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With the newly released version of ATEEZ’s No. 1 single “Work” poised to make crossover impact for the K-pop group via the all-English remix featuring G-Eazy, the rapper’s verses have also sparked speculation among fans online that he used the track to take a jab at his ex-girlfriend, Halsey.
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Released Friday, Aug. 9, the “Part 4” remix of “Work,” which topped World Digital Song Sales in June for ATEEZ’s first chart-topper on the ranking, features G-Eazy delivering a verse that has fans talking: “Actin’ innocent, no, it’s not your first time/We’re far away if Libra is her sign/ Oof, danger, danger (Danger, danger)/Don’t be a stranger (Don’t be a stranger)/ She said no one can save her.”
This particular line has drawn attention due to Halsey’s Sept. 29 birthday, making her a Libra and leading to widespread speculation that the lyrics could be a thinly veiled reference to his experiences and their past relationship. The stars were in a highly publicized relationship from 2017 to 2018 before an abrupt breakup in July 2018. While neither has spoken up directly about what ended their time together, both artists have released music that fans believe alludes to their breakup. Halsey has also previously mentioned being in an “abusive relationship,” though she has never explicitly confirmed if G-Eazy was involved.
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After the collaboration’s release, one user on X (formerly known as Twitter) wrote that they “got weirded out when he sings that [because] I immediately remember Halsey…this is ATEEZ’s song why tf did u make it about u.” One X user added, “A collab of all things to make a little diss at your ex,” with another saying, “G-Eazy shading Halsey in a K-pop collab…this was not on my bingo list AT ALL.”
As some fans have noted, the particular lyrics in G-Eazy’s verse stand out against the backdrop of ATEEZ’s original message in “Work,” which is about focusing in on pushing toward your goals and achieving success. One fan on X wrote, “We’re talking about clocking in and he’s over here harassing his ex.”
Indeed, the K-pop group sings about the hustle in lines like, “I like to party when it’s a party/That’s payin’ me to pull up” and the addictive chorus of “Gotta work, gotta work / Gotta make that money, make purse.” G-Eazy later adds, “Work, flex, work, flex, always in the lab/ How I earn checks/ Hundred thousand dollars for a verse, yes/Wouldn’t lift a finger if it were less.”
The collaboration comes after ATEEZ’s established admiration for Halsey. The K-pop group’s fans, known as ANTINY, know the members frequently share music recommendations: Both Wooyoung and Jongho have shared their fondness for “Boy With Luv,” her hit collaboration with BTS, Yeosang has recommended Halsey’s chart-topping Billboard Hot 100 hit “Closer” with The Chainsmokers to fans. Mingi has also praised G-Eazy’s work, notably his Hot 100 hit “Me, Myself & I” featuring Bebe Rexha, and previously recommended Calvin Harris’ Funk Wav Bounces Vol. 2 album, where Halsey features on two tracks.
Representatives for G-Eazy nor ATEEZ did not return Billboard‘s request for comment at press time.
Even if the potential diss has dominated most of the conversation, it’s important to recognize the latest steps in ATEEZ’s barrier-breaking 2024 that includes multiple “Work” remixes, being named an “Up Next” star in Variety’s Young Hollywood Impact Report, and the ongoing [Towards the Light : Will to Power] in North America arena and stadium tour that just took over New York’s CitiField on Saturday, Aug. 2. This year has also been momentous for G-Eazy with the June 21 release of his seventh studio album, Freak Show, marking his first full-length project in nearly three years, which precedes a world tour hitting North America, Europe, Australia and New Zealand through this and next year.
