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Method Man Added To Ghostface Killah’s Peace & Unity Festival

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Ghostface Pride & Unity Festival

Source: K Woods Foundation / Cynamin Jones Consulting

Method Man has been added to the lineup for Ghostface Killah’s Peace & Unity Festival, taking place on Labor Day Weekend.

The veteran rapper Ghostface Killah is set to host the Peace & Unity Festival Saturday (Aug. 31), and his fellow Wu-Tang Clan member Method Man is now going to take part after being announced as a co-host to the event’s jam-packed lineup. The festival, in its second year, is organized by the non-profit K Woods Foundation and will take place at the Snug Harbor Cultural Center & Botanical Garden in Staten Island, New York.

The “Judgment Day” rapper will take the stage along with Kid Capri, Jim Jones, Juelz Santana, Smif-N-Wessun, Beanie Sigel, Freeway, Connie Diiamond, Abby Jasmine, Chey, and Freekey Zekey. The concert event will run from 1 p.m. to 8 p.m., with Ghostface Killah closing out the show with some special guests. The festival was created to foster more unity among those living on Staten Island through music. There will be numerous family-friendly activities taking place at the venue along with food vendors. Local talent showcases will also be taking place at the festival.

Part of the proceeds from the festival will go to the K Woods Foundation, created by Kareem “Kay” Woods in 2019 to serve the youth of the Park Hill neighborhood. Since its inception, the foundation has already raised funds toward breaking ground on a new playground and basketball court, with a future goal of building a community center.

“I’m so proud to see the youth in my neighborhood finally get what they deserve. A nice, clean, safe space to play and enjoy their childhood. I am so blessed to have grown up here and be in the position to come home and open up new possibilities for learning and growth for so many kids who don’t have the opportunities I did,” said Woods in a press release for the event. Tickets are still available for the Peace & Unity Festival through the Snug Harbor Cultural Center’s website as well as through Eventbrite.

Afrobeats Fresh Picks: Asake, Omah Lay, Thisizlondon, Oxlade & More

The summer may be coming to a close, but the high-profile releases from some of the giants of African music don’t appear to be slowing down at all.

Asake continues pushing his own sonic boundaries, tapping an array of international collaborators — including Travis Scott, the UK’s Stormzy, and Brazil’s Ludmilla — for his third studio album, Lungu Boy, a triumph of both expanding musical horizons and fully embracing your status as an innovator on the scene. The Nigerian hitmaker scored his first No. 1 on Billboard‘s U.S. Afrobeats Songs chart with “Active,” featuring Scott.

And renowned British-Nigerian producer London, whose artist name is Thisizlondon, has been behind some of the biggest Afrobeats hits in recent years, from Rema‘s Billboard Hot 100 No. 3 smash “Calm Down” to Ayra Starr‘s “Bloody Samaritan.” Now, he’s getting in front of them by recruiting Starr and 6LACK for his refreshing debut single “PINACOLADA,” and collaborating with Olamide and Alpha P on the latter’s “W.”

But those are just a few of the artists who have released big tracks in August. We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and find your new summer soundtrack with our Spotify playlist below.

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Asake feat. Wizkid, “MMS”  



Asake waxes philosophical on “MMS,” a highlight from Lungu Boy which stands for “Mr. Money Sound.” Asake chants “O ye ọlọun” in the chorus (meaning God understands in Yoruba) over P.Priime’s jazzy production, as he restores faith in listeners who feel overwhelmed with life’s twists and turns by reminding them about the path God has already put them on. Meanwhile, Wizkid reflects on losing himself, especially after the death of his mother last August, and finding his purpose as one of Afrobeats’ brightest stars. “As a young striving artist in Lagos, I have always been waiting for the right song, so when the opportunity came it was a no-brainer,” Asake told Apple Music about collaborating with one of his “musical inspirations.” 

JayO, “Suns Out”  



JayO reworks the “suns out, buns out” summer slogan for the hook of his latest seasonal anthem. Skittering hi-hats and hypnotic synths, courtesy of producers WHOSDAT and RZ, underline the British-Nigerian AfroR&B artist’s smooth melodies. “Suns Out” is sure to soundtrack the last day parties of the summer (ugh, don’t remind us it’s almost over).  

Efosa, “FEEL IT”  



After co-writing Darkoo’s summer smash “Favourite Girl” – which features Rema on its recent remix – British-Nigerian singer-songwriter Efosa drops his own sensual number. On “FEEL IT,” Efosa makes the case for why a woman should be with him, with his suave vocals doing most of the convincing. The drill-esque syncopated drums mimicking his heartbeat (“Do you feel it?” he repeatedly asks her) give the ballad’s woozy synths an upbeat edge. 

