The track, featuring Gucci Mane, gains in sales and streams, helped again by the Mannequin Challenge. Plus, Ariana Grande’s “Side to Side,” featuring Nicki Minaj, hits the top five.

Rae Sremmurd rules the Billboard Hot 100 (dated Dec. 3) for a second week with “Black Beatles,” featuring Gucci Mane. Meanwhile, Ariana Grande ascends to the top five with “Side to Side,” featuring Nicki Minaj.

As we do every Monday when the chart is compiled, let’s run through the top 10 of the Hot 100, which blends sales, airplay and streaming data. Highlights of the Hot 100 post on Billboard.com each Monday, with all charts updated each Tuesday.

“Beatles,” released on Eardrummer/Interscope Records, continues atop the Hot 100 with another major assist from its use in viral Mannequin Challenge videos. The phenomenon appears to have begun in an Oct. 26 tweet showing students at Jacksonville, Florida’s Edward H. White High School in mannequin poses; while that clip didn’t feature music, “Beatles” has found synchs in a mass of subsequent videos.

“Beatles,” the first Hot 100 topper for the brother duo of Khalif “Swae Lee” and Aaquil “Slim Jxmmi” Brown (and likewise the first leader for Gucci Mane), is the top-selling and most-streamed song of the week for a second week and is the top gainer in streaming and airplay. It leads the Digital Song Sales chart with a 7 percent gain to 154,000 downloads sold in the week ending Nov. 17, according to Nielsen Music, and rules Streaming Songs with 54.1 million U.S. streams, up 25 percent. Of its streams for the week, 28.4 million were from YouTube clicks and 15.4 million from Spotify. The track also tops Billboard’s audio subscription services-based On-Demand Streaming Songs chart with 25.3 million on-demand streams, up 13 percent.

Another way to gauge the high streaming sum for “Beatles”? Its 54.1 million U.S. streams for the week mark the most for any song since Adele‘s “Hello” logged 61.6 million upon its debut on the Streaming Songs chart dated Nov. 14, 2015. (No title had cracked 50 million since then until “Beatles” this week.)

“Beatles” is also quickly adding airplay, as it jumps 44-28 on Radio Songs (41 million in audience, up 63 percent). It rockets 10-1 on R&B/Hip-Hop Airplay, the biggest vault to the top in the chart’s history (24 million in format audience, up 39 percent), and enters the Pop Songs airplay chart at No. 35.

“Beatles” also leads Billboard’s Hot R&B/Hip-Hop Songs chart and Hot Rap Songs for a second week each.

The Chainsmokers‘ “Closer” ranks at No. 2 on the Hot 100 for a second week, after 12 weeks at No. 1, the longest reign of 2016. It keeps at No. 2 on Streaming Songs (26.2 million, down 4 percent) and rebounds 4-3 on Digital Song Sales (58,000 downloads sold, essentially even from last week). Still, it rules Radio Songs for an eighth week (147 million, down 2 percent); that’s the longest No. 1 run on Radio Songs for a duo or group since Maroon 5‘s “One More Night” also led for eight weeks in 2012. No duo or group has ruled Radio Songs longer since OutKast‘s “Hey Ya!” spent nine weeks on top in 2003-04.

“Closer” paces Billboard’s Hot Dance/Electronic Songs chart for a 14th week, and becomes The Chainsmokers’ and Halsey‘s first No. 1 each on the Adult Pop Songs airplay chart (2-1); it leads Pop Songs for a ninth week, the chart’s longest command since Robin Thicke‘s “Blurred Lines,” featuring T.I. and Pharrell, dominated for 10 weeks in 2013.

The Weeknd‘s “Starboy,” featuring Daft Punk, is steady at No. 3 on the Hot 100 after five weeks at its No. 2 peak. The track is the top gainer in sales, rising 3-2 on Digital Song Sales (84,000, up 34 percent), helped by 69-cent iTunes sale-pricing during the tracking week (it’s now back up to $1.29). It holds at No. 2 on Radio Songs (127 million, even week-over-week) and lifts 4-3 on Streaming Songs (24.8 million, up 6 percent). The song is the title cut from The Weeknd’s new album, due Friday (Nov. 25).

Grande’s “Side to Side,” featuring Minaj, surges into the Hot 100’s top five (7-4). It pushes 7-5 on Digital Song Sales (51,000, up 10 percent) and holds at No. 6 on Streaming Songs (16.8 million, up 5 percent; and roars 8-6 on Radio Songs (97 million, up 18 percent). Grande, the newly crowned artist of the year at the American Music Awards (AMAs) last night (Nov. 20), earns her first Hot 100 top five from her album Dangerous Woman; the title cut lead single hit No. 8 and follow-up “Into You” reached No. 13. Grande and Minaj’s last time in the top five? Also together: two years ago (Nov. 22, 2014) on their prior collab, the No. 3-peaking “Bang Bang,” also with Jessie J.

(Looking ahead, songs performed at the AMAs, including “Side by Side” and “Closer,” are likely to see sales gains on next week’s charts, dated Dec. 10, reflecting the tracking week ending Nov. 24.)

Twenty One Pilots‘ “Heathens” slips 4-5 on the Hot 100, after reaching No. 2, and rules Billboard’s Hot Rock Songs chart for a 15th week; Bruno Mars‘ No. 5-peaking “24K Magic” is stationary at No. 6 (with his album of the same name having arrived Friday, Nov. 18, and due on next week’s album charts); and DJ Snake‘s “Let Me Love You” featuring Justin Bieber(another song performed, by Bieber, on the AMAs) drops 5-7 after reaching No. 4.

Rounding out the Hot 100’s 10, three songs hold in place: Zay Hilfigerrr & Zayion McCall’s “Juju on That Beat (TZ Anthem),” at No. 8, its peak; D.R.A.M.‘s No. 5-peaking “Broccoli,” featuring Lil Yachty (No. 9); and Maroon 5‘s “Don’t Wanna Know,” featuring Kendrick Lamar (No. 10), a live version of which closed the AMAs.

Just beyond the Hot 100’s top 10, notable moves include Amine advancing to a new high with “Caroline” (18-13); Hailee Steinfeld and Grey’s “Starving,” featuring Zedd, returning to its No. 14 peak (from No. 19); and Alessia Cara scoring her second top 20 hit with “Scars to Your Beautiful” (22-17). Cara’s debut track “Here” hit No. 5 on the Hot 100 in February.

(Also notably, this week’s Hot 100 and all charts, dated Dec. 3, mark the first lists of Billboard’s 2017 chart year. Billboard’s 2016 chart year, covering activity on rankings dated Dec. 5, 2015, through Nov. 26, 2016, will be recapped in our annual year-end charts menu, set to be unveiled the week of Dec. 5 on Billboard’s platforms, and in the 2016 year-end issue of Billboard magazine.)

Find out more Hot 100 news in the weekly “Hot 100 Chart Moves” column later this week, and visit Billboard.com tomorrow (Nov. 22), when all charts, including the Hot 100 in its entirety, will refresh.

