50 Cent isn’t letting up in his trolling of his longtime rival Sean “Diddy” Combs following the music mogul’s federal indictment, which was unsealed on Tuesday morning in New York City (Sept. 17).

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The G-Unit boss has been on a media tour in support of his new book The Accomplice, but he still made some time to take a jab at Diddy surrounding the details of his sprawling sex trafficking indictment on Tuesday.

50 posted a photo with Drew Barrymore to promote his appearance on her show, but didn’t waste any time sneaking in a shot at Diddy, hinting at the indictment’s report that federal agents allegedly seized over 1,000 bottles of baby oil and lubricant from his Miami and Los Angeles homes as evidence during a federal raid in March.

“Here I am keeping good company with @DrewBarrymoreTV and I don’t have 1,000 bottles of lube at the house,” he wrote alongside his photo with the actress.

One fan replied: “I was waiting on 50 to chime in and here it is.” Another added: “I know you got more coming for us today bro.”

The 1,000 bottles of lube 50 is referencing came from the Sept. 12 indictment, which was unveiled during Tuesday’s presser by U.S. Attorney Damian Williams, who claimed the bottles confiscated from Sean Combs’ possession were used in the alleged sexual “freak offs.”

Williams also claimed that Combs’ staff would stock hotel rooms with lubricant and baby oil for the “freak offs.” Electronic devices were seized containing evidence of the “freak offs” with multiple victims.

Diddy was reportedly arrested at the Park Hyatt Hotel in Midtown Manhattan on Monday night. Combs faces charges of sex trafficking, racketeering conspiracy and transportation to engage in prostitution, per the indictment obtained by Billboard. The conspiracy charge also came with allegations of forced labor, kidnapping, arson and bribery from 2008 through the present day.

“For decades, Sean Combs … abused, threatened and coerced women and others around him to fulfill his sexual desires, protect his reputation and conceal his conduct,” the indictment reads. “To do so, Combs relied on the employees, resources and the influence of his multi-faceted business empire that he led and controlled.”

If convicted on the charges, Combs will be facing a minimum sentence of 15 years jail time, while the charges carry a maximum sentence of life in prison. Diddy is expected to appear in court on Tuesday.

Nominations for the 2024 Latin Grammy Awards were announced Tuesday (Sept. 17) with Mexican hitmaker Edgar Barrera leading the pack for a second consecutive year.  

Barrera, who has nine nominations (including songwriter of the year and producer of the year), is followed by eight-time nominees Karol G and Bad Bunny. The former is up for record of the year and song of the year with “Mi Ex Tenía Razón,” and for album of the year with Mañana Será Bonito (Bichota Season)

Meanwhile, Agris, Kevin Aguilar, Darumas, Nicolle Horbath, Latin Mafia, Cacá Magalhães, Os Garotin, Iñigo Quintero, Sofi Saar and Ela Taubert, are all nominated for best new artist. In July, Billboard predicted that Darumas, Latin Mafia and Taubert would score a nom for the coveted award. Xavi and Iván Cornejo — two of our other predictions — didn’t make the cut. (Below, see a list of snubs and surprises)

“As we approach the 25th edition of the Latin Grammys our awards process is more robust than ever, with our membership evaluating over 23,000 entries this year,” says Manuel Abud, CEO of The Latin Recording Academy, in a press release. “The Latin Grammys have grown in an amazing way to become a fundamental platform for music and culture. We are proud to share this year’s nominees, an international and diverse group of creators representing the richness and vastness of today’s Latin music.” 

The 25th annual Latin Grammy Awards will air live from Miami on Thursday, Nov. 14 beginning at 8 p.m. ET/PT (7 p.m. Central) on Univision, Galavisión and ViX. Preceding the telecast will be the Latin Grammy Premiere, where the winners in most categories will be announced. See the complete list of nominees here.

Grammy winner and Americana luminary Allison Russell is set to make her Broadway debut in the eight-time Tony Award-winning musical Hadestown.