Omah Lay, “Moving”  



Omah Lay pursues happiness while struggling with hardships on his latest single “Moving,” from his sophomore album Clarity of Mind, which is slated for release this winter. The propulsive percussion and resonant rhythms drive the track’s sense of urgency, which reaches a fever pitch at the bridge when he chants, “You can tell that I ran out of time/ Unavailable a lot of times.” And the affecting music video gives “Moving” a more profound meaning. “I am telling the story of how illegal immigrants travel to Europe through the desert, through Sahara…. Home is really bad where we can’t stay at home,” he said in a recent Billboard News interview. “I’m telling the story of the whole world, where everybody’s looking for some place to find peace of mind, some place to just call home and feel relaxed.”   

Thisizlondon, Ayra Starr & 6LACK, “PINACOLADA”  



Thisizlondon taps frequent collaborator Ayra Starr and 6LACK for his debut single “PINACOLADA,” crafting a tantalizing concoction of Starr’s self-confident, vibrant delivery and 6LACK’s laidback R&B vocals that he’s lent to plenty of other Afropop records, like the remixes of Omah Lay’s “Damn” and Spinall and Fireboy DML’s “Sere.” “I wanted to create a vibe that captures the essence of summer — something that’s both chill and energizing,” Thisizlondon said in a press release.  

Asake feat. Ludmilla, “Whine”



Mr. Money Worldwide has finally arrived at the peak of his powers — and he’s clearly having fun. No song off his excellent new album exemplifies that better than “Whine,” in which producer Sak Pase flips Mary J. Blige’s 1992 classic “Real Love” into a joyful celebration of the ecstasies of love, and Brazilian singer Ludmilla adds a South American flair and a largely Portuguese verse to a track that is positively bursting with vibes. It’s the most euphoric track of his career so far.

Asake feat. Stormzy, “Suru”



This isn’t the first time Asake has linked up with a British rapper — and not even the only instance on this album — but this collaboration with Stormzy is a deeply emotional appreciation of how far each of them have come to reach where they are, and an acknowledgment of the sacrifices that were made by those around them along the way. It’s summed up by the first line of Asake’s hook — “My mama tell me say surulere,” surulere meaning “patience is rewarding” in Yoruba — and each of their verses, which center on their families’ role in their success. But maybe the best line is in the outro, when Stormzy acknowledges the hard work, too: “This was not a dream, it was more like a plan I believed in.”

Darkoo feat. Rema, “Favourite Girl”



We featured Darkoo’s original version of “Favourite Girl,” which featured Dess Dior, back in May. But this new remix with Rema brings the track to even greater heights, as the Afro Rave leader adds his own flavor with an exuberant verse that oozes self-confidence. The remix transforms what was already a great song into one that will fill dance floors to capacity for years to come — and is one of the best songs of the summer.

Oxlade & Fally Ipupa, “IFA”



Oxlade has always had a great ear for melody, and a talent for engaging with unexpected harmonies and layers in his vocals. “IFA” is very much in that lineage, as he croons over a laid-back Afrobeats drum pattern. But it’s the Congolese icon Fally Ipupa who comes through and takes this song to the next level, with his distinctive tenor bringing an entirely different flavor as he croons in French of a woman he would love to keep. It’s a great team-up, and a reminder that Oxlade remains one of the more creative hitmakers of his generation.

Alpha P feat. Olamide & Thisizlondon, “W”



The young Nigerian singer Alpha P taps two of the biggest names around for this wistful love song, in the YBNL chief Olamide and the in-demand producer Thisizlondon, the latter of whom crafted the perfect vibe for Alpha’s soaring melodies. And Olamide, known for so long for his hip-hop roots, perfectly meets the moment with his verse, both melodic and filled with his patented punch lines. The track is one of the best earworms of the year by far.

Young Miko Takes Over The Theater at Madison Square Garden With Surprise Guests Villano Antillano & Tokischa

Young Miko took the stage at New York’s The Theater at Madison Square Garden for two back-to-back performances on Tuesday and Wednesday (Aug. 27-28), captivating the audience with a one-and-a-half-hour show. As part of her XOXO Tour 2024 across the U.S. in support of her new album, Att., Young Miko delivered numerous highlights on her second day to her eager fans, including appearances from two special surprise guests: Villano Antillano and Tokischa.

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Dressed in a pastel-hued, shimmery BMX racing jersey set and with her brown hair slicked back, the rising hitmaker performed through her hits including “Wiggy,” “Lisa” and “Classy 101” originally featuring Feid, as well as “Fina,” originally with Bad Bunny.