Source: billboard.com

Hip-hop group A Tribe Called Quest tops the Billboard 200 albums chart for the first time in more than 20 years, as the act’s new album, We Got It From Here… Thank You 4 Your Service, debuts at No. 1. The set, which was released on Nov. 11 through Epic Records, earned 135,000 equivalent album units in the week ending Nov. 17, according to Nielsen Music. Of that sum, 112,000 were in traditional album sales.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Dec. 3-dated chart (where A Tribe Called Quest starts at No. 1) will be posted in full to Billboard’s websites on Tuesday, Nov. 22.

We Got It From Here is A Tribe Called Quest’s second No. 1, following Beats, Rhymes and Life, which topped the list for one week on the chart dated Aug. 17, 1996 — 20 years and three months ago. That gap between No. 1s is the longest for a hip-hop act in the chart’s history. Previously, Jeezy —just two weeks ago — held the longest wait between No. 1s among hip-hop acts, with eight years and two months between The Recession in September of 2008 and Trap or Die 3 this month.

The last act — among all genres of music — to wait longer between No. 1s was Lionel Richie in 2012. That year, he reached No. 1 with Tuskegee, 25 years and six months after he last topped the chart with 1986’s Dancing on the Ceiling. (The longest wait overall between No. 1s — among living acts — belongs to Bob Dylan, who went 30 years and six months between Desire in 1976 and Modern Times in 2006. The longest wait among all acts, living or dead, is owned by Ray Charles. There was a 42-year and four-month gap between Modern Sounds in Country and Western Music in 1962 and Genius Loves Company in 2005.)

It’s worth noting that the first rap/hip-hop album to lead the Billboard 200 was Beastie Boys’ Licensed to Ill, which reached No. 1 almost 30 years ago, on March 7, 1987. Beastie Boys also clocked the 10th No. 1 rap album, Ill Communication, in 1994. A Tribe Called Quest’s previous No. 1, Beats, Rhymes and Life, was the 20^thhip-hop album to top the Billboard 200.

We Got It From Here is billed as A Tribe Called Quest’s final album. It is the group’s first studio release since 1998’s The Love Movement and the first since the death of the act’s Phife Dawg in March.

The rest of the new top 10 on the Billboard 200 is scheduled to be announced later today (Nov. 20).

Source: billboard.com

The track, featuring Gucci Mane, dethrones The Chainsmokers’ “Closer,” featuring Halsey, after 12 weeks at No. 1.

Rae Sremmurd rockets from No. 9 to No. 1 on the Billboard Hot 100 (dated Nov. 26) with “Black Beatles,” featuring Gucci Mane, the first Hot 100 leader for both acts. The track unseats The Chainsmokers “Closer,” featuring Halsey, after 12 weeks at No. 1.

As we do every Monday when the chart is compiled, let’s run down the top 10 of the Hot 100, which blends sales, airplay and streaming data. Highlights of the Hot 100 post on Billboard.com each Monday, with all charts updated each Tuesday.

“Black Beatles,” released on Eardrummer/Interscope Records, has received a big boost from its usage in viral Mannequin Challenge videos (including one by a Beatle himself, Paul McCartney, who joined in on the phenomenon Nov. 10 via a video posted to his Twitter account with the text, “Love those Black Beatles #MannequinChallenge”). The Mannequin Challenge appears to have begun in an Oct. 26 tweet showing students at Jacksonville, Florida’s Edward H. White High School in mannequin poses; while that clip didn’t feature music, “Black Beatles” has found synchs in a vast array of subsequent videos. Rae Sremmurd then staged its own version of the challenge in concert Nov. 3; the new Nov. 26-dated Hot 100 reflects the sales and streaming tracking week of Nov. 4-10.

“Black Beatles” bounds to No. 1 on the Hot 100 as the newly-crowned top-selling and most-streamed song of the week (and is the top gainer in both metrics). It vaults 16-1 on the Digital Song Sales chart, up 320 percent to 144,000 downloads sold, according to Nielsen Music, and 5-1 on Streaming Songs (43.3 million U.S. streams, up 122 percent). Of its streams for the week, 20.8 million are from YouTube plays (up from 8.7 million) and 12.1 million are from Spotify clicks (up from 5.8 million). The track also roars 5-1 on Billboard’s audio subscription services-based On-Demand Songs chart with 22.4 million on-demand streams, up 108 percent.

“Black Beatles” is more steadily building in airplay, as it debuts on Radio Songs at No. 44 (25 million in audience, up 57 percent). The last song with a lesser airplay showing while atop the Hot 100? On Feb. 20, Zayn’s “Pillowtalk” debuted at No. 1 on the Hot 100 with nearly all its chart points from sales and streaming, along with 17 million airplay impressions; it entered Radio Songs two weeks later.

“Black Beatles,” the 1,058th No. 1 in the Hot 100’s 58-year history, also crowns the Hot R&B/Hip-Hop Songs chart (4-1) and Hot Rap Songs (3-1).

Other fab fun facts about “Black Beatles”: the song’s 9-1 jump on the Hot 100 is the greatest to the top since Taylor Swift‘s “Bad Blood,” featuring Kendrick Lamar, hurtled 53-1 on June 6, 2015 (following the premiere of the song’s official video on the Billboard Music Awards). The last song to jump to No. 1 with a greater leap within the top 10 was Wiz Khalifa‘s “See You Again,” featuring Charlie Puth, which charged 10-1 on April 25, 2015.

Not only is “Black Beatles” the first Hot 100 topper for both brother duo Rae Sremmurd (Khalif “Swae Lee” Brown, 21, and Aaquil “Slim Jxmmi” Brown, 22) and Gucci Mane, it’s also the first for the song’s producer and co-writer Mike WiLL Made-It, who, among three prior top 10s, had risen as high as No. 2 in 2013 via Miley Cyrus‘ “We Can’t Stop.” (As artists, Rae Sremmurd had previously peaked at a No. 16 high with “No Type” in 2014, while Gucci Mane had hit a No. 14 best as featured, with Sean Garrett, on Mario‘s “Break Up” back in 2009.

As “Black Beatles” dethrones “Closer,” songs by duos reign back-to-back on the Hot 100 for the first time since OutKast‘s “The Way You Move” (featuring Sleepy Brown) succeeded its own “Hey Ya!” on Feb. 14, 2004. The last set of different duos to lead consecutively? You have to jitterbug back to Dec. 8, 1984, when Daryl Hall and John Oates’ “Out of Touch” replaced Wham!‘s “Wake Me Up Before You Go-Go.”

Meanwhile, the “Beatles” are atop the Hot 100. The actual Fab Four tallied their record 20 Hot 100 No. 1s in 1964-70, from “I Want to Hold Your Hand” to “The Long and Winding Road.” Adding to their legend, The Beatles are the first act to have both topped the Hot 100 and had a song that namechecks them in its title lead the list. Honorary mention goes to The Rolling Stones, who, after earning eight No. 1s, had frontman Mick Jagger feted in Maroon 5‘s “Move Like Jagger” (featuring Christina Aguilera).

Beyond The Beatles, the Rae Sremmurd brothers share a connection with more rock royalty: as insightful chart-watcher Pablo Nelson notes (thankyouverymuch), they’re from Tupelo, Mississippi, just like the King, Elvis Presley.

