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Nicki Minaj‘s Pink Friday 2 topped the Billboard 200 and launched the highest-grossing female rap tour of all time — could it land the rap queen her first Grammy too?
Minaj has been nominated for best rap album twice in the past — in 2012 for Pink Friday and in 2016 for The Pinkprint — making her second-most nominated female rapper in this category behind Missy Elliott, who earned four nods between 1998 and 2006. Since the Recording Academy established best rap album in 1996, only two female rappers have won the honor; as a part of the Fugees, Lauryn Hill won in 1997 for The Score, and Cardi B triumphed with Invasion of Privacy in 2018.
A nod for Pink Friday 2 would mark Minaj’s first non-soundtrack nomination in nearly 10 years. Last year, she earned a pair of nods alongside Ice Spice and AQUA for their “Barbie World” collaboration from the Barbie soundtrack, but she hasn’t been recognized for her own work since The Pinkprint and its tracks earned three nominations at the 2016 ceremony. Notably, Minaj has yet to win a Grammy, but if Pink Friday 2 can repeat its victory at last week’s BET Hip-Hop Awards (Oct. 15), she may finally take home her very first gilded gramophone.
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In addition to Minaj, Elliott, Hill and Cardi, just two other female rappers have earned nominations for best rap album: Iggy Azalea (2015, The New Classic) and Rapsody (2018, Laila’s Wisdom).
This year, a number of female rappers could earn a nomination for best rap album. In fact, the 2025 ceremony could be the first time in Grammy history that multiple female rappers are simultaneously nominated for best rap album. Most of this year’s contending projects by female rappers also made inroads on the Billboard 200, including Doechii‘s Alligator Bites Never Heal (No. 117), Doja Cat‘s Scarlet 2 Claude (No. 4), Flo Milli‘s Fine Ho, Stay (No. 54), GloRilla‘s Ehhtang Ehhthang (No. 18), Ice Spice‘s Y2K! (No. 18), JT‘s City Cinderella (No. 27), Latto‘s Sugar Honey Iced Tea (No. 15), Megan Thee Stallion‘s Megan (No. 3) and Sexyy Red‘s In Sexyy We Trust (No. 17).
Out of those projects, Scarlet, Ehhthang Ehhtang, Megan and Sugar Honey Iced Tea have the strongest shot at a nod since Doja, GloRilla, Megan and Latto are all previous Grammy nominees. GloRilla, in particular, could pull off a nomination here thanks to her dominant year and the well-timed release of her debut studio LP, Glorious, which snagged the largest opening week total for a female rap album in 2024 during the last few days of first-round voting. Keep an eye on Doechii, as well; she has one of the most critically acclaimed hip-hop projects of the year and has been running a steady campaign, which included a recent co-sign from Grammy darling Kendrick Lamar. Of course, voters could opt for a project that didn’t hit the Billboard charts, but still stands on its own merit — Rapsody’s Please Don’t Cry. Already a three-time Grammy nominee, the North Carolina MC could pull off her second nod for best rap album, which would tie her with Minaj as the second-most nominated female rapper in the category.
Outside of the ladies, it was still a characteristically busy year for rap. With six wins to his name in this category, Eminem is the all-time winner here, and he could very well earn his eighth best rap album bid — and first in 10 years! — for his Billboard 200-topping The Death of Slim Shady (Coup de Grâce). Ye (the artist formerly known as Kanye West) could extend his record as the second-most nominated (eight) and second-most awarded (four) artist in this category if Vultures 1, his joint album with Ty Dolla $ign, earns a nod. This would be Ty’s first nod in this category. Both Em and Ye are vets, and it’s possible some of their peers join them as nominees this year. Common & Pete Rock are strong contenders with The Auditorium Vol. 1, and Killer Mike could bookend last year’s victory with a nod (and possible win) for Songs for Sinners and Saints. Also look out for Juicy J‘s Ravenite Social Club and Erick the Architect‘s I’ve Never Been Here Before.
Obviously, this year in rap was defined by Lamar — but he doesn’t have an album in contention this cycle. Nonetheless, We Don’t Trust You, the Billboard 200-topping Future–Metro Boomin joint album that served as Trojan horse for Lamar’s blistering “Like That” verse, is the clear frontrunner for a nomination here. This would mark the second nomination for both Future and Metro. Both artists have yet to win this category.
