Plus: BLACKPINK, YG, Bryson Tiller and LANY debut in top 10.

Rapper 21 Savage and producer Metro Boomin’s third collaborative album, Savage Mode II, bows atop the Billboard 200 chart, earning 171,000 equivalent album units in the U.S. in the week ending Oct. 8, according to Nielsen Music/MRC Data.

The album launches with the biggest week, in terms of overall units earned, for either artist. It also marks the second No. 1 for both acts, though, it’s the pair’s first of three co-billed sets to hit No. 1.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Oct. 17-dated chart (where Savage Mode II bows to No. 1) will be posted in full on Billboard‘s website on Oct. 13. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Savage Mode II’s 171,000 units earned in the tracking week ending Oct. 8, SEA units comprise 148,000 (equaling 200.1 million on-demand streams of the album’s songs), album sales total 22,000 (helped in part by merchandise/album bundles) and TEA units comprise 1,000.

Savage Mode II marks the fourth top 10 for 21 Savage, and second No. 1, following I Am > I Was (No. 1 in 2019), Without Warning (a collaborative set credited to 21 Savage, Offset and Metro Boomin, No. 4 in 2017) and Issa Album (No. 2 in 2017).

For Metro Boomin, Savage Mode II is also his fourth top 10 and second No. 1, following Not All Heroes Wear Capes (No. 1 in 2018), Double or Nothing (a co-billed project with Big Sean, No. 6 in 2017) and Without Warning.

At No. 2 on the Billboard 200, BLACKPINK’s debut full-length The Album enters with 110,000 equivalent album units earned. Of that figure, 81,000 are from album sales (boosted by merchandise/album bundles, as well as many variants of the album released on CD), 26,000 from SEA units (equaling 40.3 million on-demand streams of the set’s songs) and 2,000 from TEA units.

The South Korean quartet previously placed two top 40-charting EPs on the chart with Kill This Love (No. 24 in 2019) and Square Up (No. 40 in 2018). The Album marks the highest-charting album by an all-female group since Danity Kane’s second album Welcome to the Dollhouse debuted at No. 1 on the chart dated April 5, 2008. The Album additionally is the highest-charting debut full-length album by an all-female group since Danity Kane’s self-titled effort opened at No. 1 on Sept. 9, 2006.

Pop Smoke’s former No. 1 Shoot for the Stars Aim for the Moon climbs one spot to No. 3 with 68,000 equivalent album units earned (down 4%).

YG nabs his fifth top 10 album, as My Life 4Hunnid bows at No. 4 with 64,000 equivalent album units earned. Of that total, 47,000 are from album sales (aided in part by merchandise/album bundles), 17,000 from SEA units (equaling 23.1 million in on-demand streams of the album’s tracks) and a negligible sum from TEA units.

My Life 4Hunnid is YG’s highest charting album since My Krazy Life debuted and peaked at No. 2 (April 5, 2014). He has also visited the top 10 with Still Brazy (No. 6, 2018), Stay Dangerous (No. 5, 2018) and 4Real 4Real (No. 7, 2019).

Bryson Tiller captures his third total and consecutive top 10 album, as Anniversary debuts at No. 5 with 57,000 equivalent album units earned. That sum comprises 52,000 in SEA units (equaling 68.6 million in on-demand streams of the album’s songs), 4,000 in album sales and 1,000 in TEA units. Tiller previously hit the top 10 with his No. 1 album True to Self (2017) and Trapsoul (No. 8 in 2016).

Machine Gun Kelly’s Tickets to My Downfall drops 1-6 in its second week on the list, earning 56,000 equivalent album units (down 56%).

LANY scores its highest charting album, and first top 10, as the trio’s Mama’s Boy bows at No. 7 with 55,000 equivalent album units earned. Of that figure, 46,000 are from album sales (assisted by merchandise/album bundles), 9,000 from SEA units (equating to 11.5 million in on-demand streams of the album’s songs) and a negligible sum from TEA units.

LANY had previously charted as high as No. 32 with its self-titled album in 2017. A follow-up, 2018’s Malibu Nights, debuted and peaked at No. 36.
Rounding out the new top 10 are a trio of former No. 1s: Juice WRLD’s Legends Never Die dips 6-8 (46,000 equivalent album units earned; down 4%), YoungBoy Never Broke Again’s Top is a non-mover at No. 9 (36,000 units; down 16%) and Lil Baby’s My Turn rises 12-10 (34,000 units; down 3%).