The excitement peaked when Villano Antillano entered the spotlight, sending the crowd into a frenzy. Dressed in high leather boots, a black top and a thong, with her long black hair reaching her lower back, Villano exuded a fierce demeanor. The two Puerto Rican rappers teamed up to perform “Madre,” with Villano owning the catwalk across the stage, while Miko showcased some ballroom-style rave moves.

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“We have a legend in the house today, New York. She is la foking Villano, baby. Viva PR, queen!” Young Miko commanded, then turned her attention to the guest star. “You know how much I love you. This woman collaborated with me when no one knew who the hell I was. And now I have the honor to call her my sister. I adore you! Te amo, mi amor.”

Villano replied, “I love you, my love,” returning the affection.

Later in the evening, as the hard-hitting reggaetón banger Bad Gyal’s “Chulo pt. 2” started, both Miko and the audience amped up the energy. The crowd went wild as Tokischa hit the stage unexpectedly. Dressed in a short, sporty white skirt and a strapless black halter top, with her hair slicked back in a braid, the Dominican dembow rapper-singer flawlessly delivered every verse, adding some twerking with the night’s star for good measure.

The stage décor was tantalizingly playful. Miko first appeared in a setting resembling perhaps her childhood bedroom — dominated by pink, her favorite color, with a giant tamagotchi beside her on a bed. Later, the scenery shifted to a pixelated outdoor field where she sang atop a log surrounded by plants and flowers, looking exceptionally adorable. She also got naughty — at one point she made a sexual innuendo with her microphone, and briefly showed off her toned abs — sparking screams from her fans.

The Puerto Rican singer-rapper’s NYC performance not only showcased her rapidly ascending career, but also was packed with invigorating moments, including plenty of laughter. At one point, she paused to read some clever and hilarious cardboard signs brought by fans. “When I play with my kitty and think of you, I get a happy ending,” Young Miko read out loud. “I honestly love that for you. We all love a happy ending.”

Watch Young Miko perform with Villano Antillano and Tokischa below:

Chain Will Have To Wait: Dame Dash Roc-A-Fella Stake Auction Delayed Over Child Support Dispute

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Stoop Talk With Dame Dash

Dame Dash was slated to auction off his stake in Roc-A-Fella Records this Thursday (August 29), but it appears the Harlem native will maintain his one-third ownership for a bit longer. A judge ruled on Tuesday (August 27) that the auction will be delayed until next month with the price of the stake doubling to cover Dame Dash’s tax debts and child support payments.

Billboard obtained court documents that Dame Dash will not hold the auction today after U.S. District Court Judge Robert W. Lehrburger ruled on Tuesday to grant a motion that moved the timeline of the auction from August 29 to September 21. The value of Dash’s 33.3 percent Roc-A-Fella Records stake was speculated to fetch millions according to some observers and now the starting price will be higher than previously shared.

As the outlet reports, the extension was granted to determine who gets paid first from the auction proceeds. One of the bigger line items for Dash was to pay off a $823,000 judgment after a civil lawsuit filed by film producer Josh Webber over a business partnership that went awry. Further, New York City says that Dash owes $193,000 in back child support, and the state of New York says a portion of the sale should go toward paying down Dash’s $8.7 million tax debt.

Webber’s attorney, Chris Brown, filed the motion to extend the date of the sale to officially sort out the order of repayment. The asking bid for the Roc-A-Fella Records stake was previously $1.2 million but now the asking price sits at $3 million at minimum.  New York City will collect its child support payments first, then $1.7 million will go to Dash’s back taxes, and Webber will be paid third in line.

Dash has been on record saying that he will grant the buyer of the stake a bespoke Roc-A-Fella chain from the label’s heyday that would probably demand a hefty fee on the open market. It isn’t known if Dash is still offering the deal.

Photo: Source: Johnny Nunez / Getty

Nike Announces New Collab With MoMA Design Store

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Nike and MoMA Design Store

Source: Nike / NIke

A few days ago Nike surprised the sneaker world when they suddenly announced that they had entered into a new partnership with the iconic toy brand, LEGO Inc., and now, the swoosh brand is turning even more heads as they’ve just revealed that they’ll also be working with the Museum Of Modern Art’s design store on a new band of products.

Nike and MoMA Design Store

Source: Nike / NIke

Nike recently dropped the news that the company would be collaborating with the MoMA Design Store to release some exclusive co-branded merchandise. The collaboration consists of some very colorful pairs of socks. (Gotta start off small, right?) While we’re sure we’ll get some more cool MoMa x Nike apparel and maybe even sneakers at some point in the future, for now, Nike heads will have to settle for some socks like a dad getting a gift on Father’s Day from his pre-teen kids.

