The song is Grande’s second leader, and second to launch at the summit.

Ariana Grande‘s “7 Rings” shines atop the Billboard Hot 100, blasting in at No. 1 on the chart dated Feb. 2.

The song is Grande’s second Hot 100 No. 1 and second to start on top, following “Thank U, Next,” which debuted atop the chart dated Nov. 17, and led for seven total weeks.

Let’s run down the top 10 of the Hot 100, which blends all-genre U.S. streaming, radio airplay and digital sales data. All charts will update on Billboard.com tomorrow (Jan. 29).

“Rings,” released on Republic Records, arrives as the 1,083rd No. 1 in the Hot 100’s 60-year history, and launches as the week’s most-streamed and top-selling song.

Following the Jan. 18 premiere of the song and its official video, “Rings” debuts at No. 1 on the Streaming Songs chart with 85.3 million U.S. streams in the week ending Jan. 24, according to Nielsen Music. The sum marks the second-biggest streaming week ever for a song by a female artist, after Grande’s own “Next,” which drew 93.8 million, as reflected on the chart dated Dec. 15, following the premiere of its official video. (Drake’s “In My Feelings” holds the overall record: 116.1 million; July 28.) Grande earns her second Streaming Songs No. 1, after “Next.”

“Rings” also roars in at No. 1 on Digital Song Sales, with 96,000 downloads sold in the week ending Jan. 24. Grande adds her fifth No. 1 on the survey. The total is the best for a song in six months, since Drake’s “Feelings” sold 104,000 (Aug. 4), and the best for a female artist since Grande’s “No Tears Left to Cry” (100,000; May 5). (“Next” hit a weekly high of 81,000 in its debut week.)

“Rings” additionally arrives at No. 39 on Radio Songs, with 27.5 million audience impressions in its first full tracking week (ending Jan. 27).

The song is the radio follow-up to “Next,” and follows the track “Imagine,” which debuted and peaked at No. 24 on the Hot 100 (Dec. 29). All three songs are from Grande’s forthcoming album, Thank U, Next, the follow-up to Sweetener, which bowed as her third Billboard 200 No. 1 in September.

The song is the radio follow-up to “Next,” and follows the track “Imagine,” which debuted and peaked at No. 24 on the Hot 100 (Dec. 29). All three songs are from Grande’s forthcoming album, Thank U, Next, the follow-up to Sweetener, which bowed as her third Billboard 200 No. 1 in September.

Let’s ring up more facts about Grande’s new No. 1:

Grande entrance: “Rings” is the 33rd single to debut at No. 1 on the Hot 100, while Grande becomes just the fifth artist with multiple No. 1 starts, joining Mariah Carey, the leader with three, Justin Bieber, Drake and Britney Spears (two each).

In the Hot 100’s history, Grande is the first artist whose first two No. 1s have both debuted at the pinnacle.

(Before “Next” and “Rings,” no female artist had entered atop the Hot 100 since Adele with “Hello” in November 2015; seven songs then started at No. 1 until “Next.”)

Back at 1: Grande collects her second Hot 100 No. 1 just two months and two weeks after “Next” opened on top. That’s the quickest accumulation of leaders for an artist (in a lead role) since Justin Bieber’s “Love Yourself” hit No. 1 only three weeks after “Sorry” first reached No. 1 in early 2016. Among women, Grande lands the fastest succession of new No. 1s since Rihanna’s “What’s My Name?,” featuring Drake, hit the top spot on Nov. 20, 2010, and “Only Girl (In the World)” followed just two weeks later (Dec. 4).

‘Sound of’ No. 1: “Rings” channels the melody of The Sound of Music‘s “My Favorite Things,” and sports writing credits for the classic song’s iconic composers, the late Richard Rodgers and Oscar Hammerstein II. Along with Sound, the pair created beloved Broadway musicals including The King and I, Oklahoma! and South Pacific.

One version of “My Favorite Things” has charted on the Hot 100: by Herb Alpert & The Tijuana Brass, a No. 45 hit in January 1969.

‘7’ @ 1: The numeral 7 appears in a Hot 100 No. 1 for the second time, after (technically) Elton John’s “Candle in the Wind 1997″/”Something About the Way You Look Tonight” (14 weeks at No. 1, 1997-98). As for songs featuring “7” with no accompanying numbers in their titles, Grande’s one-ups the previous top-peaking such hit, Lukas Graham’s “7 Years,” which reached No. 2 in April 2016.

Notably, “7” by Prince and The New Power Generation peaked at (where else?) No. 7 in 1993.

Lords of the ‘Ring’s: Plus, Grande tallies the fourth Hot 100 No. 1 with “ring” in its title. It follows Beyoncé’s “Single Ladies (Put a Ring on It)” (four weeks at No. 1, 2008-09); Anita Ward’s “Ring My Bell” (two, 1979); and Gary Lewis and The Playboys’ “This Diamond Ring” (two, 1965).

(Research assistance on the above stats from readers Jake Rivera and Pablo Nelson, the latter of whom adds that Prince’s “7” hit No. 61 on the Hot R&B/Hip-Hop Songs chart, which, like its No. 7 Hot 100 peak, is also fitting, “because 6+1 = 7.”)

“Rings” dethrones Halsey‘s “Without Me” after two nonconsecutive weeks atop the Hot 100. The song drops to No. 2 on the Hot 100, although it takes over at No. 1 on the Pop Songs radio airplay chart. It keeps at No. 2 on Radio Songs (109.7 million, up 3 percent) and slides 2-3 on both Streaming Songs (41.5 million, down 12 percent) and Digital Song Sales (29,000, down 30 percent).

Post Malone and Swae Lee‘s “Sunflower (Spider-Man: Into the Spider-Verse)” slips 2-3 on the Hot 100, after leading the Jan. 19-dated chart. The duet spends a fourth week at No. 1 on both Hot R&B/Hip-Hop Songs and Hot Rap Songs.

Grande’s “Next” rebounds 5-4 on the Hot 100 and Travis Scott‘s “Sicko Mode,” which led the Hot 100 dated Dec. 8, falls 3-5. Notably, the entire top five songs on the Hot 100 have all hit No. 1, marking the first such sweep in the bracket (of then-present or past No. 1s) since July 1, 2017.

Panic! at the Disco‘s “High Hopes” retreats to No. 6 from its No. 4 Hot 100 peak, as it tops Hot Rock Songs for a 13th week and Radio Songs for a 10th frame (122.9 million, down 3 percent).

Marshmello and Bastille‘s “Happier” backtracks 6-7 on the Hot 100, after hitting No. 3, as it leads Hot Dance/Electronic Songs for a 19th week, while Post Malone’s “Wow.” hits a new Hot 100 high, rising 9-8.

Maroon 5‘s former seven-week No. 1 “Girls Like You,” featuring Cardi B, drops 7-9 on the Hot 100 and logs a 31st week in the top 10, becoming just the fifth single in the chart’s history to reach that total. Here’s a look at the longevity leaders:

Most weeks in Hot 100’s top 10
33, “Shape of You,” Ed Sheeran, 2017
32, “Closer,” The Chainsmokers feat. Halsey, 2016-17
32, “How Do I Live,” LeAnn Rimes, 1997-98
31, “Girls Like You,” Maroon 5 feat. Cardi B, 2018-19
31, “Uptown Funk!,” Mark Ronson feat. Bruno Mars, 2014-15

Rounding out the Hot 100’s top 10, Lil Baby and Gunna‘s “Drip Too Hard” falls 8-10, after reaching No. 4.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast and follow @billboard and @billboardcharts. And again, be sure to visit Billboard.com tomorrow (Jan. 29), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

It’s his sixth No. 1 album in just three-and-a-half years, the quickest accumulation of six leaders since Elton John in the ’70s.

