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Jimin’s “Like Crazy” blasts in at No. 1 on the Billboard Hot 100 songs chart, marking his first leader – and the first for a member of superstar South Korean pop group BTS. He’s also the first South Korean solo artist to lead the list.
The Hot 100 start for “Like Crazy” was largely driven by sales, with five versions available during the chart’s tracking week. The song was released March 24 on Jimin’s debut solo set FACE, which enters at No. 2 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 8, 2023) will update on Billboard.com tomorrow (April 4). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
Here’s a look at the Hot 100 coronation for “Like Crazy,” released on BigHit Music / Geffen / Interscope Records. The song begins as the 1,148th No. 1 since the chart originated in August 1958. It’s the 66th title to premiere at the summit.
Streams, airplay & sales: “Like Crazy” sold 254,000 song downloads and CD singles combined and drew 10 million streams and 64,000 radio airplay audience impressions in its first week (March 24-30).
The song’s original version, sung in Korean, and its English version were released March 24, while its “Deep House” and “UK Garage” mixes and an instrumental version arrived March 26, with all available in BTS’ webstore and at wide retail for 69 cents each, while a CD single of the original mix was on sale in BTS’ webstore for $1.99. (All versions roll up into one listing on Billboard’s charts.)
The sales sum for “Like Crazy” is the highest in a single week since Taylor Swift’s “Anti-Hero” sold 328,000 (Nov. 19, 2022), sparked by seven remixes released that tracking week.
“Like Crazy” debuts at No. 1 on the Digital Song Sales chart, where its Jimin’s third leader, and No. 35 on Streaming Songs, where he makes his first appearance. (Its airplay audience is the lowest for a Hot 100 No. 1 this decade, although it’s not being actively promoted to radio; still, it has received a handful of early plays on Radio Songs reporters KIIS Los Angeles, KJYO Oklahoma City, Okla., KYLD San Francisco and WSNX Grand Rapids, Mich., all of which also contribute to the Pop Airplay chart and are owned by iHeartMedia, as well as Dance/Mix Show Airplay chart panelist KNHC Seattle.)
Jimin & BTS have each hit No. 1: Jimin achieves the first Hot 100 No. 1, and No. 1 debut, for a BTS member solo, with the group – which announced a break last June – having notched six leaders, five of which debuted at No. 1.
Here’s a rundown:
Jimin, “Like Crazy,” one week at No. 1 (to-date), April 8, 2023Coldplay & BTS, “My Universe,” one to-date, Oct. 9, 2021BTS, “Permission To Dance,” one, July 24, 2021BTS, “Butter,” 10, June 5, 2021BTS, “Life Goes On,” one, Dec. 5, 2020Jawsh 685 x Jason Derulo x BTS, “Savage Love (Laxed – Siren Beat),” one, Oct. 17, 2020“Dynamite,” three weeks at No. 1, beginning Sept. 5, 2020
Jimin makes history as the first soloist to score a solo Hot 100 debut breaking out of a group that has also debuted at No. 1 on the chart. (Travis Scott has begun atop the list solo and as part of the collaboratively credited The Scotts; in addition to his own “Highest in the Room,” in October 2019, and “Franchise,” featuring Young Thug and M.I.A., in October 2020, his and Kid Cudi’s “The Scotts,” billed on the chart as by The Scotts, Travis Scott and Kid Cudi [born Scott Mescudi], opened at No. 1 in May 2020.)
Jimin and BTS, thus, join the ranks of soloists and groups each with Hot 100 No. 1s, a list most recently bolstered, before this week, when Beyoncé reigned with “Break My Soul” for two weeks last August; Destiny’s Child, with her as a member, tallied four No. 1s.
First South Korean soloist to top Hot 100: After BTS became the first all-South Korean group to lead the Hot 100, with “Dynamite,” Jimin becomes the first South Korean soloist to hit No. 1. Previously among South Korean solo artists, PSY reached a No. 2 best with “Gangnam Style” for seven weeks in 2012.
The history of Asian acts atop the Hot 100 dates back to the chart’s early years, as Japanese-born Kyu Sakamoto became the first to lead, with “Sukiyaki” for three weeks in 1963. In 2010, Far*East Movement reigned with “Like a G6,” with the act’s lineup at the time including two members of Korean heritage.
BTS members solo on the Hot 100: Jimin scores not only the first Hot 100 No. 1 by a BTS member solo, but the first top 10, or even top 20, hit on the chart. Plus, of the four solo top 40 hits by the group’s members, Jimin has two.
Here’s a recap of all 15 Hot 100 entries so far by BTS members apart from the group, ranked by peak position. All seven of the act’s members have reached the chart with solo songs: J-Hope, Jimin, Jin, Jung Kook, RM, Suga and V.
Peak Pos., Date, Artist, Title:No. 1 (one week to-date), April 8, 2023, Jimin, “Like Crazy”No. 22, July 9, 2022, Charlie Puth feat. Jung Kook, “Left and Right”No. 29, Dec. 25, 2021, Juice WRLD & Suga, “Girl of My Dreams”No. 30, April 1, 2023, Jimin, “Set Me Free, Pt. 2”No. 51, Nov. 12, 2022, Jin, “The Astronaut”No. 60, March 18, 2023, J-Hope with J. Cole, “On the Street”No. 76, Jan. 28, 2023, TAEYANG feat. Jimin, “Vibe”No. 76, June 6, 2020, Agust D (Suga’s alternate billing), “Daechwita”No. 79, Jan. 8, 2022, V, “Christmas Tree”No. 80, May 14, 2022, PSY feat. Suga, “That That”No. 81; Oct. 12, 2019, J-Hope feat. Becky G, “Chicken Noodle Soup”No. 82; July 16, 2022, J-Hope, “More”No. 83; Dec. 17, 2022, RM with Youjeen, “Wild Flower”No. 95; Feb. 26, 2022, Jung Kook, “Stay Alive”No. 96; July 30, 2022, J-Hope, “Arson”
Jimin & RM atop the Hot 100 as writers: Notably, both Jimin and RM of BTS are among the seven credited co-writers of “Like Crazy.”