Still, we ain’t mad at these joints one bit.

Per Nike:

As the first product in the series, the MoMA Nike Everyday Sock displays a Swoosh and MoMA branding on the calf while incorporating unique “Just Do It” stitching at the toe. Shock-absorbing soles and a moisture-wicking upper keep athletes’ feet supported and dry, on and off the field of play.

The MoMA Nike Everyday Sock is available exclusively at United States locations of the MoMA Design Store, where all purchases support educational programs within the Museum. Additional limited-edition and co-branded Nike MoMA products will be announced at a later date.

That’s cool and all, but we want some MoMA x Nike Air Force 1s or something. Just sayin’.

Check out pics of the MoMA x Nike socks below, and let us know if you’ll be heading over to the MoMA Design Store to pick up a pair in the comments section.

Nike and MoMA Design Store

Source: Nike / NIke

Nike and MoMA Design Store

Source: Nike / NIke

Beyoncé, Foo Fighters & More: How Artist Objections to Political Song Use Are Evolving

Musicians and songwriters don’t tend to agree on much, but many of them want former president Donald Trump to stop playing their music at his political rallies and campaign events. Whether they can is a quadrennial quandary. The legal answer is yes, at least for songwriters: The big two U.S. performing rights organizations (PROs), ASCAP and BMI, require political campaigns to buy special licenses, from which rightsholders can pull specific works. (The other two, SESAC and GMR, do not issue campaign licenses but can make songs available.) But campaigns don’t always honor those requests.

The use of pop music in campaigns goes back at least a century: Franklin D. Roosevelt used “Happy Days Are Here Again” in his 1932 campaign, and Louisiana governor Jimmie Davis, also a singer, used “You Are My Sunshine,” to which he owned the copyright but did not write. Over the last decade, though, as politics has become more polarizing and pop culture has taken over life in the U.S., this has gone from a subject of occasional interest to one that gets considerable mainstream attention.

In most cases, the unauthorized use of music at a campaign event follows a sort of script: A candidate uses a song and musicians or writers have their lawyers send a cease and desist letter, partly because some campaigns will respect it but often because it’s just a good way to communicate their disapproval in public. How much do I dislike Trump? Enough to have my lawyer write a letter! Some musicians have these letters written, even though a public performance license for an event is only required for a composition, not a recording. Approval is only needed from musicians if the use of music implies an endorsement or involves video, which requires a separate synch license from a song’s publisher.

Now a few recent cases are making this issue more complicated. In mid-August, the estate of Isaac Hayes filed a lawsuit against Trump and his campaign for regularly using “Hold On, I’m Coming” as “outro” music at campaign events. (The estate is suing for copyright infringement, as well as under the Lanham Act, which would cover an implied endorsement, and there will be an emergency hearing in the case on Sept. 3.) Beyoncé has warned the Trump campaign about its use of her song “Freedom,” which has become a theme song for vice president Kamala Harris. And the Foo Fighters objected to the Trump campaign’s use of their song “My Hero” as Robert F. Kennedy Jr. took the stage to endorse Trump. (They have not sued.)

It seems like an accident of legal history that those three examples fall under the same law as playing a song during an hourlong wait for a candidate to take the stage. In the latter case, no involvement or endorsement is implied — the songs are just used as background music. These cases are different, though. The Hayes estate’s lawsuit claims Trump has used “Hold On, I’m Comin’” 134 times, often as “outro” music, which arguably makes it something of a theme. Beyoncé’s “Freedom” has become identified with the Harris campaign, which uses it with permission. And the Trump campaign used the Foo Fighters song to soundtrack a particular moment, knowing that it would spread widely on video, even though the campaign didn’t have a license for that.

These songs haven’t just been played in public — they have arguably been drafted into service for a cause the writers don’t agree with. “Hold On, I’m Comin’” has been played at Trump events both often and purposefully. Beyoncé should have the right to be identified with the candidate she wants to win. And the Foo Fighters song shows up in news coverage and online video, with the implication that Kennedy is some kind of hero for endorsing Trump.

Although we think of the use of music as a copyright issue involving a public performance, there’s more going on in all three of these cases. The current license system seems to work fine for the way campaigns use music at events in the background. But it would be nice if campaigns could agree with rightsholders, or even with one another, to get permission if a song is used in a way that will identify it with the candidate — and especially if it’s used for a moment that will be widely shared on video. This doesn’t necessarily follow legal logic, but it seems like common sense: If a campaign deliberately selects a song like “My Hero” to soundtrack a moment that is essentially designed to spread on video, doesn’t it make sense to get a video license? Who are we kidding?