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Beginning on Nov. 12, Russell will perform as the Greek goddess Persephone in the lauded musical. Hadestown is based on the 2010 concept album adapting the Greek myth of Orpheus and Eurydice by folk singer-songwriter Anaïs Mitchell, who then went on to create the show’s music, lyrics and book.

On her Instagram, Russell celebrated her upcoming debut, while recalling her first time seeing Mitchell perform the show’s song “Why We Build The Wall” in Santa Barbara, California in 2008.

“I was transfixed,” Russell wrote. “When Anaïs told me later that night that she was working on a ‘folk opera’ based on the myth of Orpheus & Eurydice all my hairs stood on end — I had a premonition that it would be become a piece that would outlive us all…”

After Mitchell released Hadestown in 2010, the project was later turned into a stage musical and made its U.S. debut in 2016. Three years later, the musical opened on Broadway and won eight Tony Awards that same year, including best musical.

“It has been a keen and continuous joy to have a front row seat to the evolution of this great opus — from the 2010 album to Off Broadway to the Edmonton Theatre to the London Theatre and finally to Broadway and the Walter Kerr Theatre,” Russell wrote. “Anaïs has been and is a lodestar artist, writer and friend to me since that night in 2008 … impossible for me to fully convey how deeply meaningful, resonant, uplifting, full circle and THRILLING it is to be making my Broadway debut, starring in the role of Persephone (a Goddess and archetype I have explored in both poetry and song myself since childhood) in this generational masterpiece and my favourite musical.”

Russell also added that she is “proud to be joining the sisterhood of artists who’ve embodied Persephone, proud to be joining this extraordinary ensemble, proud to become a part of this living, growing legacy. This is a World I’ve dreamt of and one I get to live in now. I am excited and grateful beyond measure to be joining @hadestown! See you way down under the ground.”

For Russell, early 2025 is slated to be filled with performances. The singer-songwriter, who has been supporting Hozier’s Unreal Unearth Tour this year, is also slated for a brief run of tour dates in Australia in April 2025, and will then embark on her rescheduled All Returners Tour later than month, with the tour launching April 30 in South Burlington, Vt. and including shows in New York, San Francisco and Nashville.

At this week’s Americana Music Awards — set for Wednesday, Sept. 18 in Nashville — Russell is also nominated for the evening’s artist of the year trophy, alongside Tyler Childers, Charley Crockett, Sierra Ferrell and Noah Kahan.

See Russell’s announcement post below:

Oprah Winfrey is documenting her trip to Elvis Presley’s Graceland, according to The Hollywood Reporter.

The media mogul is set to air An Oprah Special: The Presleys – Elvis, Lisa Marie And Riley on CBS this fall, in which she tours the historic estate in Memphis, Tennessee, and interviews Presley’s granddaughter, Riley Keough. The interview comes more than a year after Keough’s mother and Elvis’ only child, Lisa Marie Presley, died on Jan. 12, 2023 at age 54 from natural causes due to the effects of a small bowel obstruction from bariatric surgery.

Before she died, Lisa Marie recorded stories of life for a memoir. Keough worked to compile the recordings into a posthumous memoir, From Here to the Great Unknown, which is set to be released on Oct. 8 via Random House Books, the same day Winfey’s special is scheduled to air.

“Born to an American myth and raised in the wilds of Graceland, Lisa Marie Presley was never truly understood . . . until now,” read the memoir’s announcement back in January. “Before her death in 2023, she’d been working on a raw, riveting, one-of-a-kind memoir for years, recording countless hours of breathtakingly vulnerable tape, which has finally been put on the page by her daughter, Riley Keough.”

The upcoming interview with Keough will include memories of Lisa Marie, as well as never-before-seen family photos, videos and more.

The Presleys – Elvis, Lisa Marie And Riley airs Tuesday, Oct. 8, at 8 p.m. ET on CBS and Paramount+.

Ticketing company Lyte appears to have gone out of business, shutting down its website, laying off its staff and leaving a number of concert promoters unpaid for hundreds of thousands of dollars’ worth of tickets sold on the platform.

