BB Charts

Miley Cyrus’ “Flowers” remains the biggest song in the world, as it notches a 12th week at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts (dated April 22).
Plus, Drake’s “Search & Rescue” debuts at No. 2 on the Global 200 and Peso Pluma reaches the top five of both tallies for the first time – with two hits: “Ella Baila Sola,” with Eslabon Armado, and “La Bebe,” with Yng Lvcas, as Eslabon Armado and Yng Lvcas also achieve initial top five hits.

Additionally, South Korea’s Fifty Fifty enters the Global Excl. U.S. top 10 as its breakthrough hit “Cupid” shoots 22-9.

The Billboard Global 200 and Billboard Global Excl. U.S. surveys, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.

Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

‘Flowers’ Leads, ‘Search’ Lights Up Global 200

Miley Cyrus’ “Flowers” adds a 12th week at No. 1 on the Billboard Global 200, with 75.5 million streams (down 9%) and 18,000 sold (down 6%) worldwide April 7-13. It breaks out of a tie with The Kid LAROI and Justin Bieber’s “Stay” (11 weeks at No. 1, 2021) for the third-longest command since the chart began, after only Harry Styles’ “As It Was” (15 weeks, 2022) and Mariah Carey’s “All I Want for Christmas Is You” (13 weeks, 2020-23).

Drake’s “Search & Rescue” surges onto the Global 200 at No. 2. After it arrived April 7 (a day after he announced the song’s pending release), it begins with 52.2 million streams and 4,000 sold worldwide through April 13.

Drake claims his 28th Global 200 top 10, twice more than runner-up Taylor Swift’s total (14) since the survey started.

Peso Pluma jumps to the Global 200’s top five for the first time – with two songs: “Ella Baila Sola,” with Eslabon Armado, bounds 9-3, powered by its 17% gain to 74.5 million streams worldwide, and “La Bebe,” with Yng Lvcas, climbs 7-4, up 4% to 71.5 million global streams.

Along with Peso Pluma, from Mexico, quartet Eslabon Armado (from California) and Yng Lvcas (also from Mexico) likewise achieve initial top five Global 200 hits.

Rounding out the Global 200’s top five, The Weeknd and Ariana Grande’s “Die for You” dips 3-5, after reaching No. 2.

Cyrus Reigns, Peso Pluma, Fifty Fifty Fly on Global Excl. U.S.

As on the Global 200, Miley Cyrus’ “Flowers” posts a 12th week at No. 1 on the Billboard Global Excl. U.S. chart, with 58.2 million streams (down 10%) and 10,000 sold (down 2%) outside the U.S. April 7-13. The song is now within one week of Harry Styles’ record 13-frame rule with “As It Was” since the list began.

Also as on the Global 200, Peso Pluma roars to the Global Excl. U.S. top five with two tracks: “La Bebe,” with Yng Lvcas (7-2; 54.2 million streams, up 2%, outside the U.S.), and “Ella Baila Sola,” with Eslabon Armado (8-5; 51.8 million streams, up 12%, outside the U.S.) All three acts rank in the Global Excl. U.S. top five for the first time.

The Weeknd and Ariana Grande’s “Die for You” rebounds to its No. 3 best, from No. 5, on Global Excl. U.S. and Karol G and Shakira’s “TQG” holds at No. 4, after it led for a week in March upon its debut.

Elsewhere in the Global Excl. U.S. top bracket, Fifty Fifty hits the top 10 for the first time as its breakthrough hit “Cupid” pierces the region with a 22-9 vault, up 35% to 40.2 million streams and 13% to 1,000 sold outside the U.S.

The four-piece – Aran, Keena, Saena and Sio – is the seventh K-pop group to have reached the Global Excl. U.S. top 10, joining BTS (10 top 10s), BLACKPINK (four), IVE, NewJeans, TWICE (two each) and BIGBANG (one).

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated April 22, 2023) will update on Billboard.com tomorrow (April 18). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

Morgan Wallen’s “Last Night” leads a busy Billboard Hot 100 top 10, adding a third nonconsecutive week atop the chart. It first ruled last month, marking the country singer-songwriter’s initial No. 1.
The song is from Wallen’s LP One Thing at a Time, which notches a sixth week at No. 1 on the Billboard 200 albums chart.

Elsewhere in the Hot 100’s top tier, Drake’s “Search & Rescue” launches at No. 2. It marks the superstar’s record-extending 68th top 10.

Plus, Eslabon Armado and Peso Pluma log a historic Hot 100 top 10 with “Ella Baila Sola”: Their first top 10 each is also the first regional Mexican top 10 in the chart’s 64-year history.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated April 22, 2023) will update on Billboard.com tomorrow (April 18). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Wallen’s “Last Night,” released on Big Loud/Mercury/Republic Records, drew 36.6 million streams (up 4%) and 34.5 million radio airplay audience impressions (up 16%, good for the chart’s top Airplay Gainer award for a second consecutive week) and sold 10,000 downloads (up 6%) in the April 7-13 tracking week, according to Luminate.

The track falls to No. 2 on the all-genre Streaming Songs chart, after five weeks at No. 1; holds at No. 3 on Digital Song Sales, following at the summit; and ascends 21-17 on Radio Songs. A multi-format radio hit, it pushes to No. 13 on the Country Airplay chart, No. 20 on Pop Airplay and No. 21 on Adult Pop Airplay and debuts at No. 27 on Adult Contemporary.