Until the situation changes, creators will just keep objecting to the unauthorized use of their work — and they are starting to do so in more creative ways. The Foo Fighters have said they will donate the royalties from Trump’s use of “My Hero” to the Harris campaign. While the Hayes estate’s lawsuit goes forward, it might point out that although “Hold On, I’m Comin’” is played regularly at rallies — it was even rewritten as “Hold On! Edwin’s Coming” for the campaign of Louisiana governor Edwin Edwards — the song gets its name from what co-writer David Porter said to Hayes from the Stax Studios bathroom. If Trump isn’t using the restroom, perhaps another song might work better.

Politicians who use songs with permission also have some bragging rights. Tim Walz can say that Neil Young allowed him to use “Rockin’ in the Free Word” at the Democratic National Convention — an odd choice given the song’s sarcastic lyrics, but still great cred from a music icon. Harris can say the real “Freedom” is hers — and Beyoncé’s support with it. And we can all wait to see who Taylor Swift will endorse.

Judge Denies Keefe D’s Most Recent Bail Request In Tupac Murder Trial

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Tupac Shakur At Club Amazon

Source: Al Pereira / Getty

Keefe D will have to sit behind bars heading into trial. A judge overseeing the Tupac murder trial has rejected his most recent bail request.

As reported by Newsweek, Clark District Court Judge Carli Kierny did not approve Duane Keith “Keefe D” Davis’ plea for bond. Earlier this summer, record executive Cash “Wack 100” Jones offered to post the $750,000. On Tuesday, Aug. 27, the magistrate made it clear he has doubts why the entertainment manager would support the self-proclaimed Southside Crip shot caller during his legal troubles. “I have a sense that things are trying to be covered up,” Judge Kierny said while alluding to him having more questions than answers about where the money came from.

After his formal rejection Keefe D’s lawyer asked the court to postpone the trial date to 2025 as the state has a new discovery that his team has yet to review. “Based upon conversations with Mr. Davis there’s certain motions that he needs to file in regards to potentially dismissing the case which I will not be able to prepare until sometime in October,” Carl Arnold added.

Later in the proceedings, Keefe D claimed that two correctional officers assaulted him in his cell. The trial has been rescheduled to March 2025. You can watch footage from the court session below.

Swifties for Kamala Has Raised $144,000 for the Harris-Walz Campaign So Far

Swifties for Kamala is having anything but a cruel summer when it comes to fundraising for the Harris-Walz campaign.

According to a graphic shared by the Taylor Swift fan-led organization’s X account Thursday (Aug. 29), Swifties for Kamala has raised a total of $144,000 for the Democratic ticket so far. Just two days prior, the group held a Zoom event, with 34,000 people attending the call — including Carole King and Sen. Sen. Elizabeth Warren — resulting in 41,000 voters checking their registration as a result of the group’s efforts.

“But we were making it count …,” the group wrote, referencing a lyric from the 14-time Grammy winner’s Folklore track “The 1.” “Thank you to everyone who made our kickoff such a success!”

“We’ve seen the good we can do as a fandom and what happens when we mobilize our community,” Swifties for Kamala cofounder and executive director Irene Kim told NBC News on Wednesday. “We personally know what our values are. We also know what Taylor’s values are. She’s made them very clear to us.”

According to NBC News, a large majority of the funds raised thus far — $122,000 — was collected during the Zoom event.

Swift herself is not affiliated with Swifties for Kamala, nor has she publicly endorsed Democratic presidential nominee Kamala Harris and running mate Tim Walz despite backing Joe Biden’s 2020 White House bid — but according to the movement’s leaders, that’s not a problem. “We’re not trying to make her do anything — we do not speak for Taylor,” 29-year-old Kim explained in a recent interview with Cosmopolitan. “Our movement is about the power of our community and how we can mobilize together.”

Though the “Anti-Hero” artist is not yet among them, dozens of musicians have thrown their support behind Harris since Biden dropped out of the 2024 race and endorsed her as the Democratic nominee instead. King has been vocal about her support for the VP from the beginning, and while serving as a guest speaker on the Swifties for Kamala call, she sang a surprise cover of “Shake It Off” and encouraged those in attendance to volunteer for Harris’ campaign.

“If any of you are thinking of volunteering to be door knockers or phone callers, but you’re a little nervous about what you might say, please believe me, you will be working with an organizer who will give you steps,” she told the virtual crowd, adding that she sees Swift as her “musical and songwriting granddaughter.”