Jimin earns his first Hot 100 No. 1 as a writer, while RM rings ups his fourth, following credits on BTS’ “My Universe,” “Butter” and “Life Goes On.”
A lot to ‘Like’: “Like Crazy” is the 21st Hot 100 No. 1 with the word “like” in its title. “Walk Like a Man,” by The 4 Seasons, became the first, in 1963, while, until this week, “Girls Like You,” by Maroon 5 featuring Cardi B, was the most recent, in 2018.
This might sound ‘Crazy’ …: “Like Crazy” is the sixth Hot 100 No. 1 with “crazy” in its title:
“Like Crazy,” Jimin, 2023“Crazy in Love,” Beyoncé feat. Jay-Z, 2003“She Drives Me Crazy,” Fine Young Cannibals, 1989“Crazy for You,” Madonna, 1985“Let’s Go Crazy,” Prince and the Revolution, 1984“Crazy Little Thing Called Love,” Queen, 1980
(Honorable mention: Crazy Town ruled the Hot 100 with “Butterfly” in 2001.)
Miley Cyrus’ “Flowers” drops to No. 2 on the Hot 100 after eight weeks at No. 1, starting upon its debut in January. It logs a seventh week atop the Radio Songs chart (106.9 million in audience, down 1%); rebounds 7-2 on Digital Song Sales (10,000, down 10%), which it led for five weeks; and holds at No. 4 on Streaming Songs (22.9 million, down 7%), following four frames on top.
Morgan Wallen’s “Last Night” slips 2-3 on the Hot 100, three weeks after it hit No. 1, as it tops Streaming Songs for a fourth week (35.8 million, essentially even week-over-week). It leads the Hot Country Songs chart, which uses the same methodology as the Hot 100, for an eighth week, as parent album One Thing at a Time controls the Billboard 200 for a fourth week.
SZA’s “Kill Bill” descends 3-4 on the Hot 100, following seven weeks at its No. 2 high. It tops the multi-metric Hot R&B/Hip-Hop Songs and Hot R&B Songs charts for a 15th week each.
Metro Boomin, The Weeknd and 21 Savage’s “Creepin’” retreats 4-5 on the Hot 100, after reaching No. 3; The Weeknd and Ariana Grande’s “Die for You” dips 5-6, four weeks after it reigned; and PinkPantheress and Ice Spice’s “Boy’s a Liar, Pt. 2” backtracks 6-7, after hitting No. 3.
Rema and Selena Gomez’s “Calm Down” holds at its No. 8 Hot 100 high. It tops the Billboard U.S. Afrobeats Songs chart for a 31st week, extending the longest domination since the survey began a year ago (in partnership with music festival and global brand Afro Nation).
Rounding out the Hot 100’s top 10, Taylor Swift’s “Anti-Hero” falls 7-9, following a personal-best eight weeks at No. 1 in November-January, and Coi Leray’s “Players” places at No. 10, a week after entering the tier at No. 9. “Players” leads the multi-metric Hot Rap Songs chart 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 8), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (April 4).
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.
As reported April 2, 2023, Seymour Stein, Sire Records co-founder who signed Madonna, The Ramones & other legendary artists, died at age 80. Stein began his storied career in the music industry as a teenager at Billboard, where, as an intern after school, he contributed to the founding of the Billboard Hot 100 chart. The following interview was conducted and originally published in 2015.
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“I look at my schooling as, in part, my early years at Billboard.”
That’s how Sire Records co-founder and Rock and Roll Hall of Fame enshrinee Seymour Stein, who in January 2021 oversaw the relaunch of the Blue Horizon label in partnership with Fat Possum, recalled his industry education.
That upbringing included the unveiling of the Billboard Hot 100 chart in the magazine’s Aug. 4, 1958, issue. At the time, Stein was a high school student eager to learn, and help shape, the music business, soaking up information firsthand from inside Billboard’s offices.
The Hot 100’s hot shot debut wasn’t front-page news, but it did make page two, in an editorial succinctly headlined “The Billboard Hot 100”: “On pages 36 and 37 of this issue, we are proud to present The Billboard Hot 100, the fastest, most complete and most sensitive index to the popularity of recorded music in America. This new chart feature, which each week will list the 100 most popular recorded sides, is a guide to potential, as well as the current hits.”
When the ranking premiered, ruled by Ricky Nelson’s “Poor Little Fool,” it encompassed “such factors as [radio] disc jockey plays, jukebox activity and record sales.” Today, airplay is still among the Hot 100’s data mix, with downloads continuing the form of record sales. Streaming is essentially a modern-era, digital jukebox, with clicks of a mouse having replaced the clicks of a mechanical arm selecting and dropping a 45 perfectly into place.
