Plus: Marilyn Manson scores 10th top 10 album with arrival of ‘We Are Chaos.’

Rapper YoungBoy Never Broke Again achieves his third No. 1 album on the Billboard 200 chart in less than a year, as the fittingly titled Top debuts atop the tally. The set was released on Sept. 11 via Never Broke Again/Artist Partner Group/Atlantic and earned 126,000 equivalent album units in the U.S. in the week ending Sept. 17, according to Nielsen Music/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 Sept. 26-dated chart (where Top debuts at No. 1) will be posted in full on Billboard‘s website on Tuesday, Sept. 22. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Top’s 126,000 equivalent album units earned in its first week, 106,000 are from SEA units (equaling 156.32 million on-demand streams of the set’s songs in its first week), 19,000 comprise album sales and a little under 1,000 are in TEA units.

Top is YoungBoy’s third total No. 1 album, and all have come within 11 months’ time. The 20-year-old first topped the list with AI YoungBoy 2, which bowed at No. 1 on the chart dated Oct. 26, 2019. He scored his second leader with 38 Baby 2 on May 9, 2020, followed by Top on the Sept. 26, 2020, chart.

The last act to score three No. 1s faster was BTS, which logged its first three No. 1s in a slightly quicker clip than YoungBoy: 10 months and 25 days, with Love Yourself: Tear (June 2, 2018), Love Yourself: Answer (Sept. 8, 2018) and Love Yourself: Persona (April 27, 2019). The last solo act to land three No. 1s faster than YoungBoy was Future, when he notched his first three No. 1s in just six months and three weeks with DS2 (Aug. 8, 2015); What a Time to Be Alive, with Drake (Oct. 10, 2015); and Evol (Feb. 27, 2016).

YoungBoy has charted a bevy of albums in a swift amount of time on the Billboard 200. Since debuting on the list dated Aug. 26, 2017, he’s placed 15 albums on the list, including four EPs. No other artist has charted as many albums of newly recorded material in that same span of time. (Only the Grateful Dead has placed more entries on the chart since Aug. 26, 2017 – with 22 charting efforts. But all of those were archival sets or compilation albums.)

With Warner Music’s Atlantic atop the Billboard 200, Warner breaks up the chart-topping monopoly Universal Music Group (UMG) had for the previous 15 weeks. From the June 13 through Sept. 19 charts, a UMG title sat at No. 1.

At No. 2 on the new Billboard 200, Pop Smoke’s former leader Shoot for the Stars Aim for the Moon is a non-mover with 73,000 equivalent album units earned (down 2 percent), while Juice WRLD’s previous No. 1 Legends Never Die is also stationary at No. 3 with 54,000 units (down 5 percent).

Taylor Swift’s former No. 1 Folklore rises one spot to No. 4 with 44,000 equivalent album units earned (down 9 percent) while the original Broadway cast recording of Hamilton: An American Musical is up one rung to No. 5 with 41,000 units (down 6 percent).

With Hamilton (released via Hamilton Uptown/Atlantic) in the top five alongside YoungBoy’s Top, Atlantic has two titles in the top five at the same time for the first time since May 9, when YoungBoy’s 38 Baby 2 debuted at No. 1 while Lil Uzi Vert’s Eternal Atake (Generation Now/Atlantic) was at No. 3.

Lil Baby’s former No. 1 My Turn climbs 7-6 on the new Billboard 200 with 40,000 equivalent album units earned (down 1 percent), while Big Sean’s Detroit 2 falls 1-7 in its second week with 37,000 units (down 64 percent).

Rock band Marilyn Manson scores its 10th top 10 album on the Billboard 200 as We Are Chaos bows at No. 8. The set, which was released via Loma Vista/Concord, enters with 31,000 equivalent album units earned. Of that sum, 28,000 is from album sales (encouraged by a variety physical formats of the album on offer), 3,000 from SEA units (equaling 4 million in on-demand streams of the set’s tracks) and less than 1,000 from TEA units.

We Are Chaos was available in an array of vinyl LP editions (including exclusive color variant versions for Target, Best Buy, indie retailers and the band’s webstore), as well as a CD deluxe edition with bonus tracks, and even multiple cassette variants. The many permutations of the album encouraged sales, as the set also debuts at No. 1 on the Album Sales chart, the Vinyl Albums chart (with 8,000 sold on vinyl LP) and the Tastemakers chart. The latter ranks the biggest selling albums of the week at independent and small chain retailers.

Marilyn Manson previously reached the top 10 on the Billboard 200 with Heaven Upside Down (No. 8 in 2017), The Pale Emperor (No. 8, 2015), Born Villain (No. 10, 2012), The High End of Low (No. 4, 2009), Eat Me, Drink Me (No. 8, 2007), Lest We Forget: The Best Of (No. 9, 2004), The Golden Age of Grotesque (No. 1, 2003), Mechanical Animals (No. 1, 1998) and Antichrist Superstar (No. 3, 1996).

Closing out the Billboard 200’s new top 10 are Rod Wave’s Pray 4 Love, falling 8-9 with 30,000 equivalent album units earned (down 8 percent), and Post Malone’s previous No. 1 Hollywood’s Bleeding, steady at No. 10 with 29,000 units (down 3 percent).

Source: billboard.com

Plus, The Weeknd’s “Blinding Lights” ties a longevity record & DJ Khaled’s “Popstar’ re-enters the top 10.

Cardi B‘s “WAP,” featuring Megan Thee Stallion, rebounds for a third week at No. 1 on the Billboard Hot 100 songs chart.

“WAP” dethrones” BTS‘ “Dynamite,” which spent its first two weeks on the Hot 100 at No. 1.

Elsewhere in the Hot 100’s top 10, The Weeknd‘s former leader “Blinding Lights” ties for the most weeks spent in the top five in the chart’s history and DJ Khaled‘s “Popstar,” featuring Drake, re-enters the top 10 after the premiere of its official video.

The Hot 100 blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Sept. 19) will update on Billboard.com tomorrow (Sept. 15). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“WAP,” released on Atlantic Records, notches a fourth week at No. 1 on the Streaming Songs chart with 48.2 million U.S. streams (down 18%) in the week ending Sept. 10, according to Nielsen Music/MRC Data. On Digital Song Sales, which it led for two weeks, “WAP” rises 3-2 with 16,000 downloads sold (down 20%) in the same span. The collab ascends 32-27 on Radio Songs with 27.3 million radio airplay audience impressions (up 11%) in the week ending Sept. 13.

With its third week at No. 1 on the Hot 100, Cardi B matches her longest career domination as a lead artist, as “WAP” ties the three-week reign of her debut No. 1 “Bodak Yellow (Money Moves)” in October 2017. She has also led with “I Like It,” with Bad Bunny and J Balvin (one week, July 2018), and as featured on Maroon 5’s “Girls Like You” (seven weeks, September-November 2018).

“WAP” logs a fifth week at No. 1 on the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same multi-metric methodology as the Hot 100.

BTS’ “Dynamite” dips to No. 2 on the Hot 100 after spending its first two weeks on the chart at No. 1. It tops Digital Song Sales for a third week (136,000 downloads sold, down 25%), falls 9-16 on Streaming Songs (13.3 million, down 24%) and becomes the group’s first career entry on Radio Songs, debuting at No. 49 (18.3 million, up 14%).