Both J. Cole, a recurring star in the Lamar-Drake showdown, and ScHoolboy Q, Lamar’s former TDE labelmate, could earn their third bids in this category with Might Delete Later and Blue Lips, respectively. Like Future and Metro, both Cole and Q are looking for their first victory here. Big Sean, another blog era big dog, could also earn his very first nod in the category with Better Me Than You. 21 Savage, who was nominated here last year alongside Drake for their Her Loss joint album, could earn his third nomination in this category with American Dream.
Also in contention: Don Toliver‘s Hardstone Psycho and Danny Brown‘s Quaranta.
Our Fearless Forecast
Which hip-hop albums will make the final five? Our predictions are: We Don’t Trust You (Future & Metro Boomin), Vultures 1 (Ye & Ty Dolla $ign), The Auditorium Vol. 1 (Common & Pete Rock), Blue Lips (ScHoolboy Q) and The Death of Slim Shady (Eminem).
If these predictions prove to be correct, this would be the sixth consecutive year that men have locked up all the nominations in this category.
GloRilla, Kirk Franklin and Maverick City Music’s “Rain Down on Me,” featuring Kierra Sheard & Chandler Moore, roars in at No. 1 on Billboard’s streaming-, airplay- and sales-based Hot Gospel Songs chart (dated Oct. 26).
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The collaboration concurrently begins at No. 2 on the multimetric Hot Christian Songs chart.
The track marks rapper GloRilla’s rookie appearances on Billboard’s faith-based charts. It’s from her LP Glorious, which bows at No. 5 on the all-genre Billboard 200 with 69,000 equivalent album units, awarding the 25-year-old from Memphis the biggest week of her career, by units, and her first top 10 on the tally. The set also starts at No. 2 on both Top R&B/Hip-Hop Albums and Top Rap Albums.
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Meanwhile, “Rain” is the first song to debut at the Hot Gospel Songs summit in 2024. The last No. 1 launch also involved a prominent female rapper: Nicki Minaj’s “Blessings” (featuring Tasha Cobbs Leonard), in December 2023.
“Rain” drew 3.7 million official U.S. streams Oct. 11-17, according to Luminate, also sending it to No. 1 on Gospel Streaming Songs. Plus, it drew 2.3 million all-format in airplay audience.
Gospel superstar Kirk Franklin earns his record-extending ninth Hot Gospel Songs No. 1. Maverick City Music adds its sixth leader, the second-best sum. Sheard scores her third No. 1 and Moore, his fourth.
On Hot Christian Songs, “Rain” marks Maverick City Music’s sixth top 10, Moore’s fifth, Franklin’s third and Sheard’s first.
On the all-genre Billboard Hot 100, five songs from Glorious chart, led by “TGIF,” up 32-22 for a new high. The other four: “Whatchu Know About Me,” with Sexyy Red (No. 31 debut); “Hollon” (85-48); “How I Look,” with Megan Thee Stallion (No. 90 debut); and “I Luv Her,” with T-Pain (No. 92 debut).
Yandel recruited colleagues and industry friends De La Ghetto, Dei Vi, El Coyote, and Roberto Andrade for the ELYTE: The Beginning and Future of the Genre panel at 2024 Billboard Latin Music Week on Friday (Oct. 18).
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Presented by Warner Music Latina, the reggaeton artists and executives talked about the booming success of Latin urban music. Below, check out some notable highlights.
The Beginning of Reggaetón
Yandel: “Like every artist, you have someone to follow and learn from. For me, one of the leaders was Vico C. I loved his musical style because it was commercial, he set an example, and he had lyrical content. Then I fell in love with perreo when there were duos like Baby Rasta & Gringo, Hector & Tito. I followed Daddy Yankee a lot. For me, reggaeton music was love at first sight. When I got to know that flavor and was able to write about what was happening in the streets, that’s when I fell in love even more. Reggaeton music is in its moment right now.”