At the heart of the Hot 100’s launch was then-head of charts Tom Noonan, along with music-radio-TV editor Paul Ackerman and Stein. “Tom and Paul were great mentors to me,” says Stein. “It was such an honor when Tom asked me to help start the Hot 100.”
Similar to today, as Billboard wrote in its story unwrapping the first Hot 100, “Data is obtained and tabulated right up to deadline time” (with Luminate data figures having fueled the chart since 1991, and multiple streaming sources having joined in recent years). “Weighted factors in the carefully-designed formula result [in] the fastest and most complete guide to the national popularity of records.”
While the Hot 100 marks over six decades as the chronicle of American hits, Stein’s legacy has likewise become legendary. Sire’s first signee? Steven Tallarico. Then in a band called Chain Reaction, he’d change his name to Steven Tyler as frontman for Aerosmith. In 1975, Sire signed the Ramones and Talking Heads. The Pretenders followed in 1980 and Madonna in 1982. (“I realized, ‘This woman is smarter than all of us. Just get out of her way,’” Stein said of Madonna in 2012.) Other acts Sire signed in that formative era: Depeche Mode, The Cure, The Smiths and Ice-T.
In 2005, Stein was inducted into the Rock and Roll Hall of Fame, in its lifetime-achievement category. In 2012, he was honored as Billboard’s first Icon Award recipient, presented to him at the annual MIDEM industry gathering in Cannes, France.
Here, in Stein’s words (from an interview first published in 2015), is his recollection of how the Hot 100 originated, how it helped speed up the measurement of hits, thanks to the inclusion of radio airplay data, and the story of how the chart’s name was (possibly) chosen.
On the need for a then-new chart: “Back in the day, before the Hot 100, there were many different charts in Billboard reflecting the success of singles in the marketplace [including] Best-Selling Pop Singles in Stores, Jukebox Favorites, Most-Heard on the Radio and Sheet Music.
“Then, there was an overall chart which was called the Honor Roll of Hits. This was a [composition, not singles] chart, because back in those days, there were multiple versions of just about every song. Sometimes three or four or more were successful, like in the case of ‘Unchained Melody.’ To show the strength of the song, the Honor Roll of Hits would list the points of all versions to obtain a position.
“Back then, jukebox sales were enormous. If a hot artist, like Perry Como, Patti Page or Nat ‘King’ Cole, with a successful track record put out a new single, record stores knew how to order based on their recent sales. But, in the case of new artists, and there were a lot of them in those early days of rock & roll, stores had no way of being guided. More urgently, jukebox operators needed to know quickly to get these new records into their machines.
“It was the jukeboxes, in particular, that first instigated the need for a faster way of making the charts. Fortunately, this was around the same time as the dawn of top 40 radio, and the Hot 100 used radio playlists from across the country weighted by the size of the market to help compile this new chart.
“It wasn’t entirely error-free or 100 percent accurate; remember, this was [1958]. I was just 16, working at Billboard after school. From the time I was 9 years old, I knew I wanted to be in the music business.”
On Billboard’s editorial impact: “As important as the charts were, the Billboard review sessions that picked spotlight winners of the week were even more important. If a record was accorded a spotlight review, it could stir the sales upwards of 75,000 copies by jukebox operators alone in the first week. Before the Hot 100, the charts were so slow, the jukebox operators couldn’t wait for these records to prove themselves and had to go by the reviews in Billboard.
“Paul Ackerman invited me to attend these music review sessions on Wednesday nights and even provided me with a due-bill to stay at one of the hotels close to the Billboard offices and that way I could get up and take the subway to Lafayette High School in Brooklyn. It was at these sessions that I met people like Syd Nathan of King Records, Leonard Chess, George Goldner, Lew Chudd of Imperial, Herman Lubinksy of Savoy, Don Pierce of Starday and publishers like Freddy Bienstock and Al Gallico, to name a few.”
As for the name Hot 100? “I can only imagine that what the industry was looking for was a hotter, quicker way of getting chart information. Tom [Noonan] could have come up with the name. I certainly did not. It might have been one of the reporters, or Paul Ackerman. I just don’t remember. Then we added star performers to show quick movement upward, aka, bullets.
“Reaction was, of course, positive from every corner of the music business. These were still the early days of rock & roll. Mitch Miller and Hugo Winterhalter were still the heads of A&R of Columbia and RCA Victor, the two leading majors, and rooting for rock & roll not to happen. Milt Gabler over at Decca was the first of the majors to embrace rock & roll and it was Steve Sholes at RCA who arranged to buy Elvis Presley’s contract from Sun; but not without first taking the advice of Paul Ackerman.
“Record stores certainly reacted favorably and radio stations, too.
“Through the success of the chart, more execs were drawn up to the Billboard offices, often with their artists in tow, whether it was for a story or just to say thanks for acknowledging their No. 1 position.”
Taylor Swift’s four newly released songs make impacts on Billboard’s charts dated April 1.
Swift released four tracks March 17, timed to the kick-off that night of her The Eras Tour. Among them, “All of the Girls You Loved Before” launches at No. 12 on the Billboard Hot 100, marking her 189th career entry on the chart, extending her record for the most among women.
Notably, Swift has now debuted at least one song on the Hot 100 each year since 2006, when she logged her first with “Tim McGraw,” on the chart dated that Sept. 23. Her uninterrupted 18-year run of debuts marks the longest active streak among all acts. (She made the cut in 2016 on the last day of that year: “I Don’t Wanna Live Forever [Fifty Shades Darker],” with Zayn, debuted that Dec. 31.)