Future collects his sixth No. 1 album on the Billboard 200 chart, as Future Hndrxx Presents: The WIZRD debuts atop the tally with 126,000 equivalent album units earned in the week ending Jan. 24, according to Nielsen Music. Of that sum, 15,000 were in album sales. The album was released on Jan. 18 via Freebandz/Epic Records.

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 are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Feb. 2-dated chart — where WIZRD debuts at No. 1 — will be posted in full on Billboard‘s websites on Jan. 29.

Future has tallied his six No. 1 albums in a remarkably quick amount of time — just three years, five months and three weeks. His first leader was DS2 on Aug. 8, 2015. He then scored No. 1s with What a Time to Be Alive (with Drake; Oct. 10, 2015), Evol (Feb. 27, 2016), a self-titled album (March 11, 2017), HNDRXX (March 18, 2017) and now WIZRD.

The last artist to earn six No. 1s in such a short span was Elton John. All seven of the Rocket Man’s No. 1s came in a space of just three years, three months and three weeks in the early 1970s. (His first six No. 1s, in fact, were separated by only two years, 10 months and 24 days.) John’s first No. 1 was Honky Chateau on July 15, 1972, and his seventh, and so far last No. 1, was Rock of the Westies on Nov. 8, 1975.

Future’s WIZRD starts with 126,000 units earned, of which 15,000 were in album sales; 2,000 were in TEA units, while the remaining 109,000 were in SEA units. That latter sum equates to 143.6 million on-demand audio streams for the album’s 20 tracks in the week ending Jan. 24. That also marks Future’s largest streaming week for an album, surpassing the 123.4 million streams WRLD on Drugs (his collaborative set with Juice WRLD) collected in its debut frame (at No. 2 on the chart dated Nov. 3, 2018).

At No. 2 on the new Billboard 200, Maggie Rogers’ Heard It in a Past Life arrives with 49,000 units. Of that sum, 37,000 were in album sales, making it the top-selling album of the week, as it bows at No. 1 on the Top Album Sales chart. The set’s first-week sum was aided by sales generated from a concert ticket/album sale redemption offer.

Heard It in a Past Life, released on Jan. 18 through Debay Sounds/Capitol Records, is the buzzy singer-songwriter’s major label full-length debut, and her first entry on the chart. Her only previous Billboard-charted collection was the five-song EP Now That the Light Is Fading (also through Debay/Capitol) on a handful of Billboard lists (just not the Billboard 200), including Heatseekers Albums (No. 4 peak) and Top Rock Albums (No. 39).

A trio of former leaders are up next, as Meek Mill’s Championships descends 5-6 (just under 37,000 units; down 13 percent), Post Malone’s beerbongs & bentleys drops 4-7 (a little over 35,000 units; down 17 percent) and Lady Gaga and Bradley Cooper’s A Star Is Born soundtrack slips 6-8 (35,000 units; down 13 percent).

Country singer-songwriter Cody Johnson nets his first Billboard 200 top 10 effort, as his major label debut, Ain’t Nothin’ to It, starts at No. 9 with nearly 35,000 units (23,000 in album sales). The set was released through Johnson’s label CoJo via Warner Music Nashville. Johnson previously tallied a pair of independently distributed top 40-charting albums on the Billboard 200: Gotta Be Me (No. 11; Aug. 27, 2016) and Cowboy Like Me (No. 33; Feb. 1, 2014).

Closing out the new top 10 is Travis Scott’s former No. 1, Astroworld, falling 7-10 with 34,000 units (down 14 percent).

Heard is the highest-charting album by a solo woman in four months, since Carrie Underwood’s Cry Pretty opened at No. 1 on the Sept. 29, 2018-dated list. Heard is also the highest bow on the chart for a female artist’s full-length debut through a major label since Cardi B’s Invasion of Privacy began at No. 1 on April 21, 2018.

Heard is currently enjoying a radio hit with “Light On,” which spent a third week at No. 1 on the most recently-published Adult Alternative Songs airplay chart (dated Jan. 26). It’s also bubbling under the Adult Pop Songs airplay chart.

Back on the new Billboard 200, A Boogie Wit da Hoodie’s Hoodie SZN falls from No. 1 to No. 3 in its fifth week on the tally (49,000 units; down 13 percent) after two weeks on top. The Spider-Man: Into the Spider-Verse soundtrack dips 2-4 (39,000 units; down 25 percent), and 21 Savage’s I Am > I Was declines 3-5 (37,000 units; down 19 percent).

Source: billboard.com

The new vertical video for Halsey’s hit helps it surge in streaming, while Post Malone adds his sixth top 10.

Halsey‘s “Without Me” rebounds from No. 2 to No. 1 for a second week atop the Billboard Hot 100 chart (dated Jan. 26). The song first led the list dated Jan. 12.

“Without Me” dethrones Post Malone and Swae Lee‘s “Sunflower (Spider-Man: Into the Spider-Verse),” which dips to No. 2 after a week at No. 1 on the Hot 100. Still, Post Malone adds a new top 10, as solo single “Wow.” rises 11-9.

Let’s run down the top 10 of the newest, Jan. 26-dated Hot 100, which blends all-genre U.S. streaming, radio airplay and digital sales data. All charts will update on Billboard.com tomorrow (Jan. 23).

“Without Me,” which two weeks earlier became Halsey’s first Hot 100 No. 1 on her own (after she ruled for 12 weeks in 2016 as featured on The Chainsmokers’ “Closer”), returns to the summit with top Streaming Gainer honors, as it pushes 3-2 on the Streaming Songs chart, up 23 percent to 47 million U.S. streams in the week ending Jan. 17, according to Nielsen Music. Aiding the advance, Halsey released a new vertical video for the song Jan. 9, just ahead of the Jan. 11-17 tracking week feeding the latest, Jan. 26-dated charts. (The song’s official proper clip premiered in late October.)

“Without Me” likewise rises 3-2 on Radio Songs, up 4 percent to 106.6 million audience impressions in the week ending Jan. 20. It holds at No. 2 on Digital Song Sales, up 4 percent to 41,000 downloads sold in the week ending Jan. 17.

Post Malone and Swae Lee’s “Sunflower” retreats to No. 2 on the Hot 100, a week after becoming the former’s third No. 1 and the latter’s first as a soloist. Still, the track tops Streaming Songs for a second week (52.8 million, up 11 percent; like “Without Me,” it was also helped by a new video released Jan. 9) and Digital Song Sales for a third frame (41,000, down 14 percent). On Radio Songs, “Sunflower” lifts 10-9 (63.3 million, up 4 percent).

Thus, while “Sunflower” ranks at No. 1 on both Streaming Songs and Digital Song Sales, a notch above “Without Me” on each survey, the latter track’s sizable lead on Radio Songs makes the difference in their ranks on the Hot 100.