With 136,000 downloads sold in its third week after 182,000 in its second week and 265,000 in its first frame, “Dynamite” is the first song to have sold over 136,000 downloads in three consecutive weeks since The Chainsmokers’ “Closer” (featuring Halsey), which reached that level in five straight weeks in September-October 2016.

“Dynamite” is additionally the first song to have sold over 136,000 downloads in its first three weeks of release (unlike “Closer”) since Justin Timberlake’s “Can’t Stop the Feeling!,” which hit that mark in its first five frames in May-June 2016.

(“Poolside” and “Tropical” remixes of “Dynamite” were released Aug. 28, joining the original and instrumental versions and EDM and acoustic remixes released Aug. 21, with all versions sale-priced to 69 cents during their first three weeks.)

Drake’s “Laugh Now Cry Later,” featuring Lil Durk, holds at No. 3 on the Hot 100, after debuting at No. 2 three weeks earlier, and DaBaby’s seven-week leader “Rockstar,” featuring Roddy Ricch, is likewise steady at No. 4.

The Weeknd’s former four-week Hot 100 No. 1 “Blinding Lights” keeps at No. 5, as it spends a record-extending 23rd week at No. 1 on Radio Songs (79.9 million, essentially even week-over-week). It rules the multi-metric Hot R&B Songs chart for a record-padding 26th week.

As for its Hot 100 longevity, “Lights” spends a 27th week in the top five, tying for the most time logged in the region over the chart’s 62-year history.

Most Weeks in Hot 100’s Top Five
27, “Blinding Lights,” The Weeknd, No. 1 peak (four weeks), 2020
27, “Shape of You,” Ed Sheeran, No. 1 (12), 2017
27, “Closer,” The Chainsmokers feat. Halsey, No. 1 (12), 2016-17
26, “Circles,” Post Malone, No. 1 (three), 2019-20
25, “Uptown Funk!,” Mark Ronson feat. Bruno Mars, No. 1 (14), 2014-15
25, “How Do I Live,” LeAnn Rimes, No. 2, 1997-98
24, “Girls Like You,” Maroon 5 feat. Cardi B, No. 1 (seven), 2018
24, “That’s What I Like,” Bruno Mars, No. 1 (one), 2017
23, “Old Town Road,” Lil Nas X feat. Billy Ray Cyrus, No. 1 (19), 2019
23, “Without Me,” Halsey, No. 1 (two), 2018-19
23, “Despacito,” Luis Fonsi & Daddy Yankee feat. Justin Bieber, No. 1 (16), 2017
23, “The Twist,” Chubby Checker, No. 1 (three), 1960-61-62

24kGoldn’s “Mood,” featuring iann dior, rises 8-6 on the Hot 100, while winning the chart’s top Airplay Gainer award as it debuts at No. 37 on Radio Songs (23.3 million, up 46%). It tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a third week each and lifts 5-4 on Hot Rap Songs.

Harry Styles’ former one-week Hot 100 leader “Watermelon Sugar” descends 6-7; Jack Harlow’s “Whats Poppin,” featuring DaBaby, Tory Lanez and Lil Wayne, drops 7-8, after it peaked at No. 2; and Jawsh 685 and Jason Derulo’s “Savage Love (Laxed – Siren Beat)” keeps at No. 9, after reaching No. 7.

Rounding out the Hot 100’s top 10, DJ Khaled’s “Popstar,” featuring Drake, re-enters the region after the Sept. 4 premiere of its official video, jumping 24-10. The track debuted at No. 3 on the Aug. 1-dated Hot 100 (as Drake rewrote the record for the most top 10s in the chart’s archives) and spent the following six weeks before this week between Nos. 14 and 24.

The collab bounds 36-7 on Streaming Songs (19.6 million, up 107%) and re-enters Digital Song Sales at No. 7 (7,000, up 323%), good for the Hot 100’s top Streaming and Sales Gainer trophies. It continues its ascent on Radio Songs, rising 23-19 (33.3 million, up 15%).

Note: Effective with this week’s charts (dated Sept. 19), YouTube song UGC (user-generated content) will no longer factor into Billboard surveys. The removal of song UGC will align all streaming content among Billboard‘s songs and albums charts, and the newly-launched Billboard Global 200 and Billboard Global Excl. U.S. songs charts, to include only official audio and video streams. The change follows the removal of non-song UGC video content from the Hot 100 and other songs charts in January and will result in minimal changes in rank, especially in the top half of the Hot 100.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Sept. 19), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Sept. 15).

Source: billboard.com

Plus: 6ix9ine’s ‘TattleTales’ bows in top 10.

Big Sean scores his third No. 1 album on the Billboard 200 chart, as Detroit 2 debuts atop the list. The set, which was released on Sept. 4 via G.O.O.D./Def Jam, launches with 103,000 equivalent album units earned in the U.S. in the week ending Sept. 10, according to Nielsen Music/MRC Data. He previously notched No. 1s with his last two solo releases, 2017’s I Decided and 2015’s Dark Sky Paradise.

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 Sept. 19-dated chart (where Detroit 2 bows at No. 1) will be posted in full on Billboard‘s website on Tuesday, Sept. 15. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Detroit 2’s 103,000 units earned in the tracking week ending Sept. 10, SEA units comprise 71,000 (equating to 93.55 million on-demand streams of the set’s songs), 30,000 are in album sales (aided by merchandise/album bundles) and 2,000 in TEA units.

Detroit 2 was announced in March, and follows Big Sean’s 2012 free mixtape Detroit.

Detroit 2 is also Def Jam’s second No. 1 of 2020, following Justin Bieber’s Changes (released via SchoolBoy/Raymond Braun/Def Jam).

A pair of former No. 1s stay steady in the Nos. 2 and 3 slots: Pop Smoke’s Shoot for the Stars Aim for the Moon (75,000 equivalent album units earned, down 3 percent) and Juice WRLD’s Legends Never Die (57,000 units; down 11 percent).

6ix9ine’s TattleTales opens at No. 4 with 53,000 equivalent album units earned, notching the rapper his third top 10. Of the set’s starting sum, 32,000 are in album sales (supported by an array of merchandise/album bundles), 20,000 are in SEA units (equaling 32.94 million on-demand streams of the set’s songs) and 1,000 are in TEA units.

The album was preceded by a trio of tracks that hit the Billboard Hot 100 chart: “Gooba” (which peaked at No. 3), “Trollz,” with Nicki Minaj (which logged 6ix9ine his first No. 1 in June) and “Yaya” (No. 99).Taylor Swift’s Folklore falls from No. 1 to No. 5 after spending its first six weeks atop the list. It tallied 48,000 equivalent album units in the latest tracking week (down 46 percent).

The original Broadway cast recording of Hamilton: An American Musical is a non-mover at No. 6 with 44,000 equivalent album units earned (down 9 percent), while Lil Baby’s former No. 1 My Turn is also steady at No. 7 with 40,000 (down 5 percent).

Closing out the top 10: Rod Wave’s Pray 4 Love is stationary at No. 8 with 32,000 equivalent album units earned (down 10 percent), DaBaby’s Blame It On Baby holds at No. 9 with nearly 30,000 units (down 7 percent) and Post Malone’s Hollywood’s Bleeding rises 11-10 with just under 30,000 units (down 3 percent).

Source: billboard.com

Plus, 24kGoldn’s “Mood,” featuring iann dior, hits the top 10.

BTS‘ “Dynamite” spends a second week at No. 1 on the Billboard Hot 100 songs chart.

A week earlier, “Dynamite” debuted at the Hot 100’s summit, marking the group’s first No. 1 and the first leader on the list ever for an all-South Korean act.