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Lyte founder and chief executive Ant Taylor has resigned from the company, according to multiple sources, with an emergency board/creditors effort underway to try to identify a potential buyer that could repay the fans and promoters affected by shutdown, which one source said felt akin to being “ghosted.” Currently, the company’s website is offline and has been for days, having been replaced by an image that says “Be Back Soon,” with smaller text reading, “Our website is currently undergoing scheduled maintenance. We should be back shortly.”

Having launched the company in 2014, Taylor raised about $53 million in four major funding rounds, with his biggest investors believed to be Chamath Palihapitiya from Silicon Valley VC Social Capital and New York hedge fund manager Joseph Edelman. Neither Taylor nor representatives for Lyte responded to requests for comment.

Lyte billed itself as a fan-to-fan ticket exchange where fans could list tickets to events they couldn’t attend and ethically resell those tickets to other fans wanting to attend a concert. But Lyte’s own clients say the company’s business model had changed and that the company helped promoters scalp their high-end tickets and VIP festival tickets — quietly splitting the profits with event organizers.

It wasn’t uncommon for a major indie festival promoter to have several hundred thousand dollars’ worth of ticketing inventory listed on the Lyte system, explained one attorney representing potentially more than a $1 million in cumulative claims against Lyte. High profile clients for Lyte included Baja Beach festival, the Lost Lands festival in Ohio, Pitchfork Music Festival and Newport Folk Festival, although it’s unclear which events are owed money by Lyte.

A worse fate potentially awaits clients who signed up for Lyte’s primary ticketing platform. As recently as Sept. 9 the Lyte blog was announcing new clients for that initiative, including Digilogue Days, an October event in Brooklyn that billed itself as a meeting point for “music executives, artists, creatives, students and aspiring professionals with the tools and knowledge to shape the future of the music industry.” Today, Digilogue Days’ ticketing page has the same “be back soon” message that has come to replace nearly all of Lyte’s known web footprint.

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The worst-case scenario for any primary ticketing clients would be if Lyte went out of business without paying its clients any of the revenue from tickets it had sold on their behalf. For small event organizers, that could equal nearly all of an event’s revenue.

If Lyte has to file for insolvency protection, it would fall into the hands of a bankruptcy trustee to sort through the details. But attorneys for several festival clients are hoping to pull their clients’ money out of the venture before it goes into administration.

“It would be totally unacceptable if any of my clients’ money was co-mingled with Lyte’s operational funds,” said one attorney who did not wish to speak on the record. “If that happened, the board of directors will be forced to account for those funds, even if that means piercing the corporate veil and going after their ability to raise money.”

Everything has changed since Taylor Swift was 21, but when it comes to her ideal relationship, what she wants is nothing new.

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In newly shared audio from 60 Minutes‘ 2011 interview with the young singer-songwriter shared on the program’s A Second Look podcast Tuesday (Sept. 17), Swift — still a country musician at this point and barely of legal drinking age — opened up about one of the most precarious parts of her dating experiences. “It’s so heartbreaking when things click, but your comfort level with fame is so different than [the person you’re dating],” she told the outlet. “‘Cause I don’t care … It doesn’t matter to me who’s looking, but it does to some people.”

“You couldn’t really have a good relationship with someone who cares that much.” Swift continued. “It seems a little unnecessary to care that much about keeping people out.”

As many Swifties have pointed out over the past year, the 14-time Grammy winner finally seems to have found someone who can handle her spotlight: Travis Kelce. Since Swift started dating the Kansas City Chiefs tight end in summer 2023, he’s only seemed to embrace the good, bad and ugly of her outlandish fame while cheering her on whenever possible. “I have fun with it,” Kelce said of the public scrutiny that comes with dating Swift. “It comes with the territory.”