Roberto: “I was working in radio in Colombia in 1997. I went to Bogotá to study and work at Tropicana Estereo, which was a salsa station, and I remember between 2002 and 2005, I was a DJ and the programmer would tell us ‘you’re going to play this hourly’ and it was “Gasolina,” “Rakata” or “Felina.” It was a reggaeton hit hourly on a salsa and tropical music schedule. Then they went to a crossover and ended up on a 100% urban music station. […] I want to thank the movement that happened in Panama and plant that great seed, but it was definitely the island, Puerto Rico, that internationalized it.”
The Present & Future
Dei V: “Artists like De La, Yandel and all those who came before me opened those doors. It’s a little easier for us with streaming, but if they hadn’t done it, we wouldn’t be here blessed the way we are. I’m not the only one. A lot of the kids who are coming out now have charged $5,000 for their first parties.”
Yandel: “I always identify with the youth. I always like to be where the youth is and what they are doing. It really catches my attention because they also respect me and I feel that they approach me with respect. For me that is a reward… that the new generation wants to record with me after so many years of working hard.”
Best Career Advice
De La Ghetto: “I always tell everyone to ‘study the greats’. I studied Wisin & Yandel, Yankee, Hector y Tito, Don Omar, Zion y Lennox a lot. From my perspective, when Wisin & Yandel came out, they were the first to make videos with Jessy Terrero, the first to see themselves as American artists. In the late 90s, early 2000s, we saw American hip-hop artists as impossible to get to where they were. These people [Wisin y Yandel] started to invest in their careers, not waiting for record labels, not waiting for anyone. That’s where the change in the genre took place because they made the genre more expensive in the sense of seeing us as the same as American artists. You have to invest in your career, in your image, your clothes, your creams at night. It’s part of your job. Image is everything… It’s a lot of work.”
Watch the full panel below:
Feid picks up his 11th No. 1 on Billboard’s Latin Rhythm Airplay chart, and sixth this year, as “Sorry 4 That Much” advances 2-1 to lead the Oct. 26-dated tally. Explore Explore See latest videos, charts and news See latest videos, charts and news “Sorry 4 That Much” leads thanks to a 6% gain in […]
Singer-songwriter Xavi makes his Billboard album charts debut as Next launches at Nos. 9 and 6 on Top Latin Albums and Regional Mexican Albums charts, respectively, on the rankings dated Oct. 26.
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The 15-track Next, released Oct. 11 on Interscope/ICLG, opens with 10,000 equivalent album units earned in the U.S. for the tracking week of the Oct. 11-17, according to Luminate.
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Of Next’s first-week total, streaming activity contributes 9,000 units, equal to 13.5 million official on-demand U.S. streams for the album’s songs. Meanwhile, 1,000 units come from traditional album sales, with the remaining negligible amount through track-equivalent units.
Top Latin Albums and Regional Mexican Albums rank the week’s most popular Latin albums, and regional Mexican albums, respectively, by multi-metric consumption as measured in equivalent album units. Each unit equals one album sale, 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams for a song on the album.
Next gives Xavi his first top 10 on any albums chart, after placing eight songs on Hot Latin Songs — which blends airplay, streaming data and digital sales — and five on the overall Latin Airplay chart.
The 20-year-old, and first-time Billboard Latin Music Award winner as Artist of the year, new, in 2024, previewed Next with five songs, three of which hit the top 10 on the multimetric tally, including the No. 2-peaking “La Víctima” (Feb. 24), “La Diabla,” which dominated for 14 weeks — tying with Karol G’s “Si Antes Te Hubiera Conocido” and FloyyMenor and Cris Mj’s “Gata Only” for the most weeks at No. 1 in 2024 — and the No. 3-peaking “Corazón de Piedra”(April 13).
The album includes three total collabs: “Modo DND” with Tony Aguirre (No. 21 peak on Hot Latin Songs in January), Los Dareyes de La Sierra come in for “Poco a Poco” (No. 16 on February), and Fabio Capri, Xavi’s brother, joins on “Tu Casi Algo.”
One other song makes progress on Hot Latin Songs: “Flores” moves 48-43 with 3 million audience impressions, up 3%. The song also jumps 15-13 on Regional Mexican Airplay.
Girl power has arrived: Kids’ audio player Yoto has added Spice Girls music to its library, in partnership with Universal Music Group.
Spice Girls: Greatest Hits, a collection of 14 songs, is now available for the Yoto Player and Yoto Mini via a music card priced at $12.99. Yoto made the announcement on Tuesday (Oct. 22).
