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Swifties aren’t the only ones celebrating the news that Taylor Swift purchased the masters to her Big Machine albums last week. Less than a week after the singer bought back the rights to her first six studio albums from Shamrock Capitol — the private equity firm that purchased them from Scooter Braun’s Ithaca Holdings in late 2020 — for what sources told Billboard was around $360 million, her longtime boyfriend Travis Kelce weighed in on the news.
In a trailer for Wednesday’s (June 4) new episode of his New Heights podcast with brother Jason Kelce, the siblings host former NBA legend Shaquille O’Neal, who just can’t help himself when Swift’s “I Knew You Were Trouble” comes on. Playing the Red hit on his phone and mouthing along to the lyrics “Once upon a time/ A few mistakes ago/ I was in your sights/ You got me alone,” Shaq was clearly feeling the news.
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As the hardcourt legend enthusiastically lip synchs to the tune, Travis and Jason bop along and smile, with Travis matching Shaq’s hand gestures. “That’s my favorite song in the world brotha,” Shaq tells the duo. “I love it.”
Both Kelces clap and laugh at the news. “You know it,” Shaq adds. “Shout out to Tay Tay,” Travis says with a big smile on his face. “Just got that song back, too,” he adds as Jason fist-pumps and shouts “Hell yeah!”
“Just bought all her music back. So it’s finally hers too man. I appreciate that dog,” Travis tells Shaq. It was the first public comment from Travis since the news broke last week via a letter from Swift about regaining control of Taylor Swift (2006), Fearless (2008), Speak Now (2010), Red (2012), 1989 (2014) and Reputation (2017).
In her note, Swift wrote, “I almost stopped thinking it could ever happen, after 20 years of having the carrot dangled and then yanked away. But that’s all in the past now. I’ve been bursting into tears of joy at random intervals ever since I found out that this is really happening. I really get to say these words: All of the music I’ve ever made… now belongs… to me.”
While it took a few days for Kelce to weigh in, Swifties wasted no time in celebrating the news. Billboard reported that following the 11:30 a.m. ET announcement on Friday, early data showed U.S. activity around the singer’s whole catalog — her six Big Machine albums, her subsequent albums and re-recordings on Republic — jumped to averaging nearly 35,000 consumption units for that day and Saturday (May 31), a 72.3% increase from the average daily activity in the previous 12 days from an average of 20,000 units.
Watch the New Heights preview below.
Netflix has released the first official video of Lady Gaga’s spine-tingling Tudum 2025 performance — and it’s as theatrical as fans would expect from the 14-time Grammy winner.
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The newly released clip, filmed at the Kia Forum in Los Angeles on Saturday (May 31), captures a snippet of Gaga’s eight-minute Wednesday-themed set, which saw her end the set in an upright coffin emblazoned with the words “Here Lies the Monster Queen.”
Backed by Addams Family-inspired dancers, she launched into a medley that included Mayhem album standouts “Zombieboy,” “Bloody Mary” and “Abracadabra.” The performance was part of Netflix’s Tudum 2025: The Live Event, a star-studded celebration of fandom and pop culture.
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The moment came directly after Netflix premiered the first six minutes of Wednesday Season 2. During the event, the streamer also confirmed that Gaga will appear in the upcoming season as Rosaline Rotwood, a mysterious Nevermore teacher who crosses paths with Wednesday Addams (Jenna Ortega).
According to Netflix, Gaga’s character will feature in Part 2 of the new season, which premieres Sept. 3. Part 1 arrives on Aug. 6.
Wednesday is the latest acting credit for the singer, who led the films Joker: Folie à Deux, A Star Is Born and House of Gucci, and was in two seasons of FX’s American Horror Story. Gaga won an Oscar for best original song and was nominated for best actress for A Star Is Born in 2019.
Gaga’s album Mayhem, released in March, debuted at No. 1 on the Billboard 200 and has remained in the top 10 for 11 consecutive weeks.
Tudum 2025 featured an all-star lineup, with appearances from Daniel Craig, Ben Affleck, Teyana Taylor, Jenna Ortega, Mia Goth, and rapper Hanumankind, alongside previews for Frankenstein, Happy Gilmore 2, Squid Game, Wake Up Dead Man: A Knives Out Mystery and more.