Additionally this week, 24kGoldn‘s “Mood,” featuring iann dior, jumps from No. 12 to No. 8 on the Hot 100, becoming the first top 10 on the chart for each artist.

The Hot 100 blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Sept. 12) will update on Billboard.com tomorrow (Sept. 9, a day later than usual due to the Labor Day holiday in the U.S. yesterday). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Dynamite,” released on BigHit Entertainment/Columbia Records, continues atop the Hot 100 on the strength of 17.5 million U.S. streams (down 49%) and 182,000 downloads sold (down 31%) in the week ending Sept. 3, according to Nielsen Music/MRC Data. It also drew 16 million radio airplay audience impressions (up 38%) in the week ending Sept. 6.

“Dynamite” spends a second week at No. 1 on the Digital Song Sales chart and drops 3-9 on Streaming Songs.

(Of the 43 songs that have entered the Hot 100 at No. 1 all-time, “Dynamite” is the 20th to have remained on top in its second week.)

Helping “Dynamite” in its second week of availability, “Poolside” and “Tropical” remixes of the song were released Aug. 28 and sale-priced to 69 cents during the tracking week. They joined the original version, EDM and acoustic remixes and an instrumental version (also each sale-priced to 69 cents during the week), released Aug. 21.

With 182,000 downloads sold in its second week after opening with 265,000 downloads sold in its first frame, “Dynamite” is the first song to have sold over 180,000 downloads in consecutive weeks in nearly four years, since The Chainsmokers’ “Closer,” featuring Halsey (208,000, Sept. 17, 2016; 199,000, Sept. 24, 2016).

“Dynamite” is additionally the first song to have sold over 180,000 downloads in its first two weeks of release (unlike “Closer”) since Justin Timberlake’s “Can’t Stop the Feeling!” (379,000, May 28, 2016; 204,000, June 4, 2016).

Plus, on the mainstream top 40-based Pop Songs radio airplay chart, BTS hits a new career-best rank, as “Dynamite” rises 20-18. The track also becomes the group’s first entry on the adult top 40-based Adult Pop Songs airplay chart, where it debuts at No. 29.

Cardi B’s “WAP,” featuring Megan Thee Stallion, posts a second week at No. 2 on the Hot 100 after spending its first two weeks on the chart at No. 1. It adds a third week atop Streaming Songs (58.5 million, down 10%); slips 2-3 on Digital Song Sales (20,000, down 20%); and jumps 46-32 on Radio Songs (24.5 million, up 31%).

“WAP” logs a fourth week at No. 1 on the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same multi-metric methodology as the Hot 100.

Drake’s “Laugh Now Cry Later,” featuring Lil Durk, holds at No. 3 on the Hot 100, after debuting at No. 2 two weeks earlier, and DaBaby’s seven-week leader “Rockstar,” featuring Roddy Ricch, is likewise steady at No. 4.

The Weeknd’s former four-week Hot 100 No. 1 “Blinding Lights” keeps at No. 5, as it spends a record-extending 22nd week at No. 1 on Radio Songs (79.6 million, down 1%). It rules the multi-metric Hot R&B Songs chart for a record-furthering 25th week.

After The Weeknd performed “Lights” to kick off the 2020 MTV Video Music Awards Aug. 30, the song wins the Hot 100’s top Sales Gainer award, up 54% to 13,000 sold in the week ending Sept. 3.

As for its Hot 100 longevity, “Lights” spends a 26th week in the top five, moving to within a week of tying for the most time logged in the region over the chart’s 62-year history.

Most Weeks in Hot 100’s Top Five
27, “Shape of You,” Ed Sheeran, No. 1 peak (12 weeks), 2017
27, “Closer,” The Chainsmokers feat. Halsey, No. 1 (12), 2016-17
26, “Blinding Lights,” The Weeknd, No. 1 (four), 2020
26, “Circles,” Post Malone, No. 1 (three), 2019-20
25, “Uptown Funk!,” Mark Ronson feat. Bruno Mars, No. 1 (14), 2014-15
25, “How Do I Live,” LeAnn Rimes, No. 2, 1997-98
24, “Girls Like You,” Maroon 5 feat. Cardi B, No. 1 (seven), 2018
24, “That’s What I Like,” Bruno Mars, No. 1 (one), 2017
23, “Old Town Road,” Lil Nas X feat. Billy Ray Cyrus, No. 1 (19), 2019
23, “Without Me,” Halsey, No. 1 (two), 2018-19
23, “Despacito,” Luis Fonsi & Daddy Yankee feat. Justin Bieber, No. 1 (16), 2017
23, “The Twist,” Chubby Checker, No. 1 (three), 1960-61-62

Harry Styles’ former one-week Hot 100 leader “Watermelon Sugar” rises 7-6, swapping spots with Jack Harlow’s “Whats Poppin,” featuring DaBaby, Tory Lanez and Lil Wayne, after it peaked at No. 2.

24kGoldn’s “Mood,” featuring iann dior, jumps from No. 12 to No. 8 on the Hot 100, claiming top Streaming and Airplay Gainer honors. The collab climbs 6-3 on Streaming Songs (23.6 million, up 13%) and surges by 105% to 16 million in airplay audience. It retreats 9-12 on Digital Song Sales but with a 7% gain to 8,000 sold.

For 24kGoldn (real name: Golden Landis Von Jones), “Mood” is his first Hot 100 top 10 and second total entry, after “Valentino” spent a week at No. 92 last November. Dior (real name: Michael Ian Olmo) reaches the top 10 in his first visit to the chart.

Mood” concurrently crowns the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a second week each and holds at No. 5 on Hot Rap Songs.

Rounding out the Hot 100’s top 10, Jawsh 685 and Jason Derulo’s “Savage Love (Laxed – Siren Beat)” keeps at No. 9, after reaching No. 7, and Lewis Capaldi’s “Before You Go” holds at its No. 10 high.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Sept. 12), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Sept. 9).

Source: billboard.com

BTS is the first all-South Korean act to top the Hot 100.

BTS achieves its first No. 1 on the Billboard Hot 100 songs chart, as “Dynamite” debuts at the summit.

The seven-member South Korean act rules the Hot 100 with its first all-English-language single, after previously reaching a No. 4 high with “On” in March.

BTS, which is comprised of members J-Hope, Jimin, Jin, Jungkook, RM, Suga and V, is additionally the first all-South Korean group to lead the Hot 100.

The Hot 100 blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Sept. 5) will update on Billboard.com tomorrow (Sept. 1). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Dynamite,” released on BigHit Entertainment/Columbia Records, is the 1,109th No. 1 in the Hot 100’s 62-year history.

Let’s recap the song’s explosive start.

Streams, sales & airplay: “Dynamite,” released Aug. 21 at midnight ET, roars in with 33.9 million U.S. streams and 300,000 sold in its first week, ending Aug. 27, according to Nielsen Music/MRC Data. It also drew 11.6 million radio airplay audience impressions in the week ending Aug. 30.

“Dynamite” starts at No. 1 on the Digital Song Sales chart, where it’s BTS’ fourth leader, and No. 3 on Streaming Songs.

The official video for “Dynamite” premiered upon the song’s arrival (followed by an official “B-side” clip Aug. 24), and the track was available to purchase in the tracking week in its original form and via an EDM remix, acoustic remix and instrumental version (each sale-priced at 69 cents). Its original version was also available for purchase on 7-inch vinyl (for $7.98) and cassette ($6.98).