Featured tracks include the Spice Girls’ biggest pop hits, which parents who grew up in the ’90s are sure to remember: “Wannabe,” which held the No. 1 spot on the Billboard Hot 100 for a total of four weeks in 1997, and “Say You’ll Be There,” which peaked at No. 3 on the chart the same year.
‘Spice Girls: Greatest Hits’ for Yoto
Yoto offers ad-free music, stories and educational activities for children on screen-free audio players. They’re used by inserting a card, like the new Spice Girls: Greatest Hits one, into a slot that’s at the top of the player.
“Adding the greatest hits from the Spice Girls to our music collection is an exciting milestone for Yoto,” says Dom Hodge, Yoto’s head of music and sound, in a statement about the new release. “We’re thrilled to make iconic ’90s hits from one of the most influential music groups of all time accessible to budding music lovers globally. We can’t wait for young listeners to discover the joy and vibrancy that shines through the Spice Girls discography.”
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Sarah Boornman, Universal Music UK’s general manager youth strategies, says, “For so many parents, children themselves in the ’90s, the Spice Girls WERE pop music! We can already feel the anticipation and excitement, as these now adult fans get ready to pass on unmistakable, iconic anthems such as ‘Wannabe’ and ‘Spice Up Your Life’ to the next generation.”
Disney music favorites like original songs from Encanto and Frozen, plus classic song collections from The Beatles and Queen, are among the other featured music cards on Yoto’s website. Some other fun highlights are music themed for upcoming holidays like Halloween (Halloween Howls and Spooky Songs) and sets featuring classic pre-school songs.
There are several card options in classic children’s fiction –picks like Frog and Toad and Winnie-the-Pooh, both great series to read with younger ones, and The Lion, the Witch and the Wardrobe and Matilda, often enjoyed by elementary school-aged kids — for families who’d like to use the player to listen to stories.
Universal Music Group is among a Yoto’s current list of partners that includes PRH, Macmillan, Sony, Disney, Roald Dahl Story Company, Pottermore, HarperCollins, Hachette, Viacom, Bonnier and Scholastic.
The Yoto Player is priced at $99.99, and the 2024 edition of the Yoto Mini is $69.99.
Here’s the track list for Yoto’s Spice Girls: Greatest Hits card:1. “Wannabe”2. “Say You’ll Be There”3. “2 Become 1”4. “Mama”5. “Who Do You Think You Are”6. “Move Over”7. “Spice Up Your Life”8. “Too Much”9. “Stop”10. “Viva Forever”11. “Let Love Lead the Way”12. “Holler”13. “Headlines”14. “Goodbye”
Rod Wave’s Last Lap debuts at No. 1 on Billboard’s Top Streaming Albums chart (dated Oct. 26), launching with the third-biggest debut streaming week for a rap set in 2024.
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Also in the top 10 of the latest Top Streaming Albums, Charli XCX’s Brat flies 17-3 (a new peak) after its deluxe reissues were released in the week ending Oct. 17, GloRilla’s Glorious debuts at No. 4, BigXthaPlug’s Take Care enters at No. 5 and Jelly Roll’s Beautifully Broken bows at No. 7.
The 50-position Top Streaming Albums chart ranks the most-streamed albums of the week in the U.S., as compiled by Luminate. Titles are ranked by streaming equivalent album (SEA) units, where each SEA unit equals 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. If an artist has multiple albums containing the same song, SEA units for that song are generally assigned to whichever album sells the most by traditional album sales in a given week.
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Last Lap debuts at No. 1 with 125,000 SEA units earned. That sum equates to 173.35 million on-demand official streams of the set’s songs, marking the third-biggest debut streaming week for a rap album in 2024. The two largest debut rap frames were logged by Future and Metro Boomin’s collaborative set We Don’t Trust You (324.31 million) and Eminem’s The Death of Slim Shade (Coup de Grâce) (220.08 million).
Sabrina Carpenter’s Short n’ Sweet falls a spot to No. 2 (70,000 SEA units; down 11%) after six nonconsecutive weeks atop the list.
Charli XCX’s Brat bounds 17-3, a new peak, with 57,000 SEA units (up 144%) after the album was reissued twice in during the week ending Oct. 17.