“Last Night” concurrently leads the Hot Country Songs chart, which uses the same methodology as the Hot 100, for a 10th week. It became just the 20th song to have topped both lists – and the first by a solo male unaccompanied by any other acts since Eddie Rabbitt’s “I Love a Rainy Night” ruled Hot Country Songs for a week and the Hot 100 for two weeks in 1981.

As “Last Night” has now ruled Hot Country Songs for 10 weeks and the Hot 100 for three, it’s the first song among those that have topped both charts with that many weeks atop that pair of tallies since Taylor Swift’s “We Are Never Ever Getting Back Together” also ran up 10 and three weeks at No. 1, respectively, in 2012-13.

Drake’s “Search & Rescue” bounds onto the Hot 100 at No. 4. After it premiered April 7 (a day after he announced the song’s pending release), it begins with 33.8 million streams, 6.9 million in radio airplay audience and 3,600 sold through April 13.

The track opens at No. 1 on Streaming Songs, becoming Drake’s record-furthering 16th leader. (While the song’s sum of raw streams is the week’s second highest, after Wallen’s “Last Night,” “Search & Rescue” tops the chart due to the application of weighting to all titles’ paid/subscription and ad-supported on-demand streams and programmed/radio streams.)

Drake posts his record-extending 68th Hot 100 top 10, and first of 2023.

Most Billboard Hot 100 Top 10s:

68, Drake

40, Taylor Swift

38, Madonna

34, The Beatles

32, Rihanna

30, Michael Jackson

29, Elton John

28, Mariah Carey

28, Stevie Wonder

27, Janet Jackson

“Search & Rescue” is also Drake’s record-padding 35th top five Hot 100 hit (distancing himself further from runners-up The Beatles’ 29); his 174th top 40 hit (ahead of Taylor Swift, second with 105); and his 294th entry overall (with the Glee Cast second with 207). (He adds his 20th top two hit; The Beatles and Mariah Carey lead with 23 each.)

The track concurrently crowns the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts upon its debut, marking Drake’s record-extending 27th and 28th No. 1s on the surveys.

We did some re-‘search’: “Search & Rescue” is the highest-charting Hot 100 hit with “search” in its title, surpassing Survivor’s No. 4-peaking love song “The Search Is Over” in 1985. (Honorable mention to the No. 3 classic “Love Potion Number Nine,” in 1965, by The Searchers.) Drake’s new hit is also the highest charting with “rescue” in its name. It bests The Rolling Stones’ “Emotional Rescue” (No. 3, 1980), followed by “Rescue Me” by Fontella Bass (No. 4, 1965).

Miley Cyrus’ “Flowers” keeps at No. 3 on the Hot 100, after eight weeks at No. 1, beginning upon its debut in January. It claims a ninth week atop Radio Songs (93.5 million in audience, down 9%).

SZA’s “Kill Bill” retreats to No. 4 on the Hot 100, from No. 2, where it has spent eight weeks at its highpoint. It also dominates the multi-metric Hot R&B Songs charts for a 17th week. (Its new remix featuring Doja Cat arrived Friday, April 14, and will begin contributing to next week’s charts [dated April 29], with all versions of the song rolling up into one chart listing.)

Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ ” dips 4-5 on the Hot 100, after hitting No. 3, and Rema and Selena Gomez’s “Calm Down” climbs 7-6 for a new high. The latter tops the Billboard U.S. Afrobeats Songs chart for a 33rd week, extending the longest rule since the ranking began a year ago (in partnership with music festival and global brand Afro Nation).

The Weeknd and Ariana Grande’s “Die for You” drops 5-7 on the Hot 100, following a week at No. 1 in March, and PinkPantheress and Ice Spice’s “Boy’s a Liar, Pt. 2” slips 6-8, after reaching No. 3. Still, the latter becomes each act’s first top 10 on Radio Songs (14-10; 40.9 million, up 3%).

Taylor Swift’s “Anti-Hero” descends 8-9 on the Hot 100, following a personal-best eight weeks at No. 1 in November-January. It has now spent 24 weeks in the top 10 – equaling Swift’s longest stay in the region, first set by “Shake It Off” in 2014-15. Next up, her “Blank Space” totaled 17 weeks in the top 10, also in 2014-15, followed by “I Knew You Were Trouble.” (16 weeks, 2012-13) and “You Belong With Me” (16, 2009).

Rounding out the Hot 100’s top 10, Eslabon Armado and Peso Pluma’s “Ella Baila Sola” soars 17-10, led by 24.4 million streams, up 30%, as it wins the Hot 100’s top Streaming Gainer trophy, and jumps 6-3 on Streaming Songs.

Quartet Eslabon Armado, from California, and Peso Pluma, from Mexico, each reach the Hot 100’s top for the first time – as “Ella Baila Sola” makes history as the first regional Mexican song ever to hit the Hot 100’s top 10. The genre has surged this decade, thanks in part to exposure on TikTok and other social media, with Gera MX and Christian Nodal’s “Botella Tras Botella” having become the first regional Mexican Hot 100 hit in May 2021, peaking at No. 60.

After “Ella Baila Sola,” Peso Pluma also has the second-highest-charting regional Mexican Hot 100 hit: “La Bebe,” with Yng Lvcas, rises to a new No. 17 best on the latest, April 22-dated chart. The next-highest-peaking such hits: Yahritza y Su Esencia’s “Soy El Unico” (No. 20, April 2022 – it debuted at that rank, the highest entrance for a regional Mexican song) and Fuerza Regida and Grupo Frontera’s “Bebe Dame” (No. 25, this January).