As “Black Beatles” takes over atop the Hot 100, “Closer” halts its 12-week reign, four weeks shy of tying Mariah Carey and Boyz II Men‘s record 16-week domination in 1995-96 with “One Sweet Day.” “Closer” drops to No. 4 after a record-tying 13 weeks atop Digital Song Sales (59,000 downloads sold, down 18 percent) and to No. 2 after 12 weeks at No. 1 on Streaming Songs (27.4 million, down 4 percent). Still, it rules Radio Songs for a seventh week (151 million, down 1 percent). It also tops Billboard’s Hot Dance/Electronic Songs chart for a 13th week.

Meanwhile, no next single from The Chainsmokers has yet been announced; Columbia Records plans to release a follow-up to “Closer” in early January. As previously reported, the duo debuts at No. 6 on the Billboard 200 with its new EP, Collage (which features “Closer”).

Rounding out the Hot 100’s top five, The Weeknd‘s “Starboy,” featuring Daft Punk, slips to No. 3 after five weeks at its No. 2 peak (and descends to No. 2 after six weeks in charge of Hot R&B/Hip-Hop Songs); Twenty One Pilots‘ “Heathens” backtracks to No. 4 (after reaching No. 2), although it logs a 14th week at No. 1 on Billboard’s Hot Rock Songs chart; and DJ Snake‘s “Let Me Love You,” featuring Justin Bieber, retreats to No. 5 from its No. 4 Hot 100 peak.

Bruno Mars‘ No. 5-peaking “24K Magic” rebounds 7-6 on the Hot 100 (while pushing 4-2 on Digital Song Sales, up by 26 percent to 68,000), swapping spots with Ariana Grande‘s “Side to Side,” featuring Nicki Minaj, which drops to No. 7 from its No. 6 high, although it claims top Airplay Gainer honors, pushing 9-8 on Radio Songs (82 million, up 14 percent); Zay Hilfigerrr & Zayion McCall’s “Juju on That Beat (TZ Anthem)” holds at its No. 8 Hot 100 peak; and D.R.A.M.‘s “Broccoli,” featuring Lil Yachty, slides to No. 9 from its No. 5 highpoint.

Capping the Hot 100’s top tier, Maroon 5‘s “Don’t Wanna Know,” featuring Kendrick Lamar, returns to the top 10 (11-10) after rising to No. 9 three weeks ago. “Know” lifts 11-9 on Radio Songs (78 million, up 9 percent), becoming Maroon 5’s 12th top 10 on the chart, extending the band’s record for the most top 10s among groups since Radio Songs began in December 1990; Destiny’s Child is second among groups with 10 top 10s on the tally.

Find out more Hot 100 news in the weekly “Hot 100 Chart Moves” column later this week, and visit Billboard.com tomorrow (Nov. 15), when all charts, including the Hot 100 in its entirety, will refresh. The Hot 100 and other rankings will also appear in the next issue of Billboard magazine, on sale Friday (Nov. 18).

Source: billboard.com

Bon Jovi’s new album This House Is Not for Sale debuts atop the Billboard 200chart, giving the rock band its sixth No. 1. The set earned 129,000 equivalent album units in the week ending Nov. 10, according to Nielsen Music. Of that sum, 128,000 were in traditional album sales.

The title was released on Nov. 4 through Island Records.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Nov. 26-dated chart (where Bon Jovi bows at No. 1) will be posted in full to Billboard’s websites on Tuesday, Nov. 15.

This House Is Not for Sale is the group’s 13th top 10-charting album, and follows the group’s previous No. 1s: What About Now (in 2013), The Circle (2009), Lost Highway(2007), New Jersey (1988) and Slippery When Wet (1986).

A handsome amount of the sales of the new album are driven by a concert ticket/album sale promotion. The group has employed a similar offer for previous releases, as have artists ranging from Justin Bieber and Josh Groban to Shawn Mendes and Barbra Streisand.

The opening sales frame of This House Is Not for Sale is the largest for a rock album in three months, since the Suicide Squad soundtrack bowed with a handful of sales more on the Aug. 27-dated list. (The last rock act to score a larger week was Blink-182, four months ago, with the bow of its California album. It started at No. 1 with 186,000 units and 172,000 in album sales.)

At No. 2 on the new Billboard 200 is Alicia Keys’ new studio effort, Here, which starts with 50,000 units (42,000 in traditional album sales). It’s Keys’ seventh top 10 album, and all six of her studio sets have reached the top two on the list. She bowed at No. 1 with her first album, 2001’s Songs in A Minor, and then followed it with The Diary of Alicia Keys (No. 1 in 2003), the live album Unplugged (No. 1 in 2005), As I Am (No. 1 in 2007), The Element of Freedom (No. 2 in 2010) and Girl on Fire (No. 1 in 2012). She charted one further title, 2013’s VH1 Storytellers, which peaked at No. 108.

The Trolls film soundtrack flies from No. 39 to a new peak of No. 3 with 47,000 units (up 293 percent) and 36,000 in album sales (up 449 percent). The movie bowed in U.S. theaters on Nov. 4, the first day of the chart’s latest tracking week.

Trolls is the fifth soundtrack to visit the top 10 in 2016, following Suicide Squad, Prince and the Revolution’s Purple Rain, the TV soundtrack The Passion: New Orleansand Star Wars: The Force Awakens.

Pentatonix’s A Pentatonix Christmas rises two rungs to No. 4, with 46,000 units (up 13 percent) and 41,000 in album sales (up 13 percent). Meanwhile, the group’s previous holiday effort, That’s Christmas to Me, jumps 87-36 with 13,000 units (up 73 percent) and 10,000 copies sold (up 85 percent).

Rae Sremmurd’s Sremmlife 2 hits a new peak, catapulting 21-5 with 39,000 units (up 126 percent), but just 3,000 sold (up 65 percent). The album originally debuted and peaked at No. 7 on the Sept. 3-dated chart. Nearly 21,000 units of the album’s total in the latest tracking frame was driven by streaming equivalent album units, powered by the set’s gone-viral hit “Black Beatles.” The track has gained in popularity in the past two weeks, thanks largely to consumers discovering the song through its use in Mannequin Challenge videos. The song is challenging The Chainsmokers’ “Closer” for the No. 1 spot on the Billboard Hot 100 chart dated Nov. 16.

The top 10 of the list is scheduled to be revealed Monday (Nov. 14).

Speaking of The Chainsmokers, the duo’s five-song EP Collage bows at No. 6 with 39,000 units (9,000 in traditional album sales). The set acts as a mini-greatest hits package, as four of the five songs are previously released hits, including the smashes “Closer” and “Don’t Let Me Down.”

The Now 60 compilation starts at No. 7 with 36,000 units (all from traditional album sales), extending the Now That’s What I Call Music compilation series’ hot streak on the chart. All 60 of the brand’s main, numbered albums have reached the top 10, and Nos. 2-60 have all debuted in the region.

Rounding out the new top 10 is Drake’s Views (which falls 7-8 with 32,000 units; down 10 percent), the Hamilton Broadway cast recording (holding at No. 9 with 30,000 units; up 16 percent) and Kenny Chesney’s Cosmic Hallelujah (2-10 with 29,000 units; down 68 percent).

Source: billboard.com

“Closer” becomes one of just 17 songs ever to lead for at least 12 weeks. Plus, Rae Sremmurd’s Black Beatles,” featuring Gucci Mane, and Drake’s “Fake Love” hit new heights.