Biggest digital sales week in nearly 3 years: With 265,000 downloads sold (among its overall first-week total of 300,000, which includes its vinyl and cassette physical versions), “Dynamite” debuts with the biggest digital sales week since Sept. 16, 2017, when Taylor Swift’s “Look What You Made Me Do” launched with 353,000.

Among groups, “Dynamite” sports the biggest weekly digital sales sum since Prince and the Revolution’s 1984 classic “Purple Rain” sold 282,000 (May 14, 2016), following Prince’s April 21, 2016, passing. Among songs by groups in tracks’ debut weeks, “Dynamite” makes the best digital sales start in five years, since One Direction’s “Drag Me Down” opened with 350,000 (Aug. 22, 2015).

BTS’ first Hot 100 No. 1: BTS earns its first Hot 100 No. 1, and fourth top 10, among 12 visits to the chart. The group previously reached the top 10 with “On” (No. 4, where it debuted, this March); “Boy With Luv,” featuring Halsey (No. 8 debut/peak, April 2019); and “Fake Love” (No. 10 debut/peak, June 2018). The act first appeared on the chart dated Oct. 7, 2017, with “DNA.”

“Dynamite” is “made of positive vibes, energy, hope, love, the purity, everything,” RM recently told Apple Music’s Zane Lowe. “We made this song in hopes of giving energy to the listeners. We hope our fans can listen to it to receive the positive energy we tried to incorporate in the song.”

BTS boasts four career No. 1 albums on the Billboard 200 chart and holds the records for the most weeks at No. 1 on the Social 50 chart, adding its 194th week on top this week.

First all-South Korean group to top Hot 100: BTS is the first all-South Korean group to lead the Hot 100. Among South Korean soloists, PSY reached a No. 2 Hot 100 best with “Gangnam Style” for seven weeks in October-November 2012.

The history of Asian acts atop the Hot 100 dates back over a half-century, as Japanese-born Kyu Sakamoto became the first Asian artist to top the chart, with “Sukiyaki” for three weeks in June 1963. In October-November 2010, Far*East Movement led the Hot 100, also for three weeks, with “Like a G6,” with the act’s lineup at the time including two members of Korean heritage.

BigHit’s biggest hit: BigHit Entertainment achieves its first Hot 100 No. 1, having, like BTS, hit a previous No. 4 best with the group’s “On.”

(Columbia Records most recently led three weeks ago, with Harry Styles’ “Watermelon Sugar.”)

43rd No. 1 debut: “Dynamite” is the 43rd single to start at No. 1 on the Hot 100. It’s the eighth to debut atop the Hot 100 in 2020 (all since April), doubling the previous record for the most in a single year, as four songs each entered at No. 1 in both 2018 and 1995.

BTS’ pop radio best: While “Dynamite” so far falls shy of the all-format Radio Songs chart (where it would mark BTS’ first entry), it brings the group its best rank on the mainstream top 40-based Pop Songs radio airplay chart, where it bounds from No. 30 to No. 20 following its first full week of tracking. BTS previously climbed to a No. 22 Pop Songs highpoint with “Boy With Luv.”

KMVQ San Francisco led all Pop Songs reporting stations with 53 plays for “Dynamite” in the week ending Aug. 30, followed by KJYO Oklahoma City, Okla. (49), KDDB Honolulu (47) and KAMP Los Angeles and WJFX Ft. Wayne, Ind. (46 each).

BTS Cruz-es to No. 1: Meanwhile, BTS charts the first Hot 100 No. 1 with the word “dynamite” in its title, one-upping Taio Cruz’s “Dynamite,” which reached No. 2 just over 10 years ago (Aug. 21, 2010).

Three other TNT-packed titles have infused the Hot 100: Jermaine Jackson’s “Dynamite” (No. 15 peak, 1984); Sir Douglas Quintet’s “Dynamite Woman” (No. 83, 1969); and Lorde’s “Homemade Dynamite,” featuring Khalid, Post Malone and SZA (No. 92, 2017; the song peaked on the chart dated that Oct. 7, coincidentally, as noted above, BTS’ first week ever on the Hot 100).

Cardi B’s “WAP,” featuring Megan Thee Stallion, dips to No. 2 on the Hot 100 after spending its first two weeks on the chart at No. 1. The song rebounds from No. 2 for a second week atop Streaming Songs (65 million, down 10%); drops to No. 2 after two weeks atop Digital Song Sales (25,000, down 30%); and pushes 48-46 on Radio Songs (18.7 million, up 13%).

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

Drake’s “Laugh Now Cry Later,” featuring Lil Durk, slips to No. 3 on the Hot 100 after debuting at No. 2 a week earlier. It backtracks to No. 2 after a week atop Streaming Songs (43.6 million, down 38%) and slides 4-7 on Digital Song Sales (7,000, down 64%), while jumping 47-31 on Radio Songs (24.6 million, up 44%).

DaBaby’s seven-week Hot 100 leader “Rockstar,” featuring Roddy Ricch, descends 3-4.

The Weeknd’s “Blinding Lights” backpedals 4-5 on the Hot 100, as it spends a record-extending 21st week at No. 1 on Radio Songs (80.2 million, up 2%). It tops the multi-metric Hot R&B Songs chart for a record-furthering 24th week.

Jack Harlow’s “Whats Poppin,” featuring DaBaby, Tory Lanez and Lil Wayne, retreats 5-6 on the Hot 100, after rising to No. 2; Styles’ former one-week leader “Watermelon Sugar” holds at No. 7; and SAINt JHN’s “Roses” repeats at No. 8 on the Hot 100, after reaching No. 4, as it rules the multi-metric Hot Dance/Electronic Songs chart for an 18th week.

Jawsh 685 and Jason Derulo’s “Savage Love (Laxed – Siren Beat)” keeps at No. 9 on the Hot 100, after hitting No. 7, and reaches the Radio Songs top 10 (13-10; 46.5 million, up 18%). Jawsh 685 posts his first Radio Songs top 10, while Derulo scores his seventh and first since “Want to Want Me” in 2015.

Rounding out the Hot 100’s top 10, Lewis Capaldi’s “Before You Go” returns to its highest rank (12-10), first reached two weeks earlier.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Sept. 5), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Sept. 1).

Source: billboard.com

Plus: Nas and The Killers debut in top 10.

Taylor Swift’s Folklore spends a fifth straight week at No. 1 on the Billboard 200 albums chart, tying Lil Baby’s My Turn for the most weeks atop the list in 2020. Folklore further becomes the first album to rule for five weeks in a row at No. 1 since Drake’s Scorpion also logged its first frames at No. 1 (July 14-Aug. 11, 2018-dated charts).

Folklore earned 98,000 equivalent album units in the U.S. in the week ending Aug. 27 (down 3%), according to Nielsen Music/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 Sept. 5-dated chart (where Folklore spends a fifth week at No. 1) will be posted in full on Billboard‘s website on Sept. 1. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Folklore’s units earned in the newest tracking week, album sales comprise 52,000 (up 14%), SEA units comprise 45,000 (down 16%) and TEA units total 1,000 (down 60%).

In the latest tracking week, Swift continued to promote Folklore on streaming services by releasing groupings of the album’s songs into thematic “chapters.” She bowed the first such collection on Aug. 20 (in the previous tracking week), followed by two more on Aug. 23 and Aug. 26. In turn, these chapters got prominent placement on streaming services, appearing as the latest releases from Swift. Beyond the streaming promotions, Swift also sold more signed CDs via independent record stores (as she did in the previous week).