Elsewhere in the call, Warren revealed that her two favorite Taylor Swift songs are “Karma” and “All Too Well (10 Minute Version).” “What I love best about Swifties, you are resilient and you know how to take on bullies,” the politician added. “You come together hand-to-hand, friendship bracelets on your wrists and you overcome pretty much anything that life throws at you. The Kamala Harris campaign is standing up for what’s right in the face of bullies like Donald Trump.”

See Swifties for Kamala’s post below.

Billboard’s Greatest Pop Stars of the 21st Century: No. 22 — One Direction

With the first quarter of the 21st century coming to a close, Billboard is spending the next few months counting down our staff picks for the 25 greatest pop stars of the last 25 years. We’ve already named our Honorable Mentions and our No. 25No. 24 and No. 23 stars, and now we remember the century in One Direction — who helped to redefine pop music, pop stardom and pop fandom in their brief-but-dominant 2010s run, while also minting five future solo hitmakers (including one absolute superstar).

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Piles of headshots were accumulating on a table in front of The X Factor judges Simon Cowell, Nicole Scherzinger and Louis Walsh. Tasked with deciding which contestants would make it to the next round of the competition, the panel analyzed each photo – and as they sorted through the contestants, an idea started to form. “You can’t get rid of little stars, you know?” Scherzinger said. “So you put them all together.” And in a twist of fate, five journeys that were in peril merged paths to become One Direction.

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As the boys spent more time together, their roles became clearer: Liam Payne, with his standout audition, would be the leader; Louis Tomlinson’s charm would make him the lovable prankster; Niall Horan, the humble boy from Ireland would be the down-to-earth sweetheart; Zayn Malik, reserved with undeniably striking looks, would be the mysterious one; and Harry Styles, with his curly locks, dimples and wide smile, would be the heartthrob. Together, they were 1D, and they would take over the world.



One Direction’s ascent to global stardom proved that the boy band archetype could still thrive in the 21st century, albeit in a new and distinctly modern way. In just five years, 1D released five albums that brought up-tempo British pop-rock to the States and laid the foundation for today’s international pop groups. A new online community, “stan Twitter,” rallied around the group, and their superfans, called “Directioners,” helped their idols achieve astronomical mainstream success, changing fan-to-fan communication and fan-to-artist relationships forever.

Back in 2011, One Direction won the hearts of The X Factor’s U.K. audience with a mix of pop covers ranging from Coldplay’s “Viva la Vida” to Snow Patrol’s “Chasing Cars” – and even though they didn’t win the competition, they won something bigger: an already-devout fan following, and a contract with Simon Cowell’s Syco Records. Cowell moved swiftly to capitalize on One Direction’s momentum, pairing the group with established hitmakers to churn out their debut single “What Makes You Beautiful.” Savan Kotecha, whose writing credits already included songs for Britney Spears, Katy Perry and Usher, penned the track, and perfected it with the help of fellow writer Carl Falk, who would go on to write for Ariana Grande, Jason Derulo and Madonna.

“What Makes You Beautiful” was a work of bubblegum pop perfection that popped the top 40 bubble. When the track was released in the U.K. and Ireland in September of 2011, pop was dominated by EDM, turbo-pop and Young Money-style hip-hop – but managed to break through the noise and rise to the top of the charts. The single was so commercially successful that it drummed up interest overseas – by the time One Direction’s debut album Up All Night was released in the U.K. and Ireland in November of 2011, #Bring1DtoUS was trending regularly on Twitter, with fans organizing their own marketing efforts to catch the group’s attention, including flash mobs and DIY music videos combining clips from fans from all over the country.



As soon as One Direction touched down on American soil, the quintet was breaking records and taking names. “What Makes You Beautiful” was digitally released on Valentine’s Day of 2012, debuting at No. 28 on the Billboard Hot 100 and marking the biggest debut for a British act in over a decade. It peaked at No. 4 less than two months later, when Up All Night was released in the U.S. to a No. 1 bow on the Billboard 200, cementing 1D as the first U.K. group to score that achievement with a debut album. When One Direction made their first stateside TV appearance on the Today Show to promote the release of Up All Night, 15,000 fans showed up, comparable to audiences pulled by Justin Bieber and Lady Gaga. 

Straddling the line of being child-friendly, brand-safe public figures and being young men in their late teens and early twenties was critical to One Direction’s success, as the lads were ubiquitous in what seemed like every way possible. The group was booked to open for Big Time Rush, a Nickelodeon-bred boy band that was taking off in the states, on their already sold-out tour – but their presence was so overwhelming that they overshadowed their headliner, and the Up All Night Tour sold out in venues across the U.S. soon after. 