Plus, Swift lifts her total to a record-extending 80 top 10s on the Digital Song Sales chart, while her “If This Was a Movie (Taylor’s Version)” premieres at No. 1 on Country Digital Song Sales. With the original having ruled in 2011, the composition is the first to have led the list via two versions.
Swift Up to 189 Hot 100 Hits
Swift’s “All of the Girls You Loved Before,” originally recorded during sessions for her 2019 album Lover, soars onto the Hot 100 at No. 12, with 15.3 million official U.S. streams, 1.2 million in airplay audience (even as it’s not being actively promoted to radio) and 17,500 sold March 17-23, according to Luminate.
Swift swells her career count to 189 Hot 100 entries.
Most Hot 100 Hits:
293, Drake
207, Glee Cast
189, Taylor Swift
184, Lil Wayne
160, Future
141, Kanye West
133, Lil Baby
125, Nicki Minaj
114, Chris Brown
109, Elvis Presley (with the legend’s career having pre-dated the Hot 100’s Aug. 4, 1958, inception)
105, Justin Bieber
105, Jay-Z
As previously reported, “Girls” also enters at No. 10 on the Billboard Global 200 chart.
Swift First to 80 Digital Song Sales Top 10s
All four newly-released Swift songs start in the top 10 of the Digital Song Sales chart.
Beyond “Girls” at No. 2, Swift debuts with “If This Was a Movie (Taylor’s Version)” (No. 4; 11,300 sold), “Safe & Sound (Taylor’s Version),” with Joy Williams and John Paul White (No. 5; 11,200 sold), and “Eyes Open (Taylor’s Version)” (No. 6; 10,900 sold).
Swift becomes the first act with as many as 80 Digital Song Sales top 10s.
Most Digital Song Sales Top 10s:
80, Taylor Swift
57, Drake
49, Nicki Minaj
42, Justin Bieber
39, Eminem
36, Lil Wayne
36, Rihanna
32, BTS
27, Kanye West
26, Ariana Grande
25, Lady Gaga
Swift’s Hit ‘Movie’ Reboot
Meanwhile, Swift’s “If This Was a Movie (Taylor’s Version)” opens at No. 1 on Country Digital Song Sales. With the original having led for a week in November 2011, the composition is the first to have topped the tally via two versions.
The re-recording is additionally Swift’s record-padding 19th Country Digital Song Sales No. 1.
Most Country Digital Song Sales No. 1s:
19, Taylor Swift
11, Luke Bryan
10, Jason Aldean
10, Kane Brown
10, Florida Georgia Line
10, Morgan Wallen
9, Carrie Underwood
8, Luke Combs
7, Blake Shelton
5, Eric Church
5, Tim McGraw
As previously reported, Coi Leray lands her first Billboard Hot 100 top 10, as “Players” jumps to No. 9 on the April 1-dated chart.
Here’s a look at the sonic and lyrical elements that have helped the song surge, as well as a notable trend that “Players” furthers among recent hip-hop hits.
Overt Retro 1980s Influence
Over the past decade, hip-hop songs with an overt retro 1980s influence have been few and far between, with only three making it into the Hot 100’s top 10 from 2013 to 2021:
Eminem’s “Berzerk” (No. 3 peak, 2013)
Rae Sremmurd’s “Black Beatles,” featuring Gucci Mane (No. 1 for seven weeks, 2016-17)
Post Malone’s “Congratulations,” featuring Quavo (No. 8, 2017)
In contrast, over just the past year, three overt retro ’80s-driven songs have hit the Hot 100’s top 10:
Latto’s “Big Energy” (No. 3, April 2022)
Nicki Minaj’s “Super Freaky Girl” (No. 1, one week, August 2022)
Coi Leray’s “Players” (No. 9, to-date, April 2023)
Honoring the Past
Notably, all three such Hot 100 top 10s over the past year revisit, and reinvent, classic hits from the early ’80s:
“Big Energy”: samples Tom Tom Club’s “Genius of Love” (a No. 31 Hot 100 hit in 1982)
“Super Freaky Girl”: samples Rick James’ “Super Freak” (No. 16, 1981)
“Players”: samples Grandmaster Flash & the Furious Five’s “The Message” (No. 62, 1982)
The above three originals also hit Nos. 2, 3 and 4, respectively, on the Hot R&B/Hip-Hop Songs chart in 1981-82.
What’s Common, and Uncommon, Among Current Hits
Digging deeper into these three most recent ’80s-influenced hip-hop hits, they share the following key commonalities, which are in line with newer hip-hop top 10s on the Hot 100:
The songs feature a combination of sung and rapped vocals.
They possess two verses and three choruses each.
All have their choruses preceding the first verse, a quality more popular in hip-hop than in pop.
In addition, the songs also share qualities that are less common in hip-hop, helping distinguish them while still fitting in among other hits. In addition to their ’80s sample-driven melodies:
They feature solo female lead vocals.
All feature a pre-chorus, which is uncommon among hip-hop top 10s.
‘Girls Is Players, Too’
Further, “Players” further stands out for its female empowerment lyrical theme, which is highly uncommon among recent Hot 100 top 10s.
David and Yael Penn are the co-founders of Hit Songs Deconstructed, which provides compositional analytics for top 10 Billboard 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.
Miley Cyrus’ “Flowers” is again the biggest song in the world, as it claims a ninth week at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts (dated April 1).