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One thing that Swift has changed her tune on since 2011, however, is politics. After staying far away from the subject for over a decade, the “Karma” musician finally broke her silence in 2018 by endorsing Democratic candidate Phil Bredesen for U.S. Senate. Since then, she’s spoken out about politics multiple times — most recently backing Kamala Harris in the 2024 presidential race — and penned the tracks “Only the Young” and “You Need to Calm Down” about her political beliefs.

All of that would probably surprise 21-year-old Taylor, though. “As far as politics and who I want to be making decisions for our country and all that, I don’t really — I don’t really sing about that,” she told 60 Minutes 13 years ago. “I don’t get melodies and ideas in my head that have to do with, you know, the issues of our economic climate.”

Listen to Swift discuss her ideal romance and stance on politics — plus her favorite lyric she’d ever written at the time and why she’s motivated by “deep wells of insecurity” — on 60 Minutes below.

Aubrey O’Day is hopeful for the future following Sean “Diddy” Combs’ arrest.

“The purpose of Justice is to provide an ending and allow us the space to create a new chapter. Women never get this. I feel validated. Today is a win for women all over the world, not just me. Things are finally changing,” the former Danity Kane member tweeted.

O’Day has a longtime history of speaking out against Diddy. Danity Kane was formed back in 2005 on Diddy’s Making the Band and the group was also later signed to his Bad Boy Records label. O’Day was kicked out of the group in 2008, and she alleged on Call Her Daddy in 2022 that her departure was related to her refusal to fulfill non-music requests for the rapper.

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Diddy was arrested Monday (Sept. 16) in New York City, and Manhattan federal prosecutors have since unveiled the substance of their case against Combs — accusing him of operating a criminal enterprise centered on his “pervasive pattern of abuse toward women.”

The indictment, obtained by Billboard, includes allegations of sexual abuse, accusing rapper and music executive of running a racketeering conspiracy that included sex trafficking, forced labor, kidnapping, arson and bribery. If convicted of the charges, Combs is facing a minimum sentence of 15 years in prison and a maximum of life behind bars. Combs is expected to be arraigned later on Tuesday at a Manhattan federal courthouse.

In a video obtained by CNN earlier this year and dated March 5, 2016, Combs appears to shove his longtime former partner, Cassie Ventura, to the ground near an elevator bank, kick her several times while she lies on the ground and drag her down a hallway. The contents of the video mirror an assault allegation Ventura made in a now-settled lawsuit she filed against Diddy in November.

Ventura was the first to accuse Diddy of sexual assault, filing a lawsuit in November in which attorneys for Cassie claimed she “endured over a decade of his violent behavior and disturbed demands,” including repeated physical attacks and forcing her to “engage in sex acts with male sex workers” while he masturbated. According to the complaint, after she attempted to separate from him in 2018 after an on-and-off public relationship for 11 years, Combs allegedly “forced her into her home and raped her while she repeatedly said ‘no’ and tried to push him away.” The case was soon settled, but Combs was then sued by multiple other women who claimed they were sexually abused by the hip-hop mogul. 

O’Day has previously spoken out in defense of Ventura. “I am in full support of Cassie,” O’Day shared in a statement to ET in November. “It isn’t easy to take on one of the most powerful people in this industry and be honest about your experience with them. I know what her heart is feeling right now, because I have done so as well. May her voice bring all the others to the table, so we can start having more transparent conversations about what is actually happening behind the scenes. There is a lot more to all of our stories!”

If you or someone you know is a victim of domestic violence, please call the confidential National Domestic Violence Hotline toll-free at 1-800-799-7233, or go to thehotline.org

Warner Music Latina has inked an exclusive partnership with Street Mob Records, the indie label founded by Fuerza Regida’s frontman Jesús Ortiz Paz (a.k.a. JOP).

Through the alliance, Street Mob Records’ artists Armenta, Clave Especial and Calle 24 will join the Warner Music Latina roster to “elevate these trailblazing acts to global stardom, while accelerating the evolution of Mexican and Latin music, ensuring its lasting impact,” according to a press release.