Folklore debuted at No. 1 on the Billboard 200 and has spent its first five weeks locked in the top slot. As noted above, it is now tied with Lil Baby’s My Turn for the most weeks at No. 1 in 2020. My Turn debuted at No. 1 on the March 14 chart and then returned for four straight weeks at No. 1 between June 20 and July 11.

The last album to notch five weeks in a row at No. 1 was Drake’s Scorpion, which also spent its first five frames in the lead (the entirety of its weeks at No. 1). If Folklore logs a sixth week at No. 1, it will have the most weeks at No. 1 for any album since Drake’s Views tallied 13 total weeks at No. 1 in 2016. Further, Folklore would be the first album with six weeks in a row at No. 1 since Views, which spent its first nine weeks at No. 1.

Specific to Swift’s catalog of albums, Folklore is her second album to string together five consecutive weeks at No. 1. She previously did it with her first No. 1, Fearless, which had a total of 11 weeks at No. 1 in 2008-09, with seven of those in a row. (She had, however, never before seen an album spend its first five weeks at No. 1.)

Back on the new Billboard 200, Pop Smoke’s former leader Shoot for the Stars Aim for the Moon is steady at No. 2 with 83,000 equivalent album units (down 4%). Juice WRLD’s Legends Never Die, another previous No. 1, is a non-mover at No. 3 with 70,000 units (down 12%). The original Broadway cast recording of Hamilton: An American Musical rises one spot to No. 4 with 51,000 units (down 9%).

Nas claims the chart’s highest debut of the week, as his new album, King’s Disease, bows at No. 5 with 47,000 equivalent album units earned. Of that sum, SEA units total 28,000 (equating to 36.17 million on-demand streams of the album’s songs in the tracking week), album sales comprise 18,000 (boosted by merchandise/album bundles sold via Nas’ webstore) and TEA units equal 1,000.

King’s Disease is Nas’ 14th top 10 album. He tallied his first top 10 with It Was Written in 1996, which spent four weeks at No. 1. King’s Disease was released on Nas’ Mass Appeal label via Universal Music Group’s (UMG) indie arm Caroline. It’s the rapper’s first album after releasing records for more than two decades either via UMG’s Def Jam Recordings or Sony Music’s Columbia Records.

Lil Baby’s former No. 1 My Turn rises one spot to No. 6 on the new Billboard 200 with 43,000 equivalent album units earned (down 2%), while Rod Wave’s Pray 4 Love dips 6-7 with 40,000 units (down 17%).

The Killers arrive at No. 8 with the group’s new album, Imploding the Mirage, securing the rock band its sixth top 10 effort. Imploding the Mirage bows with 37,000 equivalent album units earned, with 30,000 of that sum in album sales. The remainder of its first week total comprise SEA units (7,000) and TEA units (1,000).

The Killers’ first top 10 came 15 years ago with its debut album, Hot Fuss. The set bowed on the list dated July 4, 2004 at No. 59 and eventually peaked at No. 7 on the May 7, 2005 chart.

Rounding out the latest top 10 on the Billboard 200 are two former No. 1s: DaBaby’s Blame It on Baby (slipping 8-9 with 34,000 equivalent album units; down 12%) and Post Malone’s Hollywood’s Bleeding (down 9-10 with 31,000 units; down 2%).

The top 10 is chock-full of albums distributed via the Universal Music Group family, as UMG titles populate nine out of the top 10. The lone non-UMG album is the Hamilton cast recording, which was released via Hamilton Uptown/Atlantic and distributed via Warner Music’s WEA.

The new chart marks the first time one company has so dominated the top 10 since UMG last managed nine out of 10, on the Nov. 17, 2018-dated list. That week, Metro Boomin’s Not All Heroes Wear Capes (released via Boominati/Republic) bowed at No. 1. The only non-UMG title in the top 10 that week was Travis Scott’s Astroworld (a Sony Music title, released via Cactus Jack/Grand Hustle/Epic) at No. 8.

Source: billboard.com

“WAP” is the first song to spend its first two weeks on the chart at No. 1 since Ariana Grande’s “7 Rings.”

Cardi B‘s “WAP,” featuring Megan Thee Stallion, spends a second week at No. 1 on the Billboard Hot 100 songs chart. It soared in at the summit a week earlier with record first-week streams.

“WAP” fends of Drake‘s “Laugh Now Cry Later,” featuring Lil Durk, as the latter launches at No. 2 on the Hot 100.

Plus, two country hits enter the Hot 100’s top 10: Morgan Wallen‘s “7 Summers” debuts at No. 6 and Gabby Barrett‘s “I Hope” ascends from No. 11 to No. 10.

The Hot 100 blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Aug. 29) will update on Billboard.com tomorrow (Aug. 25).

“WAP,” released on Atlantic Records, notches a second week at No. 1 on the Digital Song Sales chart, with 36,000 downloads sold (down 71%) in the week ending Aug. 20, according to Nielsen Music/MRC Data. It dips to No. 2 on Streaming Songs with 72.2 million U.S. streams (down 22%) in the week ending Aug. 20. A week ago, it blasted in with 93 million streams, the most ever for a song in its first week of release.

“WAP” additionally debuts at No. 48 on the Radio Songs chart with 16.5 million radio airplay audience impressions (up 42%) in the week ending Aug. 23.

“WAP” is the first song to spend its first two weeks on the Hot 100 at No. 1 since Ariana Grande’s “7 Rings,” which tallied its first five weeks on the chart in the top spot (of eight total frames at No. 1), beginning on the Feb. 2, 2019-dated tally. In between those hits, eight songs debuted at No. 1, each spending a week at the summit. (Of the 42 songs that have entered the Hot 100 at No. 1 all-time, 19, including “WAP,” remained on top in their second weeks.)

Meanwhile, “WAP” is the first song among women to lead the Hot 100 for multiple weeks since Mariah Carey’s “All I Want for Christmas Is You” reigned for three weeks in December-January. Before that, Lizzo’s “Truth Hurts” totaled seven weeks at No. 1 last September-October.

“WAP” concurrently posts a second week at No. 1 on the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same multi-metric methodology as the Hot 100.

Drake’s “Laugh Now Cry Later,” featuring Lil Durk, roars onto the Hot 100 at No. 2, led by its chart-topping entrance on Streaming Songs with 69.8 million streams in the week ending Aug. 20, following its Aug. 14 release.

Drake adds his record-extending ninth Streaming Songs No. 1 and second this year, after “Toosie Slide,” which started with 55.5 million first-week streams (April 18). “Laugh” brings Drake his second-best first-week streaming total, after “God’s Plan” (82.4 million, Feb. 3, 2018).

(Note that while the total of 69.8 million streams for “Laugh” is less than the 72.2 million for Cardi B’s “WAP,” the former ranks at No. 1 on Streaming Songs and the latter places at No. 2 due to the application of weighting of paid subscription, ad-supported and programmed streams, as factored into the Hot 100.)

“Laugh” enters Digital Song Sales at No. 4 (21,000 sold) at Radio Songs at No. 47 (17.1 million impressions).

Drake adds his record-padding 41st Hot 100 top 10. On the Aug. 1-dated Hot 100, he landed his 39th and 40th top 10s, breaking a tie with Madonna (38) for the most in the chart’s 62-year history. The Beatles rank third with 34 top 10s.