Plus, two songs debut in the Global 200’s top 10: Jimin’s “Set Me Free, Pt. 2,” at No. 8, as the solo single from the BTS member also bounds onto Global Excl. U.S. at No. 5, and Taylor Swift’s “All of the Girls You Loved Before,” at No. 10.
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 Leads Global 200, Jimin & Swift Start in Top 10
Miley Cyrus’ “Flowers” adds a ninth week at No. 1 on the Billboard Global 200, with 98.8 million streams (down 6%) and 25,000 sold (down 22%) worldwide in the March 17-23 tracking week.
Karol G and Shakira’s “TQG” rebounds 3-2 on the Global 200, three weeks after it soared in at the summit; The Weeknd and Ariana Grande’s “Die for You” dips to No. 3 from its No. 2 high; SZA’s “Kill Bill” keeps at No. 4, following two weeks on top in January; and Rema and Selena Gomez’s “Calm Down” rises 6-5, after it hit No. 3.
Jimin’s “Set Me Free, Pt. 2” blasts onto the Global 200 at No. 8, with 56 million streams and 42,000 sold worldwide in its first week, following its March 17 release.
Jimin becomes the fourth member of BTS – joining Jung Kook (two top 10s), Jin and SUGA – to have hit the Global 200’s top 10 solo. Here’s a recap of their top 10s apart from BTS (with the group having logged 10 top 10s on the chart):
“Set Me Free, Pt. 2,” Jimin, No. 8 (to-date), 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
Jimin previously hit the Global 200 outside BTS with two top 20 entries: as featured on TAEYANG’s “Vibe” (No. 12, this January) and with “With You,” with HA SUNG WOON (No. 19, May 2022).
Also in the Global 200’s top 10, Taylor Swift’s “All of the Girls You Loved Before” soars in at No. 10, with 34.2 million streams and 22,000 sold worldwide in its first frame, following its March 17 premiere as one of four songs that she released that day, timed to the kickoff that night of her The Eras Tour.
Swift achieves her 14th Global 200 top 10, the most among women since the chart began in September 2020; among all acts in that span, only Drake has more (27).
Cyrus Writes Her Name at No. 1 on Global Excl. U.S.
As on the Global 200, Miley Cyrus’ “Flowers” tallies a ninth week at No. 1 on the Billboard Global Excl. U.S. chart, with 77.4 million streams (down 3%) and 13,000 sold (down 18%) outside the U.S. March 17-23.
Karol G and Shakira’s “TQG” is steady at No. 2 on Global Excl. U.S., three weeks after it debuted on top; The Weeknd and Ariana Grande’s “Die for You” holds at its No. 3 best for a fourth week; and Rema and Selena Gomez’s “Calm Down” keeps at No. 4 following two weeks in control in January.
Plus, Jimin’s “Set Me Free, Pt. 2” jumps onto the Global Excl. U.S. chart at No. 5, with 49.7 million streams and 27,000 sold outside the U.S. in its first week.
Jimin becomes the second member of BTS to have hit the Global Excl. U.S. top 10 with multiple solo singles, joining Jung Kook, with three; Jin and SUGA have also reached the region apart from the septet. Here’s a rundown of BTS members’ top 10s as soloists on the survey (where, as on the Global 200, BTS has collected 10 top 10s):
“Set Me Free, Pt. 2,” Jimin, No. 8 (to-date), 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
Along with “Set Me Free, Pt. 2” and “Vibe,” Jimin has appeared on Global Excl. U.S with “With You,” with HA SUNG WOON (No. 14, May 2022).
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated April 1, 2023) will update on Billboard.com tomorrow (March 28). 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.
Miley Cyrus’ “Flowers” adds an eighth week at No. 1 on the Billboard Hot 100 songs chart.
Meanwhile, two acts notch their first Hot 100 top 10s: Coi Leray’s “Players” pushes 12-9 and Bailey Zimmerman’s “Rock and a Hard Place” rolls 11-10.
The Hot 100 blends all-genre U.S. streaming (official audio and official video), radio airplay and sales data. All charts (dated April 1, 2023) will update on Billboard.com tomorrow (March 28). For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram.
“Flowers,” released on Smiley Miley/Columbia Records, drew 107.9 million radio airplay audience impressions (up 1%) and 24.7 million streams (down 12%) and sold 11,000 (down 26%) March 17-23, according to Luminate.
“Flowers” claims a sixth week at No. 1 on the Radio Songs chart and falls 2-4 on Streaming Songs and 2-7 on Digital Song Sales, after it ruled the rankings for four and five weeks, respectively.
The song, from Cyrus’ new album Endless Summer Vacation, debuted at No. 1 on the Hot 100 dated Jan. 28 and spent its first six weeks on the chart at the summit; it then ranked at No. 2 for two weeks and has since logged its latest two frames on top.
Morgan Wallen’s “Last Night” holds at No. 2 on the Hot 100, two weeks after it hit No. 1, as it tops Streaming Songs for a third week (35.9 million, down 8%). It leads the Hot Country Songs chart, which uses the same methodology as the Hot 100, for a seventh week, as parent album One Thing at a Time commands the Billboard 200 for a third frame.
SZA’s “Kill Bill” keeps at No. 3 on the Hot 100 after seven weeks at its No. 2 high. It tops the multi-metric Hot R&B/Hip-Hop Songs and Hot R&B Songs charts for a 14th frame each.