Listen to Part 4 of ATEEZ’s “Work” with G-Eazy below:
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BTS‘ Suga has apologized to fans after revealing that he was charged with a driving under the influence charge while riding his electric scooter. The 31-year-old K-pop star wrote a lengthy X post describing the situation in which he expressed his regret over the incident. “I am deeply sorry and deeply sorry to have to […]
It’s official! LISA and Rosalía’s collaboration, “New Woman,” is arriving this month. The superstar duo took to Instagram to share the fun cover art for the track, featuring the two singers sitting in lawn chairs with racetrack-inspired outfits. The caption indicates that the song will be arriving on August 15 at 8 p.m. ET/5 p.m. […]
BTS‘ Jimin dropped a live video for a pair of songs from his MUSE solo album on Sunday (August 4), including a version of “Slow Dance” featuring a guest appearance from that track’s feature singer, Sofia Carson. In the first half of the six-plus minute clip, Jimin rides his falsetto to the top of a […]
RIIZE are heading to the big screen. The K-pop boy band’s RIIZING Day concert, which is taking place in Seoul, South Korea, on September 13, will be broadcasting live in cinemas worldwide for fans to enjoy, according to distributors Trafalgar Releasing and CJ 4DPlex and reported by NME. Fans will be able to watch the […]
In the midst of the ongoing dispute between ADOR CEO Min Hee-jin and her company’s owners at HYBE, NewJeans member Danielle has written a note of support to Min expressing her support and love for the boss she referred to as a “mother and warrior.”
According to a translation of the note posted on Instagram from Korea’s JoongAng Daily, Danielle wrote: “My beloved CEO, it’s Dani. It’s been two years already. Our CEO who really did the most, thank you so, so much. So much has happened during the short and long two years that it almost feels like we went through everything we should have in seven years. Maybe it was a sacrifice for the future.”
The letter thanked Min for “always being dedicated to the work,” while offering some kind words about the “hardships” Min has endured, travails that were not specified in the note. Back in May, a Seoul court barred HYBE from firing Min from her role as CEO of the ADOR subsidiary after an internal audit by HYBE and subsequent police report against the exec. Min was sued by BELIFT Lab in May for defamation and obstruction of business over her comments that BELIFT’s girl group ILLIT had plagiarized NewJeans.
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On July 9, Min reportedly visited the Yongsan Police Station in Seoul for questioning after HYBE reported her to authorities citing breach of trust. Then, on July 15, the HYBE Labels subsidiary Source Music — home of K-pop girl group LE SSERAFIM — sued Min for $361,000, accusing her of defamation and disruption of business in connection with comments Min made at two emotional press conferences held in April, claiming that her statements at the events damaged Le SSERAFIM. In response, Min has accused five HYBE executives of defamation and leaking private messages to the press.
In her letter to Min, Danielle continued, “You know that we’re always on your side, right? You’re my family. Whatever you choose, I want to be together with you. I want to stay by your side, even if I’m not much help. I always pray for you, support you and love you.”
NewJeans have continued to support their executive producer during the turbulent past few months, with member Minji thanking the ADOR CEO for her contributions to the group during an appearance on South Korean chart show Music Bank. “Once again, we would like to thank our CEO, whom we love and adore a lot. We love you, CEO!” Minji said at the time.
See the note from Danielle posted on Min’s Instagram below.
As early as 2019, the word “BABYMONSTER” percolated among K-pop circles once news surfaced of legendary label YG Entertainment filing a trademark for a new girl group name. But only five years later — as of April 1, 2024, to be precise — would the act say they’ve been revealed in their full, complete form.
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As YG prepared its follow-up female outfit to follow the chart-topping BLACKPINK, the seven members competing for a place in BABYMONSTER — Ruka, Pharita, Rami, Ahyeon, Rora, Asa and Chiquita — battled on the digital series Last Evaluation. Mentored and critiqued by YG founder and CEO Yang Hyun-suk plus future label mates like Jennie and Lisa of BLACKPINK, Kang Seung-yoon and Lee Seung-hoon of WINNER, and Lee Su-hyun of AKMU, the series spotlighted the septet’s monstrous talents through solo, unit and group performances that helped them quickly garner millions of YouTube subscribers and fans — including Charlie Puth, who would go on to gift a pop track for BABYMONSTER after catching Ahyeon’s take on his 2016 single “Dangerous” in a standout moment from the show.
“‘BABY’ describes our unlimited possibilities, youth, and that we’re bringing something new to the scene,” power vocalist Rami tells Billboard during a sitdown chat in Seoul. “And ‘MONSTER’ describes our monster-like skills.”