On Oct. 11, the original album’s tracklist was joined by 16 remixes of its songs in a deluxe edition (dubbed Brat and It’s Completely Different But Also Still Brat), and those remixes included such guests as The 1975 and Ariana Grande. Then, on Oct. 14, the deluxe was plussed-up with one more remix, a redux of “Spring Breakers” featuring Kesha. All versions of Brat, new and old, are combined for tracking and charting purposes. Brat’s 57,000 SEA units equate to 73.63 million on-demand official streams of its songs – the album’s best week yet, and Charli XCX’s biggest streaming week for any album.
GloRilla’s new Glorious debuts at No. 4 on Top Streaming Albums with 56,000 SEA units (equaling 77.98 million on-demand official streams of its songs). Both figures represent career-highs for the artist, and the biggest weeks for any rap album by a female artist in 2024. Glorious is also the highest charting rap album by a woman on Top Streaming Albums this year.
BigXthaPlug’s Take Care starts at No. 5 on Top Streaming Albums with 47,000 SEA units (equaling 62.77 million on-demand official streams of the set’s songs). It’s the rapper’s biggest streaming week ever. Morgan Wallen’s chart-topping One Thing at a Time falls 2-6 with 46,000 SEA units (down 5%). Jelly Roll’s Beautifully Broken arrives at No. 7 with 44,000 SEA units (58.86 million on-demand official streams) – his biggest streaming week yet.
Rounding out the top 10 are Billie Eilish’s Hit Me Hard and Soft (3-8 with 42,000 SEA units; down 2%), Chappell Roan’s The Rise and Fall of a Midwest Princess (4-9 with 40,000; down 4%) and Taylor Swift’s former leader The Tortured Poets Department (5-10 with 39,000; down 3%).
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. You can see the stars who have made our list so far here, and now we remember the century in Justin Bieber — who has now been a megastar for half his 30 years, accounting for some of the best and biggest pop music (and one of the most impactful career paths) of the past 15 years in the process.
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Anyone who saw Justin Bieber’s 2007 cover of Ne-Yo’s “So Sick” could tell he was going to be famous.
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The blurry clip of a barely discernible 13-year-old Bieber seems like nothing special at first, just a video his mom Pattie Mallette uploaded to the platform for his extended family to check out. “I know the videos of him are dark but you can hear him and get a sense of his stage presence,” Mallette wrote in the caption of the video, in which the teen is dressed in an unusually formal white button-down shirt, trousers and a tie. His magic quickly became apparent, as soon as Bieber began to belt the R&B track with a shocking sense of vocal ease for someone so young. He confidently makes his way around the stage, making eye contact with different audience members and never once seeming nervous, as if even he knew he was destined to be a superstar.
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Even “superstar” feels like an understatement. With 23 Grammy nominations (and two wins), eight No. 1 albums on the Billboard 200, eight Billboard Hot 100 chart-topping songs, 33 Guinness World Records, 26 Billboard Music Awards, four RIAA-certified diamond records and an estimated 150 million records sold over the course of his career, 30-year-old Bieber has been a crucial part of the pop landscape for more than a decade, setting a new standard for pop artists to come by being a trailblazer in using social media to his advantage, without the need for radio or MTV backing to cross over to mainstream success.
However, perhaps none of that would have been possible without a serendipitous discovery from Scooter Braun, the now-titan of the music industry who, at the time, was a marketing executive of So So Def Recordings. After accidentally stumbling upon the “So Sick” clip on YouTube, Bieber’s smooth voice and the “stage presence” his mother pointed out caught his attention. With the blessing of his mother, Bieber was flown down to Atlanta, Georgia – nearly 900 miles away from his hometown of Stratford, Ontario – to record some demos with Braun, who quickly introduced him to now-grown teen-pop royalty Usher. At just 13 years old, Bieber signed with Braun and Usher’s joint venture, Raymond Braun Media Group, and a year later, also signed with Island Records.
The good fortune kept pouring in for Bieber, who made achieving fame seem so easy. His debut single, “One Time,” was released in July 2009 and his first EP, My World, dropped just a few months later in November. “One Time,” “One Less Lonely Girl,” “Love Me” and “Favorite Girl” from the project entered the top 40 of the Hot 100. My World eventually became certified platinum in the United States.