The Chainsmokers rule the Billboard Hot 100 (dated Nov. 19) for a 12th week with “Closer,” featuring Halsey, Meanwhile two songs enter the top 10: Rae Sremmurd‘s “Black Beatles,” featuring Gucci Mane (up from No. 13 to No. 9), which gains in part from reaction to its usage in videos spreading the new viral obsession the Mannequin Challenge, and Drake‘s “Fake Love” (24-10).

As we do every Monday when the chart is compiled, let’s run down the top 10 of the Hot 100, which blends sales, airplay and streaming data. Highlights of the Hot 100 post on Billboard.com each Monday, with all charts updated each Tuesday.

With its 12th week atop the Hot 100, “Closer,” released on Disruptor/Columbia Records, scores the chart’s longest command since Wiz Khalifa‘s “See You Again,” featuring Charlie Puth, also led for 12 weeks in April-July 2015. Including “Closer,” only 17 No. 1s, of 1,057 total, in the Hot 100’s 58-year history, have ruled for at least 12 weeks.

“Closer” remains the top-selling, most-streamed and most-heard radio song in the U.S. It leads the Digital Song Sales chart for a record-tying 13th week (72,000 downloads sold, down 15 percent, in the week ending Nov. 3, according to Nielsen Music; more on both the song matching the longevity mark at No. 1 and its latest sales total in a moment). It tops Streaming Songs for a 12th week (28.7 million U.S. streams, down 10 percent) and Radio Songs for a sixth frame (153 million in airplay audience, down 1 percent, in the week ending Nov. 6).

“Closer” leads the Hot 100 and all three of its main component charts (Digital Song Sales, Streaming Songs and Radio Songs) simultaneously for a sixth week; only Mark Ronson‘s “Uptown Funk!,” featuring Bruno Mars, led all the surveys at the same time for more weeks (nine, in 2015). (“Funk” also logged the last longer reign atop the Hot 100 before “See You Again” and “Closer”: 14 weeks. Mariah Carey and Boyz II Men‘s “One Sweet Day” holds the all-time record: 16 weeks at No. 1 in 1995-96.)

As for its latest sales week, “Closer” ties the record for the most weeks spent at No. 1 on Digital Song Sales, matching two songs that previously led for 13 weeks each: “Funk” (2015) and Flo Rida‘s “Low,” featuring T-Pain (2007-08). Now, the dimmer side of the feat: the latest sales frame for “Closer” (72,000) is the lowest for a No. 1 on the chart in nearly 11 years, since Beyonce’s “Check On It,” featuring Slim Thug, led the Jan. 28, 2006, list with 61,000 sold.

“Closer” additionally tops Billboard’s Hot Dance/Electronic Songs chart for a 12th week.

The Weeknd‘s “Starboy,” featuring Daft Punk, ranks at its No. 2 high on the Hot 100 for a fifth week. It keeps at No. 2 on Streaming Songs (23.7 million, down 4 percent) and Digital Song Sales (70,000, down 6 percent) and No. 3 on Radio Songs (127 million, up 3 percent). “Starboy” additionally tops the Hot R&B/Hip-Hop Songs chart for a sixth week.

After five consecutive weeks of “Closer” and “Starboy” ranking at Nos. 1 and 2, respectively, on the Hot 100, “Starboy” gets, um, closer, to the top; “Closer” is down by 8 percent in overall points on the latest chart, a greater erosion than that of “Starboy” (3 percent), potentially setting the stage for a change at No. 1, perhaps even as soon as next week.

Twenty One Pilots‘ “Heathens” is stationary at No. 3 on the Hot 100 after peaking at No. 2 for four weeks. It holds at No. 2 on Radio Songs (135 million, down 4 percent) and dips 3-5 on Digital Song Sales (53,000, down 12 percent) and 5-7 on Streaming Songs (16.3 million, down 9 percent). It posts a 13th week at No. 1 on Billboard’s Hot Rock Songs chart.

DJ Snake‘s “Let Me Love You,” featuring Justin Bieber, keeps at its No. 4 Hot 100 peak, while D.R.A.M.‘s “Broccoli,” featuring Lil Yachty, likewise stays at its No. 5 high. “Broccoli” tops the Hot Rap Songs chart for a ninth week.

Chart déjà vu: the Hot 100’s top five has sported the same five songs in the same order for three weeks running (on the Nov. 5, 12 and 19-dated charts). That’s the longest such run since the region showed the same five songs at the same ranks for four consecutive weeks in April 2014. (Those five, in order from Nos. 1 to 5: Pharrell Williams‘ “Happy”; John Legend‘s “All of Me”; Katy Perry‘s “Dark Horse,” featuring Juicy J; Jason Derulo‘s “Talk Dirty to Me,” featuring 2 Chainz; and IdinaMenzel‘s “Let It Go.”)

Ariana Grande‘s “Side to Side,” featuring Nicki Minaj, rises 7-6 on the Hot 100, hitting another new high. It also becomes Grande’s seventh Radio Songs top 10 and Minaj’s 13th, soaring 14-9 on the airplay chart (72 million, up 12 percent).

Bruno Mars‘ No. 5-peaking “24K Magic” descends 6-7 on the Hot 100 and Zay Hilfigerrr & Zayion McCall’s “Juju on That Beat (TZ Anthem)” pushes 9-8 in its second week in the top 10. “Juju” jumps in all metrics, climbing 4-3 on Streaming Songs (20.5 million, up 5 percent) and 12-9 on Digital Song Sales (43,000, up 5 percent). It also gains by 20 percent to 12 million in radio audience.

Rae Sremmurd and featured artist Gucci Mane each earn their first trips to the Hot 100’s top 10 as “Black Beatles” bounds 16-9. It surges 7-5 on Streaming Songs (19.5 million, up 31 percent, with YouTube clips accounting for its greatest share of clicks: 44 percent) and 27-16 on Digital Song Sales (34,000, up 58 percent). The collab also increases by 32 percent to 16 million airplay impressions.

Helping the chart movement of “Beatles”? An online challenge in which people don’t make a move at all, aka, the song’s usage in viral videos soundtracking the Mannequin Challenge, which seemingly originated in an Oct. 26 tweet showing students at Jacksonville, Florida’s Edward H. White High School in mannequin poses. While that clip didn’t feature music, “Beatles” has found synchs in a multitude of subsequent clips. Rae Sremmurd then staged its own version of the challenge in concert Nov. 3 (the last day of the latest charts’ sales and streaming tracking week).

Meanwhile, from a new online movement back to rock’s early days: “Black Beatles” is the first-ever Hot 100 top 10 to namecheck The Beatles. It bests the No. 12 peak of “The Beatles’ Movie Medley,” by The Beatles themselves, in 1982; counting only songs by acts other than the Fab Four, the next-highest-peaking such song is The Carefrees’ No. 39 ode “We Love You Beatles” (1964).

(When had the word “Beatles” last appeared in the Hot 100’s top 10 in any form? In January 1996, the actual Beatles tallied the last of their 34 top 10s, a sum second only to Madonna‘s 38, with “Free as a Bird,” which flew to No. 6.)