“Laugh” also extends Drake’s records for the most overall Hot 100 entries (225), most top 40 hits (114) and most titles to debut in the top 10 (26).

Lil Durk earns his first Hot 100 top 10 and first Streaming Songs No. 1.

DaBaby’s seven-week Hot 100 leader “Rockstar,” featuring Roddy Ricch, drops 2-3.

The Weeknd’s “Blinding Lights” descends 3-4 on the Hot 100, as it spends a record-extending 20th week at No. 1 on Radio Songs (78.7 million, down 2%). It tops the multi-metric Hot R&B Songs chart for a record-padding 23rd week.

Jack Harlow’s “Whats Poppin,” featuring DaBaby, Tory Lanez and Lil Wayne, retreats 4-5 on the Hot 100, after rising to No. 2.

Morgan Wallen’s “7 Summers” bounds onto the Hot 100 at No. 6, marking his first top 10. It also enters the multi-metric Hot Country Songs chart at No. 1, where it’s his second leader, after “Whiskey Glasses” reigned for two weeks in May-June 2019.

Released Aug. 14, “Summers” starts at No. 4 on Streaming Songs with 23.5 million U.S. streams in the week ending Aug. 20, the best release-week sum for a title that has appeared on both the Hot 100 and Hot Country Songs by a solo male and no accompanying acts. On Digital Song Sales, it opens at No. 2 (28,000).

“Summers” is just the second top 10 Hot 100 debut ever for a song by a solo male and no accompanying acts that has also appeared on Hot Country Songs, after Garth Brooks’ alter ego Chris Gaines bowed at No. 5 on the Hot 100 with “Lost in You” in September 1999.

Harry Styles’ “Watermelon Sugar” recedes 5-7 on the Hot 100, two weeks after surging to No. 1; SAINt JHN’s “Roses” slides 6-8, after reaching No. 4, as it tops the multi-metric Hot Dance/Electronic Songs chart for a 17th week; and Jawsh 685 and Jason Derulo’s “Savage Love (Laxed – Siren Beat)” falls to No. 9 from its No. 7 Hot 100 high.

Rounding out the Hot 100’s top 10, Gabby Barrett’s “I Hope” rises 11-10, becoming the first top 10 on the chart for the 2018 American Idol third-place finalist. The track topped Hot Country Songs for five weeks (before being dethroned this week by Wallen’s “Summers”).

Reaching the top 10 in its 34th week on the Hot 100, “Hope” completes the third-longest trip to the tier, after 2005 Idol champ Carrie Underwood’s “Before He Cheats,” which hit the top 10 in its 38th week in 2007, and Creed’s “Higher” (36 weeks, 2000).

Barrett is also the first woman to hit the Hot 100’s top 10 with a song unaccompanied by any other artists that also charted on Hot Country Songs since October 2012, when Taylor Swift’s “Red” debuted at its No. 6 peak.

Plus, with “Hope” marking Barrett’s first Hot Country Songs and Hot 100 entry, she joins an exclusive group of women who have topped the former and reached the latter’s top 10 with their first solo singles. Jeannie C. Riley initiated the club with “Harper Valley P.T.A.,” a No. 1 on both charts in 1968, while Marie Osmond (“Paper Roses,” No. 5 on the Hot 100 in 1973) and Jessi Colter (“I’m Not Lisa,” No. 4, 1975) also topped Hot Country Songs and hit the Hot 100’s top 10 in their first solo appearances on each ranking. Barrett is, thus, the first woman to earn the honor in over 45 years.

“Hope” lifts 9-8 on Radio Songs (52.4 million, up 8%); holds at No. 9 on Digital Song Sales (8,000, essentially even week-over-week); and pushes 28-27 on Streaming Songs (11.7 million, up 8%).

The song led the Country Airplay chart dated April 25 and has crossed to pop radio. It holds at its No. 10 best on the Adult Contemporary survey; enters the Adult Pop Songs top 10 (11-8); and advances 12-11 on Pop Songs. Aiding its profile and pop radio support, a remix with Charlie Puth was released in April.

With “Hope” marking Barrett’s first Country Airplay entry, she’s the first woman to have led that list with an initial entry, unaccompanied by other acts, that went on to hit the Hot 100’s top 10, dating to the Country Airplay chart’s 1990 inception. She’s the first artist overall to achieve the feat since Florida Georgia Line, whose first Country Airplay hit “Cruise” ruled for three weeks in December 2012 before reaching No. 4 on the Hot 100 in June 2013. “Cruise” likewise scored pop radio airplay assisted by a remix (with Nelly).

The only other such song? Billy Ray Cyrus’ debut hit “Achy Breaky Heart,” which blew up for a five-week rule on Country Airplay and a No. 4 peak on the Hot 100 in 1992, also helped by pop crossover play.

For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram. Again, all charts, including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Aug. 25).

Source: billboard.com

It’s the first by a woman to log its first four weeks on the chart at No. 1 since 2015.

Taylor Swift’s Folklore is No. 1 on the Billboard 200 albums chart for a fourth straight week, becoming the first album by a woman to spend its first four weeks at No. 1 in nearly five years.

Folklore earned 101,000 equivalent album units in the U.S. in the week ending Aug. 20 (down 26%), according to Nielsen Music/MRC Data. It’s the fourth straight week the set has tallied at least 100,000 units — a rarity for a non-R&B or hip-hop album.

Folklore launched at No. 1 on the chart dated Aug. 8 with 846,000 units — the biggest week of 2020, and the largest for any album since Swift’s last release, Lover, bowed at No. 1 with 867,000 units on the Sept. 7, 2019, chart.

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 Aug. 29-dated chart (where Folklore spends a fourth week at No. 1) will be posted in full on Billboard‘s website on Aug. 25.

Of Folklore’s units earned in the newest tracking week, SEA units comprise 53,000 (down 22%, equaling 70.48 million on-demand streams of the album’s songs), album sales total 46,000 (down 31%) and TEA units equal 2,000 (up 73%).

In the week ending Aug. 20, Folklore benefited from the release of a deluxe version of the album at digital retailers and streamers that added a bonus track, “The Lakes,” which was previously exclusive to the physical formats of the album. In addition, Swift dropped new merchandise/album bundles in her official webstore and sold signed Folklore CDs at independent record stores (which generated buzz with Swift fans and indie store owners).

Concurrently, three different Folklore singles are continuing to make inroads at radio. On the most recently published airplay charts (dated Aug. 22, reflecting the tracking week ending Aug. 16), former No. 1 Billboard Hot 100 hit “Cardigan” climbed 22-18 on the Pop Songs airplay chart; “Exile,” featuring Bon Iver, rose 27-29 on the Adult Alternative Songs airplay tally and “Betty” bounced 52-49 on Country Airplay.

100,000 Units in Four Weeks: As Folklore earned 101,000 equivalent album units in its fourth week, it’s just the second album in 2020 to yield at least 100,000 units in each of its first four weeks. Beginning in July, rapper Pop Smoke’s Shoot for the Stars Aim for the Moon also saw its first four weeks tally at least 100,000 units. (Another hip-hop set, Juice WRLD’s Legends Never Die, is the only other album with four weeks of 100,000-plus units in 2020, but they were nonconsecutive.)

Folklore is the first non-R&B/hip-hop album to earn four weeks of 100,000-plus units since Lady Gaga and Bradley Cooper’s A Star Is Born soundtrack notched a fourth, and final, nonconsecutive week of 100,000-plus units on March 9, 2019.