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BABYMONSTER began releasing music in late 2023 with the playful trap banger “Batter Up,” co-written by Asa, but the group was only recording as six while Ahyeon was absent over reported health issues. Yet the “pre-debut” buzz single still managed to score a Top 5 debut on Billboard‘s U.S.-based World Digital Song Sales chart while also peaking at No. 101 on the Billboard Global 200.
But when all-rounder Ahyeon returned for BABYMONSTER’s “official” debut on April 1 with the BABYMONS7ER album and its explosive, hip-hop/dance single “Sheesh,” the group soared to No. 33 on the Global 200 as the EP landed on the World Albums chart solely from a digital release. Not only did “Sheesh” mark a breakout moment for the group musically, but the septet also reimagined the hit into a “band version” to deliver a full-fledged, rock-star rendition of the track across several TV shows to share their whole, live experience — a stark difference from K-pop acts who will sometimes rely more heavily on backing tracks to prioritize choreography, fashion and visuals.
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Now, in their final “BABYMONS7ER” form, the girls are proving just how ready they are to share their skills and personalities with the world.
Just days after releasing the sophisticated synth-pop single “Forever” (which also scored them another Top 10 entry on World Digital Song Sales with less than a week to chart — a delightful surprise to the girls), a similar attitude is present at BABYMONSTER’s Billboard interview at the YG Entertainment offices.
Stretched around a long boardroom meeting table, the septet has a cool calmness about them as the members make faces at the table across one another or will give each other a thumbs up for her answer. The girls aren’t shy to make their thoughts known or get comfortable during the chat — the youngest member, Chiquita, even pulls out her tiny, personalized, and bedazzled aromatic bottle at one point and shares how she recommends it to help with headaches.
During one pause in the conversation, when the multilingual, Thailand-born Pharita looks tongue-tied and resigned over the message she’s asked to deliver to international fans, the 18-year-old apologizes as the group leaves the room. “Sorry about that,” she says in her sweet, soft tone. “I just wish I could say more of what I want to say.”
Indeed, BABYMONSTER seems to have a lot to say as they lead YG Entertainment into its next era and, perhaps, with the bold displays both on and off stage, will also usher in a more open and honest generation of K-pop. Get to know Billboard‘s latest K-Pop Rookie of the Month better below as BAEMON detailing their journey from pre-debut to standing as seven and previewing what’s to come next.
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Starting at the beginning, I remember hearing the name BABYMONSTER for a few years. Did you know this would be your group name before debuting?
RORA: Ever since Last Evaluation, we knew. We came into the project knowing that the group name was going to be BABYMONSTER. We really liked the name because we thought it was perfect for us; it describes us the best.
BABYMONSTER: Yeah, we all had good reactions.
Can everyone share their favorite BABYMONSTER song so far, to give us a sense of your personalities and music tastes?
RUKA: Up until now, we really showcased the side of us where it’s this really intense hip-hop side. And with “Forever,” we’re able to show our refreshing charms, so I’m really looking forward to [fans seeing] that.
RORA: Personally, I like “Stuck in the Middle (Remix).” We’ve been in the midst of a fan-meeting tour, so we were able to perform the song for our finale encore stage. It’s just really fun performing because it shows a lot of our vibrant and pop-y sides.
CHIQUITA: I like “Dream.” I like the song as well as the meaning of the song that starting from our training period. I always get emotional when I listen to “Dream.”
ASA: I really enjoy “Sheesh.” It was the first song that we released with all seven members and I really just like hearing the public and fans sing along to the song. It’s really fun performing it as well. That “sheesh” part is so catchy. It’s addictive.
RAMI: “Batter Up (Remix).” Out of our tracklist, I think that it’s one of the best songs to really jump around and interact with fans. We’ve been performing it during their fan meetings.
PHARITA: I like “Like That.” It’s good, easy to listen to, and quite unique for us. I don’t really know; I just love it. [Laughs]
AHYEON: I think the only song that hasn’t been mentioned yet is my favorite song, “MONSTERS (Intro).” That’s the song that can really show our potential and it makes the crowds hyped up. It makes me feel like, “Oh, I can do this. Let’s have a great stage today.”