But what was it about Bieber that made him so immediately popular? Sure, his honeyed vocals and his catchy love songs were enough to get fans to swoon, but there was a significant lack of male pop stars in the music market at the time. Another Justin – Timberlake – was still taking over radio with songs like “What Goes Around… Comes Around” and “Summer Love,” but he was 26 years old at the time, and many of his fans also skewed older. Bieber was the perfect age for young, hormonal teenage fans who soon coined the term “Bieber Fever,” a Beatlemania-type craze over Bieber’s bright smile, charming personality and swooping hairstyle that inspired similar ‘dos for boys across the globe for years to come.
Bieber Fever spread strongly into the start of 2010, when JB dropped the Ludacris-assisted “Baby,” the first single off his debut full-length project, My World 2.0. The track skyrocketed Bieber into a success for a global audience beyond the tweens that loved his 2009 EP, hitting top 5 on the Billboard Hot 100. The album, which was released in March 2010, featured a slew of other longstanding hit singles, including “Somebody to Love,” “U Smile,” “That Should Be Me” and “Eenie Meenie” featuring Sean Kingston. The project debuted at No. 1 on the Billboard 200 and earned him his first two Grammy nominations, for best new artist and best pop vocal album.
Bieber was now 16 years old, and wasn’t planning on slowing down yet. 2011 was just as busy as his previous two years. His Jon M. Chu-directed concert film Justin Bieber: Never Say Never hit theaters in February – grossing $30 million on its opening weekend and $99 million total worldwide. The film arrived alongside a remix album, Never Say Never: The Remixes, which featured appearances from fellow stars including Usher, Miley Cyrus and Chris Brown. In his personal life, he also confirmed his relationship with another young star, Wizards of Waverly Place actress and pop singer Selena Gomez, when the couple made their red carpet debut at the Vanity Fair Oscar Party that year. He rounded out 2011 with his holiday album, Under the Mistletoe, which became the first Christmas album by a male artist to top the Billboard 200.
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By the time his third studio album Believe arrived in June 2012, Bieber’s fame reached unprecedented levels of chaos and success. Still a teenager, he couldn’t leave the house without being hounded by paparazzi and fans, and he survived his first public controversy when a pregnant fan claimed Bieber was her baby daddy. While the paternity test came back negative, the experience inspired the Believe track “Maria,” a modern “Billie Jean” denying that he fathered the child.
Clearly, Bieber was growing up, and Believe reflected that. The singer had gone through puberty and his voice was noticeably lower, and the track list strayed away from his past teen-pop sound, as Bieber played with elements of dance, R&B and hip-hop reflect a newer, more mature chapter in his career. Believe debuted at No. 1 on the Billboard 200 and featured Hot 100 top 10 hits including “Boyfriend,” “Beauty and a Beat” featuring Nicki Minaj and the Big Sean-assisted “As Long As You Love Me.” With four chart-topping albums under his belt, Bieber’s Believe Tour launched in September 2012, and grossed $212.2 million across 155 shows.
However, by the start of 2013, the negative effects of childhood fame on mental health began to appear. Bieber and Gomez split for the first time in November 2012, and in March 2013, Bieber was getting aggressive with paparazzi in London. He soon began to display increasingly erratic behavior – including wearing a gas mask to dinner, urinating in a nightclub’s cleaning bucket (as well as on a photo of Bill Clinton), spitting on fans, sneaking out of a Brazilian brothel while wearing a sheet, vandalism and, of course, writing that he hoped Anne Frank would have been a “Belieber” in the Anne Frank House guestbook – and Bieber announced in December 2013 via Twitter that he was “officially retiring.” The announcement came just a day after he released his singles collection Journals, which continued to display his artistic maturity by experimenting with downtempo R&B on songs like “All That Matters” and “Confident.” However, the sound was a bit too jarring for his pop-loving fans, and the album flopped commercially compared to his previous works.
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His retirement proved to be equally turbulent. In January 2014, he was arrested in Miami Beach, after getting pulled over in a bright yellow Lamborghini. He was charged with driving under the influence, resisting arrest and driving with a suspended license. He later pleaded guilty to a lesser charge of reckless driving. Bieber later revealed that from the ages of 19 to 21, he was heavily addicted to drugs – including prescription pills, lean, psychedelic mushrooms, MDMA and marijuana, which he used as a coping mechanism for extreme amounts of anxiety and pressure he was understandably feeling at the time.