Metro Boomin, The Weeknd and 21 Savage’s “Creepin’ ” rises 5-4 on the Hot 100, after reaching No. 3; The Weeknd and Ariana Grande’s “Die for You” retreats 4-5, three weeks after it reigned; PinkPantheress and Ice Spice’s “Boy’s a Liar, Pt. 2” holds at No. 6, after hitting No. 3; and Taylor Swift’s “Anti-Hero” is steady at No. 7, following a personal-best eight weeks at No. 1 in November-January.
Rema and Selena Gomez’s “Calm Down” is stationary at its No. 8 Hot 100 high and ascends to the Radio Songs top 10 (11-9; 49.6 million, up 12%). Rema achieves his first Radio Songs top 10, while Gomez earns her ninth, following “Lose You to Love Me” (No. 5, December 2019); “Back to You” (No. 5, October 2018); “It Ain’t Me,” with Kygo (No. 4, May 2017); “Hands to Myself” (No. 7, April 2016); “Same Old Love” (No. 3, January 2016); “Good for You,” featuring A$AP Rocky (No. 4, September 2015); “The Heart Wants What It Wants” (No. 9, February 2015); and “Come & Get It” (No. 6, July 2013).
The track concurrently tops the Billboard U.S. Afrobeats Songs chart for a milestone 30th week – extending the longest reign since the survey began almost a year ago (in partnership with music festival and global brand Afro Nation).
Coi Leray’s “Players” surges 12-9 on the Hot 100, with 58.5 million in airplay audience (up 11% – good for top Airplay Gainer honors), 10.5 million streams (up 3%) and 4,000 sold (up 5%).
Leray, who was born in Boston and raised in Hackensack, N.J. – and presented SZA as the 2023 Woman of the Year at the Billboard Women in Music celebration March 1 – posts her first Hot 100 top 10, following two top 40 entries: “Blick Blick!,” with Nicki Minaj (No. 37, April 2022), and “No More Parties,” featuring Lil Durk (No. 26, March 2021).
“Players” samples Grandmaster Flash’s classic “The Message,” which hit No. 4 on Hot R&B/Hip-Hop Songs (and No. 62 on the Hot 100) in 1982. “I feel like this record was to connect the new with the old,” Leray recently told Billboard. “There’s a lot of older cats and OGs … and it just feels good to bring everybody together. Whether you’re 10, 2, 80 or 30, everyone’s bopping, and those are the moments I love.”
“Players” also tops the multi-metric Hot Rap Songs chart for a second week.
Rounding out the Hot 100’s top 10, Bailey Zimmerman’s “Rock and a Hard Place” lifts 11-10 – as with Leray, becoming his first top 10 among three top 40 hits – with 35.8 million in airplay audience (essentially even week-over-week), 15.3 million streams (up 3%) and 3,000 sold (up 9%).
The track hits the top 10 in its 41st week on the Hot 100 – rewriting the record for the longest climb to the top 10 for a song by a soloist in the chart’s history. Among all acts, only Glass Animals’ “Heat Waves” took longer, reaching the tier in its 42nd week in November 2021. Now in third place overall, Zach Bryan’s “Something in the Orange,” Nat King Cole’s “The Christmas Song (Merry Christmas to You)” (both this January) and Carrie Underwood’s “Before He Cheats” (2007) all completed 38-week trips to the top 10.
As previously reported, “Rock and a Hard Place” becomes the Louisville, Ind., native’s second No. 1 on the Country Airplay chart, after “Fall in Love” led for a week in December. Notably (and unlike the far steadier climb for “Rock” on the Hot 100, where it was first driven most heavily by streaming), his three-month, three-week span between his first two Country Airplay leaders is the quickest for any act’s first two in nearly a quarter-century – since The Chicks took three months between “There’s Your Trouble” and “Wide Open Spaces” in August-November 1998.
“In my wildest dreams, I never thought I’d see my name or any of my songs on the Billboard charts, so the fact that I’ve now had two reach the No. 1 spot is mind-blowing,” Zimmerman says. “Thanks to everyone who has supported me and my music. I owe everything to y’all.”
Again, for all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram and all charts (dated April 1), including the Hot 100 in its entirety, will refresh on Billboard.com tomorrow (March 28).
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.
Miley Cyrus’ “Flowers” remains the biggest song in the world, as it scores an eighth week at No. 1 on both the Billboard Global 200 and Billboard Global Excl. U.S. charts (dated March 25).
“Flowers” is from Cyrus’s new album, Endless Summer Vacation, which debuts at No. 3 on the U.S.-based Billboard 200 chart. It’s her 14th top 10, including those under her former Disney Channel-era Hannah Montana alter ego, a run that began in 2006.
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: ‘Flowers’ Holds Atop Global 200
Cyrus’ “Flowers” claims an eighth week at No. 1 on the Billboard Global 200, with 104.6 million streams (up 7%) and 32,000 sold (up 10%) worldwide in the March 10-16 tracking week.
The song notches its eighth week of over 100 million worldwide streams. Only The Kid LAROI and Justin Bieber’s “Stay” has logged more such frames since the Global 200 started: nine, in August-October 2021.
The Weeknd and Ariana Grande’s “Die for You” is steady at its No. 2 Global 200 high; Karol G and Shakira’s “TQG” holds at No. 3 two weeks after it soared in at the summit; SZA’s “Kill Bill” keeps at No. 4, following two weeks on top in January; and PinkPantheress and Ice Spice’s “Boy’s a Liar, Pt. 2” rebounds 6-5, after hitting No. 3.