Among Latin genres, regional Mexican’s arrival in the Hot 100’s top 10 follows that of Latin pop, which, after English-language hits by Gloria Estefan in the 1980s (plus Los Lobos’ “La Bamba,” in Spanish) surged in the late ‘90s and beyond thanks to songs (in varying degrees of English and Spanish) by Enrique Iglesias, Jennifer Lopez and Ricky Martin, among other stars. At the same time, Marc Anthony helped tropical break through on the chart. In more recent years, Daddy Yankee and Luis Fonsi’s pop-centered, mostly-Spanish-language “Despacito,” featuring Justin Bieber, spent a then-record-tying 16 weeks at No. 1 in 2017, while, this decade, Bad Bunny, with Spanish-language songs, has carried the torch for Latin rhythm in the top 10.

As for Latin music overall, Eslabon Armado and Peso Pluma earn the Hot 100’s third Spanish-language top 10 this year, following two Latin pop hits: Bizarrap and Shakira’s “Bzrp Music Sessions, Vol. 53” (No. 9, January) and Karol G and Shakira’s “TQG” (No. 7, March).

“Ella Baila Sola” was released on Prajin Parlay/DEL Records, both of which likewise appear in the Hot 100’s top 10 for the first time.

The collaboration concurrently achieves a second week at No. 1 on the multi-metric Hot Latin Songs chart, where it became the first leader for both Eslabon Armado and Peso Pluma. “We didn’t expect for the song to make so much noise!” Pedro Tovar, lead singer for the former act, and the song’s sole author, told Billboard upon its coronation. “I really liked the song when I first wrote it, but I didn’t really expect it to be such a big hit. I previewed it on my stories on Instagram and, two days after, it went viral on TikTok, and that’s when I knew that the song was going to do big numbers.”

“Normally I don’t expect to chart with songs,” Peso Pluma marveled. “We just enjoyed the process of doing it.”

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated April 22), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (April 18).

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

Country songs have been few and far between in the Billboard Hot 100’s top 10 over the past decade. From 2013 to 2022, only 12 top 10 songs represented the genre.

However, during just the first quarter of this year, six top 10s were country songs.

Leading the way for the genre, Morgan Wallen made history as the first country act to score five Hot 100 top 10s in a single week, all from his new album One Thing at a Time (March 18), a feat previously achieved by only five other artists (Taylor Swift, Drake, 21 Savage, Juice WRLD and The Beatles). His “Last Night” first hit the top 10 on the chart dated Feb. 3 and soared to No. 1 a month later. (It returns to the top of the list, dated April 15, this week.)

Joining Wallen, Zach Bryan’s “Something in the Orange” hit No. 10 on the Hot 100 in January.  Together, the acts brought country’s prominence to just over a quarter of all Hot 100 top 10s in Q1 2023 (26%) – tying pop for first place among all genres in that span. In the last decade, country had never reached a double-digit share, previously peaking at 9% in Q4 2020, then powered by hits from Gabby Barrett (“I Hope”) and Luke Combs (“Forever After All”).

While country songs possess certain characteristics that are unique to the genre, such as lap steel guitars, when you look under the hood, they actually have a lot in common with what’s trending in today’s Hot 100 top 10 overall.

For starters, take sub-genres and influences. In the first quarter of 2023, pop, hip-hop and R&B/soul were the top three influences across the top 10, followed closely by rock. All six country top 10s feature a pop influence, 83% a rock influence and half a hip-hop influence. R&B/soul, however, was a no-show, and generally has been in country over the past decade save for Bebe Rexha and Florida Georgia Line’s “Meant to Be” (2018) and Sam Hunt’s “Body Like a Back Road” (2017).

Another key commonality between Q1’s country hits and the overall Hot 100 top 10 is lyrical theme. The love/relationships theme rose to its highest quarterly level of prominence since way back in 2015, at 83% of songs, and is part of every Q1 country top 10.

Plus, each country Hot 100 top 10 in Q1 2023 kicks off with an intro that establishes the backing music of the section that directly follows and averages 15 seconds in length. Almost every Hot 100 top 10 in that span also begins with an intro, establishes the backing music of the ensuing section and averages 14 seconds long.

Lastly, in terms of structure, like hits overall in the Hot 100’s top 10 in Q1 2023, country favored shorter song lengths, with half landing in the under-three-minute range. All six country hits also possess two verses, three choruses and at least one post-chorus in their framework, characteristics that are also very much in line with the overall top 10.

So, while these hits stay true to their country roots, they are delicately balanced by qualities that are currently resonating with mainstream audiences, paced by Wallen (whose “Last Night,” in addition to its strong streaming, is both a pop and country radio hit).

Looking ahead, the genre could continue its newfound bigger presence, as country hits bookend the top 10 on the latest Hot 100: Bailey Zimmerman’s “Rock and a Hard Place” revisits its No. 10 high, joining Wallen’s “Last Night” at No. 1.

David and Yael Penn are the co-founders of Hit Songs Deconstructed, which provides compositional analytics for top 10 Hot 100 hits. In 2022, Hit Songs Deconstructed and fellow song analysis platform MyPart partnered to launch ChartCipher, a new platform analyzing hit songs, as defined by Billboard’s charts.

On April 13, 2013, Darius Rucker rode his smash single “Wagon Wheel” to No. 1 on Billboard’s Hot Country Songs chart.

“Wheel” was authored by rock and folk legend Bob Dylan and Ketch Secor (of Old Crow Medicine Show). Dylan wrote the chorus in the early 1970s, with Secor rounding out the verses years later.