Lady Gaga’s full performance is now available to watch via Netflix.
British singer Jessie J has revealed that she had been recently diagnosed with “early breast cancer.”
The musician (born Jessica Cornish) shared the health update on social media on Tuesday (June 3), telling her followers that the diagnosis came shortly before the release of recent single “No Secrets” in April. “I’m highlighting the word ‘early,’” she explained. “Cancer sucks in any form but I’m holding on to the word ‘early.’”
As she continued, she revealed that she’s been “in and out of tests” in the time since, but has decided to share her story with the world in an attempt to be more open about her journey, and also to give herself a chance to process the reality of her situation.
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“I also know how much sharing in the past has helped me with other people giving me their love and support, and also their own stories,” she explained. “I’m an open book. It breaks my heart that so many people are going through so much – similar and worse.”
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“I’m getting to keep my nipples, that’s good,” she continued. “It’s a weird topic and a weird situation. And I know the press are going to say crazy stuff but you know what, to get diagnosed with this as I’m putting out a song called ‘No Secrets’ right before a song called ‘Living My Best Life,’ which was all pre-planned before I found out about this, I mean, you can’t make it up.”
Indeed, Jessie J’s news comes shortly after the release of her single “Living My Best Life,” which arrived on May 16. In the caption to her Instagram post, the singer added levity to her situation, writing “No (more) Secrets and is it too soon to do a remix called ‘Living my breast life’?”
In closing her video to fans, Jessie J explained that she will “disappear for a bit” to undergo surgery following her performance at the Summertime Ball in England on June 15.
Jessie J’s decision to be open and honest with her health journey aligns with her comments from July, in which she revealed a recent diagnosis of obsessive compulsive behavior (OCD) and attention-deficit/hyperactivity (ADHD).
“It’s empowered me and honestly sometimes has overwhelmed me all at the same time,” she explained, noting that the information had made her think about her life in a whole new way. “If there is one thing social media has given me, it’s the chance to relate, connect and heal with strangers that have kind hearts and are going through a similar thing.
“I have always been honest in the journey I’m going through in life.”
Taylor Swift is enjoying quite the sales boost following her Friday (May 30) announcement that she had purchased the masters of her first six albums. Based on preliminary data from Luminate, we’re starting to get a sense of which albums Swifties are turning to most frequently to celebrate.
Looking at her Republic Records studio catalog, not including the Taylor’s Version re-recordings, all those albums experienced gains from Friday-Saturday (May 30-31), ranging from the slight 5.6% gain that The Tortured Poets Department experienced in sales when compared to the daily average of the preceding 11-day period, to the 21.9% increase her Evermore album enjoyed when comparing those periods, according to Billboard‘s calculations based Luminate’s on preliminary sales and streaming activity data.
Meanwhile, the Taylor’s Version albums almost all outperformed the Evermore increase, except for the 1989 re-record, which just missed out by growing 21.3% in the two-day average after the announcement versus the previous 11-day average: Red (Taylor’s Version) grew by 23.2%, Speak Now (Taylor’s Version) by 27.5% and Fearless (Taylor’s Version) by 27.9%, per preliminary data from Luminate, Billboard calculates.
Moving over to Swift’s Big Machine albums, the original 1989 album had the least amount of growth but even its percentage increase of 41.2% swamped the percentage gains posted by all the Republic albums. Leading the growth charge, Taylor Swift’s eponymous first album enjoyed a 484.4% increase, followed by Speak Now with a 343.9% increase in the two days after the announcement versus the 11 days prior; Reputation, up 328%; Red at 173.7% greater; and Fearless with a 140.4% rise when comparing the two periods, Billboard further calculates.
However, even with the original whopping percentage gains on a unit count basis for the two periods, none of those albums outperformed the Taylor’s Version albums in absolute sales for the post-announcement two-day period. For example, 1989 (Taylor’s Version) averaged a few hundred above 2,000 album consumption units for the two-day period, while the original version’s total album consumption was a few hundred over 1,000 units.
Even the original Speak Now, which saw a 343.9% increase, fell 10 units shy of Speak Now (Taylor’s Version), when looking at the average total consumption units for the two-day period.