“Partnering with Warner Music is a powerful validation of what we’ve been building at Street Mob Records,” Ortiz Paz said in a statement. “It’s a testament to our artists, our team, and the culture we represent. We’re not just signing a deal; we’re creating a legacy that will inspire future generations of artists and entrepreneurs.”

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The Mexican-American hitmaker launched the West Coast-based Street Mob Records in 2018, which has served as an incubator of new regional Mexican music talent, and the three acts that are part of the deal represent some of Street Mob’s most promising talent.

Calle 24, led by Diego Millán from Chihuahua, Mexico is known for songs like “Qué Onda” in collaboration with Fuerza Regida and Chino Pacas, as well as “Apaga El Cel” and “Juré Venganza.” Hailing from Salinas, Calif., Clave Especial stands out for the group’s unique blend of traditional and modern sounds in songs like “Rápido Soy” and “No Son Doritos.” Meanwhile, Armenta from Sinaloa, Mexico, is a renowned producer and songwriter who has contributed to hits by Fuerza Regida like “Bebe Dame,” “Ch y la Pizza” and “Harley Quinn.”

“This collaboration with Street Mob Records is a monumental step forward in our mission to strengthen our Música Mexicana Division,” added Roberto Andrade Dirak, managing director of Warner Music Latina. “Street Mob Records has proven to be a key player in this vibrant industry, and we are excited to amplify the voices of their incredible artists on a global scale.”

“We are proud to welcome them to the Warner Music family and are committed to providing the support and resources they need to reach new heights,” said Tomás Rodríguez, president of Warner Music México & Mexican music.

 Street Mob Records was represented in the deal by Walter Mosley of Mosley & Associates.

Jesús Ortiz Paz is set speak at the 35th anniversary Billboard Latin Music Week, which will feature exclusive panels, conversations and performances by Latin music’s biggest stars. Tickets are available now at BillboardLatinMusicWeek.com.

Quavo and Ty Dolla $ign are taking their cinematic tunes to the silver screen. Huncho and Ty teamed up with Brian Tyler on Tuesday (Sept. 17) to unleash the futuristic visual to Transformers One‘s “If I Fall.”

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Tyler is on double-duty as the uptempo song’s producer while also directing the robot-themed clip under his immersive audio-visual project Are We Dreaming.

Huncho and Ty dish out motivational rhymes over the thumping production while moving around a dark room dodging the flashing lights. Chaos ensues with scenes mixed in from the new film, and it’s easy to see how the sci-fi clip could align with the action-packed blockbuster.

“Ain’t no plan B and we won’t stand for defeat/ I’m in my prime, Optimus (Optimus), I’m goin’ big, Megatron/ I’ma sting, Bumblebee, now crown the king, hope you proud of me,” Quavo raps while incorporating Transformers characters into his bars.

Tyler, who is also on board as the film’s composer, reflected on having the opportunity to team up with the pair of hip-hop titans on the track that arrived earlier this month. “It was so dope getting to work with legends Quavo and Ty Dolla who both killed it in the video for ‘If I Fall,’ which has a sick sci-fi feel that brings you into the world of Transformers,” he said. “The sets were epic, it felt like we were on Cybertron.”

He continued of his all-encompassing involvement in the creative process: “It’s kind of crazy directing your own music video when you are also singing on it, playing the drums, editing the cut, and creating the visual effects. Being so integrated in the entire process has been insane but amazing.”

Transformers One hits U.S. theaters on Friday (Sept. 20) along with the release of the blockbuster’s soundtrack. With a reported budget of $75 million, the animated flick stars Chris Hemsworth, Brian Tyree Henry, Scarlett Johansson, Keegan-Michael Key, Steve Buscemi, Laurence Fishburne, Jon Hamm and more in the loaded cast.

Watch the “If I Fall” video below.

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. 25, No. 24, No. 23, No. 22, No. 21, No. 20, No. 19, and No. 18 stars, and now we remember the century in Shakira — who transformed Latin pop with her groundbreaking early-’00s crossover, soared to global fame with hits like “Hips Don’t Lie” and “Waka Waka” and influenced a new generation of artists across multiple genres.