The song was released from Rucker’s LP True Believers, which arrived as his third of four No. 1s on Top Country Albums.

With its catchy, sing-along chorus (and such whimsical rhymes as “New England” and “string band”), “Wheel” became Rucker’s most recent of six leaders on Hot Country Songs, among 11 top 10s. He boasts nine No. 1s on Country Airplay, through “Beers and Sunshine” in February 2021.

Rucker was born in Charleston, S.C., and reached mass-appeal success in the ‘90s as frontman of Hootie & The Blowfish. The band notched two No. 1s albums on the Billboard 200 – Cracked Rear View (which has sold 10.4 million copies in the United States, according to Luminate) and Fairweather Johnson – and three top 10s on the Billboard Hot 100.

Rucker was welcomed as a promoted country artist with three straight No. 1 singles on Country Airplay (excluding holiday fare) in 2008-09: “Don’t Think I Don’t Think About It,” “It Won’t Be Like This for Long” and “Alright.”

Now 57, Rucker released his newest track, “Fires Don’t Start Themselves,” March 31. Assisted by hourly plays on participating iHeartMedia stations that day, it debuts at No. 25 on the April 15-dated Country Airplay chart with 6.7 million impressions.

The song is from Rucker’s forthcoming album, Carolyn’s Boy.

Beyoncé banks a new milestone on the Billboard Hot 100, as “Cuff It” becomes the longest-charting hit on the survey of her solo career. The song adds a 34th week on the Hot 100, ranking, fittingly, at No. 34 on the April 15-dated chart, and surpasses the 33 weeks that “Telephone” with Lady Gaga logged in 2009-10.
“Cuff It” was released on Beyoncé’s album Renaissance, which launched as her seventh No. 1 on the Billboard 200 last August. The set’s lead single, “Break My Soul,” became her eighth Hot 100 No. 1 the same week, while “Cuff It” reached No. 6 this February. The latter song became her 21st top 10 as a soloist, while Renaissance became her first album with multiple top 10s since I Am…Sasha Fierce in 2008-09.

Here’s a look at Beyoncé’s longest-charting Hot 100 hits:

Weeks on Hot 100, Title, Peak Pos./Year:34, “Cuff It,” No. 6, 202333, “Telephone,” Lady Gaga feat. Beyoncé, No. 3, 201031, “Halo,” No. 5, 200930, “Irreplaceable,” No. 1 (10 weeks), 2007-0729, “Sweet Dreams,” No. 10, 200929, “Baby Boy,” feat. Sean Paul, No. 1 (nine weeks), 200328, “Check On It,” feat. Slim Thug, No. 1 (five weeks), 200627, “Single Ladies (Put a Ring on It),” No. 1 (four weeks), 2008-0927, “Crazy in Love,” feat. Jay-Z, No. 1 (eight weeks), 200324, “Me, Myself and I,” No. 4, 2004

Meanwhile, Beyoncé is now one week away from matching her longest Hot 100 stay including her time in Destiny’s Child. The group, with her as a member, spent 35 weeks on the survey with its debut hit “No, No, No” in 1997-98. The song became the act’s first of 10 top 10s, a total that includes four No. 1s.

Miley Cyrus’ “Flowers” remains the biggest song in the world, as it adds an 11th week at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts (dated April 15).
Plus, Jisoo becomes the third member of BLACKPINK to have hit the top 10 on each chart, as her single “Flower” debuts at No. 2 on both rankings. Additionally, Eslabon Armado and Peso Pluma’s “Ella Baila Sola” reaches the top 10 of both tallies, rising to No. 8 on Global Excl. U.S. and No. 9 on the Global 200.

The Billboard Global 200 and Billboard Global Excl. U.S. surveys, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.

Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

Here’s the Dirt on ‘Flowers’ & ‘Flower’ on Global 200

Miley Cyrus’ “Flowers” logs an 11th week at No. 1 on the Billboard Global 200. It ties The Kid LAROI and Justin Bieber’s “Stay” (2021) for the third-longest command since the Global 200 began, after only Harry Styles’ “As It Was” (15 weeks, 2022) and Mariah Carey’s “All I Want for Christmas Is You” (13 weeks, 2020-23).

Jisoo’s “Flower” sprouts at No. 2 on the Global 200 with 108.7 million streams and 21,000 sold worldwide in its first week, ending April 6, following its March 31 release.

Jisoo becomes the third member of star South Korean pop quartet BLACKPINK to have hit the Global 200’s top 10 solo. Here’s a recap of their solo top 10 hits:

Rosé, “On the Ground,” No. 1 (one week), March 27, 2021Lisa, “Lalisa,” No. 2, Sept. 25, 2021Jisoo, “Flower,” No. 2, April 15, 2023

As a group, BLACKPINK boasts four Global 200 top 10s, including two No. 1s: “Pink Venom” (for two weeks last September) and “Shut Down” (one week, last October). (The foursome’s Jennie has yet to hit the Global 200. Still, the first member of the group to release solo music, she topped Billboard’s World Digital Song Sales chart with “Solo” in December 2018, before the global surveys began.)

Also notably, “Flower” makes the third-biggest streaming start for an artist’s proper debut focus track since the global charts originated. Its 108.7 million first-week streams worldwide trail only the opening frames of Lisa’s “Lalisa” (152.6 million, Sept. 25, 2021) and Olivia Rodrigo’s “Drivers License” (130.1 million, Jan. 23, 2021).