Things began looking up again for Bieber in 2015, when he found his sense of Purpose with his sixth Billboard 200 leader and his most successful commercial project to date, led by his comeback hit “Where Are Ü Now” with Skrillex and Diplo, an unexpected and successful pivot by the star into the EDM landscape. He followed it up with “What Do You Mean?,” which became his first leader on the Billboard Hot 100, clearly indicating that the music scene was missing Bieber’s presence. The project produced two more No. 1 hits, “Sorry” and “Love Yourself,” which remain inescapable on the radio and streaming playlists to this day. While the Purpose tour kicked off in March 2016 to build on the success of the groundbreaking album, Bieber’s mental health issues persisted. The run was canceled in July 2017 as the singer shifted focus on his well being.
Over the next two years, Bieber lent his vocals to a handful of successful collaborations, including DJ Khaled’s “I’m the One,” BloodPop’s “Friends” and the inescapable hit of 2017, a remix of Luis Fonsi and Daddy Yankee’s “Despacito.” The historic track marked a major step in Latin music breaking into the global mainstream, and spent a whopping 16 weeks atop the Hot 100, then tied for the longest run in the chart’s history. However, at 23 years old and nearly a decade into his career, Bieber seemed to be taking a much-needed break from his recording career. In late 2017, he began opening up about the effects of childhood stardom in interviews and in his music in order to put his past actions into perspective and highlight his immense growth.
By 2018, he rekindled his romance with model Hailey Baldwin, and the two were married in September of that year. A year later, he announced that his fifth studio album, Changes, was on the way, and released a vulnerable, in-depth YouTube Originals docuseries. The 10-part series focused on the ups and downs of Bieber’s life throughout his musical hiatus, including his marriage, sobriety journey, battle against Lyme disease and mental health. In the grand scheme of his career, the docuseries marked a major pivot for good, with Bieber shedding the pop star persona and showing fans the human at the core.
Bieber dropped Changes in 2020, and subsequently gained three Grammy nominations and one win for best country duo/group performance for his Dan + Shay collaboration, “10,000 Hours.” Justice arrived a year later and was nominated for album of the year and best pop vocal album at the 2022 Grammy Awards. The album’s standout hit, “Peaches,” became his first Hot 100 No. 1 of the 2020s and gained four nominations including record of the year and song of the year. Justice also featured the Benny Blanco collaboration, “Lonely,” a devastatingly raw look at how fame sent Bieber into a downward and isolated spiral, capturing his past 15 years in one single. “Everybody saw me sick/ And it felt like no one gave a s—/ They criticized the things I did as an idiot kid,” he sings on the diaristic track.
Now, in 2024, Bieber hasn’t released a new single or album in a few years, but it seems like the 30-year-old star is experiencing a healthy, loving life for the first time, much to fans’ happiness. He’s been married to Baldwin for six years, and the duo welcomed their first child, a son named Jack Blues Bieber, over the summer. With his whole life to that point being spent on overdrive, it’s relieving to see Bieber cruising and enjoying his newest adventure, fatherhood. Hopefully, the ride will inspire yet another chart-topping album – and one more example of his one-of-kind presence, which has persistently shined through the darkness for over 15 years now.
Read more about the Greatest Pop Stars of the 21st Century here — and be sure to check back Thursday as we reveal our No. 7 artist!
THE LIST SO FAR:
Honorable Mentions
25. Katy Perry24. Ed Sheeran23. Bad Bunny22. One Direction21. Lil Wayne20. Bruno Mars19. BTS18. The Weeknd17. Shakira16. Jay-Z15. Miley Cyrus14. Justin Timberlake13. Nicki Minaj12. Eminem11. Usher10. Adele9. Ariana Grande
Joey Fatone is heading back to the Broadway stage, this time for the Shakespeare-inspired & Juliet. & Juliet opened at the Stephen Sondheim Theatre in New York City in 2022 and features songs by the legendary and Grammy-winning songwriter and producer Max Martin. The show reimagines the classic Shakespeare play Romeo & Juliet, picturing what life would have […]
“The setlist is how you communicate your story to your audience,” says Bruce Springsteen near the start of Road Diary: Bruce Springsteen and the E Street Band, the new Thom Zimny-directed documentary on the Boss’s life as touring musician that debuts on Hulu on Friday (Oct. 25).