Cartoon tunes: As noted by readers Jesper Tan and Jake Rivera, “Sunflower,” from Spider-Man: Into the Spider-Verse, is only the fourth song from an animated movie to have hit No. 1 in the Hot 100’s 60-year history, following “Can’t Stop the Feeling!,” by Justin Timberlake, from Trolls (one week, 2016); “Happy,” by Pharrell Williams, from Despicable Me 2 (10 weeks, 2014); and, “A Whole New World,” by Peabo Bryson and Regina Belle, from Aladdin (one week, 1993).

“Sunflower” concurrently spends a third week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts.

Meanwhile, Post Malone adds his sixth Hot 100 top 10, as “Wow.” ascends 11-9 (in its fourth week on the chart). The track slips 5-6 on Streaming Songs (25.3 million, down 2 percent), elevates 10-7 on Digital Song Sales (14,000, up 5 percent) and debuts at No. 37 on Radio Songs (27.1 million, up 45 percent), as it wins the Hot 100’s top Airplay Gainer award for a second consecutive week.

Elsewhere, Travis Scott‘s “Sicko Mode,” which led the Hot 100 dated Dec. 8, rebounds 4-3 and Panic! at the Disco‘s “High Hopes” climbs to new peak (5-4), as it leads Hot Rock Songs for a 12th week and Radio Songs for a ninth frame (126.5 million, down 4 percent).

Rounding out the Hot 100’s top five, Ariana Grande‘s “Thank U, Next” drops 3-5 after it spent seven nonconsecutive weeks at No. 1. As previously reported, the song takes over atop the Pop Songs airplay chart, while follow-up single “7 Rings” debuts, ahead of its likely lofty Hot 100 launch next week.

Four other songs in the Hot 100’s top 10 are stationary, led by Marshmello and Bastille‘s “Happier,” which keeps at No. 6, after hitting No. 3, as it tops Hot Dance/Electronic Songs for an 18th week.

Maroon 5‘s former seven-week No. 1 “Girls Like You,” featuring Cardi B, repeats at No. 7 on the Hot 100, as it logs a 30th week in the region, becoming just the sixth single in the chart’s history to reach that level. Here’s a look at the longevity leaders:

Most weeks in Hot 100’s top 10
33, “Shape of You,” Ed Sheeran, 2017
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, “Girls Like You,” Maroon 5 feat. Cardi B, 2018-19
30, “Smooth,” Santana feat, Rob Thomas, 1999-2000

Capping the Hot 100’s top tier, Lil Baby and Gunna‘s “Drip Too Hard” is steady at No. 8, after reaching No. 4, and Kodak Black‘s No. 2-peaking “ZEZE,” featuring Travis Scott and Offset, holds at No. 10.

Outside the Hot 100’s top 10, two duets debut in the top 40: French DJ/artist Gesaffelstein and The Weeknd’s “Lost in the Fire” ignites at No. 27 and Sam Smith and Normani’s “Dancing With a Stranger” bows at No. 33.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast and follow @billboard and @billboardcharts. And again, be sure to visit Billboard.com tomorrow (Jan. 23), when all charts, including the Hot 100 in its entirety, will refresh. The next issue of Billboard magazine is on sale Friday (Jan. 25).

Source: billboard.com

After sitting in the runner-up slot on the Billboard 200 chart for its first two weeks, A Boogie Wit Da Hoodie’s Hoodie SZN climbs to No. 1, scoring the rapper his first chart-topper.

The set, released via Highbridge the Label/Atlantic Records, earned 58,000 equivalent album units in the U.S. in the week ending Jan. 10, according to Nielsen Music (down less than 1 percent compared to the previous week). Nearly all of that sum was driven by streaming activity for the album.

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 are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Jan. 19, 2019-dated chart (where Hoodie climbs to No. 1) will be posted in full on Billboard‘s websites on Tuesday, Jan. 15.

Hoodie SZN is the first album to spend its first week at No. 1 by climbing up the chart — rather than debuting at No. 1 — since The Greatest Showman soundtrack rose 5-1 in its third week on the list (dated Jan. 13, 2018).

Hoodie SZN is A Boogie’s second full-length studio album and second top 10 effort. He previously visited the region with his first full-length set, The Bigger Artist, which debuted and peaked at No. 4 on the Oct. 21, 2017-dated tally.

The 20-song Hoodie SZN has been largely powered by streaming activity since its debut on the chart. In its premiere week, it sold just 6,000 copies, while in its second and third weeks, sold a mere 1,000 in each frame. On the new Billboard 200, of Hoodie SZN’s 58,000 total units, 56,000 come from SEA units (equaling 83 million on-demand audio streams for the album’s 20 songs), 1,000 from TEA units and 1,000 from album sales.

That 1,000-album sales figure is the smallest weekly sum for a No. 1 on the Billboard 200 chart since it flipped from an album sales-only list to a multi-metric consumption-ranking in December 2014. The previous consumption-era low was registered just a week ago, when 21 Savage’s streaming-powered I Am > I Was sold 3,000 copies (of its total 65,000 units). (Back when the Billboard 200 was an album sales-only tally, the smallest sum at No. 1 was on the Feb. 12, 2001-dated tally, when Amos Lee’s Mission Bell sold 40,000 copies.)

The top selling album this week is Lady Gaga and Bradley Cooper’s A Star Is Bornsoundtrack, with 21,000 sold, and is No. 1 on the sales-only Top Album Sales chart. Hoodie SZN did not sell enough to rank on that 100-position list.

Slim album sales for hip-hop titles have become commonplace in the past year or two, as streaming increasingly becomes the preferred means of consumption for hip-hop fans. A week ago, the No. 1 album on the Billboard 200, 21 Savage’s I Am > I Was, sold just 3,000 copies (though earned a total of 65,000 units, thanks to large streaming figures).

In 2018, R&B/hip-hop album sales fell 20.8 percent from 2017. Comparatively, overall album sales, across all genres, fell 17.7 percent. Further, just isolating physical album sales, R&B/hip-hop tumbled 27.8 percent, while overall physical album sales fell 15.8 percent.

After two weeks at No. 1 on the Billboard 200, 21 Savage’s I Am > I Was slips to No. 2 with 56,000 units (down 14 percent).

At No. 3, the soundtrack to Spider-Man: Into the Spider-Verse hits a new peak, as it climbs two slots (49,000 units; up 6 percent). The hip-hop-heavy set includes the hit single “Sunflower,” by Post Malone and Swae Lee, among other contributions from A-listers.

Six former No. 1s occupy the Nos. 4-9 slots on the Billboard 200, as Meek Mill’s Championships moves 3-4 (46,000 units; down 4 percent), Post Malone’s beerbongs & bentleys dips 4-5 (43,000 units; down 10 percent), Travis Scott’s Astroworld climbs 7-6 (just over 41,000 units; down 5 percent), Lady Gagaand Bradley Cooper’s A Star Is Born soundtrack rises 10-7 (41,000 units; up 2 percent), Drake’s Scorpion descends 6-8 (nearly 41,000 units; down 7 percent) and Kodak Black’s Dying To Live holds at No. 9 (39,000 units; down 5 percent).

A Star Is Born posts a gain likely due to sale pricing in the iTunes Store and exposure earned by the film at the Jan. 6 Golden Globe Awards, where it won best original song for “Shallow,” and was nominated for four other trophies, including best motion picture, drama.

Closing out the new top 10 is Queen’s Greatest Hits I II & III: The Platinum Collection, which vaults from No. 137 to No. 10 with 38,000 units (up 453 percent). It’s an unusual climb, which requires a bit of explaining. For chart purposes, SEA and TEA activity for an artist’s song, when it is on the tracklist of multiple albums by that artist, goes to whichever album is selling the most in a given week.