Source: billboard.com

Featured acts Young Thug & M.I.A. lead for the second and first time, respectively.

Travis Scott‘s “Franchise,” featuring Young Thug and M.I.A., blasts in at No. 1 on the Billboard Hot 100 songs chart.

The track is Scott’s fourth total Hot 100 No. 1 and third to debut at the summit in less than a year, marking a new record for the fastest accumulation of three No. 1 entrances by any artist in the Hot 100’s history.

Young Thug adds his second Hot 100 No. 1 and M.I.A. earns her first.

The Hot 100 blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Oct. 10) will update on Billboard.com tomorrow (Oct. 6). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Franchise,” released on Cactus Jack/Epic Records, is the 1,110th No. 1 in the Hot 100’s 62-year archives. Here’s a deeper look at its chart-topping start.

Streams, sales & airplay: “Franchise,” released Sept. 25 at midnight ET, opens with 19.4 million U.S. streams and 98,000 sold (58,000 on cassette and CD; 40,000 digital downloads) in its first week, ending Oct. 1, according to Nielsen Music/MRC Data. It also drew 10.6 million radio airplay audience impressions in the week ending Oct. 4.

The track debuts at No. 2 on the Digital Song Sales chart (which reflects digital download sales) and No. 6 on Streaming Songs.

The song was available for purchase during the tracking week for digital download, as a cassette single and via two CD single options, with an instrumental version also available for download. (The physical and instrumental versions were available exclusively in Scott’s webstore, with the digital versions discounted to 69 cents and certain physical offerings discounted to $1 during the tracking week.)

Fastest span of 3 No. 1 debuts: Scott’s fourth Hot 100 No. 1 follows his three one-week leaders: “Sicko Mode,” which rose to the top of the Dec. 8, 2018-dated chart in its 17th week on the survey (all in the top 10); “Highest in the Room,” which launched atop the Oct. 19, 2019, chart; and “The Scotts” (billed as by The Scotts, Travis Scott & Kid Cudi), which began at No. 1 on the May 9, 2020, tally.

With the latest Hot 100 dated Oct. 10, Scott is the first artist ever to pack three No. 1 debuts into a span of less than a year, as “Franchise” joins “The Scotts” and “Highest in the Room” for the feat.

Scott surpasses Ariana Grande, who posted the No. 1 Hot 100 arrivals of “7 Rings,” “Stuck With U” (with Justin Bieber) and “Rain on Me” (with Lady Gaga) over a year and four months (Feb. 2, 2019-June 6, 2020).

Meanwhile, Scott is just the fifth artist with at least three No. 1 Hot 100 debuts, joining Grande, the record-holder with four, and Bieber, Mariah Carey and Drake, also each with three.

9th No. 1 debut of 2020: “Franchise” is the 44th single to start at No. 1 on the Hot 100. It’s the ninth to do so in 2020 (all since April), more than doubling the previous record for the most in a single year, as four songs entered at No. 1 in both 1995 and 2018.

15th No. 1 of 2020: Overall, “Franchise” is the 15th song to ascend to No. 1 for the first time in 2020, matching the total of all of 2019. This year marks the most songs to earn their first weeks on top since 17 did in 2010 and the most by the second chart week of October since 2007, when 16 had to that point (and 18 did for the entire year).

Young Thug & M.I.A. rule: Young Thug notches his second Hot 100 No. 1, after he first led as featured on Camila Cabello’s “Havana” for a week in January 2018.

M.I.A. makes her first trip to the top of the Hot 100, after logging three prior entries, including two top 10s: her own “Paper Planes” (No. 4, 2008) and as featured, with Nicki Minaj, on Madonna’s “Give Me All Your Luvin’ ” (No. 10, 2012).

Having first appeared on the Hot 100 dated Aug. 2, 2008, M.I.A. earns her first No. 1 after a wait of 12 years, two months and a week. She ends the longest such anticipation since Daddy Yankee took 12 years and nine months from his first charted title in August 2004 to his first leader, “Despacito,” with Luis Fonsi and featuring Bieber, in May 2017.