The Weeknd and Ariana Grande’s “Die for You” holds at No. 3 on the Global 200, after reaching No. 2; Jimin’s “Like Crazy” drops 2-4 in its second week; and Rema and Selena Gomez’s “Calm Down” rebounds 6-5, after hitting No. 3 in January.

Also in the Global 200’s top 10, Eslabon Armado and Peso Pluma’s “Ella Baila Sola” ascends 11-9, with 63.9 million streams (up 23%) and 1,000 sold (up 24%) worldwide.

Quartet Eslabon Armado, from California, achieves its first Global 200 top 10, while Peso Pluma, from Mexico, adds his second, in as many weeks: “La Bebe,” with Yng Lvcas, holds at its No. 7 high in its second week in the region.

Cyrus, Jisoo Also Nos. 1 & 2 on Global Excl. U.S.

As on the Global 200, Miley Cyrus’ “Flowers” claims an 11th week at No. 1 on the Billboard Global Excl. U.S. chart. Only Harry Styles’ “As It Was” has led longer since the latter list began (13 weeks, 2022).

Jisoo’s “Flower” debuts at No. 2 on Global Excl. U.S. with 103.3 million streams and 16,000 sold outside the U.S. March 31-April 6.

Jisoo is the third member of BLACKPINK to have reached the Global Excl. U.S. top 10 solo, as she earns the fourth solo top 10 hit among them. Here’s a recap of their solo top 10s:

Rosé, “On the Ground,” No. 1 (one week), March 27, 2021Lisa, “Lalisa,” No. 2, Sept. 25, 2021Lisa, “Money,” No. 7, Oct. 23, 2021Jisoo, “Flower,” No. 2, April 15, 2023

BLACKPINK has notched four Global Excl. U.S. top 10s, including three No. 1s: “Lovesick Girls” (for one week in October 2020), “Pink Venom” (three weeks, last September) and “Shut Down” (one week, last October).

Jimin’s “Like Crazy” descends 2-3 in its second week on Global Excl. U.S.; Karol G and Shakira’s “TQG” falls 3-4, after it debuted at No. 1 on the March 11 chart; and The Weeknd and Ariana Grande’s “Die for You” drops 4-5, after reaching No. 3.

Elsewhere in the Global Excl. U.S. top 10, Eslabon Armado and Peso Pluma’s “Ella Baila Sola” jumps 12-8, led by 46.3 million streams (up 24%). Eslabon Armado earns its first top 10 on the tally, while Peso Pluma banks his second; “La Bebe,” with Yng Lvcas, ranks at No. 7, a week after reaching the tier with a 20-6 vault.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated April 15, 2023) will update on Billboard.com tomorrow (April 11). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

Morgan Wallen’s “Last Night” rebounds to No. 1 on the Billboard Hot 100 songs chart. It first reigned four weeks earlier, marking the country singer-songwriter’s initial leader on the list.
The track is from Wallen’s LP One Thing at a Time, which spends a fifth week at No. 1 on the Billboard 200 albums chart.

The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated April 15, 2023) will update on Billboard.com tomorrow (April 11). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Up 3-1 on the Hot 100, “Last Night,” released on Big Loud/Mercury/Republic Records, drew 35.1 million streams (down 2%) and 29.7 million radio airplay audience impressions (up 25%, good for the chart’s top Airplay Gainer award) and sold 10,000 downloads (up 1%) in the March 31-April 6 tracking week, according to Luminate.

The track tops the all-genre Streaming Songs chart for a fifth week; holds at No. 3 on Digital Song Sales, following a week at No. 1; and jumps 30-21 on Radio Songs. A growing multi-format radio hit, it ascends to No. 17 on the Country Airplay chart, No. 21 on Pop Airplay and No. 23 on Adult Pop Airplay.

“Last Night” concurrently leads the Hot Country Songs chart, which uses the same methodology as the Hot 100, for a ninth week. It became just the 20th song to have topped both tallies – and the first by a solo male unaccompanied by any other acts in over 42 years, since Eddie Rabbitt’s “I Love a Rainy Night” ruled Hot Country Songs for a week in January 1981 and the Hot 100 for two weeks that February-March.

As “Last Night” has now ruled Hot Country Songs for nine weeks and the Hot 100 for two, it’s the first song with multiple weeks atop each chart since Taylor Swift’s “We Are Never Ever Getting Back Together” (10 and three weeks at No. 1, respectively) in 2012. It’s the first such hit by a solo male and no accompanying acts since Glen Campbell’s “Rhinestone Cowboy” (three and two weeks, respectively) in 1975. The only other titles by unaccompanied solo males to have topped Hot Country Songs and the Hot 100 for multiple weeks each: Charlie Rich’s “The Most Beautiful Girl” (1973), Bobby Goldsboro’s “Honey” (1968), Jimmy Dean’s “Big Bad John” (1961), Marty Robbins’ “El Paso” (1959-60) and Johnny Horton’s “The Battle of New Orleans” (1959).

SZA’s “Kill Bill” rises 4-2 on the Hot 100, adding an eighth week at its No. 2 high. It wins top Sales Gainer honors (6,000, up 158%, helped by 69-cent sale-pricing in the iTunes Store), as it zooms 25-8 to become her fifth top 10 on Digital Song Sales.

“Kill Bill” simultaneously dominates the multi-metric Hot R&B/Hip-Hop Songs and Hot R&B Songs charts for a 16th week each. On Hot R&B/Hip-Hop Songs, it passes Mary J. Blige’s “Be Without You” (15 weeks at No. 1 in 2006) for the longest reign for a song by a woman in a lead role since the survey became an all-encompassing genre chart in 1958.