Cyrus Also No. 1 on Global Excl. U.S.
As on the Global 200, Cyrus’ “Flowers” posts an eighth week at No. 1 on the Billboard Global Excl. U.S. chart, with 79.9 million streams (up 5%) and 16,000 sold (up 1%) outside the U.S. March 10-16.
The rest of the Global Excl. U.S. top five holds in place from the week before: Karol G and Shakira’s “TQG,” at No. 2 two weeks after it premiered at the pinnacle; The Weeknd and Ariana Grande’s “Die for You,” at its No. 3 best for a third week; Rema and Selena Gomez’s “Calm Down,” at No. 4 following two weeks on top in January; and SZA’s “Kill Bill,” at No. 5 after reaching No. 2.
The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated March 25, 2023) will update on Billboard.com today (March 21). 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.
SiriusXM and Billboard are celebrating Women’s History Month with the Billboard Women of Pop 1000 Countdown.
The Billboard Women Of Pop 1000 Countdown launched on Tuesday morning (March 21) on SiriusXM’s channel 104 and will run through April 1 at 3 a.m. ET. It’s also available on-demand on the SXM App.
The feature spotlights the top 1,000 songs by women from the start of the 1970s through the end of the 2010s (encompassing the top 20 hits with female vocals each year from 1970 through 2019), as ranked by performance on the Billboard Hot 100 chart and via Billboard’s Greatest of All Time chart methodology.
The Billboard Women Of Pop 1000 Countdown spans classics from Barbra Streisand to Billie Eilish, the Carpenters to Cardi B, and Carole King to the Queens of Pop (Madonna) and Soul (Aretha Franklin) (plus “Queen of Hearts”). Other hits on the retrospective range from “Call Me” to “Call Me Maybe,” “Last Dance” to “Just Dance,” and “Love Takes Time” to “TiK ToK.”
The feature is part of SiriusXM’s She’s Got the Mic campaign, in which, every March, SiriusXM and Pandora celebrate Women’s History Month, amplifying women’s achievements and cultural and historical contributions.
For those who aren’t SiriusXM subscribers, eligible customers can get their first three months of SiriusXM streaming for free. You can click here to sign up.
The Billboard Women Of Pop 1000 Countdown marks the latest partnership between SiriusXM and Billboard. Billboard Live, hosted by Lyndsey Havens and Carl Lamarre, airs each Tuesday from 11 a.m. to 1 p.m. ET on SiriusXM’s Volume channel. Plus, the Billboard Cupid Countdown recently highlighted the legacy of love songs on the Hot 100, the Billboard Top 112 Songs of Christmas Countdown celebrated the sounds of the season and last year’s Billboard Top 500 Summer Hits recap evoked musical summer memories covering eight decades.
Additionally, SiriusXM’s Big 40 Countdown, on 80s on 8, and the Back in the Day Replay, on ’90s on 9, are based on historical weekly Hot 100 charts, while Prime Country’s Prime 30 time-travels back through Billboard’s Hot Country Songs chart.
Twenty-five years after coming up short of their ultimate goal, the ’98 Braves are scoring more wins.
Morgan Wallen’s “’98 Braves” is a bittersweet ode to Major League Baseball’s Atlanta Braves, who won 106 regular-season games in 1998 — a single-season best over the franchise’s century-and-a-half history (including its eras as the Milwaukee and Boston Braves) — but didn’t win the World Series that year. The track debuts on the March 18-dated Billboard Hot 100 at No. 27 (a fitting number when it comes to baseball).
Morgan, who co-wrote the song with John Byron, Josh Miller and Travis Wood, sings to his long-lost love, “Just like that season, girl, you and me didn’t end with a ring on a hand.”
The track also starts at No. 11 on Hot Country Songs and No. 56 on Country Airplay – where it’s one of six songs from Wallen’s new 36-cut album that, released March 3, launches as his second No. 1 on the Billboard 200 chart, with the largest streaming week ever for a country title. It also boasts the biggest week by equivalent album units for any album, among all genres, in 2023: 501,000 in the United States through March 9, according to Luminate.
Concurrently, the LP’s “Last Night” becomes Wallen’s first No. 1 on the Hot 100. He also claims five of the top 10 – becoming the first core country act to infuse half the top 10 in a single week – and sends all 36 songs on the set onto the Hot 100, rewriting the record for the most simultaneous entries in the chart’s history.
“’98 Braves” starts with 15.6 million official streams and 1,300 sold – as well as 891,000 in radio airplay audience, a notable sum given that it’s not being actively promoted by Republic/Big Loud Records to radio; the new album’s title cut is being worked to country and bounds 36-25 on the Country Airplay chart, joining “Last Night” (41-29), which is being promoted to pop and adult radio and ranks at No. 32 on Pop Airplay and No. 40 on Adult Pop Airplay.
Unsurprisingly, Atlanta’s Country Airplay reporters WKHX and WUBL are leading the way at radio on “’98 Braves.”
“We think it’s a great song,” says Mike Moore, program director of Cumulus-owned WKHX. “It talks about our hometown team and we’re about to start baseball season. What’s not to like?”
“‘’98 Braves’ hits at the heart of country music: It’s about a love that couldn’t make it through to the end, like the ’98 Braves,” muses Meg Stevens, WUBL pd and senior vp of programming for iHeartMedia Atlanta. “The song is well-crafted story with so many great lines, like, ‘If we were a team and love was a game, we’d have been the ’98 Braves.’ We’ve had great feedback. Listeners – longtime Braves fans – love Morgan. It’s a no-brainer for us.”
