The Encanto soundtrack scores a seventh nonconsecutive week atop the Billboard 200 chart (dated March 5) – making it the album with the most weeks at No. 1 in nearly a year. The last album with more weeks at No. 1 was Morgan Wallen’s Dangerous: The Double Album, which ruled for 10 straight weeks between the Jan. 23 and March 27, 2021-dated charts.

In the last five years, only two albums have spent more weeks at No. 1 on the Billboard 200 than Encanto: Dangerous and Taylor Swift’s Folklore (eight weeks)

Encanto earned 90,000 equivalent album units in the U.S. in the week ending Feb. 24 (down 8%), according to MRC Data.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multimetric consumption as measured in equivalent album units, compiled by MRC Data. 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 March 5, 2022-dated chart will be posted in full on Billboard‘s website on March 1. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.

Of Encanto’s 90,000 equivalent album units earned, SEA units comprise 77,000 (down 7%, equaling 114.67 million on-demand official streams of the set’s songs), album sales comprise 11,000 (down 9%), and TEA units comprise 2,000 (down 15%).

Encanto is one of only five soundtracks to spend at least seven weeks at No. 1 on the Billboard 200 in the last 30 years. Before Encanto, there was Frozen (13 weeks, 2014), Titanic (16, 1998), The Lion King (10, 1994-95) and the Whitney Houston-led The Bodyguard (20, 1992-93). (Before that, the last soundtrack with at least seven weeks at No. 1 was Dirty Dancing in 1987-88, with 18.) The soundtrack – and overall album – with the most weeks at No. 1 is West Side Story, with 54 weeks atop the list in 1962-63.

Gunna’s former No. 1 DS4Ever holds at No. 2 with just over 41,000 equivalent album units earned (down 10%).

Morgan Wallen’s former No. 1 Dangerous: The Double Album is a non-mover at No. 3, collecting 41,000 equivalent album units (down 3%).

Dangerous: The Double Album has now accumulated 58 nonconsecutive weeks in the top 10 on the Billboard 200 – tying Taylor Swift’s Fearless for the most weeks in the top 10 among country albums. Fearless clocked 58 weeks in the region in 2008-10.

The Weeknd’s The Highlights bumps 5-4 with 33,000 units (down 1%), and Olivia Rodrigo’s former No. 1 Sour climbs 10-5 with 32,000 units (up 5%).

Yeat lands his first top 10 album on the Billboard 200 as 2 Alive bows at No. 6 with nearly 32,000 equivalent album units earned. SEA units comprise almost the entirety of that sum, equaling 44.81 million on-demand official streams of the set’s 20 songs. Album sales and TEA units comprise a negligible number of units.

Drake’s chart-topping Certified Lover Boy falls 4-7 with just under 32,000 equivalent album units earned (down 7%), Doja Cat’s Planet Her dips 6-8 with 28,000 units (down 8%), Eminem’s Curtain Call: The Hits slips 8-9 with 26,000 units (down 17%), and Adele’s former leader 30 falls 7-10 with 25,000 units (down 20%).

MRC Data, the independent data provider to the Billboard charts, completes an exhaustive and thorough review of all data submissions used in compiling the weekly chart rankings. MRC Data reviews and authenticates data, removing any suspicious or unverifiable activity using established criteria before final chart calculations are made and published. In partnership with Billboard, data deemed suspicious and unverifiable is disqualified prior to the final calculation.

Dr. Dre and Snoop Dogg launched the star-studded Super Bowl 2022 Halftime Show with a West Coast-themed performance of their 2000 hit “The Next Episode.”

The track peaked at No. 23 on the Billboard Hot 100 songs chart dated July 29, 2000, and it has spent 21 total weeks on the chart.

If you need a guide to follow along with Dr. Dre’s “The Next Episode,” find the lyrics below:

La-da-da-da-dah
It’s the motherf—ing D-O-double-G (Snoop Dogg)
La-da-da-da-dah
You know I’m mobbing with the D-R-E
Yeah, yeah, yeah
You know who’s back up in this motherf—er
What? What? What? What?
So blaze the weed up then (blaze it up, blaze it up)
Blaze that sh– up, n—a, yeah, ‘sup, Snoop?