So in the week ending Jan. 10, as The Platinum Collection sold more than Queen’s Bohemian Rhapsody soundtrack album (8,000 vs. 7,000 copies), the former gets the SEA and TEA activity for songs that appear on both titles — like “Bohemian,” “We Will Rock You” and “We Are the Champions.” Meanwhile, the Bohemian Rhapsody soundtrack falls 15-76 (10,000 units; down 62 percent). Next week, if Bohemian Rhapsody ends up selling more than Platinum, then the SEA and TEA for the songs shared across both albums reverts back to Bohemian Rhapsody.

Source: billboard.com

Plus, Benny Blanco, Halsey & Khalid’s ‘Eastside’ ascends to the top 10.

Post Malone and Swae Lee‘s “Sunflower (Spider-Man: Into the Spider-Verse)” rises to No. 1 on the Billboard Hot 100chart. The song is Post Malone’s third Hot 100 leader and Swae Lee’s first as a soloist; he’s also notched one No. 1 as half of duo Rae Sremmurd.

“Sunflower” dethrones Halsey‘s “Without Me” after a week atop the Hot 100, although Halsey adds a new top 10, as “Eastside,” with Benny Blanco and Khalid, climbs 11-9.

Let’s run down the top 10 of the newest, Jan. 19-dated Hot 100, which blends all-genre U.S. streaming, radio airplay and digital sales data. All charts will update on Billboard.com tomorrow (Jan. 15).

Up from No. 3, “Sunflower,” released on Republic Records, becomes the 1,082nd No. 1 in the Hot 100’s 60-year history, as it reigns in streaming and sales and hits the top 10 in airplay.

“Sunflower” ascends 2-1 on the Streaming Songs chart, up 17 percent to 47.6 million U.S. streams in the week ending Jan. 10, according to Nielsen Music. It becomes Post Malone’s second No. 1 on the survey and Swae Lee’s first as a soloist. The track spends a second week at No. 1 on Digital Song Sales, up 19 percent to 48,000 downloads sold in the week ending Jan. 10.

On Radio Songs, “Sunflower” enters the top 10, bounding 14-10 (60.8 million audience impressions, up 17 percent, in the week ending Jan. 13). Post Malone scores his fourth Radio Songs top 10 and Swae Lee logs his second as a soloist, after reaching No. 6 as featured on French Montana’s “Unforgettable” in 2017.

Aiding its profile, a new video for “Sunflower” premiered Jan. 9. Plus, parent film Spider-Man: Into the Spider-Verse won for best animated feature film at the 76th annual Golden Globes, broadcast live on NBC Jan. 6. The film, featuring the voices of Shameik Moore, Hailee Steinfeld and Mahershala Ali, among others, opened nationwide Dec. 14.

Post Malone’s 3rd No. 1, Swae Lee’s 1st solo: “Sunflower” follows Post Malone’s first two Hot 100 No. 1s: “Rockstar,” featuring 21 Savage, led for eight weeks beginning Oct. 28, 2017, and “Psycho,” featuring Ty Dolla $ign,” topped the June 16, 2018-dated chart. Dating to his first week at No. 1, Post Malone ties Drake for the most leaders in that span.

Swae Lee adds his first Hot 100 No. 1 as a soloist, to go along with a trip to the top as half of Rae Sremmurd (with brother Slim Jxmmi). The pair ruled for seven weeks beginning Nov. 26, 2016, with “Black Beatles,” featuring Gucci Mane. Swae Lee is the first artist to lead the Hot 100 as a soloist after reigning with a duo or group since Justin Timberlake, whose “Can’t Stop the Feeling!” crowned the May 28, 2016-dated chart. With *NSYNC, he spent two weeks at No. 1 with “Bye Bye Bye” in 2000.

Speaking of Timberlake …

Spidey senses No. 1: Released from the Spider-Man: Into the Spider-Versesoundtrack, “Sunflower” is the first soundtrack No. 1 on the Hot 100 since Timberlake’s “Feeling,” which is from the Trolls soundtrack.

“Sunflower” also marks the first Hot 100 No. 1 from a Spider-Man franchise soundtrack. One other such song has reached the top 10: Chad Kroeger’s “Hero,” featuring Josey Scott, from Music from and Inspired by Spider-Man, hit No. 3 in July 2002.

Two co-billed solo males at No. 1: “Sunflower” is the first Hot 100 No. 1 by two co-billed male leads with no other accompanying acts in, amazingly, nearly 27 years. The last such leader also included the word “sun” in its title: George Michael and Elton John’s “Don’t Let the Sun Go Down on Me,” which topped the Feb. 1, 1992, chart. (Before that, Paul McCartney and Michael Jackson teamed up for the last such No. 1: “Say Say Say,” for six weeks starting Dec. 10, 1983.)

Between “Sun” and “Sunflower,” multiple songs by co-billed male soloists hit No. 1 on the Hot 100, but with other artists in the mix. Most recently, Cardi B, Bad Bunny and J Balvin’s “I Like It” led last July 7. Prior to that collab, Luis Fonsi and Daddy Yankee’s “Despacito,” featuring Justin Bieber, dominated for a record-tying 16 weeks in 2017.

Louis Bell rings up another leader: As noted by reader Pablo Nelson, Louis Bell is a credited writer and producer on the last two Hot 100 No. 1s. He co-wrote and co-produced “Sunflower” and co-wrote and solely produced Halsey’s “Without Me.”

Bell is the first talent to land consecutive Hot 100 No. 1s as both a writer and producer in five years, since Lukasz “Dr. Luke” Gottwald and Henry “Cirkut” Russell Walter dually claimed such credits on Pitbull’s “Timber,” featuring Kesha (three weeks at No. 1 beginning Jan. 18, 2014), and Katy Perry’s “Dark Horse,” featuring Juicy J (four weeks, Feb. 8).

R&B/hip-hop & rap ruler: “Sunflower” concurrently spends a second week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts.

A week after becoming Halsey’s first Hot 100 No. 1 as a lead act, and second overall, following her featured turn on The Chainsmokers’ “Closer,” which spent 12 weeks at No. 1 in 2016, “Without Me” drops to No. 2. The latter track keeps at No. 2 on Digital Song Sales (39,000, essentially even week-over-week) and No. 3 on Radio Songs (102.5 million, up 7 percent) and rises 4-3 on Streaming Songs (38.3 million, up 18 percent). Halsey released a new vertical video for the song on Jan. 9.

Meanwhile, Swae Lee succeeds Halsey again: Reader Jake Rivera points out (in code) that, coincidentally, Swae Lee has now halted each of Halsey’s runs at No. 1 on the Hot 100. Before “Sunflower” took over for “Without Me” this week, Rae Sremmurd’s “Black Beatles” ended the reign of “Closer.”

Halsey concurrently climbs 11-9 on the Hot 100 with “Eastside,” with Benny Blanco and Khalid. The track keeps at No. 7 on Radio Songs (71.6 million, down 1 percent); dips 13-14 on Digital Song Sales (12,000, down 11 percent); and rises 24-19 on Streaming Songs (17.7 million, up 7 percent).

Halsey collects her fourth Hot 100 top 10, as “Eastside” follows her leaders “Without Me” and “Closer,” plus “Bad at Love” (No. 5, January 2018).