The song’s inherent fandom and heartbreak – The ’98 Braves swept the Chicago Cubs in the National League Division Series before falling in the NL Championship Series to San Diego (“As fate would have it, that Atlanta magic got put out by them damn Padres,” Wallen rues in it) – is authentic. Co-writer Miller “grew up in that ’90s era when they were so good and baseball was my life. Chipper Jones was my childhood hero and I always wore No. 10 playing ball because of him. I’ve got the rookie cards, the autographs, the whole nine. I believe Morgan pulls for the Braves and grew up playing ball, too.”
No surprise then that Miller, with Byron and Wood, worked his favorite player, among other ’98 Braves, into the song’s clever lyrics: “Between them Big Three pitchers, Andruw (Jones) and Chipper, it was gonna be hard to keep up with the Joneses.”
Despite a rich history of baseball hits in the musical field – Bruce Springsteen’s “Glory Days,” John Fogerty’s “Centerfield,” Alabama’s “The Cheap Seats,” Kenny Rogers’ “The Greatest” (with a shoutout to pop-rockers The Outfield) – Miller says that those weren’t his inspiration for “’98 Braves.” The team itself was – and perhaps its creation helped spark championship Atlanta magic after all.
“I think I was singing in the shower when I came up with the, ‘If we were a team, and love was a game, we’d have been the ’98 Braves’ hook,” he recalls. “I think I had just been watching a lot of Braves games and felt nostalgic. The idea kinda just fell on me. I threw it in my phone in May 2021, we wrote it in June 2021, Morgan cut it soon after – and the Braves won their first World Series in 25 years after that.” (“Sidenote,” Miller shares, “I was able to take my dad to game five.”)
Miller – who also co-penned Bebe Rexha and Florida Georgia Line’s “Meant To Be,” which notched a record 50 weeks at No. 1 on Billboard’s Hot Country Songs chart – remembers that he, Byron and Wood were subsequently batting around song ideas. “When I finally got to [‘’98 Braves’] in my phone,” he says, they “were both like, ‘Yep, that’s what we’re doing.’ I definitely wrote it on the right day with the right guys. They’re a couple of my favorites and handled that idea with care.”
Also fans of the song? The ’23 Braves.
Despite its journey-is-the-destination theme – and since the Braves are only a year removed from winning it all (as they did in Atlanta in 1995, adding to World Series titles won in Milwaukee in 1957 and Boston in 1914) – the song seems a strong bet to be in the lineup when Wallen’s One Night at a Time World Tour, set to run through Oct. 7 (four days after MLB’s postseason is scheduled to begin), hits the home of the Braves June 2.
“It’s incredibly cool to have a chart hit written about the Braves,” says Derek Schiller, Atlanta Braves president and CEO. “We are looking forward to hearing Morgan Wallen play it live when his tour comes to Truist Park.”
Morgan Wallen triples up at No. 1 on the Billboard Artist 100, Billboard Hot 100 and Billboard 200 charts (dated March 18), ruling as the top musical act with both the No. 1 song and album in the United States for the first time.
Released on March 3, Wallen’s 36-track album One Thing at a Time launches as his second No. 1 on the Billboard 200, with the largest streaming week ever for a country album, as well as the biggest week by equivalent album units (501,000 from March 3-9, according to Luminate) for any album, among all genres, in 2023.
Meanwhile, the LP’s “Last Night” becomes Wallen’s first No. 1 on the Hot 100. He also claims five of the chart’s top 10, becoming the first core country act with half the tier in a single week. Three cuts reach the region for the first time: “Thought You Should Know,” up 13-7; “Thinkin’ Bout Me,” new at No. 9; and the set’s title track, which charges 51-10. They join “Last Night” and “You Proof,” Wallen’s former top five hit which rebounds 21-8.
Additionally, Wallen rewrites the record for the most songs simultaneously charted on the Hot 100, as he sends 36 songs onto the survey – the entirety of One Thing at a Time. Of those 36 songs, 27 are debuts, also a new one-week record.
As Wallen rules the Artist 100 for an eighth total week, he becomes the 14th artist, and first core country act, to triple up at No. 1 on the Artist 100, Hot 100 and Billboard 200 charts simultaneously. The last artist to accomplish the feat was Taylor Swift in December, when Midnights and “Anti-Hero” led the Billboard 200 and Hot 100, respectively.
Most Weeks Simultaneously Leading the Artist 100, Hot 100 & Billboard 200 Charts:16, Drake15, Taylor Swift9, Adele5, The Weeknd2, Ariana Grande2, Ed Sheeran2, Harry Styles1, Beyoncé1, Justin Bieber1, BTS1, Camila Cabello1, Future1, Kendrick Lamar1, Morgan Wallen
The Artist 100 measures artist activity across key metrics of music consumption, blending album and track sales, radio airplay and streaming to provide a weekly multi-dimensional ranking of artist popularity.
In other highlights on the latest Artist 100, two acts re-enter the chart and score their first appearances in the top 10: Kali Uchis, at No. 6, as Red Moon in Venus becomes her first top 10 on the Billboard 200, arriving at No. 4, and De La Soul, as the hip-hop pioneers return at No. 10, led by their No. 15 Billboard 200 re-entry for 3 Feet High and Rising (as the set surpasses its prior No. 24 peak in 1989), after the act’s catalog became available on streaming and digital retail platforms for the first time.