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It’s been great watching the transition from pre-debut to your official debut with “Sheesh.” Before moving forward, what has been the difference between that period as six members and now?
PHARITA: Well, before, it was just six, and we were worried, thinking, “Oh, is this going to go well?” because everyone matters. And when she came back for “Sheesh,” we just had a huge blowup. Everyone loved the song and everyone got to see more sides of us — it just felt more complete.
Let’s also discuss your latest single, “Forever.” You announced it as a “pre-release” single. Is this a taste of an upcoming album?
RORA: It’s a retro synth song, but also a very hot and exciting song. So, I think it’s a fun song to listen to in the hot summer. And we’re having fun because we’re all running around together while performing on stage. I think you can tell from our facial expressions on stage that we’re having fun every time we perform. It also contrasts a lot with the performances of “Sheesh.”
ASA: It was really fun filming the music video too.
CHIQUITA: It’s actually a pre-release single moving towards our album. So, it’s kind of the start of a new chapter for us. So, you should also look forward to our new album which will be released, maybe, this fall?
RORA: It’s quite hard to say because nothing’s really set into stone yet, but BABYMONSTER will continue to work hard to make great music, showcase great performances and meet all of their fans all across the world. We just really want our fans and the public to stay tuned for our future music. But we’re really thankful about all the buzz regarding “Forever” so we’ll continue working really hard. We really want to bring a new concept for the next album.
BABYMONSTER is the latest group under a legendary label like YG Entertainment. Before joining, what was your knowledge or experience with YG or its artists? How was it getting advice from them on Last Evaluation?
ASA: As everyone knows, we really respect and look up to our sunbaenim [seniors]. So, we watch their performances and concerts a lot — especially with BLACKPINK. Before joining the label, some of us went to some of their concerts. As for 2NE1 and BIGBANG, we grew up listening to their songs, looking at their performances. And it’s because of YG’s distinct hip-hop vibe, that I think that’s part of the reason why we wanted to join the label.
RAMI: We frequently meet our seniors going about [the YG building] and, especially during Last Evaluation, we were able to get a lot of advice from BLACKPINK’s Lisa and Jennie, as well as WINNER and AKMU. They just tried to tell us what we need to look out for and how it is [as a performer].
RUKA: Chan-hyuk sunbaenim, from AKMU, said that when you’re performing onstage, you have to get used to making everything your own — “Make every stage your own.”
AHYEON: Also, when we meet senior artists in the practice rooms or in the building, they tell us that they’re rooting for us and to continue working hard.
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With the company’s long history, BABYMONSTER is also the first group to regularly release music in English, such as “Stuck in the Middle” and “Like That.” Was that always part of your plans?
RORA: So, rather than having a set specific plan, we just really wanted to showcase our music and the music’s messages so that they can resonate with a wider, global audience. That’s why we kind of are regularly releasing songs in English. The plan is to convey the meaning of the song to the fans around the world and make sure they know we want to communicate with our fans.
BABYMONSTER is also quite a diverse group with members representing Korea, Japan and Thailand. How did you find ways to connect? Does it feel like you’re representing a new generation of K-pop as a multicultural group?
RUKA: Especially during our trainee days, we were all very homesick — the members from Japan, Thailand, and even members here in Korea because they’re apart from their families. And as much as the whole process was difficult, we were really able to lean on each otherl, and find the support and motivation to work really hard.
RORA: It’s hard to say that we’re sort of “representing” the next generation, but we’re very thankful that people might think so. And not just in Korea, but we really want to reach everyone all across the world, all our global fans, and grow from the energy we receive from the fans as well.
Last evaluation seems difficult when cameras film such a personal experience. How were your experiences needing to go through the debut process and have it filmed?
RORA: So as much as it was a “survival program,” I think the most difficult part was the fact that we had to compete with our friends that we had trained with together for so long all running towards the same dream. But when it comes to the performances, I think we’re actually on the other side in that we were happy that everything was filmed and we could go back and reminisce to the times when we had to prepare for the stage and watch us performing.
Another great memory, I’m sure, was AHYEON’s cover of “Dangerously,” which got the attention of Charlie Puth, who eventually gifted you guys “Like That.” What was your reaction to that experience?