At the dawn of the 21st century, Shakira not only emerged as a global musical force, but reshaped how Latin artists crossed into the mainstream, and thrived there. As the millennium turned, the concept of a Latin pop artist dominating worldwide charts in two languages was more aspirational than realistic. This was despite some crossover successes seen in the late ’90s — artists like Jennifer Lopez sang primarily in English, and only a few, such as Selena and Ricky Martin, made significant impacts while performing extensively in Spanish. Yet, Shakira artfully bridged this gap, turning it into a cultural spectacle in 2001. Blending her Colombian roots with a sharp pop sensibility, she not only broke through linguistic barriers, but also set the stage for the breakthroughs enjoyed by non-English speaking artists to follow. 

Today, the 15-time Latin Grammy winner is widely considered the most successful female Latin artist of all time, with 95 million records sold over her three-­decade career. Many of her songs have become more than hits, but rather pivotal cultural moments that showcase her as a multidimensional superstar. From the Hot 100 No. 1 juggernaut “Hips Don’t Lie” to the FIFA World Cup banger “Waka Waka” and the unapologetic diss track “Shakira: BZRP Music Sessions, Vol. 53” with Bizarrap – released, respectively, across the first three decades of the 21st century – her tracks have become staples at global gatherings, turning sports anthems into pop phenomena and solidifying her status as an international music ambassador.

Fresh off conquering Latin America with her wildly successful third and fourth studio albums — 1995’s Pies Descalzos and 1998’s Dónde Están Los Ladrones? — Shakira, a belly-dancing, guitar-playing, drum-pounding singer/songwriter, transformed her image and sound to kick off the new millennium. Trading her rockera brunette locks for a sexy blonde look, she set her eyes on the English-language market and released the groundbreaking Laundry Service in November 2001. Propelled by timeless hits like “Whenever, Wherever” and “Underneath Your Clothes,” which climbed to No. 6 and No. 9 on the Hot 100, respectively — the album reached a No. 3 peak on the Billboard 200. The LP was both a commercial triumph and a cultural milestone for Latin pop. 

In the peak teen-pop era of TRL, Shakira distinctively carved out her niche as an alternative-leaning pop artist — complete with dirty blonde hair with occasional black streaks and braids, and a hippie-rocker look. An exceptional dancer and multi-instrumentalist with a genuine rock edge, she also stood out as a songwriter who uniquely adapted her lyrical style to English — a language she had only recently learned. Her instantly recognizable voice carried a deep, powerful tone laden with emotional cries, reminiscent of Mercedes Sosa’s depth and Alanis Morissette’s raw energy. Yet, it was entirely her own, and her combination of talents and novel approach made Shakira a unique presence in early 2000s pop, challenging conventional norms and paving a new path towards stardom.

Shakira
Shakira
Shakira
Shakira

As Shakira’s presence on the world stage expanded, she continued to break new ground. Released in June 2005, Fijación Oral, Vol. 1 marked her sixth studio album, and first while on top of the world. Despite her major pop success singing in English on Laundry Service, she still decided to return to singing in Spanish for its follow-up — a risky move that nonetheless paid off both artistically and commercially. Co-produced by luminaries like Gustavo Cerati, Lester Méndez, Luis Fernando Ochoa and José “Gocho” Torres, singles like “No”, “Días de Enero”, “Las de la Intuición” and “La Tortura” with Alejandro Sanz gained wide recognition. Particularly notable was her team-up with the Spanish superstar Sanz, one of the first examples of a major collaboration in Latin music, at a time when such partnerships were rare. Largely praised as one of the best duets of the 2000s, the pop-reggaetón track helped set a precedent for future collaborations across the industry. The latter song became the biggest hit of the set, and the only one that entered the Hot 100. 