Rounding out the Hot 100’s top 10, Drake‘s “Fake Love” vaults 24-10 in its second chart week. Following its first full week of tracking, the song zooms 28-6 on Streaming Songs (17.2 million, up 121 percent), although it slips 5-10 on Digital Song Sales (43,000, down 25 percent). It also crowns the audio subscription services-based On-Demand Songs streaming chart, bolting 8-1 (17.1 million on-demand clicks, up 120 percent) to become his record-breaking fifth No. 1 on the tally (which launched in March 2012); he passes Bieber, with four.

Drake premiered “Fake” (along with “Sneakin’,” featuring 21 Savage, up 38-28 on the Hot 100, and “Two Birds, One Stone,” new at No. 73) on Oct. 23 on Apple’s Beats 1 OVO Sound Radio, and announced that they preview a project titled More Life, expected in December.

“Fake” is Drake’s 18th Hot 100 top 10, the third-most among rappers. Jay Z leads with 21, followed by Lil Wayne with 19; Ludacris also boasts 18. (Drake breaks a tie with Eminem, who’s earned 17 top 10s.)

Find out more Hot 100 news in the weekly “Hot 100 Chart Moves” column later this week, and visit Billboard.com tomorrow (Nov. 8), when all charts, including the Hot 100 in its entirety, will refresh.

“Closer” leads for an 11th week, passing Drake’s “One Dance” for the longest command of 2016. Plus, viral hit “Juju on That Beat (TZ Anthem)” surges 13-9.

The Chainsmokers control the Billboard Hot 100 (dated Nov. 12) for an 11th week with “Closer,” featuring Halsey, rewriting the mark for the longest domination for a song in 2016. Plus, Zay Hilfigerrr & Zayion McCall’s “Juju on That Beat (TZ Anthem)” surges 13-9.

Here on Halloween, as we do every Monday when the chart is compiled, let’s treat ourselves to a rundown of all the ear candy in the top 10 of the Hot 100, which blends sales, airplay and streaming data. Highlights of the Hot 100 post on Billboard.com each Monday, with all charts updated each Tuesday.

With its 11th week atop the Hot 100, “Closer,” released on Disruptor/Columbia Records, passes Drake‘s “One Dance,” featuring WizKid and Kyla, for the most weeks at No. 1 for a song in 2016; “Dance” dominated for 10 weeks in May through July. “Closer” links the longest command since Wiz Khalifa‘s “See You Again,” featuring Charlie Puth, led for 12 weeks in April-July 2015. (Including “Closer,” only 21 No. 1s — of 1,057 total, over the Hot 100’s 58-year history — have ruled for at least 11 weeks.)

“Closer” remains the top-selling, most-streamed and most-heard radio song in the U.S. It leads the Digital Song Sales chart for a 12th week (84,000 downloads sold, down 14 percent, in the week ending Oct. 27, according to Nielsen Music); Streaming Songs for an 11th week (31.9 million U.S. streams, down 1 percent); and Radio Songs for a fifth frame (155 million in airplay audience, up 2 percent, in the week ending Oct. 30). Notably, despite its overall streaming decline, “Closer” gains by 8 percent to 16.2 million U.S. YouTube views following the Oct. 24 premiere of its official video.

Impressively, “Closer” commands the Hot 100 and all three of its main component charts (Digital Song Sales, Streaming Songs and Radio Songs) simultaneously for a fifth week; only Mark Ronson‘s “Uptown Funk!,” featuring Bruno Mars, led all the surveys at the same time for more weeks (nine, in 2015). “Closer” additionally tops Billboard’s Hot Dance/Electronic Songs chart for an 11th week.

The Weeknd‘s “Starboy,” featuring Daft Punk, ranks at its No. 2 high on the Hot 100 for a fourth week. It keeps at No. 2 on Streaming Songs (24.8 million, down 3 percent); lifts 3-2 on Digital Song Sales (74,000, down 11 percent) and climbs 4-3 on Radio Songs (123 million, up 8 percent). And, after 11 weeks on atop the audio subscription services-based On-Demand Songs streaming chart for “Closer,” “Starboy” takes over the ranking with a 2-1 rise (153 million on-demand clicks, although down 6 percent). The Weeknd earns his second On-Demand Songs No. 1, following “Can’t Feel My Face” (seven weeks, 2015). “Starboy” additionally tops the Hot R&B/Hip-Hop Songs chart for a fifth week. The song is the lead single from The Weeknd’s album of the same name, due Nov. 25.

Twenty One Pilots‘ “Heathens” is steady at No. 3 on the Hot 100 after logging four weeks at its No. 2 peak. It holds at No. 2 on Radio Songs (141 million, up 4 percent); pushes 4-3 on Digital Song Sales (61,000, down 12 percent); and drops 4-5 on Streaming Songs (but stays essentially even from the week before with 17.9 million). It tallies a 12th week at No. 1 on Billboard’s Hot Rock Songs chart.

DJ Snake‘s “Let Me Love You,” featuring Justin Bieber, is stationary on the Hot 100 at its No. 4 peak, while D.R.A.M.‘s breakthrough hit “Broccoli,” featuring Lil Yachty, likewise stays at its No. 5 high. “Broccoli” tops the Hot Rap Songs chart for an eighth week.

Bruno Mars‘ “24K Magic” places at No. 6 for a second week on the Hot 100 after debuting at No. 5 two weeks ago. It makes its greatest gains in airplay, rising 8-7 on Radio Songs (96 million, up 12 percent).

Ariana Grande‘s “Side to Side,” featuring Nicki Minaj, rises 8-7 on the Hot 100, becoming the highest-charting hit from Grande’s album Dangerous Woman; the title track lead single reached No. 8 in June. She scores her highest rank since stand-alone song “Focus” debuted and peaked at No. 7 on Nov. 21, 2015. Meanwhile, Minaj earns her highest spot in nearly two years, since Nov. 22, 2014, when she ranked at No. 5 after peaking at No. 3 with “Bang Bang,” with Grande and Jessie J.

Major Lazer‘s “Cold Water,” featuring Bieber and MO, descends 7-8 on the Hot 100, after reaching No. 2.

Zay Hilfigerrr & Zayion McCall’s “Juju on That Beat (TZ Anthem)” jumps into the Hot 100’s top 10 (13-9) as the chart’s top Streaming Gainer, powered heavily by its 5-4 rebound on Streaming Songs  (19.4 million, up 23 percent). On Digital Song Sales, the track dips 10-12 but gains by 8 percent to 41,000 sold.

Similar to Silento‘s No. 3 Hot 100 hit “Watch Me” and iLoveMemphis‘ No. 15-peaking “Hit the Quan” (both in 2015), “Juju” has thrived on the strength of homemade dance videos. “People keep finding it and engaging with [‘Juju’],” says Jeff Vaughn, senior director of A&R at Artist Partners Group (APG), a joint venture with Atlantic Records, where the duo is now signed. “Shaq[uille O’Neal] just did the challenge [on Oct. 20].”

Rounding out the Hot 100’s top 10, gnash’s “I Hate U I Love U,” featuring Olivia O’Brien, returns to its No. 10 peak (which it first reached three weeks ago). It continues to scale Radio Songs, where it lifts 17-16 (61 million, up 1 percent).