Among women, M.I.A. ends the longest stretch from a first Hot 100 appearance to a first No. 1 since another divine miss M: Bette Midler needed 16 years, five months and two weeks between her initial entry on the chart dated Dec. 23, 1972, and her first No. 1, “Wind Beneath My Wings,” on June 10, 1989.

(The longest such wait among all acts belongs to Santana, whose first Hot 100 leader, “Smooth,” featuring Rob Thomas, hit No. 1 in October 1999, two days shy of 30 years after the Carlos Santana-led band first appeared on the chart in October 1969.)

No. 1 hip-hop & rap: “Franchise” concurrently begins atop both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which employ the same multi-metric methodology as the Hot 100. Scott scores his fifth No. 1 on each list, while Young Thug and M.I.A. each lead the respective rankings for the first time.

BTS’ “Dynamite” dips to No. 2 on the Hot 100 after three nonconsecutive weeks at No. 1. The single adds a sixth week atop Digital Song Sales (86,000 downloads sold, down 44%); retreats 12-13 on Streaming Songs (13.7 million streams, down 2%); and becomes the group’s first top 40 hit on the Radio Songs chart, rising 42-39 (23.1 million in audience, up 11%).

Cardi B’s “WAP,” featuring Megan Thee Stallion, slips 2-3 on the Hot 100 after four nonconsecutive weeks at No. 1, as it leads Streaming Songs for a seventh week (31.6 million, down 12%).

Drake’s “Laugh Now Cry Later,” featuring Lil Durk, holds at No. 4 on the Hot 100, after debuting at its No. 2 peak, and 24kGoldn’s “Mood,” featuring iann dior, is steady at its No. 5 high, as it tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a sixth week each.

The Weeknd’s former four-week Hot 100 No. 1 “Blinding Lights” rebounds 7-6, after spending a record 28 weeks in the top five. It rules the multi-metric Hot R&B Songs chart for a record-extending 29th week and returns to No. 1 on Radio Songs (80.1 million, up 5%) for a record-padding 24th frame on top.

DaBaby’s seven-week Hot 100 leader “Rockstar,” featuring Roddy Ricch, drops 6-7; Jawsh 685 and Jason Derulo’s “Savage Love (Laxed – Siren Beat)” pushes 9-8, after reaching No. 7; and Harry Styles’ former one-week No. 1 “Watermelon Sugar” recedes 8-9.

Rounding out the Hot 100’s top 10, Gabby Barrett’s “I Hope,” featuring Charlie Puth, keeps at its No. 10 high, as it rules the multi-metric Hot Country Songs chart for an 11th week.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Oct. 10), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Oct. 6).

Source: billboard.com

Bieber earns his 20th Hot 100 top 10.

BTS‘ “Dynamite” rebounds for a third week at No. 1 on the Billboard Hot 100 songs chart.

Plus, Justin Bieber‘s “Holy,” featuring Chance the Rapper, debuts at No. 3 on the Hot 100. Notably, the song is the 20th Hot 100 top 10 for Bieber, who becomes the 20th artist in the chart’s history to reach the milestone.

The Hot 100 blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Oct. 3) will update on Billboard.com tomorrow (Sept. 29). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“Dynamite,” released on BigHit Entertainment/Columbia Records, debuted at No. 1 on the Hot 100 dated Sept. 5 and remained atop the Sept. 12 chart, before spending the next two weeks at No. 2. It returns to No. 1 from the runner-up spot on the strength of 14 million U.S. streams (up 11%) and 153,000 downloads sold (up 96%) in the week ending Sept. 24, according to Nielsen Music/MRC Data. It also drew 20.8 million radio airplay audience impressions (up 8%) in the week ending Sept. 27.

“Dynamite” spends a fifth total and consecutive week at No. 1 on the Digital Song Sales chart and jumps 17-12 on Streaming Songs, after debuting at its No. 3 high. On Radio Songs, it pushes 47-42.

Helping “Dynamite” in the week ending Sept. 24 were four new remixes released Sept. 18: its “Bedroom,” “Midnight,” “Retro” and “Slow Jam” mixes, which, combined, accounted for 52% of the song’s overall sales in the tracking week. “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 five weeks.