Khalid earns his third Hot 100 top 10, following his featured turn, with Alessia Cara, on Logic’s “1-800-273-8255” (No. 3, September 2017) and his duet with Normani, “Love Lies” (No. 9, September 2018).

Blanco achieves his first Hot 100 top 10 in his first visit to the chart billed as an artist. He adds his 27th top 10 as a writer, a sum that includes seven No. 1s, beginning with the chart’s first leader this decade: Kesha’s “TiK ToK,” in 2010. He most recently reigned as a writer in 2016 thanks to Justin Bieber’s “Love Yourself,” also co-written by Ed Sheeran … who also co-wrote “Eastside”; Sheeran adds his ninth top 10 as a writer.

Elsewhere in the Hot 100’s top 10, Ariana Grande‘s “Thank U, Next” drops 2-3 after seven nonconsecutive weeks at No. 1; Travis Scott‘s “Sicko Mode,” which led the Dec. 8-dated list, is steady at No. 4; and, rounding out the top five, Panic! at the Disco‘s “High Hopes” remains at its No. 5 peak, as it leads Hot Rock Songs for an 11th week and Radio Songs for an eighth frame (131.7 million, up 1 percent).

Marshmello and Bastille‘s “Happier” keeps at No. 6 on the Hot 100, after hitting No. 3, as it tops Hot Dance/Electronic Songs for a 17th week.

Maroon 5‘s former seven-week No. 1 “Girls Like You,” featuring Cardi B, repeats at No. 7 on the Hot 100, as it logs a 29th week in the region, becoming just the seventh single in the chart’s history to reach that lofty total. Sheeran’s “Shape of You” holds the record with 33 weeks in the top 10 in 2017.

Lil Baby and Gunna‘s “Drip Too Hard” is stationary at No. 8 on the Hot 100, after reaching No. 4, and Kodak Black‘s No. 2-peaking “ZEZE,” featuring Travis Scott and Offset, descends 9-10.

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast and follow @billboard and @billboardcharts. And again, be sure to visit Billboard.com tomorrow (Jan. 15), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Halsey earns her second No. 1, after being featured on The Chainsmokers’ “Closer.”

Halsey earns her second No. 1, and first in a lead role, on the Billboard Hot 100chart, as “Without Me” rises from No. 2 to the summit.

The song dethrones Ariana Grande‘s “Thank U, Next,” which spent seven nonconsecutive weeks atop the Hot 100.

Let’s run down the top 10 of the newest, Jan. 12-dated Hot 100, which blends all-genre U.S. streaming, radio airplay and digital sales data. All charts will update on Billboard.com tomorrow (Jan. 8).

“Without Me,” released on Capitol Records, becomes the 1,081st No. 1 in the Hot 100’s 60-year history. The track dips to No. 2 on the Digital Song Sales chart after six weeks at No. 1 with 39,000 downloads sold, down 16 percent, in the week ending Jan. 3, according to Nielsen Music (with most songs on the survey down in sales after robust holiday gains). It lifts 4-3 on Radio Songs, up 4 percent to 95.5 million airplay audience impressions in the week ending Jan. 6, and bounds 12-4 on Streaming Songs (as several holiday songs retreat; see below), up 1 percent to 32.4 million U.S. streams in the week ending Jan. 3.

Halsey’s second Hot 100 No. 1: Halsey tallies her second Hot 100 No. 1, following her 12-week run at the summit in September-November 2016 as featured on The Chainsmokers’ “Closer.” She first appeared on the chart dated Sept. 19, 2015, with “New Americana,” which reached No. 60 in January 2016.

Halsey is the eighth woman to notch multiple Hot 100 No. 1s this decade. Rihanna, who leads all artists in that span, boasts nine No. 1s in the 2010s, followed by Katy Perry (eight), Taylor Swift (five), Adele (four), Cardi B, Kesha (three each), P!nk and Britney Spears (two each). (Bruno Mars paces male soloists with seven Hot 100 No. 1s in the 2010s, while Maroon 5 is the leading duo or group, with three.)

Capitol’s first No. 1 since 2014: Capitol Records celebrates its first Hot 100 leader in nearly five years, since Perry’s “Dark Horse,” featuring Juicy J, spent four weeks at No. 1 beginning on Feb. 8, 2014.

Timberlake & Timbaland also No. 1: The coronation of “Without Me” brings a portion of a prior hit to the top of the Hot 100 at last, as the song interpolates Justin Timberlake’s “Cry Me a River,” which reached No. 3 in 2003. Among the seven credited writers on “Without Me,” Timbaland scores his eighth No. 1 as a writer and Timberlake tallies his sixth, while Halsey adds her second, after “Closer.” (Notably, “Closer” also reworked a previous top 10: The Fray’s “Over My Head [Cable Car],” which rolled to No. 8 in 2006; “Closer” includes writing credits for The Fray’s Joe King and Isaac Slade.)

A stat you can’t do ‘without’: Halsey’s “Without Me” takes over as the top-charting song titled “Without Me” in the Hot 100’s archives; Eminem’s hit of the same name rose to No. 2 in 2002. One other such-titled composition has hit the Hot 100: Fantasia’s, featuring Kelly Rowland and Missy Elliott, reached No. 74 in 2013. (Conversely, 11 singles titled “Without You” have appeared on the Hot 100, with one hitting No. 1: by Nilsson, in 1972.)

“Without Me” is the eighth Hot 100 No. 1 with “without” in its title, following: “My Life Would Suck Without You,” by Kelly Clarkson, in 2009; “Love Will Never Do (Without You) (Janet Jackson, 1991); “(Can’t Live Without Your) Love and Affection” (Nelson, 1990); “How Am I Supposed to Live Without You” (Michael Bolton, 1990); “With or Without You” (U2, 1987); “Without You” (Nilsson, 1972); and “A World Without Love,” by Peter and Gordon, the only other such No. 1 released on Capitol; written by Paul McCartney and John Lennon, it led in June 1964.

Meanwhile, “me” makes its 65th appearance in a No. 1 Hot 100 song title. The Fleetwoods’ “Come Softly to Me” became the first, in 1959, while Swift’s “Look What You Made Me Do” was the last until “Without Me,” in 2017.

‘Eastside’ up, too: Halsey concurrently climbs 21-11 on the Hot 100 with “Eastside,” with Benny Blanco and Khalid. The collab, which previously reached a No. 16 Hot 100 high in December, keeps at No. 7 on Radio Songs (72.3 million, up 2 percent) and No. 13 on Digital Song Sales (14,000, down 22 percent) and re-enters Streaming Songs at No. 24 (16.5 million, up 10 percent).

“Without Me” supplants Grande’s “Thank U, Next” after seven nonconsecutive weeks atop the Hot 100. Still, the latter gains in airplay, as it holds at No. 5 on Radio Songs (93.1 million, up 3 percent).

Post Malone and Swae Lee‘s “Sunflower (Spider-Man: Into the Spider-Verse)” hits a new Hot 100 high at No. 3, up from No. 5, and takes over atop Digital Song Sales (40,000, down 8 percent), where it’s Post Malone’s third leader and Swae Lee’s first. The track also reaches No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts.

Travis Scott‘s “Sicko Mode,” which led the Dec. 8-dated Hot 100, is steady at No. 4, while reaching No. 1 for the first time (in its 22nd week) on Streaming Songs, where it bounds from No. 8 (43.1 million, up 8 percent).