One Direction had a je ne sais quois that set them apart from other boy bands. Unlike most of their predecessors, the five members didn’t follow choreography or dress alike, but they still possessed the same level of charisma – just in different packages. Their distinct personalities shined in interviews, video diaries and Twitter Q&As, and even more so when they interacted with one another. Watching five young men come together like brothers to live out their dreams was inspiring, and their camaraderie warmed the hearts of millions. The fans treasured the group’s relationships so deeply that they declared allegiance to every possible combination of inter-band dynamics, including “Narry,” “LiLo,” and “Ziam.”

One Direction

One Direction

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Directioners wanted more – and they got what they wished for. A Pepsi Super Bowl Halftime commercial with NFL star Drew Brees aired, guest appearances on iCarly and SNL premiered on the same day in April, and the quintet took the stage at the closing ceremony of the 2012 Olympics. You couldn’t walk into a drugstore without encountering a One Direction toothbrush or turn on the radio without hearing “What Makes You Beautiful” – it was Beatlemania for the 2010s, powered by fans who were online 24/7, 365 days a year and watching their every move – literally, sometimes going as far as hacking security cameras in elevators and airports just to catch a glimpse of their favorite band. 

The release of One Direction’s sophomore album Take Me Home ushered in a new era: The set also debuted atop the Billboard 200, making One Direction the first group to best the Billboard 200 with their first two albums since American girl group Danity Kane, and the group became the first boy band in U.S. chart history to land two No. 1 albums in a calendar year. But the accolades were not as significant to the group as how the release helped them evolve their image. Each member had writing credits on this album, showing that they were involved artists who had control of the development of their music; and bolder, more blatantly suggestive lyrics on songs like “Live While We’re Young” and fan favorite “Rock Me” reminded their audience that despite their Radio Disney-friendly appeal, the members were all adults by then, ranging from 18 to 20 years old. While critics were not convinced that One Direction could shake its bubblegum pop sound, fans loved it, and the Take Me Home Tour was the band’s biggest yet, wrapped with an accompanying concert film.

With so much commercial success, nonstop touring and more, fans and critics alike began to wonder: how long can this all be sustained? Repeating the cycle of Take Me Home, One Direction released their third album Midnight Memories in November of 2013, earning their third consecutive No. 1 on the Billboard 200, and highest debut on the Hot 100 (No. 2) with accompanying lead single “Best Song Ever.” The group was making what critics would finally admit was “great rock music” – but fans and outsiders alike could sense that they were tired; this was, after all, their third No. 1 album in just over a year and a half since their U.S. debut. Still, One Direction pushed forward with the Where We Are tour, playing stadiums two years into their careers – and packing them with 3.4 million fans, while also flipping said tour into a concert film. Everything 1D touched turned to gold.



At the tail end of the tour, One Direction announced their fourth LP, Four. Their aptly named fourth studio album rollout began with “Steal My Girl,” drawing praise and comparisons to Journey. This old-school rock and alt-folk inspiration was present throughout the record, and it made 1D’s music feel more elevated than prior releases. It felt like the group had collectively matured and improved, and the set notched the group’s fourth consecutive debut at No. 1 on the Billboard 200 in November of 2014, making them the first group in history to bow atop the chart with each of its first four albums. Its most critically acclaimed album was celebrated by fans – but what those fans didn’t know was that the LP would also mark the beginning of the end.

Commercial success kept 1D booked and busy, but it couldn’t make up for the toll it had taken on the group’s wellbeing. Shortly after the start of the On The Road Again tour, Malik left for home in hopes of dealing with the stress; less than a week later, on March 25, his departure from the group was announced via Facebook. “I am leaving,” Malik shared, “because I want to be a normal 22-year-old who is able to relax and have some private time out of the spotlight.” At that moment, millions of girls around the world had their hearts broken: not only did Malik’s imminent departure become permanent, but the future of the band officially came into question. The official One Direction account followed Malik’s statement, assuring fans that the remaining four members would continue on and release their fifth studio album, but the plans felt more daunting than reassuring.

The seismic shift caused by Malik’s departure crumbled the foundation that One Direction stood upon, and their final album, Made in the A.M., would ultimately be their swan song. Its lead single “Drag Me Down” was released in July, with an uncharacteristic lack of pre-promotion – and in August, a hiatus was announced for 2016. Made in the A.M. was released in November, and while it was not as commercially successful as their past work, it didn’t matter: It was what the fans needed so that they could say a proper goodbye. “Love You Goodbye,” “History” and the album’s final track “A.M.” memorialized five years of international superstardom and closed the door on a One Direction era for the last time. 