On a unit basis, Reputation the biggest gain — nearly 6,000 units — to bring total sales on average for the two-day period to nearly 8,000 units, versus the nearly 2,000 units the album averaged in the 11 days prior to the announcement. In fact, that album was by far the best performing album in the Swift catalog over the two-day period.
It’s all been out of the ordinary for Alex Warren since his breakthrough hit started climbing the Billboard Hot 100 in February. Since then, the influencer-turned-singer-songwriter has conquered streaming and sales and gotten closer and closer on radio — to the point that now, he has the No. 1 song in the country.
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“Ordinary” rises to the Hot 100’s apex this week (chart dated June 7), in its 16th frame on the listing — replacing Morgan Wallen’s Tate McRae-featuring “What I Want,” and making Warren the second artist in 2025 to top the Hot 100 for the first time, after McRae. At the same time, he debuts at No. 32 with “Bloodline,” a teamup with country star Jelly Roll.
How did “Ordinary” end up going all the way? And will be “Bloodline” be following it to the chart’s top tier? Billboard staffers discuss these questions and more below.
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1. “Ordinary” reaches the Hot 100’s apex in its 16th week on the chart. Are you surprised it was able to get all the way to the top spot, or did you see this coming for It once it started climbing?
Katie Atkinson: Once it started climbing, No. 1 seemed very possible — having seen some similar trajectories for other big-voiced male ballads in the last year-plus — but while “Lose Control” and “Too Sweet” hit the summit in 2024, “Beautiful Things” never made it, so “Ordinary” wasn’t a lock. And then when it overcame the 13-week run of Kendrick Lamar and SZA’s “Luther” last week only to be kept out of No. 1 by a deluge of new Morgan Wallen songs, it felt like there was a world where it might not happen. So this has to feel extraordinary for Warren that his breakthrough hit muscled through.
Kyle Denis: Once “Ordinary” started climbing, I did think it would reach the top spot, given how stagnant the Hot 100 is right now and the lack of new 2025 releases cementing themselves as bonafide hits. Nonetheless, I’m still a bit surprised that it hit No. 1 because I don’t rate it as one of the more interesting pop songs we’ve gotten this year.
Lyndsey Havens: Shocked! But just momentarily — as I was quickly reminded that this song has been everywhere. I think this song has enjoyed a nice and steady climb, and as the song of summer conversation is just kicking off, it’s possible “Ordinary” snuck in just in time before a new hit, or longer-loved contender, knocks it from the top.
Jason Lisphutz: I’m somewhere in the middle: when “Ordinary” first reached the top 10, I was a little dubious of its longterm prospects, but for about six weeks or so I was convinced that it would eventually take over the top spot. With a pretty staggering global listenership, unflagging U.S. streams and increasing radio buy-in, “Ordinary” has been a multi-platform smash for a while now, and its rise to No. 1 is no chart fluke.
Andrew Unterberger: If you had told me four months ago, I would’ve been pretty surprised — but this is the kind of hit song that, as soon as it reaches a certain escape velocity, feels almost guaranteed to make it all the way to the moon. So once it jumped into the top 40 on the Hot 100 and started to catch on radio, a No. 1 peak felt practically pre-determined.
2. What do you think is the biggest reason why “Ordinary” was able to really break containment and become one of the year’s biggest hits?
Katie Atkinson: While his first-ever awards show performance at last week’s AMAs was perfectly timed with the song’s ascent, I’m going to nod to radio for this one. If you turn on the radio across pop, adult pop and AC right now, you will hear “Ordinary” within the hour. Maybe within a half-hour, really. This song has felt as inescapable as songs come these days, so with its 15% bump across radio last week (plus no major new album releases), that was the final push it needed.
Kyle Denis: “Ordinary” largely operates in the same vocal and guitar-driven pop-rock space that’s housed recent Hot 100 chart-toppers like Teddy Swims’ “Lose Control” and Hozier’s “Too Sweet.” With Myles Smith (“Stargazing”), Benson Boone (“Beautiful Things”) and Shaboozey (“Good News”) all earning hits with different takes on the sound, consumers clearly haven’t gotten tired of it yet. Of course, it also helps that TikTok has latched onto the song, with the official “Ordinary” sound playing in over 573,000 posts on the platform.