“Dynamite” is the first song to top Digital Song Sales for five weeks since Lizzo’s “Truth Hurts,” which led for five nonconsecutive frames in September-October 2019. It’s the first song to rule for at least five weeks in a row since Lil Nas X’s “Old Town Road,” featuring Billy Ray Cyrus, linked its last eight of 16 total weeks on top in July-August 2019.

On the Hot 100, “Dynamite” is the first song among duos or groups to tally at least three weeks at No. 1 in almost two years, since Maroon’s “Girls Like You,” featuring Cardi B, dominated for seven weeks in September-November 2018.

Cardi B’s “WAP,” featuring Megan Thee Stallion, drops to No. 2 on the Hot 100 after four nonconsecutive weeks at No. 1, dating to its debut atop the Aug. 22 chart. (It spent its first two weeks on the chart at No. 1; its third and fourth frames at No. 2; and its fifth and sixth weeks at No. 1.)

“WAP” leads Streaming Songs for a sixth week (35.8 million, down 14%); slips 3-5 on Digital Song Sales (9,000, down 23%); and climbs 21-20 on Radio Songs (33 million, up 1%). It adds a seventh week at No. 1 on both the Hot R&B/Hip-Hop Songs and Hot Rap Songs charts, which use the same multi-metric methodology as the Hot 100.

Justin Bieber’s “Holy,” featuring Chance the Rapper, launches at No. 3 on the Hot 100. The track, released Sept. 18, opens at No. 2 on both Streaming Songs (26 million) and Digital Song Sales (27,000) and No. 47 on Radio Songs (18.6 million).

Bieber adds his 20th Hot 100 top 10, becoming the 20th artist, and 10th solo male, in the Hot 100’s history, which dates to the chart’s Aug. 4, 1958, inception, to the reach the milestone. He first reached the region when “Baby,” featuring Ludacris, debuted at its No. 5 high in February 2010.

Most Hot 100 Top 10s
41, Drake
38, Madonna
34, The Beatles
31, Rihanna
30, Michael Jackson
28, Mariah Carey
28, Taylor Swift
28, Stevie Wonder
27, Janet Jackson
27, Elton John
25, Lil Wayne
25, Elvis Presley
23, Whitney Houston
23, Paul McCartney
23, The Rolling Stones
22, Eminem
21, Jay-Z
20, Justin Bieber
20, Chicago
20, The Supremes

Chance the Rapper earns his third Hot 100 top 10, all in collaborations with Bieber. DJ Khaled’s “I’m the One,” featuring Bieber, Chance the Rapper, Quavo and Lil Wayne, spent a week at No. 1 upon its debut in May 2017 and Khaled’s “No Brainer,” featuring Bieber, Chance the Rapper and Lil Wayne, began at its No. 5 peak in August 2018.

Drake’s “Laugh Now Cry Later,” featuring Lil Durk, descends 3-4 on the Hot 100, after debuting at its No. 2 high. It jumps 13-10 on Radio Songs (46.8 million, up 18%), becoming Drake’s 24th top 10 (and Lil Durk’s first). Drake passes Mariah Carey (23) for a solo share of the second-most Radio Songs top 10s, after Rihanna’s 29, dating to the tally’s 1990 origin.

24kGoldn’s “Mood,” featuring iann dior, hits the Hot 100’s top five, rising 6-5, as it tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a fifth week each.

DaBaby’s seven-week Hot 100 leader “Rockstar,” featuring Roddy Ricch, dips 4-6 and The Weeknd’s former four-week No. 1 “Blinding Lights” retreats 5-7, after spending a record 28 weeks in the top five. The latter rules the multi-metric Hot R&B Songs chart for a record-extending 28th week.

Harry Styles’ former one-week Hot 100 leader “Watermelon Sugar” drops 7-8 and Jawsh 685 and Jason Derulo’s “Savage Love (Laxed – Siren Beat)” falls 8-9, after reaching No. 7.