Miley Cyrus’ “Flowers” slips 2-3 on the Hot 100, after eight weeks at No. 1, starting upon its debut in January. It logs an eighth week atop Radio Songs (102.2 million in audience, down 4%).

Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ ” rebounds 5-4 on the Hot 100, after reaching No. 3; The Weeknd and Ariana Grande’s “Die for You” lifts 6-5, following a week at No. 1 in March; and PinkPantheress and Ice Spice’s “Boy’s a Liar, Pt. 2” pushes 7-6, after hitting No. 3.

Rema and Selena Gomez’s “Calm Down” climbs 8-7 for a new Hot 100 high. It tops the Billboard U.S. Afrobeats Songs chart for a 32nd week, extending the longest command since the list began a year ago (in partnership with music festival and global brand Afro Nation).

Taylor Swift’s “Anti-Hero” reverses course, 9-8, on the Hot 100, following a personal-best eight weeks at No. 1 in November-January. It has spent 23 weeks in the top 10 – one week shy of Swift’s longest stay in the region, set by “Shake It Off” in 2014-15.

Coi Leray’s “Players” rises 10-9 on the Hot 100, returning to its best rank, as it leads the multi-metric Hot Rap Songs chart for a fourth week.

Rounding out the Hot 100’s top 10, Bailey Zimmerman’s “Rock and a Hard Place” re-enters the tier, up 13-10, revisiting its best rank first reached two weeks earlier. As previously reported, the songs tops Country Airplay for a third week.

Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated April 15), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (April 11).

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

Sire Records, which Seymour Stein co-founded with Richard Gottehrer in 1967 as an independent label before it joined with Warner Bros. in 1976, has generated some of the biggest hits in Billboard Hot 100 history.

As reported April 2, Stein died at age 80. His legendary career began as an intern in Billboard’s New York offices, where, after school, he helped found the Hot 100. “The industry was looking for was a hotter, quicker way of getting chart information,” he recalled to Billboard in 2015. “I was just 16. From the time I was 9 years old, I knew I wanted to be in the music business.”

In honor of Stein’s legacy, Billboard has compiled Sire’s top 50 Hot 100 hits all-time, below.

Madonna is the queen of the recap, with 29 of the 50 songs, including nine of the top 10 and 20 of the top 25.

Of bringing Madonna to Sire, Stein said, “I signed her because I believed in Mark Kamins, who I thought was the greatest DJ, and he wanted to be a producer. So, I gave him some money to bring me an artist, and the third or fourth thing he brought me was Madonna. I was very involved in the beginning. Then I realized, ‘This woman is smarter than all of us. Just get out of her way.’”

“Seymour Stein Has Left Us! I need to catch my breath. He Was one of the most influential Men in my Life!! He changed and Shaped my world,” Madonna wrote in an Instagram post April 3, featuring a screenshot from her 1992 “Deeper and Deeper” video, in which Stein made a cameo.

“Not only did Seymour hear me but he Saw me and my Potential! For this I will be eternally grateful!,” she shared. “I am weeping as I write this down. Words cannot describe how I felt at this moment after years of grinding and being broke and getting every door slammed in my face. Anyone who knew Seymour knew about his passion for music and his impeccable taste. He had an Ear like no other!”

Among other acts on the retrospective below: Pretenders, Depeche Mode, Talking Heads, Erasure, Seal and the late Tommy Page, the latter of whom also worked at Billboard, as publisher in the early 2010s, and presented Stein with the first Billboard Industry Icon Award in 2012. (Wrote Stein in tribute in 2017, “One thing nearly everyone who knew him said about Tommy was that he made them feel special, that they were the only person in the room, and that’s just one reason why so many people adored him.”)

“We are so sorry to hear about the passing of legendary US music guru Seymour Stein, who was such a huge part of Erasure’s US success,” Erasure posted on its social media accounts April 3.

“Talking Heads are deeply saddened to learn that Seymour Stein has died,” the band wrote on Instagram April 3. “He was our champion. He fought bravely for us and he remained loyal to us until the end. Some people can spot a diamond in the rough and Seymour was one of them. He offered us a record deal after seeing us only one time at CBGB, before even we felt we were ready. He waited impatiently for eighteen months until we finally said yes to his offer.

“To hear him sing one of our own songs to us while barreling down Broadway in a Checker cab was one of our life’s great delights. We say this with respect to his beautiful daughter Mandy and to all of the Sire Records family. He was a mensch that we and the music business will never forget.”

Sire Records’ Top 50 Hot 100 Hits:

Rank, Title, Artist, Label Listing / Peak Pos., Date:

1, “Like a Virgin,” Madonna, Sire/Warner Bros. / No. 1 (six weeks), 12/22/19842, “Vogue,” Madonna, Sire/Warner Bros. / No. 1 (three weeks), 5/19/19903, “Take a Bow,” Madonna, Maverick/Sire/Warner Bros. / No. 1 (seven weeks), 2/25/19954, “Kiss From a Rose,” Seal, ZTT/Sire/Warner Bros. / No. 1 (one week), 8/26/19955, “Justify My Love,” Madonna, Sire/Warner Bros. / No. 1 (two weeks), 1/5/19916, “Like a Prayer,” Madonna, Sire/Warner Bros. / No. 1 (three weeks), 4/22/19897, “Papa Don’t Preach,” Madonna, Sire/Warner Bros. / No. 1 (two weeks), 8/16/19868, “Live To Tell,” Madonna, Sire/Warner Bros. / No. 1 (one week), 6/7/19869, “Pop Muzik,” M, Sire/Warner Bros. / No. 1 (one week), 11/3/197910, “Open Your Heart,” Madonna, Sire/Warner Bros. / No. 1 (one week), 2/7/1987

