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BLACKPINK’s Jennie Reaches a New Milestone on America’s Biggest Singles Chart
Jennie of BLACKPINK has made Billboard history with “Dracula,” her collaboration with Australian psychedelic pop project Tame Impala. The song has now spent 16 cumulative weeks inside the top 10 of the Billboard Hot 100, the United States music industry’s most closely watched singles ranking. The achievement marks the longest top 10 stay for a song involving a Korean artist in the chart’s history.
For American audiences, the Billboard Hot 100 is more than a popularity list. It is a weekly measurement that combines several indicators of commercial success, including streaming activity, digital sales and radio airplay. Remaining in the top 10 for multiple months is considered a major accomplishment because the chart is highly competitive and includes artists from every major genre, from pop and hip-hop to country and Latin music.
According to the latest chart dated Sept. 19, “Dracula” ranked No. 6, maintaining the same position as the previous week. The song’s highest placement was No. 5, but its ability to remain among the top-performing songs for 16 weeks has become the defining achievement. It surpassed BTS’ “Butter,” which previously held the record for a Korean artist-related song with 15 weeks in the Hot 100 top 10.
The new record places Jennie’s song ahead of several landmark K-pop achievements in the American market. BLACKPINK member Rosé’s collaboration with Bruno Mars, “APT.,” spent 14 weeks in the top 10, while BTS’ “Dynamite” remained there for 13 weeks. Psy’s “Gangnam Style,” the 2012 global phenomenon that introduced many Americans to Korean pop culture, recorded 12 weeks in the top 10.
A Cross-Cultural Collaboration That Found a Second Life
“Dracula” did not begin as a traditional K-pop release. The song was originally created by Tame Impala, the Australian music project led by musician Kevin Parker. It appeared on the group’s fifth studio album, “Deadbeat,” before Jennie joined for a remix version released in February.
The collaboration reflects a broader trend in today’s music industry: global artists increasingly build audiences through partnerships that cross language, genre and national boundaries. Rather than remaining within a single market, major releases can move between fan communities around the world through streaming platforms and social media.
In the United States, many listeners may recognize Tame Impala for its influence on modern psychedelic pop and alternative music. Jennie, meanwhile, represents the global expansion of K-pop, a Korean music industry that has developed a sophisticated international fan ecosystem built around performances, digital platforms and highly organized fan communities.
The song’s commercial path was also unusual. After the remix featuring Jennie was released, “Dracula” gained momentum through short-form video platforms. These platforms have changed the traditional life cycle of music releases. A song no longer needs to become a hit immediately after release; it can gradually gain attention months later as users create videos, challenges or other forms of online engagement.
That delayed rise helped “Dracula” climb the Billboard rankings. The song first entered the Hot 100 top 10 in May and eventually reached No. 5. Its continued presence demonstrates how digital discovery and fan-driven engagement can extend the lifespan of a track well beyond its original release period.
Radio Airplay Shows K-Pop’s Growing Acceptance in the U.S. Mainstream
One important factor behind “Dracula’s” long run has been its performance on American radio. While streaming dominates conversations about modern music consumption, radio airplay remains a significant factor in the Billboard Hot 100 formula, especially for songs seeking long-term mainstream exposure.
The song spent seven weeks at No. 1 on Billboard’s Pop Airplay chart, which measures plays on U.S. mainstream pop radio stations. It also reached No. 1 on the Adult Pop Airplay chart for six weeks, showing strong support among stations targeting a broader adult audience. On Billboard’s overall Radio Songs chart, which combines radio activity across formats, the track reached No. 2.
This radio success is notable because K-pop artists historically faced challenges gaining consistent support from American radio programmers. Earlier K-pop breakthroughs often depended heavily on dedicated fan streaming campaigns and digital sales. Over time, songs by BTS, BLACKPINK members and other Korean artists have increasingly gained exposure beyond specialized fan communities.
Jennie’s achievement also reflects the changing role of Korean artists in the U.S. music market. K-pop is no longer viewed only as a niche international category. Major Korean acts now participate in American music festivals, collaborate with Western artists and compete directly on charts alongside established U.S. performers.
Jennie’s Solo Career Expands Beyond BLACKPINK’s Global Influence
The success of “Dracula” arrives during an active period in Jennie’s solo career. After achieving worldwide recognition as a member of BLACKPINK, one of the most successful K-pop groups internationally, Jennie has continued developing her identity as an individual artist.
Her digital EP “Fallen Angel” was released recently with three tracks, including the title song, “Heaven” and “Less Than a Lover,” which was released earlier. The project represents another stage in her transition from group member to solo performer with her own musical direction.
Jennie’s global visibility has also expanded through major music festival appearances. This year, she performed at events including Governors Ball in the United States, Lollapalooza Chicago, Denmark’s Roskilde Festival, Poland’s OFF Festival and Japan’s Summer Sonic. These appearances place her within the broader international festival circuit rather than only the traditional K-pop touring market.
For many American music fans, this represents a significant shift. K-pop artists once primarily reached overseas audiences through dedicated concerts and fan events. Today, they increasingly appear in the same spaces as major Western pop, rock and electronic artists, suggesting a more integrated global music landscape.
What Jennie’s Billboard Record Means for the United States Music Market
Jennie’s record offers a snapshot of how the American music business is changing. The U.S. market remains one of the most influential in the world, but its definition of mainstream success has expanded. Songs can now achieve wide recognition through international collaborations, online communities and audiences that do not fit traditional demographic categories.
For American companies in entertainment, the rise of K-pop provides both opportunities and challenges. Record labels, streaming platforms, concert promoters and festival organizers have increasingly recognized the purchasing power and engagement of global fan communities. Korean entertainment companies have also developed models of artist branding, merchandise, fan communication and digital interaction that have attracted attention internationally.
The United States has long been an important target market for Korean entertainment. BTS became the first K-pop group to achieve major stadium success in America, while BLACKPINK has performed at some of the country’s largest music venues and festivals. Jennie’s Billboard milestone continues that broader pattern of Korean artists becoming regular participants in American pop culture rather than occasional crossover acts.
At the same time, “Dracula” highlights the importance of collaboration. The song connects a Korean performer with an Australian artist and an American chart system, illustrating how today’s music industry operates across borders. For U.S. listeners, the growth of these partnerships means more opportunities to discover artists from different cultural backgrounds through familiar platforms.
The Bigger Picture: K-Pop’s Long-Term Position in Global Pop Music
Jennie’s Billboard achievement is part of a larger evolution in the relationship between South Korea and the global entertainment industry. Over the past decade, Korean music, television and film have expanded significantly overseas. American audiences became increasingly familiar with Korean culture through K-pop groups, streaming dramas and films such as “Parasite,” which won the Academy Award for Best Picture in 2020.
K-pop’s international growth has been driven by several factors: highly trained performers, visually ambitious productions, direct engagement with fans through digital platforms and strategic global partnerships. Korean entertainment companies have built systems designed from the beginning to reach audiences outside Korea, rather than relying only on domestic success before expanding abroad.
The continuing performance of “Dracula” suggests that the American market is becoming more receptive to music created through international cooperation. The song’s success is not simply about a Korean artist entering an American chart; it reflects a music environment where cultural boundaries are increasingly flexible.
As streaming, social media and global touring continue to reshape the industry, future chart records may increasingly come from artists who move naturally between countries and audiences. Jennie’s 16-week Hot 100 top 10 run represents one milestone in that transformation, showing how Korean artists have become an established part of the worldwide pop conversation.
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