Rounding out the Hot 100’s top five, Panic! at the Disco‘s “High Hopes” returns to its No. 5 peak, from No. 6. The latter leads Hot Rock Songs for a 10th week and Radio Songs for a seventh frame (129.8 million, up 4 percent).

Marshmello and Bastille‘s “Happier” rebounds 7-6 on the Hot 100, after hitting No. 3, as it tops Hot Dance/Electronic Songs for a 16th week.

Maroon 5‘s former seven-week No. 1 “Girls Like You,” featuring Cardi B, returns to the top 10 (14-7), as it logs a 28th week in the region, becoming just the ninth single in the chart’s history to reach that marker. Sheeran’s “Shape of You” holds the record with 33 weeks in the top 10 in 2017.

Also revisiting the Hot 100’s top 10 are Lil Baby and Gunna‘s “Drip Too Hard” (12-8), after reaching No. 4; Kodak Black‘s No. 2-peaking “ZEZE,” featuring Travis Scott and Offset (15-9); and Post Malone’s “Better Now” (23-10), which  hit No. 3.

Four holiday songs depart the Hot 100’s top 10, with the latest tracking week marking the first full frame after Yuletide music went into hibernation. Off the chart entirely are Mariah Carey‘s “All I Want for Christmas Is You,” from its No. 3 peak, the highest rank for a holiday hit in 60 years; Bobby Helms‘ “Jingle Bell Rock,” from its No. 8 high; Brenda Lee‘s “Rockin’ Around the Christmas Tree,” from its No. 9 apex; and Burl Ives‘ “A Holly Jolly Christmas,” from its No. 10 best rank.

Carey’s exit is record-breaking, as no song prior to “Christmas” had disappeared from the chart from as high as No. 3 the week before. It passes Prince’s “Purple Rain,” which left from No. 4 in May 2016 after it had returned following his death (and after originally reaching No. 2 in 1984).

(Like Frosty the Snowman, “Christmas” should be back again someday, on the Hot 100, almost certainly later this year amid the next holiday season.)

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast and follow @billboard and @billboardcharts. And again, be sure to visit Billboard.com tomorrow (Jan. 8), when all charts, including the Hot 100 in its entirety, will refresh. The next issue of Billboard magazine is on sale Friday (Jan. 11).

Source: billboard.com

21 Savage spends a second week atop the Billboard 200 albums chart with I Am > I Was, earning 65,000 equivalent album units in the week ending Jan. 3, according to Nielsen Music. The set slips by 51 percent in its second week on the tally after debuting at No. 1 with 131,000 units.

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 are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Jan. 12, 2019-dated chart, where I Am holds at No. 1, will be posted in full on Billboard‘s websites on Tuesday, Jan. 8, 2019.

The Billboard 200 chart’s new top 10 is full of movement, though devoid of debuts, as the tally adjusts back to normal business after the Christmas season. As such, holiday efforts that were in the top 10 a week ago — such as Michael Bublé’s Christmas, Nat King Cole’s The Christmas Song and Mariah Carey’s Merry Christmas — bolt out of the top 10, while some familiar faces return to the region.

A Boogie wit da Hoodie’s Hoodie SZN holds at No. 2 for a second week (58,000 units; down 35 percent) while a pair of former No. 1s ascend: Meek Mill’s Championships climbs 6-3 (a little more than 48,000 units; down 11 percent) and Post Malone’s beerbongs & bentleys hikes 11-4 (48,000 units; down 2 percent).

The Spider-Man: Into the Spider-Verse soundtrack returns to its peak position, as it jumps 13-5 in its third week (46,000 units; up 1 percent). The album bowed at No. 5 three weeks ago.

A quintet of former No. 1s rounds out the new top 10: Drake’s Scorpion steps 14-6 (44,000 units; down 4 percent), Travis Scott’s Astroworld moves 10-7 (nearly 44,000 units; down 11 percent), The Greatest Showman soundtrack dips 5-8 (43,000 units; down 22 percent), Kodak Black’s Dying to Live is steady at No. 9 (40,000 units; down 20 percent) and Lady Gaga and Bradley Cooper’s A Star Is Born soundtrack falls 4-10 (40,000 units; down 36 percent).

Source: billboard.com

Below Grande’s “Thank U, Next,” Carey’s “All I Want for Christmas Is You” is the first top-five holiday hit on the Hot 100 in 60 years. Plus, three more seasonal classics hit the top 10 for the first time.

Ariana Grande‘s “Thank U, Next” tops the Billboard Hot 100 (dated Jan. 5, 2019) for a seventh week.

Meanwhile, a record four holiday songs infuse the Hot 100’s top 10 simultaneously, led by Mariah Carey‘s “All I Want for Christmas Is You,” which dashes from No. 7 to No. 3, becoming just the second yuletide tune ever to hit the Hot 100’s top five, and the first in nearly 60 years. It also takes over as the first holiday No. 1 on the Streaming Songs chart, with a record weekly sum for a seasonal song.

Plus, Bobby Helms‘ “Jingle Bell Rock” claims the record for the longest ride to the Hot 100’s top 10 (60 years and two weeks), jumping 13-8 after it first appeared on the chart in 1958; Brenda Lee‘s “Rockin’ Around the Christmas Tree” rolls 11-9, becoming her first top 10 since 1963, as she ends the longest break between top 10s for a female artist; and, Burl Ives returns to the Hot 100’s top 10 after an overall record-breaking gap of 56 years, seven months and two weeks, as “A Holly Jolly Christmas” rises 12-10.

Let’s sleigh ride through the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and digital sales data. All charts will update on Billboard.com tomorrow (Jan. 2).

Grande’s “Next,” released on Republic Records, and which debuted atop the Nov. 17-dated Hot 100, becoming her first No. 1 on the chart, rebounds 4-3 on the Digital Song Sales chart (which it led for two weeks), up 86 percent to 43,000 downloads sold in the week ending Dec. 27, according to Nielsen Music; all but two titles on the 50-position Digital Song Sales tally show gains, thanks to robust holiday shopping (both before Christmas Day and likely helped after by gift card redemptions).

“Next” holds at No. 5 on Radio Songs (90 million audience impressions, up 4 percent, in the week ending Dec. 30) and tumbles to No. 9 on Streaming Songs, after seven weeks at No. 1 (37.9 million U.S. streams, down 13 percent, in the week ending Dec. 27).

Halsey‘s “Without Me” spends a third week at its No. 2 Hot 100 high. It leads Digital Song Sales for a sixth week (47,000, up 27 percent); repeats at No. 4 on Radio Songs (91.8 million, up 4 percent); and drops 8-12 on Streaming Songs (32 million, essentially even week-over-week).

The gap again narrows between the Hot 100’s top two songs, as “Next” increases by 2 percent in overall activity, while “Without Me” gains by 5 percent.

First top-five Hot 100 holiday hit in 60 years / First holiday Streaming Songs No. 1: Mariah Carey’s “All I Want for Christmas Is You,” which two weeks earlier became the highest-charting holiday season-themed hit on the Hot 100 in almost 60 years, now becomes the first such song to reach the top five in that span, jingling 7-3, passing its prior No. 6 peak. The carol joins “The Chipmunk Song,” by David Seville & The Chipmunks, which spent four weeks at No. 1 beginning Dec. 22, 1958, as the only two top-five holiday hits in the Hot 100’s 60-year history.