Top Dogg, bite ’em all, n—a, burn the sh– up
D-P-G-C, my n—a, turn that sh– up
C-P-T, L-B-C, yeah, we hooking back up
And when they bang this in the club, baby, you got to get up
Thug n—as, drug dealers, yeah, they giving it up
Lowlife, yo’ life, boy, we living it up
Taking chances while we dancing in the party for sure
Slipped my ho a forty-four when she got in the back door
Bi—es looking at me strange, but you know I don’t care
Step up in this motherf—er just a-swinging my hair
Bi—, quit talking, Crip walk if you down with the set
Take a bullet with some di– and take this dope on this jet
Out of town, put it down for the father of rap
And if yo’ a– get cracked, bi—, shut yo’ trap
Come back, get back, that’s the part of success
If you believe in the X, you’ll be relieving your stress

La-da-da-da-dah
It’s the motherf—ing D-R-E
Dr. Dre, motherf—er (what? What? What? What?)
La-da-da-da-dah

You know I’m mobbing with the D-O-double-G
Straight off the f—ing streets of C-P-T
King of the beats, you ride to ’em in your Fleet (Fleetwood)
Or Coupe DeVille rolling on dubs
How you feel? Whoopty whoop, n—a what?
Dre and Snoop chronic’d out in the ‘llac
With D.O.C. in the back, sipping on ‘gnac (yeah)
Clip in the strap, dipping through hoods (what hood?)
Compton, Long Beach, Inglewood
South Central out to the West Side, it’s California Love
This California bud got a n—a gang of pub
I’m on one, I might bail up in the Century Club
With my jeans on, and my team strong
Get my drink on and my smoke on
Then go home with something to poke on (‘sup bi—?)
Loc, it’s on for the two-triple-oh
Coming real, it’s the next episode

Hold up, hey
For my n—as who be thinking we soft, we don’t play
We gon’ rock it ’til the wheels fall off
Hold up, hey
For my n—as who be acting too bold, take a seat
Hope you ready for the next episode
Hey-ey-ey-ey
Smoke weed every day

Lyrics licensed & provided by LyricFind

Lyrics © Sony/ATV Music Publishing LLC, Royalty Network, Warner Chappell Music, Inc.

Written by: David Axelrod, Calvin Broadus, Barry Ridgeway Bailey, Melvin Bradford, Andre Romell Young

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Green Day canceled an upcoming stadium concert in Moscow following Russia’s invasion of Ukraine, the band announced on Sunday (Feb. 27).

“With heavy hearts, in light of current events we feel it is necessary to cancel our upcoming show in Moscow at Spartak Stadium,” explained Green Day via an Instagram Story. “We are aware that this moment is not about stadium rock shows, it’s much bigger than that. But we also know that rock and roll is forever and we feel confident there will be a time and a place for us to return in the future. Refunds available at the point of purchase. Stay safe.”

Green Day had been scheduled to perform on May 29 at Spartak Stadium, which has a capacity of more than 45,000.

On Friday, AJR also canceled an upcoming concert in Moscow, originally scheduled for October 22.

“We are sad to announce that we will be cancelling our upcoming show in Russia,” the group tweeted at the time. “Thank you to our Russian fans who oppose their country’s unprovoked and criminal behavior. Our hearts are with the people of Ukraine. At this point, the best thing you can do is share ACCURATE info.”

Though few acts have officially canceled upcoming concerts in Russia so far, on Friday, the Eurovision Song Contest banned Russia from competing in 2022 after President Vladimir Putin launched a full-scale, devastating attack on Ukraine.

See Green Day’s statement on the band’s Instagram Story and their updated schedule of tour dates here. They’re currently set for some U.S. festivals before heading to Europe in June to play a number of shows.

Pearl Jam‘s Eddie Vedder, who’s back on the road after positive COVID-19 cases postponed dates on his solo tour earlier in February, says his own bout with the coronavirus was “pretty serious.”

As Ultimate Classic Rock first reported on Sunday (Feb. 27), Vedder shared his experience in front of a live audience in Los Angeles Friday night. The moment was captured on video by a fan at the show.

“I just wanted to take a quick second to look at this, because it’s very rare,” Vedder said, looking out at the crowd after his daughter Olivia performed her own song “My Father’s Daughter” onstage at L.A.’s YouTube Theater. “It’s incredible. I got the COVID right before we were supposed to start practicing, probably five, six weeks ago, and literally saw my life flash in front of my eyes.”

Vedder continued, “I wasn’t quite sure… because I’ve done some very good things for my body, and I’ve also had a lot of fun. I’ve done some things that could be … some kind of abuse, I mean, nothing really clinical,” he joked. “I won’t get into the details. Just use your imagination!”

“But it was, it felt pretty serious,” said Vedder of his illness. “And to get through that and then be back in a room like this, facing this many people facing this way, listening to us play music for you is really, truly, it’s been a gift and an honor. Thanks for listening. We’re so grateful.”

Vedder and his band the Earthlings — Chad Smith, Josh Klinghoffer, Chris Chaney, Glen Hansard and Andrew Watt — launched the tour support of Vedder’s new album, Earthling.