The album debuted at No. 4 on the Billboard 200, the first all-Spanish set to break to the chart’s top 5. Fijación Oral, Vol. 1 also spent 17 weeks at No. 1 on Top Latin Albums, the most for the Colombian star at the top of the ranking. She quickly followed that set with Oral Fixation, Vol. 2, the English-language counterpart to the Spanish-sung Vol. 1, released that November. Here, Shakira continued to explore new musical territories, venturing more into mainstream pop and rock, marking a noticeable shift from her Latin pop roots and Middle Eastern influences. This album saw her collaborating with iconic musicians such as Carlos Santana on “Illegal” and Gustavo Cerati on “The Day and the Time,” though these tracks, despite the star-studded lineup, didn’t achieve the impact expected. 

However, “Hips Don’t Lie,” featuring Wyclef Jean, was added the following year to Shakira’s Vol. 2 in a reissue aimed at boosting the album’s sales, after lead single “Don’t Bother” had underwhelming commercial success. This move helped the album experience a significant revival, boosting it from No. 98 all the way to the top 10 that May. Blending salsa and reggaetón with a Jerry Rivera sample, the song also catapulted to the top of the Hot 100, becoming Shakira’s only No. 1 to date on the all-genre chart and remaining there for two weeks. Despite the album’s rocky start, the LP was ultimately redeemed by the massive success of “Hips,” which has endured as one of the best-remembered pop songs of that entire era (and one of our staff’s  top 500 pop songs of all time).

The Colombian superstar continued to pour out more records, and released She Wolf in October 9, 2009 — which snarling electropop title track ended up becoming her moniker up to this day, and reached No. 11 on Hot 100 and No. 1 on Dance Club Songs. The album was followed by the more back-to-basics Sale el Sol on 2010, which returned Shakira to the Billboard 200’s top 10, peaking at No. 7. Prior to these, in 2007, she also united with superstar Beyoncé on “Beautiful Liar,” marking an unprecedented collaboration of its time, an American pop icon and a Latin sensation. The song reached No. 3 on the Hot 100. 

While she continued to prove her trendsetting and hit-making prowess as a singles and albums artist, she also established herself as a powerhouse in the live performance arena. Her electrifying performance at the 2010 FIFA World Cup in South Africa, where she sang the tournament’s official trilingual anthem “Waka Waka (This Time for Africa),” featuring Freshlyground, became a global call to unity, reflecting the spirit of the tournament and further establishing Shakira as a beloved global icon. (It was also there where she met her former partner, soccer star Gerard Piqué, who she would have two children with and be with for over a decade.) This wasn’t Shakira’s first World Cup performance; she debuted in 2006 with “Hips Don’t Lie” at the closing ceremony in Germany, returned for South Africa, and again in 2014 in Brazil, where she released “La La La” featuring Carlinhos Brown.

Shakira’s musical journey saw continued success with the release of her eponymous 2014 album and 2017’s El Dorado. The former became her highest-peaking album on the Billboard 200, reaching No. 2, and the latter soared to the No. 1 position on Top Latin Albums for five weeks, also dominating the Latin Pop Albums chart for an impressive 63 weeks. Although these achievements maintained her relevance, they couldn’t quite match the explosive impact of her early 21st-century successes. However, notable hits from these albums, like the Shakira-Rihanna collaboration “Can’t Remember To Forget You” and “Chantaje” featuring the then-rising Colombian pop star Maluma, made significant inroads on the Hot 100.

Yet, there was perhaps no greater proof that Latin music cemented its place in American pop culture in the 2020 Super Bowl LIV halftime show, when Shakira and Jennifer Lopez took the world’s biggest stage together on February 2. Shak’s set was thoroughly Latin, featuring a lineup of her Spanish-language hits and dance styles that highlighted her Colombian (and Lebanese) heritage, including champeta and mapalé, an Afro-Colombian dance. This made her performance distinct compared to other Super Bowl halftime shows, aside from Gloria Estefan who performed three times in the ‘90s. The set also featured then-rising global stars Bad Bunny and J Balvin, bringing their own tropical-urbano flair. In contrast, J.Lo delivered more of a razzle-dazzle, high-energy set, reminiscent of a Las Vegas show.