AHYEON: I was like so surprised that he commented on my video. I just [screen] captured it and I sent it to my family, like “That’s crazy. He commented on me.” [Laughs] And a few months later, our boss told us we were going to have a new demo from him and we all screamed like, “What?!? He gave us a demo?!?” When I told my family, they said, “Well, you’ve got to work hard now.”
But back to your music, ASA co-write and composed “Batter Up.” Will we get to see more contributions from you and the members?
ASA: I hope we can do a variety of things through music. Moving forward, we’re all planning to work hard when it comes to songwriting and producing music so that we can showcase a wider variety of our skills.
Do you have a message you’d like to share with international fans who are waiting to see you?
PHARITA: We haven’t had a chance to meet everyone yet that we want to so BABYMONSTER’s going to keep on making more music that we love and we just hope that fans can also love it. We’ll show our best side and I just hope that everyone will love it.
RORA: And I think the ultimate goal is to really just produce a lot of music and meet our global fans all across the world.
07/29/2024
The group’s latest Billboard 200 chart-topper shows SKZ’s determination towards experimentation while remaining true to their core messages.
07/29/2024
STAY have made their way to the 2024 Paris Olympics. Team Mexico’s Alexa Moreno took the mat on Sunday for the ultimate Stray Kids-themed gymnastics floor routine. In a now-viral clip, the 29-year-old athlete is seen performing a series of flips, twists and rolls to the K-pop superstars’ hits including “S-Class,” “Maniac” and “LALALALA.” It’s […]
K-pop superstars Stray Kids and Jimin make a splash atop the Billboard 200 (dated Aug. 3), as the acts’ latest albums, ATE and MUSE, debut at Nos. 1 and 2, respectively. In turn, it marks the first time the top two on the Billboard 200 are K-pop (Korean pop) albums.
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Further, ATE lands Stray Kids their fifth No. 1 in a row, making the act the first group ever to debut at No. 1 with their first five charting albums. They previously opened atop the chart with ODDINARY, MAXIDENT (both in 2022), ROCK-STAR and 5-STAR (both in 2023).
The only other artist to debut at No. 1 with its first five chart entries was rapper DMX in 1998-2003 with It’s Dark and Hell Is Hot (1998), Flesh of My Flesh Blood of My Blood (1999), …And Then There Was X (2000), The Great Depression (2001) and Grand Champ (2003).
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ATE arrives with 232,000 equivalent album units earned in the U.S. in the week ending July 25, according to Luminate. That’s the largest week of 2024 for any K-pop album, and the sixth-biggest debut for any album this year. MUSE moves in with 96,000 units, and gives BTS member Jimin his second solo album to reach No. 2 (after last year’s FACE).
Also in the top 10 of the new Billboard 200, the Twisters soundtrack debuts at No. 7 with 57,000 equivalent album units earned. The country music-heavy album is the first soundtrack to reach the top 10 in 2024, and it does so with the year’s biggest week, by units earned, for any soundtrack. Further, it’s the first country soundtrack from a theatrical film to reach the top 10 in over a decade.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Aug. 3, 2024-dated chart will be posted in full on Billboard‘s website on July 30. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of ATE’s 232,000 first-week units, album sales comprise 218,000, SEA units comprise 13,000 (equaling 19.05 million on-demand streams of the set’s songs) and TEA units comprise 1,000. With 218,000 copies sold, ATE is the top-selling album of the week, debuting at No. 1 on Top Album Sales. It also nets the largest sales week for any K-pop album this year and 2024’s second-largest sales week for any album of any genre (trailing only the 1.91-million sales debut of Taylor Swift’s The Tortured Poets Department). ATE’s sales were bolstered by its availability across 11 different CD variants, all containing collectible items like photocards, stickers and posters (some of which was randomized), including signed editions, as well as variants exclusive to Barnes & Noble, Target and Walmart.