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The movie had its Los Angeles premiere Monday night (Oct. 21) before a star-filled audience at the Academy of Motion Pictures Museum’s David Geffen Theater, which included Catherine O’Hara, Danny DeVito, Judd Apatow, John Densmore, Jackson Browne, Richie Sambora and Brandi Carlile.
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As anyone who has seen Springsteen’s current tour knows, this outing’s setlist is relatively static for a Springsteen show, with the themes of mortality and loss interspersed with the joy of being alive running throughout. What it lacks in the spontaneity of past Springsteen tours, it more than makes up for in the emotional resonance Springsteen and the expanded E Street Band bring to the often transcendent material.
The documentary, which is a must-see for any Springsteen fan, pulls back the curtain on how the tour came together. By the time the first show was played in Tampa in February 2023, Springsteen had released three new albums and it had been six years since the E Street Band had toured due, in part, to the pandemic. The film takes fans behind the scenes from the first day of rehearsals in a small, black box theater in New Jersey to stages across the world and, in the process, tells the story of the band’s 50 year friendship.
In one of the film’s more poignant passages, musician and Springsteen’s wife Patti Scialfa reveals she was diagnosed with multiple myeloma in 2018 and how that has affected her ability to tour with the band. The deaths of longtime band members Danny Federici and Clarence Clemons are also discussed in loving detail.
As to why now was the right time to reveal the behind-the-scenes machinations, at a Q&A following the screening, Springsteen, 75, kept with the mortality theme and half quipped, “Well, if we didn’t make it now, I’d be dead pretty soon so we got to make these while we can. That’s all there is to it.”
The tour, which picks up again in Europe next Spring, has as its tentpoles four songs from Letter to You, Springsteen’s 2020 album inspired by the death of George Theiss. His passing left Springsteen the only living member of his first band, The Castiles, which he joined as teenagers.
“I was with him the last few days before he passed away,” Springsteen said during the Q&A, moderated by the Rock & Roll Hall of Fame Foundation chairman and iHeart president of entertainment enterprises John Sykes. “I came back from George’s, and I think he filled me with something where I think all of Letter to You was written in about two weeks and recorded in four days. It’s just, hey, you get up around our age and those are the things you’re thinking about, and Patti and I have had to deal with her illness and you’re worried about…it’s just part of your life now, questions and mortality. Like I say in the film, there’s a lot more yesterdays and goodbyes once you get up around where we are then there was 30 or 40 years ago.”
Zimny, who has worked with Springsteen on projects for 24 years, said during the Q&A that the project unfolded as shooting progressed. “I think it evolves every day that I was experiencing the band, filming and seeing what was going on. I think it’s a conversation that happens with Jon [Landau, Springsteen’s manager] and Bruce from day one and I just stay really open to what I’m experiencing. The first day of rehearsals. I was just so blown away by that sense of everyone’s happiness and I knew that I wanted that to come across, that sense of gratitude that they can perform again. But by time I reached the American concerts and Europe, the film evolved. I think a big thing is to be open, not have a set POV. I go for the adventure.”
The movie, which is narrated by Springsteen, ends with his citing a quote from The Doors’ Jim Morrison. In the Q&A, which also featured Landau and Springsteen’s longtime right-hand man Steven Van Zandt, Springsteen revealed the origin of its usage. He and Scalfia were at the same Doors show at the Asbury Park (N.J.) Convention Center in 1968, though they hadn’t met yet. Then, he told an endearing story that showed that, ultimately, the pair are music nerds just like his fans. Decades later, he and Scalfia were talking about the Doors show and found the setlist online. “We got in bed and we said, ‘OK, we’re going to recreate the entire show,’” he recalled. “I found live Doors cuts and we recreated the entire show from 1968 and listened to it before we went to sleep…Suddenly, I sort of went on a bit of a Doors binge and I started reading several book and I came across the quote and it just seemed like the perfect way to sum up what the band is about, what our relationship to our fans means, what our mission statement has been for the past 50 years. It just seemed to sum it up in those four very brief lines.”