11, “Who’s That Girl,” Madonna, Sire/Warner Bros. / No. 1 (one week), 8/22/198712, “Material Girl,” Madonna, Sire/Warner Bros. / No. 2, 3/23/198513, “I’ll Be Your Everything,” Tommy Page, Sire/Warner Bros. / No. 1 (one week), 4/14/199014, “I’ll Remember,” Madonna, Maverick/Sire/Warner Bros. / No. 2, 5/28/199415, “Causing a Commotion,” Madonna, Sire/Warner Bros. / No. 2, 10/24/198716, “Express Yourself,” Madonna, Sire/Warner Bros. / No. 2, 7/15/198917, “True Blue,” Madonna, Sire/Warner Bros. / No. 3, 11/15/198618, “Cherish,” Madonna, Sire/Warner Bros. / No. 2, 10/7/198919, “La Isla Bonita,” Madonna, Sire/Warner Bros. / No. 4, 5/2/198720, “Secret,” Madonna, Maverick/Sire/Warner Bros. / No. 3, 11/5/1994

21, “Couldn’t Get It Right,” Climax Blues Band, Sire/ABC / No. 3, 5/21/197722, “Back on the Chain Gang,” Pretenders, Sire/Warner Bros. / No. 5, 3/19/198323, “Angel,” Madonna, Sire/Warner Bros. / No. 5, 6/29/198524, “This Used To Be My Playground,” Madonna, Sire/Warner Bros. / No. 1 (one week), 8/8/199225, “Dress You Up,” Madonna, Sire/Warner Bros. / No. 5, 10/5/198526, “Lucky Star,” Madonna, Sire/Warner Bros. / No. 4, 10/20/198427, “Enjoy the Silence,” Depeche Mode, Sire/Reprise / No. 8, 7/14/199028, “Tainted Love,” Soft Cell, Sire/Warner Bros. / No. 8, 7/17/198229, “Crazy,” Seal, Sire/Warner Bros. / No. 7, 9/7/199130, “Hocus Pocus,” Focus, Sire/Famous / No. 9, 6/2/1973

31, “Don’t Get Me Wrong,” Pretenders, Sire/Warner Bros. / No. 10, 12/27/198632, “Borderline,” Madonna, Sire/Warner Bros. / No. 10, 6/16/198433, “Keep It Together,” Madonna, Sire/Warner Bros. / No. 8, 3/31/199034, “Deeper and Deeper,” Madonna, Maverick/Sire/Warner Bros. / No. 7, 1/30/199335, “Burning Down the House,” Talking Heads, Sire/Warner Bros. / No. 9, 10/22/198336, “People Are People,” Depeche Mode, Sire/Warner Bros. / No. 13, 8/3/198537, “Erotica,” Madonna, Maverick/Sire/Warner Bros. / No. 3, 10/24/199238, “Chains of Love,” Erasure, Sire/Reprise / No. 12, 10/29/198839, “Brass in Pocket (I’m Special),” Pretenders, Sire/Warner Bros. / No. 14, 5/31/198040, “I’ll Stand by You,” Pretenders, Sire/Warner Bros. / No. 16, 12/3/1994

41, “A Little Respect,” Erasure, Sire/Reprise / No. 14, 3/4/198942, “Policy of Truth,” Depeche Mode, Sire/Reprise / No. 15, 10/20/199043, “Rescue Me,” Madonna, Sire/Warner Bros. / No. 9, 3/23/199144, “Hanky Panky,” Madonna, Sire/Warner Bros. / No. 10, 7/28/199045, “Holiday,” Madonna, Sire/Warner Bros. / No. 16, 1/28/198446, “Get Over Yourself,” Eden’s Crush, 143/London-Sire / No. 8, 3/31/200147, “Wild Wild Life,” Talking Heads, Sire/Warner Bros. / No. 25, 12/6/198648, “Oh Father,” Madonna, Sire/Warner Bros. / No. 20, 1/6/199049, “Middle of the Road,” Pretenders, Sire/London-Sire / No. 19, 2/11/198450, “Far Behind,” Candlebox, Maverick/Sire/Warner Bros. / No. 18, 10/1/1994

Sire Records’ Top 50 Hot 100 Hits recap is based on actual performance on the weekly Billboard Hot 100 chart. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at No. 100 earning the least. To ensure equitable representation of the biggest hits from each era, certain time frames were weighted to account for the difference between turnover rates from those years.

Miley Cyrus’ “Flowers” remains the biggest song in the world, as it scores a milestone 10th week at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts (dated April 8).
Plus, three songs make their first appearances in the tallies’ top 10: Jimin’s “Like Crazy” launches at No. 2 on both lists – marking the highest-charting hit for a BTS member solo on the Global 200 and tying for the best rank among the group’s members on Global Excl. U.S.; Yng Lvcas and Peso Pluma’s “La Bebe” leaps 20-6 on Global Excl. U.S. and 21-7 on the Global 200; and Rosalía and Rauw Alejandro’s “Beso” bounds in at Nos. 7 and 10, respectively.

The Billboard Global 200 and Billboard Global Excl. U.S. surveys, which began in September 2020, rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.