“Christmas” rules the Holiday 100 (for a 35th week of the chart’s 40 weeks of existence, since its 2011 launch) and becomes the first holiday hit ever to reach No. 1 on Streaming Songs (which began in January 2013). Winning the Hot 100’s top Streaming Gainer award, it pushes 3-1 on Streaming Songs, up 49 percent to 51.9 million U.S. streams in the week ending Dec. 27, a new record weekly total for a seasonal song.

“Christmas” also gains on Digital Song Sales (16,000, up 13 percent, although it falls 11-17), while plunging 18-43 on Radio Songs (24.2 million, down 41 percent), as the latter chart’s tracking week covered five full days after Christmas (Dec. 24-30); conversely, all holiday titles sport gains on Streaming Songs and Digital Song Sales, both of which reflect the Dec. 21-27 tracking week.

“Christmas” first appeared on Carey’s 1994 album Merry Christmas, which concurrently makes its first appearance in the top 10 of the Billboard 200 since its original season of release.

Meanwhile, thanks to Grande, Halsey and Carey, women in lead roles monopolize the Hot 100’s top three simultaneously for the first time in over four years; on the Nov. 29, 2014-dated chart, Taylor Swift’s “Blank Space” rose 3-1, supplanting her own “Shake It Off” (1-3), marking the first self-replacement at No. 1 by a female artist, and Meghan Trainor’s “All About That Bass” held at No. 2.

Travis Scott‘s “Sicko Mode,” which topped the Dec. 8-dated Hot 100, drops 3-4, while leading the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for a 10th week each. Rounding out the Hot 100’s top five, Post Malone and Swae Lee‘s “Sunflower (Spider-Man: Into the Spider-Verse)” slips a spot from its No. 4 high to No. 5.

Panic! at the Disco‘s “High Hopes” holds at No. 6 on the Hot 100, after reaching No. 5, and rules Hot Rock Songs for a ninth week and Radio Songs for a sixth frame (124.6 million, down 1 percent). Marshmello and Bastille‘s “Happier” drops 5-7 on the Hot 100, after hitting No. 3, as it tops Hot Dance/Electronic Songs for a 15th week.

Longest trip to Hot 100’s top 10: Bobby Helms’ “Jingle Bell Rock” sets the record for the longest ride to the Hot 100’s top 10: 60 years and two weeks. It jingle-hops 13-8 after first appearing on the Hot 100 dated Dec. 22, 1958, just after the chart’s Aug. 4, 1958, origin; Helms first released the song for the 1957 holiday season. It surges 11-2 on Streaming Songs, up 53 percent to 44.2 million U.S. streams.

Helms, who died in 1997, appears in the Hot 100’s top 10 for the first time. He charted two other titles: “Borrowed Dreams” (No. 60 peak, August 1958) and “The Fool and the Angel” (No. 75, January 1959). As “Dreams” debuted on the third Hot 100 ever (dated Aug. 18, 1958), Helms ends the longest wait for an artist’s first top 10: 60 years, four months and two weeks.

Brenda Lee’s “Rockin’ Around the Christmas Tree” two-steps 11-9 on the Hot 100, also reaching the top 10 at last; originally released in 1958, it first appeared on the Hot 100 dated Dec. 12, 1960, reaching No. 14 two weeks later, its best rank until last week. On Streaming Songs, “Tree” rises 12-3 (44.9 million, up 50 percent).

Lee, who celebrated her 74th birthday Dec. 11, adds her 13th Hot 100 top 10 and first since 1963, when “Losing You” reached No. 6. Her 55-year and seven-month break between top 10s is the longest among women and second overall to the song that enters the region directly below …

Longest break between Hot 100 top 10s: Burl Ives returns to the Hot 100’s top 10 after a record-breaking 56 years, seven months and two weeks, as “A Holly Jolly Christmas” climbs 12-10. The track bounds 9-4 on Streaming Songs (42.6 million, up 36 percent).

Ives, who passed away in 1995, rewrites the mark for the longest wait between Hot 100 top 10s held … for a week by Andy Williams, who last week posthumously ended a 47-year, eight-month and three-week break between top 10s, when “It’s the Most Wonderful Time of the Year” rose 13-10 (before retreating to No. 13 this week).

Ives had last hit the Hot 100’s top 10 in 1962, with his sole two other top 10s: “Funny Way of Laughin’ ” (No. 10 peak that May) and “A Little Bitty Tear” (No. 9, that February).

All-time holiday top 10s on the Hot 100: Helms, Lee and Ives add just the seventh, eighth and ninth yuletide hits ever to reach the Hot 100’s top 10 (with the rise of streaming assisting their, and Carey’s, ascents).

Highest-Charting Holiday Songs in the Hot 100’s History
No. 1, four weeks, beginning Dec. 22, 1958, “The Chipmunk Song,” by David Seville & The Chipmunks
No. 3, Jan. 5, 2019, “All I Want for Christmas Is You,” Mariah Carey
No. 7, Jan. 8, 2000, “Auld Lang Syne,” Kenny G
No. 7, Jan. 6, 1990, “This One’s for the Children,” New Kids on the Block
No. 8, Jan. 5, 2019, “Jingle Bell Rock,” Bobby Helms
No. 9, Jan. 5, 2019, “Rockin’ Around the Christmas Tree,” Brenda Lee
No. 9, Feb. 21, 1981, “Same Old Lang Syne,” Dan Fogelberg
No. 10, Jan. 5, 2019, “A Holly Jolly Christmas,” Burl Ives
No. 10, Dec. 29, 2018, “It’s the Most Wonderful Time of the Year,” Andy Williams

As for holiday songs and their eligibility, or lack thereof, for the Hot 100 over the years, chart historian Joel Whitburn notes in his book Christmas in the Charts, “From 1963 through 1972, and from 1983 through 1985 [with minimal exceptions], Billboard published a seasonal Christmas Singles chart and did not chart Christmas singles on the Hot 100.” Per current Hot 100 rules, in place in recent years, older songs, including seasonal titles, can rank in the top 50 if experiencing significant multi-metric gains, and multiple holiday standards re-enter or debut each season.

(Meanwhile, as noticed by Billboard senior director of charts Keith Caulfield, thanks to the influx of holiday titles, no artists sporting a featured billing appear in the Hot 100’s top 10 for the first time in over four years, since a two-week span of only lead acts on the charts dated Nov. 29 and Dec. 6, 2014.)

Find out more Hot 100 news on Billboard.com this week, and, for all chart news, you can listen (and subscribe) to Billboard‘s Chart Beat Podcast and Pop Shop Podcast and follow @billboard and @billboardcharts. And again, be sure to visit Billboard.com tomorrow (Jan. 2), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Plus, Nat King Cole & Mariah Carey send holiday sets to the top 10.

21 Savage scores his first No. 1 on the Billboard 200 albums chart with the chart-topping bow of I Am > I Was. The set was released on Dec. 21 via Slaughter Gang/Epic Records and launches with 131,000 equivalent album units earned in the week ending Dec. 27, according to Nielsen Music. Of that sum, 18,000 were in traditional album sales, as the bulk of the album was driven by streaming activity.

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 are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Jan. 5, 2019-dated chart (where I Am bows at No. 1) will be posted in full on Billboard‘s websites on Tuesday, Jan. 1, 2019.