Lyndsey Havens: Omnipresence. I turn on the TV and “Ordinary” has a major synch. I turn on the radio and “Ordinary” is playing — and if I change the station, it will be on at least one other at the same time. I walk into a store and “Ordinary” is blasting. The song is connecting across every medium, yet Warren and his team aren’t only banking on this one hit: At the same time that he’s enjoying breakout success — with the song topping both the Hot 100 and Billboard Global 200 — the artist also teamed up with Jelly Roll for their collab, “Bloodline,” which is already trailing behind “Ordinary” on the Hot 100.
Jason Lipshutz: A little over a year after Teddy Swims’ “Lose Control” and Benson Boone’s “Beautiful Things” became inescapable hits — and pretty much remain so today — a market still exists for brash, soulful sing-alongs from full-throated male pop vocalists. Alex Warren likely would have found success with a song as rousing and crowd-pleasing as “Ordinary” regardless of pop trends, but the song certainly hit streaming services at the exact right moment to reach its commercial ceiling.
Andrew Unterberger: America loves us some big-voiced singers and acoustic guitars at the moment! But also, with everything from pop 10 years ago seemingly huge again, a song that splits the difference between Hozier and wedding-ballad Ed Sheeran was probably always going to hit extra hard.
3. At the same time “Ordinary” snags the top spot, Warren’s new Jelly Roll collab “Bloodline” debuts at No. 32 on the Hot 100. Do you think it will grow into another big hit for Warren, or will its momentum get curtailed by how big “Ordinary” still is?
Katie Atkinson: I would not be surprised at all if “Bloodline” — with a jangly sea-shanty melody that is undeniable catnip for AC radio and two newly minted hitmakers at its helm — also climbs to the Hot 100 top 10 over time. That would give Jelly Roll his first hit in the region, which is really the one thing missing from the country star’s meteoric rise to pop culture ubiquity. The virality of both “Ordinary” and Jelly Roll himself could combine for an obvious smash.
Kyle Denis: I think listeners will probably remain focused on “Ordinary” since it’s still relatively fresh, but, as they say, a rising tide lifts all boats!
Lyndsey Havens: I think because you have Jelly Roll on the song, and because the country star is currently on a massive tour with Post Malone, that “Bloodline” could grow into a nice follow-up hit for Warren. But does he need it? No way. If “Bloodline” climbs higher or if it gets curtailed by “Ordinary,” it’s a win for Warren either way.
Jason Lipshutz: Releasing a follow-up single with Jelly Roll was a smart move by Warren, who can now promote both a pop and country track to different audiences without deflating either of their performances. “Bloodline” will likely not become nearly as big as “Ordinary,” but it doesn’t need to — as long as it can expand his listenership and keep his momentum up beyond just one song, the follow-up should be viewed as a success.
Andrew Unterberger: I don’t see it reaching the top 10 — maybe not even the top 20 — but I could see it hanging around the Hot 100 for 30 weeks or so and establishing Warren as officially Not a One-Hit Wonder. Which is all he really needs to do.
4. We’ve seen a trend lately of songs that make it to the chart’s top tier – particularly if they had a long journey of climbing that high – lasting in or around the top 10 for a year or longer. Do you see “Ordinary” becoming one of those songs?
Katie Atkinson: Absolutely. Like “Lose Control” before it, this song will not be vacating its spot for months. It just fits too comfortably and too unassumingly in too many spaces to go anywhere anytime soon.
Kyle Denis: Unfortunately, yes. This is the kind of song destined for extended stays on a litany of radio formats, which will help it stick around on the Hot 100 even once it’s reached its sales and streaming peaks.
Lyndsey Havens: Totally. And that’s because of its omnipresence — and the reasons why it’s everywhere. “Ordinary” is the perfect type of hit that’s equal parts catchy, soaring and safe. It sounds just as great soundtracking a Golden Buzzer moment on America’s Got Talent as it does playing from a car radio with the windows rolled down. Its breezy balladry and luck-to-be-in-love lyrics share roots with a song like Benson Boone’s “Beautiful Things” — and we all know how well that’s worked out.