As ATE is mostly in the Korean language, it is the 25th mostly non-English-language album to hit No. 1, and the second of 2024. On the March 9-dated chart, TWICE’s With YOU-th garnered the group its first leader when it opened at No. 1. Of the 25 mostly non-English-language albums to reach No. 1, 16 are mostly Korean, five mostly (or all) Spanish, one mostly Italian, one entirely French, and two mostly a blend of Spanish, Italian and French. Of the 25 almost all non-English-language albums to reach No. 1, 21 have topped the chart since 2018 (the year that K-pop superstars BTS scored their first of six No. 1s, with the chart’s first Korean-language No. 1s). Further, of the 16 K-pop albums that have reached No. 1, Stray Kids and BTS account for 11 (five and six, respectively).
Speaking of BTS, the group’s Jimin sees his latest solo project MUSE bow at No. 2 on the Billboard 200 with 96,000 equivalent album units earned. Of that sum, album sales comprise 74,000 (aided by its availability across nine CD variants, containing collectible posters, photocards and stickers; inclusive of exclusive editions sold at Barnes & Noble, Target and Walmart), SEA units comprise 15,000 and TEA units comprise 7,000. In 2023, Jimin’s first solo charting set, FACE, debuted and peaked at No. 2.
MUSE was preceded by the Billboard Hot 100-charting “Smeraldo Garden Marching Band” (with Loco), which debuted at No. 88 on the July 13-dated list.
Eminem’s The Death of Slim Shady (Coup de Grâce) falls to No. 3 in its second week with 79,000 equivalent album units earned (down 72%) after debuting at No. 1 a week ago. Swift’s former leader The Tortured Poets Department is a non-mover at No. 4 with 74,000 units (down 9%); Zach Bryan’s The Great American Bar Scene slips 3-5 with 71,000 (down 19%); and Morgan Wallen’s chart-topping One Thing at a Time dips 5-6 with 65,000 (down 2%).
Twisters: The Album debuts at No. 7 on the Billboard 200 with 57,000 equivalent album units earned — marking the first soundtrack the reach the top 10 in 2024 and the year’s biggest week, by units, for any soundtrack. Of that sum, SEA units comprise 40,000 (equaling 52.85 million on-demand official streams of the set’s 29 songs), album sales comprise 14,000 (it was available to purchase a digital download, CD and in three vinyl variants) and TEA units comprise 3,000.
The country music-heavy project is the companion album to the film Twisters, which blew into U.S. movie theaters on July 19. The film is a standalone sequel to 1996’s Twister, which boasted a rock-focused soundtrack (peaking at No. 28 on the Billboard 200).
The Twisters album features a wealth of new original material from country stars including Luke Combs, Jelly Roll, Miranda Lambert and Lainey Wilson, and was preceded by three charting hits on the Hot Country Songs chart (Combs’ “Ain’t No Love In Oklahoma,” Bailey Zimmerman’s “Hell or High Water” and Tyler Childers’ “Song While You’re Away”). Twenty of the album’s 29 songs appear in the movie, and over half of the album’s tracks were released over the course of the 10 weeks leading up to the set’s drop on July 19.
Twisters is the first country soundtrack to reach the top 10 since the Jan. 4, 2014-dated chart, when The Robertsons’ TV soundtrack Duck the Halls: A Robertson Family Christmas closed out its last week in the top 10, having peaked at No. 3 the previous November. As for country soundtracks to theatrical films, like Twisters, the last to reach the top 10 was Country Strong, which peaked at No. 6 on the Jan. 29, 2011, chart. The last country soundtrack from a theatrical film to debut in the top 10, like Twisters, was Hannah Montana: The Movie, which bowed at No. 2 on the April 11, 2009, chart, later reaching No. 1 on the May 2 list. (Soundtrack and country albums are defined as those that are eligible for, or have charted on, Billboard’s Soundtracks and Top Country Albums charts, respectively.)
Closing out the top 10 of the new Billboard 200 is Chappell Roan’s The Rise and Fall of a Midwest Princess (falling 7-8 with 54,000 equivalent album units; up less than 1%), Billie Eilish’s Hit Me Hard and Soft (6-9 with nearly 54,000; down 5%), and Noah Kahan’s Stick Season (holding at No. 10 with 43,000; up 10%).
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.