I Am is 21 Savage’s second solo studio effort, and marks his first leader on the Billboard 200 and his fourth entry overall. He previously hit the list with Without Warning (with Offset and Metro Boomin, peaking at No. 4 on the Nov. 18, 2017-dated chart), his debut solo studio set Issa Album (No. 2; July 29, 2017) and Savage Mode (with Metro Boomin, No. 23; Feb. 4, 2017).

21 Savage has also collected five top 10-charting hits on the Hot Rap Songs chart, through the most recently published list dated Dec. 29, 2018. Among those hits is Post Malone’s chart-topping “Rockstar,” featuring 21 Savage, which also led the all-genre Billboard Hot 100 chart for eight weeks. The track also recently scored 21 Savage his first two Grammy Award nominations, for best rap/sung performance and record of the year.

I Am boasts guest turns from Travis Scott, Post Malone, Childish Gambino, Offset and others. None of those acts, however, are credited as artists on the album. (I Amis the latest rap album to top the Billboard 200 without assigning artist credit to its guest artists. It follows Scott’s chart-topping Astroworld did not assign artist credit to any of its guests, which included Drake, Stevie Wonder, Frank Ocean, The Weeknd and 21 Savage.)

Rapper A Boogie Wit Da Hoodie earns his highest charting album yet on the Billboard 200, his new effort Hoodie SZN starts at No. 2. The set, his second full-length studio project, tallied 90,000 equivalent album units, with 6,000 of that sum coming from album sales. He previously visited the top 10 with his debut full-length studio release, The Bigger Artist, bowing and peaking at No. 4 on the Oct. 21, 2017-dated chart.

The rest of the new top 10 on the Billboard 200 is filled with a blend of holiday favorites and former No. 1s.

Michael Bublé’s Christmas climbs 4-3 with 75,000 units (up 19 percent). The set was released in 2011 and spent five weeks atop the list between Dec. 10, 2011 and Jan. 7, 2012. Christmas, like the rest of the holiday titles on the chart, is getting one last punch of holiday gains this season, as the latest tracking week (Dec. 21-27) included the four days leading up to Christmas (Dec. 21-24) and Christmas Day (Dec. 25).

Lady Gaga and Bradley Cooper’s A Star Is Born soundtrack moves 3-4 (62,000 units; down 2 percent). The former No. 1 is followed by another former chart-topping soundtrack, as The Greatest Showman rises 10-5 (56,000 units; up 29 percent, likely a beneficiary of last-minute gift-giving purchases).

Meek Mill’s former No. 1 — Championships — slides 2-6 with 54,000 units (down 34 percent) in its fourth chart week.

Nat King Cole notches his first top 10 album since 1965, as The Christmas Songascends 15 (its prior peak) to No. 7 (a little over 52,000 units; up 40 percent), powered by streaming activity of the set’s familiar holiday tunes. The collection includes Cole’s seasonal favorite “The Christmas Song” as well as other oft-heard Cole holiday recordings like “O Holy Night,” “Caroling, Caroling” and “Silent Night.” The late legend was last in the top 10 with Ramblin’ Rose, which collected its final week in the top 10 on the tally dated May 1, 1965 (also at No. 7).

Mariah Carey’s Merry Christmas visits the top 10 for the first time since January of 1995, its first season of release, as the album — featuring Carey’s ever popular “All I Want for Christmas Is You” — jingles 14-8 (52,000 units; up 33 percent). Like Cole’s album, Carey’s Merry also gets a big boost from streaming activity of its songs.

Merry Christmas, Carey’s first holiday album, was released in 1994 and peaked at No. 3 on the chart dated Dec. 17, 1994. It spent six weeks in the top 10 (before this week), with its final frame in the top 10 coming on the list dated Jan. 7, 1995 (No. 6).

Rounding out the new top 10 are a pair of former leaders: Kodak Black’s Dying to Live (falling 1-9 in its second week, with 51,000 units; down 43 percent) and Travis Scott’s Astroworld (6-10 with 49,000 units; up 2 percent).

Source: billboard.com

Plus: “Spider-Man: Into the Spider-Verse” soundtrack debuts in top 5.

Rapper Kodak Black scores his first No. 1 on the Billboard 200 chart, as Dying to Live debuts atop the tally.

The set, which was released on Dec. 14 via Dollaz N Dealz/Atlantic Records, earned 89,000 equivalent album units in the week ending Dec. 20, according to Nielsen Music. Of that sum, 5,000 were in traditional album sales — as the bulk of the album’s units were driven by streaming activity.

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 are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Dec. 29-dated chart (where Dying to Live debuts at No. 1) will be posted in full on Billboard‘s websites on Tuesday, Dec. 25.

Dying to Live’s opening frame is largely pushed by streams, as the set garnered 82,000 SEA units, which translates to 114.2 million on-demand audio streams for the album’s tracks during the tracking week (which also makes Dying the most-streamed album of the week).

Dying to Live marks the third top 10 effort for Kodak Black (real name: Bill Kapri), as he previously logged visits to the region with Project Baby Two (No. 2 debut and peak on the Sept. 9, 2017-dated chart) and Painting Pictures (No. 3 debut and peak, April 22, 2017). Earlier in 2018, the 21-year-old notched a top 40-charting album with Heart Break Kodak (No. 25), a set which came out while he was in jail. Dying is the rapper’s first album since being released in August.

Kodak Black is currently basking in the success of his biggest hit single yet “ZEZE,” featuring Travis Scott and Offset. The track — which is among the 16 songs on Dying— earlier debuted and peaked at No. 2 on the all-genre Billboard Hot 100, and at No. 1 on Streaming Songs, Hot R&B/Hip-Hop Songs and Hot Rap Songs (all charts dated Oct. 27). The tune has also given Kodak Black his first top 40-charting effort on the all-genre Radio Songs chart. On the most recently published tally, dated Dec. 22, the track rose 30-23.

The rest of the new Billboard 200’s top four are rounded out by former No. 1s: Meek Mill’s Championships holds at No. 2 (83,000 units; down 36 percent), Lady Gaga and Bradley Cooper’s A Star Is Born soundtrack climbs 4-3 (64,000 units; up 16 percent) and Michael Bublé’s Christmas slips 3-4 (63,000 units; up 10 percent).

The Spider-Man: Into the Spider-Verse soundtrack debuts at No. 5 with 52,000 units (14,000 in album sales). The hip-hop collection — which boasts new tracks from acts such as Post Malone, Juice WRLD, Nicki Minaj and Lil Wayne — benefits from buzz generated by its parent film, which arrived in U.S. movie theaters on Dec. 14 (the same day as the soundtrack’s release). The animated film was the highest-grossing movie at the U.S. and Canada box office in its opening weekend, earning $35 million. The warmly reviewed film currently has a 97 percent Fresh rating from Rotten Tomatoes, and in its first 10 days has earned an estimated $65 million.

Travis Scott’s former No. 1, Astroworld, is steady at No. 6 with 48,000 units (up 9 percent), Pentatonix’s Christmas Is Here! rises 11-7 with 45,000 units (up 12 percent) and Queen’s Bohemian Rhapsody soundtrack jumps 13-8 with a little more than 43,000 units (up 14 percent).

Drake’s Scorpion, which topped the list earlier in 2018 for five weeks, ascends 10-9 with 43,000 units (up 3 percent). The Greatest Showman soundtrack (another former No. 1) moves 12-10 with 43,000 units (up 12 percent). (Unit figures are rounded to the nearest thousand for the purposes of this story.)  

Source: billboard.com