Zayn Malik, Harry Styles and Niall Horan

Zayn Malik, Harry Styles and Niall Horan

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Freed from the obligations of being in a band, the members of One Direction explored solo ventures. They each released successful top 40 singles: Malik debuted first with “Pillowtalk,” soaring to the top of the Hot 100 in January of 2016 — higher even than 1D ever got as a quintet. Horan followed suit, releasing “This Town” in September with a No. 20 debut, and Tomlinson closed out the year by dropping “Just Hold On,” a collaboration with Steve Aoki, in December, which landed at No. 52. The remaining two members, Styles and Payne, made their solo debuts the year after: Styles’ first single “Sign of the Times” peaked at No. 4 in April of 2017, and Payne’s “Strip That Down” featuring Quavo dropped in May. Payne’s No. 10 debut with “Strip” hammered the final nail into the 1D coffin – and now that each member had their solo debut, the public would decide who would be the most successful outside of the group. 



By December 2019, four of the five former bandmates had released their debut album – all except Tomlinson, who would release his debut Walls in January 2020 – and Malik, Styles and Horan each notched No. 1 Billboard 200 debuts, showing similar promise across the group post-break up. But as Styles’ sophomore album Fine Line began to roll out, with singles like “Adore You” and “Watermelon Sugar” achieving increasingly higher levels of pop success, it was clear that his sustained stardom would be difficult for the other members to match. By the time Harry’s House was released in 2022, Styles was respected by Directioners, new fans and critics alike – so much, in fact, that Harry’s House won Album of the Year at the Grammys the following year. Still, despite Styles’ well-earned superstardom, he always pays tribute to his past, continuing to perform the song that started it all: “What Makes You Beautiful.”

One Direction’s legacy survives in both obvious and unexpected ways. The British pop invasion that the group led in the early 2010s amplified related acts like Ed Sheeran, The Wanted and Little Mix for all the world to hear, and helped bring rock-based pop music back to the mainstream – starting with 5 Seconds of Summer, the Australian band whose hitmaking career skyrocketed after opening for 1D on the Where We Are Tour. The quintet’s greatest contribution, though, was how it changed the blueprint for pop superstardom. While there is no exact formula for fame and success, the Directioners created and normalized a more intense version of “stan” culture than ever before: one that shows devotion through chronic online-ness and community building all day, every day, which has shaped entire industries like K-pop. And even though One Direction only lasted for five years as a group, the impact of its discography — ranging from enduring smashes to beloved deep cuts — continues to shape a generation of pop connoisseurs, and hold a particularly special place in the hearts of Millennials and Gen Z’ers everywhere.

Read more about the Greatest Pop Stars of the 21st Century here and check back on Tuesday when our No. 21 artist is revealed!

Kelsea Ballerini Reveals Her Dog Has Heart Cancer

Kelsea Ballerini is asking fans for prayers and good thoughts for her dog Dibs, revealing that her beloved pooch has been diagnosed with cancer.

Ballerini wrote on her Instagram Stories on Wednesday (Aug. 28), “The last few days we have discovered that dibby has inoperable cancer in his heart. He’s not in pain and luckily it hasn’t spread further.”

The singer-songwriter adopted the dog in 2015, following the breakthrough success of her debut single “Love Me Like You Mean It.” Her cherished dog shares a name with her hit song “Dibs,” which became a No. 1 Billboard Country Airplay hit in 2016.

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In her post, Ballerini also said that the dog will soon begin taking “‘big’ meds” to ensure he will “have as many comfortable and happy days (weeks, months) left s possible.”

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Ballerini had words of praise for the dog’s veterinarians, and added, “My mom is here (he stans grandma), and [Ballerini’s boyfriend] Chase is the greatest dog dad in the world. He is getting extra cuddles and kibbles from his little family.”

Ballerini, who will release her new album, Patterns, on Oct. 25, also told fans, “I feel pretty disingenuous promoting this album and tracklist reveal (which I am so, so proud of) without updating you on my sweet dibs health.” She added, “It’s a complex and emotional time. He’s been my baby and my steady for the last 9 years and very much alongside this whole journey with us all. I know so many of you care about him and are sending him prayers and love, and from my whole heart … thank you. He’s wagging his tail right now no doubt saying thank you too.”

Ballerini had previously shared days ago that Dibs was going through some hard times, with the musician sharing on Instagram that the dog had “made it through the night and is stable enough to run the tests we need to figure out our next steps.” In that same IG story, Ballerini said, “Thank you for all of the prayers and good energy. I made sure to tell him so many people love him and are thinking of him when I got to visit last night.”