Jason Lipshutz: Definitely. Every piece of empirical and anecdotal evidence suggests that “Ordinary” is not slowing down whatsoever, despite already being on the Hot 100 for months on end. While I could see Warren being supplanted at No. 1 on the chart in the near future, “Ordinary” is acting like the type of song that will still be in the top 10 when the weather starts to turn cold — and possibly for much longer after that.
Andrew Unterberger: Teddy Swims is already looking over his shoulder tbh.
5. Who’s another past or present influencer who you could see scoring a No. 1 hit?
Katie Atkinson: I wouldn’t bet against Addison Rae. Her first album arrives Friday, and while lead single “Diet Pepsi” topped out at No. 54 on the Hot 100, it was a top 10 hit on Pop Airplay, peaking at No. 9 in February. And starting her career making dance videos on TikTok sets her up perfectly for a hypervisual pop career. Plus, only our finest pop stars hail from Louisiana, and Addison was born and raised less than two hours from Britney Spears’ hometown.
Kyle Denis: Addison Rae.
Lyndsey Havens: I’m always rooting for jxdn. But, given the current week, let’s go Addison.
Jason Lipshutz: Does Addison Rae count? Every pop single she’s released to date has been good-to-excellent, and my expectations for her imminent debut album are sky-high. A world in which “Headphones On” grows into a late-breaking No. 1 hit is one I want to inhabit.
Andrew Unterberger: Addison Rae feels like the logical call — but I’ll swerve and say Mr. Beast. No I don’t know of any musical ambitions harbored by the man, but it feels near-certain to me that he’ll be involved with leading an influencer all-star charity single at some point. Would you bet the under on that chart debut? I certainly wouldn’t.
When Taylor Swift posted a photo of herself leaning back and smiling, her first six studio albums scattered in front of her, on Friday (May 30), the party was on.
Swift’s announcement that she had successfully purchased the master recordings of her first six albums, for an undisclosed sum from investment firm Shamrock Capital, was met with jubilation by her millions of fans. Swift finally had full control of her intellectual property, in a byzantine music industry where such ownership was incredibly difficult to come by, even for the biggest superstars. The importance of such artistic freedom was not lost on Swift, who rightfully treated the occasion as a hard-fought celebration in a letter to fans on Friday. “To say this is my greatest dream come true is actually being pretty reserved about it,” she wrote.
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As even casual pop culture observers likely know by now, Swift spent over a half-decade re-recording her back catalog to combat this previous lack of creative ownership, with Taylor’s Version albums of 2008’s Fearless, 2012’s Red, 2010’s Speak Now and 2014’s 1989 offering faithful re-creations under her domain. Not only did these re-recorded albums prove wildly successful – as fans rallied around the vision and motivation of their favorite artist, and helped 1989 (Taylor’s Version) score an even bigger debut than the original album – they also inspired real industry change, from other artists exploring ways to re-record their own material to label groups reworking standard contracts to prevent them from doing so.
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Still, the news that Swift had bought back her masters was met with some consternation about the future of the Taylor’s Version albums: Swift wrote that her 2006 self-titled debut was fully re-recorded, while Reputation (Taylor’s Version) was not. “Full transparency: I haven’t even re-recorded a quarter of it,” she wrote of her 2017 full-length.
So will the long-sought-after Reputation (Taylor’s Version) ever get completed? Will Taylor Swift (Taylor’s Version) receive a release date in the near future? What’s the point of a re-recorded album, now that Swift owns all of the original albums? And what do we do, moving forward, with the four Taylor’s Version albums that did get released?
We don’t know the answers yet, but we know how much the Taylor’s Version albums have already given us – including “All Too Well (10-Minute Version),” an irreplaceable linchpin recording in her catalog.
We’ll see if and when this project gets completed, how the Taylor’s Version re-recordings will age, and what versions of her hits and deep cuts fans will gravitate toward in the future. But just because the battle is now over, it’d be shortsighted to declare all for naught. The four Taylor’s Version albums presented her back catalog to a new generation – helping first to prime fans for the globe-conquering, catalog-revisiting Eras tour, and then to help cement her career year while the trek was underway.
