK (born Ricardo Valentine Jr.) also achieves his first top 10, after never before appearing in the chart’s upper half.

“Phone” rings in at No. 1 on Streaming Songs, where it’s each artist’s first leader. It also arrives as each act’s first No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same methodology as the Hot 100.

The Weeknd’s “Blinding Lights” dips 3-4 on the Hot 100. The song spent four weeks at No. 1 last April-May (eventually finishing as the Hot 100’s top hit of all of 2020) and logs its 63rd total week on the chart. It adds a record-extending and landmark 50th week in the top 10 and record-furthering 41st week in the top five. The track also claims a record-padding 47th frame atop the multi-metric Hot R&B Songs chart.

Cardi B’s “Up” drops to No. 5 a week after it debuted at No. 2 on the Hot 100, and The Weeknd’s “Save Your Tears” falls to No. 6 from its No. 4 high.

24kGoldn’s “Mood,” featuring Iann Dior, descends 5-7 on the Hot 100, after eight nonconsecutive weeks at No. 1 in October through mid-January. It leads the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 25th week each.

Chris Brown and Young Thug’s “Go Crazy” backtracks 7-8 on the Hot 100, after hitting No. 5, as it adds a sixth week atop Radio Songs (79.1 million in audience, down 1%).

Rounding out the Hot 100’s top 10, Dua Lipa’s “Levitating,” featuring DaBaby, slips 8-9, after reaching No. 5, and Grande’s “Positions” falls 9-10, after spending its first week on the chart at No. 1 in November.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Feb. 27), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Feb. 23).

Source: billboard.com

Plus: Dua Lipa’s ‘Future Nostalgia’ returns to top 10, after 10 months, following deluxe reissue.

Morgan Wallen’s Dangerous: The Double Album snares a sixth total week, all in a row, at No. 1 on the Billboard 200 chart (dated Feb. 27), capturing the most weeks atop the list for a male artist’s album since Drake’s Views logged 13 nonconsecutive weeks in the lead in 2016 (May 21-Oct. 8, 2016-dated charts).

Dangerous earned 93,000 equivalent album units in the U.S. in the week ending Feb. 18 (down 38%), according to MRC Data.

Dangerous bowed atop the list five weeks ago, on the chart dated Jan. 23. Only three albums have spent at least six weeks at No. 1 in the last five years: Dangerous, Taylor Swift’s Folklore (eight nonconsecutive weeks, 2020) and Drake’s Views (13).ARTIST MENTIONED

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Feb. 27, 2021-dated chart (where Dangerous is No. 1 for a sixth week) will be posted in full on Billboard‘s website on Feb. 23. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Dangerous’ 93,000 equivalent album units earned in the tracking week ending Feb. 18, SEA units comprise 81,000 (down 24%, equaling 112.11 million on-demand streams of the album’s songs), album sales comprise 10,000 (down 74%) and TEA units comprise 2,000 (down 64%).

Among albums that have charted on both Top Country Albums and the Billboard 200 (like Dangerous), the last to earn six total weeks at No. 1 on the Billboard 200 was Swift’s Red, with seven nonconsecutive weeks atop the list in 2012-13.

Dangerous is the first country album by a man with six total weeks at No. 1 since Garth Brooks’ The Hits ruled for eight nonconsecutive weeks in 1995, and the first non-best-of country album by a man with six total weeks at No. 1 since Brooks’ The Chase net seven total weeks at No. 1 in 1992.

Dangerous is also the first country album to spend its first six weeks at No. 1 since The Chase, which ruled the list in its first six weeks. The Chase debuted at No. 1, spent six weeks in charge (Oct. 10-Nov. 14, 1992), then slipped from the top slot for two weeks, returning for one more week at No. 1 (Nov. 28, 1992).

At No. 2 on the Billboard 200, The Weeknd’s After Hours surges 37-2 with 42,000 equivalent album units earned (up 183%). It’s the first of two albums in the top 10 by The Weeknd, as his best-of package The Highlights dips 2-8 in its second week with 31,000 units (down 65%).

The two albums share a pair of songs, “Blinding Lights” and “Save Your Tears.” On the latest chart, the TEA and SEA units for both songs contribute to After Hours, as a song’s activity is assigned to the artist’s album with the most sales in a week. (After Hours sold 6,000 copies in the latest tracking week, while The Highlights sold 4,000.) A week ago, the TEA and SEA for both songs was directed to The Highlights (which in that frame outsold After Hours 10,000 to 6,000). In turn, with the songs’ activity reverting back to After Hours, the album vaults from 37-2.

With After Hours’ rise to No. 2, it lands its highest rank since the May 2, 2020-dated chart, when it fell to the runner-up spot after spending its first four weeks at No. 1.

Lil Durk’s The Voice climbs 5-3 on the Billboard 200 with 40,000 equivalent album units earned (down 20%), while Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon rises 6-4 with 38,000 units (down 8%) and Pooh Shiesty’s Shiesty Season falls 4-5 in its second week with 37,000 units (down 40%).

Taylor Swift’s former No. 1 Evermore bumps back into the top 10 with an 11-6 rise (33,000 equivalent album units earned; up 16%). Of that sum, 12,000 are in album sales — up 70%. The album had a robust sales bump thanks to the release of the cassette edition of the album, as well as buzz and promotion generated by Swift’s Feb. 10 announcement that she would be re-recording her chart-topping 2008 Fearless album.

Dua Lipa’s Future Nostalgia surges back into the top 10 for the first time in 10 months, as the album jumps 21-7 with 32,000 equivalent album units earned (up 58%). Its big gain is owed to the album’s deluxe reissue on Feb. 12 with six additional songs, including its new radio hit “We’re Good.” The cut debuted at No. 31 on the most recently published Pop Airplay chart (dated Feb. 20). Among the other newly added songs are two earlier Pop Airplay hits that didn’t previously have a home on a Dua Lipa album: “Un Dia (One Day),” with J Balvin, Bad Bunny and Tainy, and her featured turn on Miley Cyrus’ “Prisoner.”

Future Nostalgia debuted and peaked at No. 4 on the April 11, 2020-dated chart, and has now spent a total of four weeks in the top 10.

Rounding out the rest of the top 10 on the latest Billboard 200, below The Weeknd’s The Highlights at No. 8, are two former No. 1s: Ariana Grande’s Positions (7-9 with 30,000 equivalent album units earned; down 7%) and Juice WRLD’s Legends Never Die (8-10 with 28,000 units; down 5%).

Source: billboard.com