Beyond the Hot 100’s top bracket, Hailee Steinfeld and Grey’s “Starving, featuring Zedd, zooms 18-14, hitting a new high, while two songs enter the top 20: RaeSremmurd‘s “Black Beatles,” featuring Gucci Mane (22-16), and Sia‘s “The Greatest,” featuring Kendrick Lamar (25-19).

Drake boasts two of the top three debuts on the Hot 100: “Fake Love” (No. 24) and “Sneakin’,” featuring 21 Savage (No. 38); in between, Pentatonix‘s “Hallelujah” bows at No. 32. Meanwhile, as Lady Gaga‘s Joanne opens at No. 1 on the Billboard 200 albums chart, the set’s “Million Reasons” re-enters the Hot 100 at No. 57, a new peak; “A-YO” debuts at No. 66; and the album’s No. 15-peaking lead single “Perfect Illusion” returns at No. 78.

Find out more Hot 100 news in the weekly “Hot 100 Chart Moves” column later this week, and visit Billboard.com tomorrow (Nov. 1), when all charts, including the Hot 100 in its entirety, will refresh. The Hot 100 and other rankings will also appear in the next issue of Billboard magazine, on sale Friday (Nov. 4).

Source: billboard.com

Lady Gaga claims her fourth No. 1 on the Billboard 200 albums chart, as Joanne arrives in the pole position. The set earned 201,000 equivalent album units — a better-than-expected start — in the week ending Oct. 27, according to Nielsen Music.

Joanne was released on Oct. 21 through Streamline/Interscope Records.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Nov. 12-dated chart (where Joanne bows at No. 1) will be posted in full to Billboard’s websites on Tuesday, Nov. 1.

Joanne follows Lady Gaga’s previous chart-toppers Cheek to Cheek (with Tony Bennett, in 2014), Artpop (2013) and Born This Way (2011).

Joanne‘s bow of 201,000 units is larger than what industry forecasters estimated. On Oct. 25, sources had pegged the album to start with around 180,000 (and that was an upgrade from 140,000 a few days earlier).

The album’s 201,000 launch is the fourth-largest debut of 2016, and the second-biggest for a woman. Ahead of it are Drake’s Views (1.04 million), Beyonce’s Lemonade (653,000) and Frank Ocean’s Blonde (276,000 units).

In terms of traditional sales, Joanne sold 170,000 — the seventh-largest bow of the year, and the second-biggest for a woman. The only larger starts were registered by Drake’s Views (852,000 copies sold), Beyonce’s Lemonade (485,000), Frank Ocean’s Blonde (232,000), David Bowie’s Blackstar (174,000), Radiohead’s A Moon Shaped Pool (173,000) and  Blink-182’s California (172,000).

Lady Gaga was in full-on promotion mode during the album’s debut week. She performed on NBC’s Saturday Night Live (Oct. 22), sat down for an interview with SiriusXM’s Howard Stern (Oct. 24), took part in James Corden’s popular “Carpool Karaoke” segment of his CBS show The Late Late Show (Oct. 25) and concluded her Bud Light-sponsored dive bar tour in Los Angeles on Oct. 27.

Also notable: Gaga is the first woman with four No. 1 albums on the Billboard 200 in the 2010s. She passes Beyonce and Taylor Swift, each with three during the decade. Among all acts, Justin Bieber and Drake lead with six Billboard 200 No. 1’s each since 2010, while One Direction and Kanye West each boast four.

Source: billboard.com

“Closer” matches the 10-week command of Drake’s “One Dance.” Plus, Maroon 5 vaults 56-9 with “Don’t Wanna Know,” featuring Kendrick Lamar.

The Chainsmokers top the Billboard Hot 100 (dated Nov. 5) for a 10th week with “Closer,” featuring Halsey, tying for the longest domination of 2016. Drake‘s “One Dance,” featuring WizKid and Kyla, led for 10 weeks in May through July.

Meanwhile, Maroon 5‘s “Don’t Wanna Know,” featuring Kendrick Lamar, roars 56-9 following its first full week of tracking.

As we do every Monday when the chart is compiled, let’s run down the top 10 of the Hot 100, which blends sales, airplay and streaming data. Highlights of the Hot 100 post on Billboard.com each Monday, with all charts updated each Tuesday.

“Closer,” released on Disruptor/Columbia Records, and the first Hot 100 No. 1 for both The Chainsmokers (Drew Taggart and Alex Pall) and Halsey, remains the top-selling, most-streamed and most-heard radio song in the U.S. It leads the Digital Song Sales chart (97,000 downloads sold, down 12 percent, in the week ending Oct. 20, according to Nielsen Music) and the Streaming Songs chart (32.1 million U.S. streams, down 3 percent) for a 10th week each. It also tops the audio subscription services-based On-Demand Songs streaming survey for an 11th week (16.3 million on-demand clicks, down 7 percent) and the Radio Songs ranking for a fourth frame (151.5 million in airplay audience, up 2 percent, in the week ending Oct. 23).

(Of note: as of charts dated Nov. 5, SoundCloud plays now contribute to the streaming data that informs the Hot 100 and other genre hybrid songs charts, in addition to the consumption-based Billboard 200 albums chart. Additionally, Amazon Music Unlimited Streams now count toward Amazon’s overall chart contributions, along with streams from the Amazon Prime service, which has long been part of the chart panel.)

“Closer” commands the Hot 100 and all three of the Hot 100’s main component charts (Digital Song Sales, Streaming Songs and Radio Songs), as well as On-Demand Songs, simultaneously for a fourth week, extending the longest such sweep since Mark Ronson‘s “Uptown Funk!,” featuring Bruno Mars, led all the charts at the same time for eight weeks in February-April 2015.

As “Closer” ties “One Dance” for the most time spent atop the Hot 100 in 2016 (Adele‘s “Hello” completed its 10-week run at No. 1 on Jan. 16, but logged seven of its weeks at the summit on charts dated in 2015), it becomes just the 33rd No. 1 to lead for at least 10 weeks dating to the chart’s Aug. 4, 1958, inception; a mere 3 percent (33 of 1,057) of the Hot 100’s all-time No. 1s have reached double-digit weeks totals on top.

Meanwhile, with its 10th week at No. 1 on the Hot 100, “Closer” passes OutKast‘s “Hey Ya!” (2003-04) for the second-longest reign ever among duos; with 14 weeks on top in 1996, only Los Del Rio’s “Macarena (Bayside Boys Mix)” has led longer. (The stat excludes pairings of singers who don’t normally record together, like Brandy and Monica, whose “The Boy Is Mine” ruled for 13 weeks in 1998.)

“Closer” additionally tops Billboard’s Hot Dance/Electronic Songs chart for a 10th week. With the pair’s “Roses” (featuring Rozes) and “Don’t Let Me Down” (featuringDaya) having ruled for 14 and 12 weeks each, The Chainsmokers are the first act with three No. 1s that have each led for at least 10 weeks since Hot Dance/Electronic Songs began in January 2013.

The Weeknd‘s “Starboy,” featuring Daft Punk, holds at its No. 2 high on the Hot 100. It keeps at No. 2 on Streaming Songs (25.7 million, essentially even from the previous week) and No. 3 on Digital Song Sales (83,000, down 3 percent) and zooms 7-4 on Radio Songs (114.2 million, up 13 percent). “Starboy” additionally tops the Hot R&B/Hip-Hop Songs chart for a fourth week. The song is the lead single from The Weeknd’s album of the same name due Nov. 25.