Chart ranks are based on a weighted formula incorporating official-only streams on both subscription and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

Cyrus’ Perfect 10, Three New Top 10s on Global 200

Miley Cyrus’ “Flowers” claims a 10th week at No. 1 on the Billboard Global 200, with 87.7 million streams (down 11%) and 22,000 sold (down 13%) worldwide in the March 24-30 tracking week.

“Flowers” is the fourth song since the Global 200 began to reign for double-digit weeks, joining Harry Styles’ “As It Was” (15 weeks, 2022), Mariah Carey’s “All I Want for Christmas Is You” (13 weeks, 2020-23) and The Kid LAROI and Justin Bieber’s “Stay” (11 weeks, 2021).

Jimin’s “Like Crazy” soars onto the Global 200 at No. 2, with 71.2 million streams and 86,000 sold worldwide in its first week, following its March 24 release on the BTS member’s debut solo album FACE, which enters at No. 2 on the U.S.-based Billboard 200 chart.

Jimin achieves the highest-charting Global 200 top 10 for a BTS member as a soloist, and becomes the second member of the superstar South Korean septet – joining Jung Kook – with as many as two solo top 10s; Jimin is the first to do so with both as a lead artist. A week earlier, he notched his first top 10 with “Set Me Free, Pt. 2,” also from FACE. Plus, BTS’ Jin and SUGA have hit the top 10 solo with one song apiece.

Here’s a recap of BTS members’ Global 200 top 10s apart from the group (with BTS having logged 10 top 10s on the chart):

“Like Crazy,” Jimin, No. 2 (to date), April 2023

“Set Me Free, Pt. 2,” Jimin, No. 8, April 2023

“Dreamers (Music From the FIFA World Cup Qatar 2022),” Jung Kook, No. 9, December 2022

“The Astronaut,” Jin, No. 10, November 2022

“Left and Right,” Charlie Puth feat. Jung Kook, No. 5, July 2022

“That That,” PSY feat. SUGA, No. 5, May 2022

Rounding out the Global 200’s top five, The Weeknd and Ariana Grande’s “Die for You” holds at No. 3, after reaching No. 2; Karol G and Shakira’s “TQG” falls 2-4, four weeks after it premiered on top; and SZA’s “Kill Bill” dips 4-5, following two weeks at No. 1 in January.

Yng Lvcas and Peso Pluma’s “La Bebe” bounds 21-7 on the Global 200 with 61 million streams (up 90%) and 1,000 sold (up 66%) worldwide March 24-30. The song was released by Yng Lvcas independently in December 2021; its remix with Peso Pluma arrived March 17 on Warner Latina. (All versions of the song are combined into a singular listing on Billboard’s charts.) Both artists, from Mexico, rank in the top 10 for the first time.

Also in the Global 200’s top 10, Rosalía and Rauw Alejandro’s “Beso” debuts at No. 10, with 50 million streams and 3,000 sold globally in its first frame. Rosalía, from Spain, and Alejandro, from Puerto Rico, add their third top 10 apiece on the chart.

‘Flowers’ Grows to 10th Week Atop Global Excl. U.S.

As on the Global 200, Miley Cyrus’ “Flowers” amasses a 10th week at No. 1 on the Billboard Global Excl. U.S. chart, with 67.9 million streams (down 12%) and 12,000 sold (down 13%) outside the U.S. March 24-30.

“Flowers” is the second song since Global Excl. U.S. originated to rule for at least 10 weeks, after Harry Styles’ “As It Was” (13 weeks, 2022).

Jimin’s “Like Crazy” roars onto the Global Excl. U.S. chart at No. 2, with 61.4 million streams and 48,000 sold outside the U.S. in its first week.

The song ties for the highest-charting Global Excl. U.S. hit for a BTS member solo, while Jimin matches Jung Kook for the most solo top 10s on the survey – three each – by members of the group, with Jimin the first with three as a lead artist on each song. Jin and SUGA have also reached the region apart from the group.

Here’s a rundown of BTS members’ top 10s as soloists on Global Excl. U.S. (where, as on the Global 200, BTS has collected 10 top 10s):

“Like Crazy,” Jimin, No. 2 (to date), April 2023

“Set Me Free, Pt. 2,” Jimin, No. 8, April 2023

“Vibe,” TAEYANG feat. Jimin, No. 9, January 2023

“Dreamers (Music From the FIFA World Cup Qatar 2022),” Jung Kook, No. 4, December 2022

“The Astronaut,” Jin, No. 6, November 2022

“Left and Right,” Charlie Puth feat. Jung Kook, No. 2, July 2022

“That That,” PSY feat. SUGA, No. 2, May 2022

“Stay Alive,” Jung Kook, No. 8, February 2022

Karol G and Shakira’s “TQG” retreats 2-3 on Global Excl. U.S., four weeks after it debuted at No. 1; The Weeknd and Ariana Grande’s “Die for You” slips to No. 4 from its No. 3 best; and Rema and Selena Gomez’s “Calm Down” descends 4-5, following two weeks in command in January.

Yng Lvcas and Peso Pluma’s “La Bebe” blasts 20-6 on Global Excl. U.S., led by 47.5 million streams (up 87%) outside the U.S. The acts make their initial appearances each in the top 10.

Plus, Rosalía and Rauw Alejandro’s “Beso” debuts at No. 7 on Global Excl. U.S., with 41.1 million streams and 1,000 sold outside the U.S. in its first week. Alejandro earns his fifth top 10 on the chart and Rosalía posts her fourth.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated April 8, 2023) will update on Billboard.com tomorrow (April 4). For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.