Further, Folklore is the first non-R&B/hip-hop effort to see its first four weeks each earn 100,000-plus since Swift’s own Reputation (Dec. 2-23, 2017).

First Album by a Woman to Spend Its First Four Weeks at No. 1 Since 2015: As Folklore spends a fourth week at No. 1, it becomes the first album by a woman to rule for its first four weeks since Adele’s 25 topped the list in its first seven weeks (of its total of 10 nonconsecutive weeks at No. 1). 25 debuted at No. 1 on the Dec. 12, 2015-dated chart, and was No. 1 through Jan. 23, 2016. It then returned to No. 1 on Feb. 13, 2016 for one week, and then for two more weeks on March 5-12, 2016.

The last album by any act to spend its first four weeks at No. 1 — and the only other album to do so in 2020 aside from Folklore — was The Weeknd’s After Hours (April 4-25).

Since Adele’s 25, the only albums by women with four total weeks at No. 1 are Swift’s Reputation (four weeks; with three in a row between Dec. 2-16, 2017, and one more at No. 1 on Jan. 6, 2018) and Lady Gaga’s A Star Is Born soundtrack, with Bradley Cooper (four weeks; with three consecutive between Oct. 20 and Nov. 3, 2018, and one more on March 9, 2019).

Bonus fun fact: Folklore is Swift’s first album to spend its first four weeks at No. 1. She previously saw three albums (Red, 1989 and Speak Now) each tally their first three weeks at No. 1.

Could ‘Folklore’ Go for Five? If Folklore spends a fifth week at No. 1, it will become the first album to spend its first five weeks at No. 1 since Drake’s Scorpion (July 14-Aug. 11, 2018).

Further, if Folklore nabs a fifth week in charge, it will tie Lil Baby’s My Turn for the most total weeks at No. 1 in 2020. My Turn debuted at No. 1 on the March 24 chart, and then returned for four straight weeks in the lead from June 20 through July 11.

At No. 2 on the new Billboard 200, Pop Smoke’s Shoot for the Stars Aim for the Moon is up one spot with 86,000 equivalent album units earned (down 7%). Juice WRLD’s Legends Never Die dips 2-3 with 79,000 units (down 32%).

Rapper Young Dolph logs his second top 10 album as Rich Slave starts at No. 4 with 65,000 equivalent album units earned. Of that sum, 33,000 comprise SEA units (equaling 44.31 million on-demand streams of the set’s songs), 32,000 are album sales and a negligible sum are TEA units. The set’s sales were bolstered by merchandise/album bundles sold via the artist’s webstore.

In total, Rich Slave is Young Dolph’s ninth charting effort since arriving on the list in 2016. He previously visited the top 10 with Dum and Dummer, a collaborative set with Key Glock that debuted and peaked at No. 8 in August 2019.

The original Broadway cast recording of Hamilton: An American Musical climbs 6-5 with 56,000 equivalent album units earned (down 9%). Rod Wave’s Pray 4 Love falls 4-6 with 48,000 units (down 36%), Lil Baby’s My Turn rises 9-7 with 44,000 units (down 6%), DaBaby’s Blame It on Baby is steady at No. 8 with 39,000 units (down 27%) and Post Malone’s Hollywood’s Bleeding ascends 11-9 with 31,000 units (down 4%).

Harry Styles’ Fine Line closes out the top 10, as it returns to the region with a 12-10 bump and 30,000 equivalent album units earned (down 7%).

Source: billboard.com

The collab is Cardi B’s fourth leader & Megan Thee Stallion’s second.

Cardi B‘s “WAP,” featuring Megan Thee Stallion, blasts onto the Billboard Hot 100 songs chart at No. 1. The collab launches as Cardi B’s fourth leader on the list and Megan Thee Stallion’s second.

Released Aug. 7, the song drew 93 million U.S. streams in the week ending Aug. 13, according to Nielsen Music/MRC Data, the most for any track ever in its first week of release.

The Hot 100 blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Aug. 22) will update on Billboard.com tomorrow (Aug. 18).

“WAP,” released on Atlantic Records, is the 1,108th No. 1 in the Hot 100’s 62-year history.

Let’s recap its entrance at the summit.

No. 1 streams & sales: “WAP” roars in at No. 1 on both the Streaming Songs and Digital Song Sales charts, with 93 million U.S. streams and 125,000 downloads sold in the week ending Aug. 13, according to Nielsen Music/MRC Data. It also drew 11.6 million radio airplay audience impressions in the week ending Aug. 16.

“WAP” is Cardi B’s third No. 1 on Streaming Songs and fourth on Digital Song Sales. Megan Thee Stallion scores her second No. 1 on each chart.

The song’s official video was released Aug. 7 at midnight ET, after the track was made available for pre-order in Cardi B’s webstore via 12 autographed physical/digital combinations Aug. 3-6. Consumers could pre-order cassette, CD and vinyl singles (priced at $5-$15), with each purchase including a digital download; the download (the sale of which contributed to the latest tracking week) was made available and fulfilled to purchasers Aug. 7, with physical versions due to arrive at a later date.

Record first-week streams: As noted above, with 93 million, the streaming sum for “WAP” is the greatest ever for a song in its first week of release.

It surpasses the haul of 85.3 million for Ariana Grande’s “7 Rings” in its first week of availability (Feb. 2, 2019).

Most weekly streams this year: “WAP” starts with the most weekly streams for a song in 2020, besting the 77.2 million for Roddy Ricch’s “The Box” (Jan. 25).

(Notably, the total for “WAP” is the highest since Billboard streamlined the inclusion of YouTube user-generated content [UGC] for song charts that incorporate streaming data, including the Hot 100, with charts dated Jan. 18.)

All-time ranks: “WAP” scores the second-greatest streaming week among songs by women overall, just below the 93.8 million that Grande’s “Thank U, Next” logged in its fifth frame on Streaming Songs (Dec. 15, 2018), following the premiere of its official video.

Among all songs in all weeks, “WAP” boasts the 18th-biggest streaming sum, with the 17 higher weeks tallied among five songs, led by Lil Nas X’s “Old Town Road” (featuring Billy Ray Cyrus), which peaked with 143 million on the April 20, 2019, Streaming Songs chart.

Record on-demand audio streams among women: “WAP” claims the mark for the most weekly on-demand U.S. audio streams among songs by women: 54.7 million. It just passes the 54.6 million for Grande’s “7 Rings” (Feb. 2, 2019).

The opening frame for “WAP” marks the 10th-greatest week for on-demand audio streams overall, another category paced by “Old Town Road” (78.1 million; April 20, 2019).

Biggest sales week in over a year: Meanwhile, the sales sum for “WAP” is the highest in a single week since Taylor Swift’s “Me!,” featuring Brendon Urie, bounded in with 193,000 on the chart dated May 11, 2019.

Cardi B’s 4th Hot 100 No. 1, Megan Thee Stallion’s 2nd: Upon the entrance of “WAP,” here’s an updated look at Cardi B’s four 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, one (to date), Aug. 22, 2020

Dating to her first week atop the Hot 100, Cardi B ties for the most No. 1s in the span since, matching the four each earned in that stretch by Drake, Grande and Post Malone.

Megan Thee Stallion notches her second Hot 100 No. 1, after “Savage,” featuring Beyoncé, topped the May 30-dated chart. She is the first artist whose first two Hot 100 leaders have both been all-female collaborations.