Listen to Vedder talk about returning to the stage after having COVID-19 in the concert clip below, and watch Olivia perform “My Father’s Daughter,” a ballad co-written by her dad and Hansard.

The postponement of the 2022 awards season influenced the look that star stylist Kate Young put together for Selena Gomez to wear at Sunday night’s Screen Actors Guild Awards.

“It feels strange to be so late and just starting [with awards season],” says Young, who did a final fitting with Gomez on Saturday afternoon, Feb. 26. “It’s been a long time for everyone, so we talked a lot about elegant opulence, the idea of something that feels glamorous and fancy. I think everyone is going to be excited about dressing up.”

The Only Murders in the Building actress, attending her first SAG Awards ceremony as part of the Hulu show’s nominated cast for outstanding performance by an ensemble in a comedy series, is wearing Oscar de la Renta to the event, a black velvet gown with puffed sleeves from the just-debuted fall/winter 2022 collection by co-creative directors Laura Kim and Fernando Garcia.

“It’s super flattering and feels very her,” notes Young, who viewed the collection prior to its Feb. 17 release via video. “There’s always that moment when someone puts on a dress and it’s immediately apparent that this is the one. The cut is fun and feels aligned with Selena’s style.”

Young and Gomez first exchanged ideas via text, then did an early fitting once it was confirmed the actress would attend the SAG Awards. “The pandemic has changed the dynamic of how stylists work with clients,” Young says. “When you’ve been on a big press run for a show or a film, by the time you get to an awards show, you’re typically seven dresses in; you’ve been talking a lot, and you’re on a wavelength. So for the SAGs, this felt like a new conversation: ‘Do you want to be this girl, or would you rather feel like this girl?’ But because she’s nominated, we also wanted it to feel a little more special.”

Gomez’s look is paired with diamonds by Bulgari, including a high-jewelry Serpenti necklace, featuring two pear-shaped brilliant emeralds and diamonds totaling 37.04 carats set in white gold, and a high-jewelry ring that highlights a 9.89-carat cushion-cut Columbian emerald set in platinum.

“We really wanted to do tons of jewelry, and [the ring] is a major emerald,” Young says. “Together with the velvet, the look feels really grand and over the top and interesting.”

Gomez’s ensemble is finished with Christian Louboutin pumps, a clean, simple design that contributes to a feeling that’s “elevated in a classic way,” Young adds.

Also counting Margot Robbie, Dakota Johnson, Michelle Williams and Sophie Turner among her clients, Young says she typically eschews the idea of asking a designer to create a fully custom gown, preferring to select either a look from a collection or to use an embroidery or other detail seen in a collection as a jumping-off point for a custom design.

“It’s not the runway sample; they made this dress custom for Selena, but it wasn’t designed for her,” explains Young of the dress which was made to perfectly fit Gomez without changing design details.

“Oscar de la Renta didn’t do a traditional runway show, but even if they had, whether people have seen a dress before doesn’t concern me. I’m not interested in asking a designer to cook up a custom dress just for the sake of doing custom; I think it’s important that dresses relate back to what’s on the runway. My job is to take the best of what’s available in the world of fashion and match it to these women.”

That’s precisely what she did for Gomez and her inaugural SAG Awards moment, Young says: “It’s the best dress on the best girl, and I think she looks really good.”

This article originally appeared on The Hollywood Reporter.

Patti LuPone will miss performances of Broadway’s Company at the Bernard B. Jacobs Theatre after testing positive for COVID-19, producers announced Sunday (Feb. 27).

The star experienced symptoms prior to the show’s Saturday matinee and took an additional test that day that returned a positive diagnosis, with another test confirming her status overnight, according to producers. She is expected to return to Company on Tuesday, March 8.

“She is home resting, and everyone wishes her a speedy recovery,” read the producers’ statement, in part. “To ensure the safety of everyone at the Jacobs Theatre, increased testing protocols were automatically triggered.”

LuPone, 72, took to Twitter on Sunday morning to confirm the news and apologize to fans for missing performances.

“Hi Dolls,” the two-time Tony winner wrote. “I showed up for Saturday’s matinee, tested positive for Covid with 3 tests. Unfortunately, I’ll be out of the show for 10 days. I’m so sorry.”

The revival of the classic Stephen Sondheim musical comedy had been scheduled to open March 22, 2020, on Sondheim’s 90th birthday, but was delayed amid the COVID-19 pandemic. Company eventually opened Dec. 9, 2021.

Starring LuPone as Joanne, the show is a transfer of the West End production that earned nine Olivier Award nominations before closing in March 2019.

This article originally appeared on The Hollywood Reporter.