Rounding out the Hot 100’s top 10, Gabby Barrett’s “I Hope” returns to its No. 10 high, from No. 11, as it tops the multi-metric Hot Country Songs chart for a 10th week. Update, as of 2:45 p.m ET, Sept. 28: Charlie Puth is now listed as featured on “I Hope,” as overall consumption for the remix now outpaces that of the Barrett-only original. The song, which marks Barrett’s first Hot 100 top 10, is Puth’s fourth, following his featured turn on Wiz Khalifa’s “See You Again” (12 weeks at No. 1, 2015) and his own “We Don’t Talk Anymore,” featuring Selena Gomez (No. 9, 2016), and “Attention” (No. 5, 2017).

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Oct. 3), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Sept. 29).

Source: billboard.com

The latter breaks the record for the most weeks ever logged in the top five.

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

Plus, The Weeknd‘s former Hot 100 leader “Blinding Lights” breaks the record for the most weeks spent in the top five in the chart’s history and Lewis Capaldi‘s “Before You Go” returns to the Hot 100’s top 10, at a new high, and takes over as the most-heard song on U.S. radio (dethroning “Blinding Lights”).

The Hot 100 blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Sept. 26) will update on Billboard.com tomorrow (Sept. 22). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

“WAP,” released on Atlantic Records, notches a fifth week at No. 1 on the Streaming Songs chart with 41.5 million U.S. streams (down 14%) in the week ending Sept. 17, according to Nielsen Music/MRC Data. On Digital Song Sales, which it led for two weeks, “WAP” drops 2-3 with 12,000 downloads sold (down 25%) in the same span. The collab climbs 27-21 on Radio Songs with 32.6 million airplay audience impressions (up 21%) in the week ending Sept. 20.

With its fourth frame at No. 1 on the Hot 100, Cardi B rewrites her longest career domination as a lead artist, as “WAP” surpasses 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 sixth 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” ranks at No. 2 on the Hot 100 for a second week after spending its first two weeks on the chart at No. 1. It tops Digital Song Sales for a fourth week (78,000 downloads sold, down 43%), slips 16-17 on Streaming Songs (12.6 million, down 6%) and ascends 49-47 on Radio Songs (19.1 million, up 6%).

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

The Weeknd’s former four-week Hot 100 No. 1 “Blinding Lights” holds at No. 5, as it tops the multi-metric Hot R&B Songs chart for a record-extending 27th week.

As for its Hot 100 longevity, “Lights” spends a 28th week in the top five, breaking the record for the most time logged in the region over the chart’s 62-year history.

Most Weeks in Hot 100’s Top Five
28, “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

“Lights,” which first reached the top five of the Hot 100 dated March 21 and has charted in the region for 28 weeks consecutively, remains in the top 15 of each Hot 100 component chart, descending to No. 2 on Radio Songs, as its record 23-week run at No. 1 is halted (75.9 million, down 3%), and receding 4-6 on Digital Song Sales (9,000, up 6%) and 11-14 on Streaming Songs (13.5 million, down 4%).

24kGoldn’s “Mood,” featuring iann dior, holds at its No. 6 best on the Hot 100, while winning the chart’s top Airplay Gainer award for a third consecutive week (30.3 million, up 31%). It’s the first song with such a streak of claiming the honor since Megan Thee Stallion’s “Savage,” featuring Beyoncé, tripled up in May. “Mood” tops the multi-metric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a fourth week each and repeats at No. 4 on Hot Rap Songs.

Harry Styles’ former one-week Hot 100 leader “Watermelon Sugar” is steady at No. 7 and Jawsh 685 and Jason Derulo’s “Savage Love (Laxed – Siren Beat)” rises 9-8, after reaching No. 7.

Lewis Capaldi’s “Before You Go” rebounds 11-9 on the Hot 100, reaching a new best rank. It concurrently rises 3-1 on Radio Songs (79.1 million, up 5%), stopping the record 23-week domination of The Weeknd’s “Blinding Lights.” Capaldi crowns Radio Songs with a second No. 1 in as many visits, as his breakthrough ballad “Someone You Loved” led for three weeks last November. He’s the first artist to send his first two Radio Songs entries to the top spot since Lizzo, who did so in September-December 2019 with “Truth Hurts” (six weeks at No. 1) and “Good as Hell” (four).

Rounding out the Hot 100’s top 10, Jack Harlow’s “Whats Poppin,” featuring DaBaby, Tory Lanez and Lil Wayne, falls 8-10, after it peaked at No. 2.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated Sept. 26), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (Sept. 22).

Source: billboard.com

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