42nd No. 1 debut: “WAP” marks the 42nd single to open at No. 1 on the Hot 100, and the first each for Cardi B and Megan Thee Stallion.

The song is the seventh to debut atop the Hot 100 in 2020, extending the record for the most in a single year. (Next up, four songs each started at No. 1 in both 2018 and 1995.)

Historic year for female collabs continues: Cardi B and Megan Thee Stallion combine for the ninth Hot 100 No. 1 credited to two or more women (and no other billed acts), and the fourth this year. Prior to 2020, five such songs had led over 40-plus years.

Here’s an updated list of every Hot 100 No. 1 exclusively by multiple women soloists:

Title, Artists, Weeks at No. 1, Date Reached No. 1
“WAP,” Cardi B feat. Megan Thee Stallion, one (to date), Aug. 22, 2020
“Rain on Me,” Lady Gaga & Ariana Grande, one, June 6, 2020
“Savage,” Megan Thee Stallion feat. Beyoncé, one, May 30, 2020
“Say So,” Doja Cat feat. Nicki Minaj, one, May 16, 2020
“Fancy,” Iggy Azalea feat. Charli XCX, seven, June 7, 2014
“S&M,” Rihanna feat. Britney Spears, one week, April 30, 2011
“Lady Marmalade,” Christina Aguilera, Lil’ Kim, Mya & P!nk, five, June 2, 2001
“The Boy Is Mine,” Brandy & Monica, 13, June 6, 1998
“No More Tears (Enough Is Enough),” Barbra Streisand & Donna Summer, two, Nov. 24, 1979

No. 1 hip-hop, rap: “WAP” concurrently soars in at No. 1 on the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same multi-metric methodology as the Hot 100.

The track is Cardi B’s fifth No. 1 on the former chart and fourth on the latter. Megan Thee Stallion scores her second leader on each list.

Check Billboard.com later today for highlights of the rest of the top 10 on the latest Hot 100.

For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (Aug. 18), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Plus: Luke Bryan, Glass Animals and NLE Choppa debut in top 10.

Taylor Swift’s Folklore reigns at No. 1 on the Billboard 200 albums chart for a third week – marking the first album by a woman to spend its first three weeks at No. 1 since 2018. Aided by the arrival of its CD version in stores, Folklore earned 136,000 equivalent album units in the U.S. in the week ending Aug. 13 (up 1%), according to Nielsen Music/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 Aug. 22-dated chart (where Folklore is steady at No. 1) will be posted in full on Billboard‘s website on Aug. 18.

Of Folklore’s units earned in the latest tracking week, SEA units comprise 68,000 (down 33%, equaling 89.77 million on-demand streams of the album’s songs), album sales total 67,000 (up 119%) and TEA units equal 1,000 (down 45%).

Folklore’s album sales grew dramatically courtesy of the set’s CD edition reaching brick-and-mortar stores and such online retailers as Amazon on Aug. 7. The album was previously only available via Swift’s official webstore and digital retailers such as iTunes.

Folklore is the fourth album to spend at least three weeks at No. 1 in 2020, following Lil Baby’s My Turn (five weeks), The Weeknd’s After Hours (four) and Roddy Ricch’s Please Excuse Me for Being Antisocial (three in 2020; four in total, as the album had one week at No. 1 in 2019). Folklore is the first non-R&B/hip-hop album, or album of any genre by a woman, to tally three weeks in total at No. 1 since Billie Eilish’s When We All Fall Asleep, Where Do We Go? scored its third (and so far) final nonconsecutive week at No. 1 on the June 18, 2019-dated chart.

Notably, Folklore is the first album by a woman to spend its first three weeks at No. 1 since Lady Gaga and Bradley Cooper’s A Star Is Born soundtrack tallied its first three frames atop the list (Oct. 20-Nov. 3, 2018). Star clocked one more week at No. 1, on the March 9, 2019 chart.

The last album by a woman, unaccompanied by another act, to spend its first three weeks at No. 1 was Swift’s own Reputation. It bowed atop the Dec. 2, 2017-dated chart, and ruled for the next two frames. It returned for a fourth nonconsecutive week in charge on the Jan. 6, 2018 chart.

At No. 2 on the new Billboard 200, Juice WRLD’s Legends Never Die rises one spot with 117,000 equivalent album units earned (up 33%). The former No. 1 surges following the release of the new song “Smile,” with The Weeknd, which was added to the album’s track list during the tracking week. The album also gets a boost from an array of new merchandise/album bundles sold via Juice WRLD’s webstore.

Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon falls 2-3 with 92,000 equivalent album units earned (down 5%), while Rod Wave’s Pray 4 Love vaults 23-4 with 75,000 units (up 258%). Pray 4 Love’s gain is owed to its reissue on Aug. 7 with 11 additional tracks. The set was first released on April 3 as a 14-track album. Pray 4 Love is one of over 10 notable R&B or hip-hop albums released in 2020 that have been reissued in a deluxe format with additional tracks.

Country superstar Luke Bryan lands his 11th top 10 album as Born Here Live Here Die Here debuts at No. 5 with 65,000 equivalent album units earned. Of that sum, 48,000 were in album sales (aided by a concert ticket/album sale redemption offer with his upcoming tour), while SEA units total 14,000 (equaling 19.68 million on-demand streams of the set’s songs) and TEA units total 2,000.

Bryan got his first top 10 album on the Billboard 200 with Doin’ My Thing, which peaked at No. 6 in 2009. He then reached the top 10 with Tailgates & Tanlines (No. 2, 2011), Spring Break 4… Suntan City (EP) (No. 9, 2012), Spring Break… Here to Party (No. 1, 2013), Crash My Party (No. 1, 2013), Spring Break 6… Like We Ain’t Ever (EP) (No. 2, 2014), Spring Break… Checkin’ Out (No. 3, 2016), Kill the Lights (No. 1, 2015), Farm Tour: Here’s to the Farmer (EP) (No. 4, 2016) and What Makes You Country (No. 1, 2017).

The original Broadway cast recording of Hamilton: An American Musical falls 4-6 with 61,000 equivalent album units (down 6%).

Alternative rock band Glass Animals achieves its first top 10 album as Dreamland arrives at No. 7 with 60,000 equivalent album units earned. Of that sum, album sales total 43,000, while SEA units total 17,000 (equaling 21.8 million on-demand streams of the album’s songs) and a TEA units total a negligible figure. The album’s sales were assisted by merchandise/album bundles sold via the band’s website, as well as a concert ticket/album sale redemption offer with a series of shows that took place in early 2020, as well as a couple upcoming gigs.

Glass Animals previously topped out on the chart at No. 20 with How to Be a Human Being in 2016.

DaBaby’s former No. 1 Blame It on Baby is pushed back 6-8 despite a 23% increase to 52,000 equivalent album units earned. The set continues to benefit from its deluxe reissue on Aug. 4 with 10 additional tracks.

Lil Baby’s previous leader My Turn dips 5-9 with 47,000 equivalent album units (down 6%).

Rapper NLE Choppa closes out the top 10 as his Top Shotta album bows at No. 10 with 36,000 equivalent album units earned. SEA units represent 27,000 of that sum (equaling 44.59 million on-demand streams of the set’s songs), while album sales total 9,000 (goosed by an array of merchandise/album bundles) and a negligible TEA figure.

Top Shotta is promoted as NLE Choppa’s first studio album. He previously hit the Billboard 200 with the Cottonwood mixtape, which peaked at No. 57 on the Jan. 4-dated chart.

Source: billboard.com