Twenty One Pilots‘ “Heathens” is steady at No. 3 on the Hot 100 after logging four weeks at its No. 2 peak. It holds at No. 2 on Radio Songs (135.5 million, up 7 percent) and No. 4 on Digital Song Sales (69,000, down 12 percent) and rebounds 5-4 on Streaming Songs (18 million, up 9 percent). It registers an 11th week at No. 1 on Billboard’s Hot Rock Songs chart.

DJ Snake‘s “Let Me Love You,” featuring Justin Bieber, is likewise stationary on the Hot 100 at its No. 4 high. The collab reaches pushes 5-3 on Radio Songs (115.3 million, up 8 percent); slips 7-8 on Streaming Songs (14.2 million, down 1 percent); and drops 5-9 on Digital Song Sales (39,000; down 37 percent).

Rounding out the Hot 100’s top five, D.R.A.M.’s breakthrough hit “Broccoli,” featuring Lil Yachty, reaches the region, lifting 6-5. It repeats at No. 3 on Streaming Songs (20.5 million, up 6 percent), falls 6-8 on Digital Song Sales (44,000, down 12 percent) and bumps 28-25 on Radio Songs (49.9 million, up 7 percent). The track tops Hot Rap Songs for a seventh week.

After debuting at No. 5 on the Hot 100, Bruno Mars’ “24K Magic” backtracks to No. 6. It descends 2-5 on Digital Song Sales (68,000, down 33 percent) and 9-13 on Streaming Songs (11.1 million, down 13 percent), but roars 15-8 on Radio Songs (85.4 million, up 31 percent). Mars lands his 13th Radio Songs top 10; in the 2010s, only Rihanna (17) and Drake (15) have earned more. “Magic” is the title track from Mars’ third full-length album, due Nov. 18.

Major Lazer‘s “Cold Water,” featuring Bieber and MO, holds at No. 7 on the Hot 100, after reaching No. 2, and Ariana Grande‘s “Side to Side,” featuring Nicki Minaj, rises 10-8. The second top 10 from Grande’s album Dangerous Woman ties the peak of the set’s title track lead single, which reached No. 8 in June.

Maroon 5’s “Don’t Wanna Know,” featuring Kendrick Lamar, surges 56-9 on the Hot 100 following its first full week of tracking. The single arrived on the Oct. 29-dated Hot 100 following its Oct. 12 release, which allowed for only two days of sales and streaming activity (and five days of airplay tracking). On charts dated Nov. 5, “Know” flies 15-2 on Digital Song Sales (84,000, up 198 percent from its partial-week start of 28,000), debuts at No. 16 on Streaming Songs (9.7 million, up 546 percent from 1.5 million) and soars 40-27 on Radio Songs (46 million, up 48 percent).

Maroon 5 tallies its 12th Hot 100 top 10, having earned its first — the No. 5-peaking “This Love” — on the April 3, 2004, chart. That’s the most among groups in that span, followed by The Black Eyed Peas (nine) and One Direction (six). Lamar scores his third top 10, all in featured roles, following his turns on A$AP Rocky‘s “F**kin Problems” (also featuring Drake and 2 Chainz; No. 8, 2013) and Taylor Swift‘s “Bad Blood” (No. 1, one week, 2015).

Capping the Hot 100’s top 10, Shawn Mendes‘ “Treat You Better” retreats 8-10 after climbing to No. 6.

Find out more Hot 100 news in the weekly “Hot 100 Chart Moves” column later this week, and visit Billboard.com tomorrow (Oct. 25), when all charts, including the Hot 100 in its entirety, will refresh . The Hot 100 and other rankings will also appear in the next issue of Billboard magazine, on sale Friday (Oct. 28).

Kings of Leon earn their first No. 1 on the Billboard 200 albums chart with the act’s seventh studio album, Walls. The set, which was released on Oct. 14 through RCA Records, earned 77,000 equivalent album units in the week ending Oct. 20. Of that sum, 68,000 were in traditional album sales.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Nov. 5-dated chart (where Walls launches at No. 1) will be posted in full to Billboard’s websites on Tuesday, Oct. 25.

Walls is the band’s fourth top 10 album and follows three consecutive sets to reach the region: Mechanical Bull (No. 2 in 2013 from a 110,000 sales start), Come Around Sundown (No. 2; 2010) and Only by the Night (No. 4; 2009). The latter album was the group’s commercial breakthrough and first top 20-charting effort, and it launched the hit single “Use Somebody” (No. 4 on the Billboard Hot 100). The album spent 132 weeks on the chart and has sold 2.5 million copies (and is the act’s only million-selling release).

The new album Walls was led by the single “Waste a Moment,” which became the seventh top 10 hit for the group on the Alternative Songs airplay chart. It has yet to reach the Hot 100.

Like Solange two weeks ago with her chart-topping A Seat at the Table, Kings of Leon also had to wait 13 years for their first No. 1 — following their chart debut in 2003. The band first dented the list on Sept. 6, 2003 with the No. 113 debut and peak of Youth & Young Manhood. (Solange arrived on the chart on Feb. 8, 2003, withSolo Star.)

Drake’s former No. 1, Views, rises from No. 4 to No. 2 on the latest Billboard 200 with 40,000 units (down 7 percent), while the Suicide Squad soundtrack climbs 5-3 with 35,000 units (down 7 percent).

The Game notches his ninth top 10 album with the bow of 1992 at No. 4, earning 32,000 units (25,000 in traditional album sales). He previously hit the top 10 withThe Documentary 2.5 (No. 6 in 2015), The Documentary 2 (No. 2; 2015), Blood Moon: Year of the Wolf (No. 7; 2014), Jesus Piece (No. 6; 2012), The R.E.D. Album (No. 1; 2011),LAX (No. 2; 2008), Doctor’s Advocate (No. 1; 2006) and The Documentary (No. 1; 2005).

Twenty One Pilots’ Blurryface ascends 7-5 with 26,000 units (though down 11 percent).

JoJo returns to the Billboard 200 after 10 years, as her new album Mad Love — her first full-length studio album since 2006 — bows at No. 6 with 25,000 units (19,000 in traditional album sales).

The pop singer-songwriter last appeared on the list with her previous full-length studio set, The High Road, which debuted and peaked at No. 3 on the Nov. 4, 2006-dated list. After nearly a decade of well-documented struggles with her former label, Blackground Records, the artist signed with Atlantic Records in 2014. Mad Love is JoJo’s third top 10 set, following The High Road and her self-titled debut, which bowed and peaked at No. 4 on July 10, 2004.

The original Broadway cast recording of Hamilton steps back into the new top 10, rising from No. 11 to No. 7, with 23,000 units (down 5 percent). The album could rise again next week, following the Oct. 21 premiere of the PBS documentary special Hamilton’s America, as part of the network’s Great Performances series.

To round out the latest top 10: Ariana Grande’s Dangerous Woman rises 10-8 (22,000 units; down 12 percent), Travis Scott’s Birds in the Trap Sing McKnight climbs 12-9 (21,000; down 3 percent) and Green Day’s Revolution Radio falls 1-10 in its second week (21,000 units; down 78 percent).