Plus, fans received over two dozen unheard “From the Vault” songs — castoffs from the original albums that Swift reworked to include on her Taylor’s Version releases. These previously unheard goodies across the bonus cuts on the four re-recordings ranged from collaborations with Maren Morris and Fall Out Boy, to a late-breaking radio hit in the effervescent Red (Taylor’s Version) dance-pop track “Message in a Bottle,” to another Hot 100 chart-topper in the wistful “Is It Over Now?,” from 1989 (Taylor’s Version).
Which brings us to the greatest “From the Vault” song, and the one that stands as the greatest musical legacy of the entire re-recording project. When Red was released in 2012, the five-and-a-half minute “All Too Well” was positioned on the track list as an extended songwriting showcase in between shorter, more radio-friendly pop singles like “I Knew You Were Trouble” and “22.” While those hits helped Swift transition to pop superstardom with 1989 two years later, the power of “All Too Well” as a richly detailed examination of a failed relationship endured, becoming a fan favorite in the years following Red.
The song, and its cult status, also marked an important inflection point for Swift as a storyteller. A year before Red (Taylor’s Version) arrived in 2021, Swift pivoted away from top 40 on Folklore and Evermore, using an indie-folk aesthetic to explore different characters and narratives with the same care as one of her fiercely embraced album cuts.
A 10-minute version of “All Too Well” had long been teased, and the release of Red (Taylor’s Version) proved to be the perfect occasion for its unveiling. Any Swift purist could have been reasonably worried about the decision to nearly double the length of one of her best-loved songs. Yet the supersized version of “All Too Well” was not overstuffed — instead, “All Too Well (10-Minute Version)” towers above the original. Expanding the song’s world of stray thoughts and heartbreak totems while expertly navigating the story’s twists and turns, Swift turned a for-the-fans album cut into an authoritative epic.
With 10 minutes to work with, Swift lets each new detail of “All Too Well” simmer without building to a boil. The profane keychain that gets tossed her way, her subject’s refusal to “say it’s love,” the inquisitive actress, the charming chats with her father, the heartbroken 21st birthday — each new line is woven into the tapestry of a reflection that already exists, and Swift delivers them with varying degrees of frustration and regret.
Most of Swift’s songs wouldn’t improve if pushed to the 10-minute mark, but the structure of “All Too Well” — verses stacked upon one another, chorus lyrics shapeshifting to reflect her curdling emotion — allows for the bulked-up format. By the time the song starts to fade out with the refrain “Sacred prayer, I was there, I was there,” the passage of time is made explicit, as Swift’s recollections are stored in a time capsule that needed to be made a little bit bigger. Sure, there are new Easter eggs for fans to pore over and peruse – but nothing about “All Too Well (10-Minute Version)” feels forced, and that’s why it provoked such a strong reaction upon its release.
All Too Well: The Short Film, written and directed by Swift, was released along with the 10-minute version, and she performed the song in full on Saturday Night Live the day after its release. With so much pre-release hype and release-weekend promotion, “All Too Well” shot to the top of daily streaming charts immediately – and one week later, the song sat atop the Hot 100, the first Taylor’s Version track to come anywhere close to the chart’s peak. The flashpoint of excitement around its release demonstrated Swift’s still-rising commercial power, about a year before she made it unignorable with the record-setting success of 2022’s Midnights.
It also clued in countless casual listeners to one of her best songs. “All Too Well” isn’t just a fluky chart hit; the song now stands as a defining work for Swift, and an encapsulation of her legacy as a modern songwriter. In the future, critics, writers and historians will need a song to represent Swift’s cultural impact, and that song may very well be “All Too Well” – which simply wouldn’t have been the case without the Taylor’s Version moment.
That impact was on full display during the Eras Tour, where “All Too Well” was performed in its 10-minute incarnation as the final song in the Red portion of the show. Each night, stadiums full of Swifties sang along to its fourth, fifth and sixth verses, and bellowed “F—k the patriarchy!” with uninhibited glee.
Now that Swift’s Taylor’s Version project has entered a new phase of existence, those sing-alongs are worth considering as part of its legacy. “All Too Well (10-Minute Version)” wasn’t just a commercial ploy, or catnip for the critics. It’s now an anthem for all of us.