Source: billboard.com

“Closer” reigns for a ninth week, “24K Magic” marks Mars’ highest debut and Grande & Minaj’s “Side to Side” pedals 12-10.

The Chainsmokers continue to top the Billboard Hot 100 (dated Oct. 29), as “Closer,” featuring Halsey, leads for a ninth week. Meanwhile, Bruno Mars‘ “24K Magic” debuts at No. 5 and Ariana Grande and Nicki Minaj‘s “Side to Side” rises 12-10.

As we do every Monday when the chart is compiled, let’s run down the top 10 of the Hot 100, which blends sales, airplay and streaming data. Highlights of the Hot 100 post on Billboard.com each Monday, with all charts updated each Tuesday.

“Closer,” released on Disruptor/Columbia Records, and the first Hot 100 No. 1 for both The Chainsmokers (Drew Taggart and Alex Pall) and Halsey, remains the top-selling, most-streamed and most-heard song on radio in the U.S. It leads the Digital Song Sales chart (111,000 downloads sold, down 10 percent in the week ending Oct. 13, according to Nielsen Music) and the Streaming Songs chart (33.2 million U.S. streams, down 6 percent) for a ninth week each. It also tops the audio subscription services-based On-Demand Songs streaming survey for a 10th week (17.5 million on-demand clicks, down 9 percent), and the Radio Songs ranking for a third frame (148 million in airplay audience, up 4 percent, in the week ending Oct. 16).

“Closer” commands the Hot 100 and all three of the Hot 100’s main component charts (Digital Song Sales, Streaming Songs and Radio Songs), as well as On-Demand Songs, simultaneously for a third week, extending the longest such sweep since Mark Ronson‘s “Uptown Funk!,” featuring Mars, led all the rankings at the same time for eight weeks in February-April 2015.

Meanwhile, with its ninth week at No. 1 on the Hot 100, “Closer” ties OutKast‘s “Hey Ya!” (2003-04) for the second-longest reign ever among duos; with 14 weeks on top in 1996, only Los Del Rio’s “Macarena (Bayside Boys Mix)” has led longer. (The stat excludes pairings of singers who don’t normally record together, such as Brandy and Monica, whose “The Boy Is Mine” ruled for 13 weeks in 1998, or Diana Ross and Lionel Richie, who spent nine weeks at No. 1 in 1981 with “Endless Love.”) “Closer” additionally tops Billboard’s Hot Dance/Electronic Songs chart for a ninth week.

The Weeknd‘s “Starboy,” featuring Daft Punk, holds at its No. 2 high on the Hot 100. It keeps at No. 2 on Streaming Songs (25.6 million, down 5 percent), dips 2-3 on Digital Song Sales (86,000, down 7 percent) and pushes 8-7 on Radio Songs (101 million, up 17 percent). “Starboy” additionally tops the Hot R&B/Hip-Hop Songs chart for a third week. The song is the lead single from The Weeknd’s album of the same name due Nov. 25.

Twenty One Pilots’ “Heathens” is steady at No. 3 on the Hot 100 after logging four weeks at its No. 2 peak. It holds at No. 2 on Radio Songs (127 million, up 6 percent) and retreats 3-4 on Digital Song Sales (although up 8 percent to 79,000) and 4-5 on Streaming Songs (16.5 million, down 13 percent). It tallies a 10th week at No. 1 on Billboard’s Hot Rock Songs chart.

DJ Snake‘s “Let Me Love You,” featuring Justin Bieber, rebounds from No. 5 to its No. 4 Hot 100 high. The collab reaches the Radio Songs top five (7-5; 106 million, up 13 percent), slips 6-7 on Streaming Songs (14.3 million, down 2 percent) and jumps 9-5 on Digital Song Sales (62,000; up 49 percent).

Mars’ “24K Magic” launches at No. 5 on the Hot 100, as it begins at No. 2 on Digital Song Sales (101,000 first-week downloads sold) and No. 9 on Streaming Songs (12.8 million) and vaults 36-15 on Radio Songs (65 million) following its first full week of airplay tracking. (It should benefit on next week’s charts following Mars’ performance of it on NBC’s Saturday Night Live Oct. 15.)

“Magic,” Mars’ 13th Hot 100 Top 10, was released Oct. 7 on digital and streaming services, and is the title track from the pop star’s third full-length, due Nov. 18. Notably, the lead singles from Mars’ first two studio sets both hit No. 1 on the Hot 100: “Just the Way You Are,” from Doo-Wops & Hooligans, for four weeks in 2010, and “Locked Out of Heaven,” from Unorthodox Jukebox, for six weeks in 2012-13. (The songs debuted at Nos. 43 and 34, respectively.)

“Magic” additionally marks Mars’ highest Hot 100 debut. Of his 19 entries so far (dating to his 2010 arrival), he had previously bowed as high as No. 10, as a featured act on Snoop Dogg and Wiz Khalifa‘s “Young, Wild & Free” (Oct. 29, 2011). As a lead artist, he had debuted at a No. 28 high with “It Will Rain” (Oct. 15, 2011).

“Magic” is the fourth song to blast onto the Hot 100 in the top five in 2016, following No. 1 entrances for Zayn’s “Pillowtalk” (Feb. 20) and Justin Timberlake‘s “Can’t Stop the Feeling!” (May 28); Major Lazer‘s “Cold Water,” featuring Bieber and MO, opened at No. 2 (Aug. 13).

Below the Hot 100’s top five, D.R.A.M.‘s first top 10, “Broccoli,” featuring Lil Yachty, keeps at its No. 6 peak, while topping Hot Rap Songs for a sixth week; “Cold Water” falls 4-7 after reaching No. 2; Shawn Mendes’ “Treat You Better” slides 7-8 after hitting No. 6; and Sia’s former four-week Hot 100 No. 1 “Cheap Thrills,” featuring Sean Paul, drops 8-9.

Rounding out the Hot 100’s top 10, Grande’s “Side to Side,” featuring Minaj, rises 12-10. It backtracks 7-8 on Streaming Songs, but gains by 6 percent to 14 million, surges 17-10 on Digital Song Sales (37,000, up 29 percent) and lifts 37-31 on Radio Songs (43 million, up 24 percent). (Adding to the song’s exposure: its synch in a new T-Mobile ad.)

Grande earns her eighth Hot 100 top 10, and second from her album Dangerous Woman, following the No. 8-peaking title track lead single. (In between the two songs, the set’s second single, “Into You,” reached No. 13.) Minaj scores her 13th Hot 100 top 10, extending her record for the most top 10s among female rappers;Missy Elliott ranks second with nine.

Beyond the Hot 100’s top 10, in addition to Mars’ “Magic,” other Hot 100 debuts on the chart include John Legend‘s “Love Me Now” (No. 55), Maroon 5‘s “Don’t Wanna Know,” featuring Kendrick Lamar (No. 56), and Lady Gaga‘s “Million Reasons” (No. 76).

Find out more Hot 100 news in the weekly “Hot 100 Chart Moves” column later this week, and visit Billboard.com tomorrow (Oct. 18), when all rankings, including the Hot 100 in its entirety, will refresh. The Hot 100 and other charts will also appear in the next issue of Billboard magazine, on sale Friday (Oct. 21).

Source: billboard.com