Justin Bieber is speaking his mind once again, sharing a cryptic post on Instagram slamming people who tell others what they “should or shouldn’t have.”
In white text typed over a purple gradient Tuesday (June 3), the pop star began by writing that “telling other humans they deserve something is like raising someone else’s kids.”
“Who are you to tell someone what someone should or shouldn’t have,” he continued. “The audacity. That’s not your place.”
The “Peaches” singer added, “God decides what we deserve.”
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Billboard has reached out to his reps for comment.
Bieber did not specify to whom he was referring in the post, but it does come at a particularly prosperous time for his family. A few days prior to his message, skincare mogul Hailey Bieber — whom the pop star married in 2018 — announced that she’d sold her Rhode company to e.l.f. Beauty for a reported $1 billion, something the musician celebrated by proudly sharing the news on his Instagram.
Before that, the model — with whom Justin welcomed son Jack Blues in August — appeared on the cover of Vogue. In the accompanying profile, the “Baby” vocalist said, “I’ve done a lot of dumb things in my life, but the smartest thing I’ve ever done was marry Hailey.”
The Grammy winner’s post is just the latest cryptic statement he’s made on Instagram in recent months. In February, he made headlines for posting about how it was “time to grow up” on his Story, after which he penned musings in March about feeling like he was “drowning” in “hate” and struggling with feeling “unworthy.”
In April, Justin called out paparazzi in Los Angeles, sharing a video of cameramen following him out to his car, writing, “This has to stop.”
“IM CURRENTLY ASKING [GOD] TO HELP ME WITH PATIENCE BECAUSE It CAN BE REALLY HARD TO NOT RIP THESE F–KIN GUYS HEADS OFF,” he also wrote at the time. “Today I’m forgiving myself for my own selfishness, AND forgiving THOSE WHO SEEK TO USE AND ABUSE ME SIMPLY BECAUSE THEY WANT TO CAPITaLIze off of me, Or Their jealousy makes them want to make me feel small like how they feel.”
See Justin’s latest post below.
Sabrina Carpenter topped a lot of people’s song of the summer lists with “Espresso” in 2024, and now, she’s gunning to do it for the second year in a row. After a day of teasing that she had a new project in the works, the pop star has announced that she has a new song […]
Alex Warren is doing more than alright on charts with hit single “Ordinary,” and soon, he’ll be adding a new album to the mix. On Tuesday (June 3), the singer-songwriter announced that the second chapter of his 2024 LP, You’ll Be Alright, Kid, will arrive July 18, featuring 10 new tracks. On Instagram, he shared […]
JoJo Siwa takes us out to Priscilla’s and she shares her experience on Celebrity Big Brother U.K., her relationship with Chris Hughes, working with Rock Mafia on her new album, opening up about her sexuality, what fans can expect from her tour and more!
Tetris Kelly:Well, I feel like I live the coolest life ever, because I’m just casually hanging in Burbank with JoJo Siwa.
JoJo Siwa:We’re locals.
And this is Priscilla’s. So what is the story of this place?
They have this blueberry vanilla coffee that became my favorite thing ever.
OK so I wanna try.
So what is really special about this?
I would’ve never thought about blueberry and coffee.
So strange, right?
It’s awesome.
But here’s what’s cool is it’s like, you can see all their coffee beans. The bean is what’s actually flavored. So the coffee bean is infused, essentially, with blueberry. It’s cooked, I think, in oil. I don’t know how they do it. And then it has a vanilla powder in it anyways, I’m on my-
What did you get?
I’m on my English breakfast tea kick right now.
Oh, Miss U.K. right now.
I’m missing my people over there.
From across the pond. You’re going on the 22-date tour. I mean, you’re not new to touring, but like, what’s gonna be different about this summer?
I mean, I’m an adult now, which is crazy. There’s elements in this show that make it a lot different than just a typical concert. It’s been really fun. It’s been really fun to create it as it’s like, song, song, funny bit, song, song, dance moms reference song, song, Jojo the Bobo reference song, song, crowd interactions, there’s things from my life that people really like, quotes that I’ve said, half of them being with you-
All the quotes being with me.
Keep watching for more!