Two years later, Shakira found herself making big headlines again – this time not for her musical achievements or jaw-dropping performances, but for her widely publicized breakup (and tax issues). In early 2022, rumors had swirled that Shakira was ending her 11-year relationship with Gerard Piqué. That June, they confirmed their split, igniting a flurry of tabloid speculation about the soccer player’s infidelity with a younger, 23-year-old woman he reportedly started dating soon after. This personal turmoil attracted intense media scrutiny, with paparazzi besieging Shakira’s home and her children’s school in Barcelona, transforming a private family ordeal into a full-blown media circus.

As much public embarrassment as the relationship fallout caused Shakira, it also helped inspire her most commercially successful period in at least a decade. At the start of 2023, she released the explosive electropop diss track, “Shakira: Bzrp Music Sessions, Vol. 53” with Argentine hitmaker Bizarrap. Her explicit finger-pointing and unapologetic storytelling marked a significant departure from the usual veiled references in breakup songs, as she provided intimate details of her breakup, leaving no room for ambiguity by naming names and addressing personal drama head-on. With bars like “Las mujeres ya no lloran, las mujeres facturan” (“Women don’t cry anymore, women cash in”), the self-proclaimed She Wolf penned a new manifesto of female empowerment, challenging the double standards imposed on Latin women in society. The song became the most viewed clip on YouTube for a Latin track in its first 24 hours, with 63 million views, and marked multiple Billboard milestones, including making Shakira the first female vocalist to debut in the top 10 of the Billboard Hot 100 with a Spanish-language track; it also won song of the year and best pop song at the 2023 Latin Grammys.

The hits kept rolling in, as Shakira scored another Hot 100 top 10 with Karol G on their much-anticipated teamup “TQG.” Together, the two biggest Colombian female pop stars one generation apart delivered the ultimate tabloid-pop hit; Karol G also addressed her tumultuous breakup with Puerto Rican trap star Anuel AA. Both “Vol. 53” and “TKG” reached the Hot 100’s top 10, and “TQG” topped the Billboard Global 200. The song became Karol’s first top 10 hit, and still her only top 10 hit to date. 

Shakira essentially spent the rest of the year collecting accolades for her spectacular comeback and overall legacy. In May 2023, Billboard honored Shakira as its first ever Latin Woman of the Year; in July, Premios Juventud gave her its Agent of Change Award. In September, she received the Michael Jackson Video Vanguard Award at the MTV Video Music Awards — the first South American artist to receive it — where she also performed a dazzling, 10-minute medley of hits.

Nonetheless, in her 2023 cover story with Billboard, Shakira revealed that for the past seven years, she had been sidetracked by family matters and life in Barcelona, far from music industry action. Her focus shifted following her romantic split, when she cathartically began pouring her heart into her music. Further hits followed: “Te Felicito,” with Rauw Alejandro, climbed to No. 10 on Hot Latin Songs and No. 67 on the Hot 100 in May and June of 2022, respectively; in November, “Monotonía,” with Ozuna (its video shows Shakira’s heart being ripped out and crushed by a shoe), climbed to No. 3 on Hot Latin Songs.

With a gap of seven years since El Dorado — due to Piqué “dragging” her down, in her words — Shak triumphantly released Las Mujeres Ya No Lloran in March 22, 2024. The album, her 12th studio effort, showcased a hodgepodge of sounds, from infectious Afrobeats to soulful bachata, Tex-Mex rhythms and even a return to her rock roots. It quickly garnered critical acclaim, also debuting at No. 1 on both the Top Latin Albums and Top Latin Pop Albums charts. This milestone marked Shakira as the first woman to top these charts across four decades. Continuing her journey as a monumental force, Shakira is set to return to the stage with Las Mujeres Ya No Lloran World Tour, kicking off November 2, on her first tour since 2018 with El Dorado World Tour.

Shakira
Shakira

Shakira’s early foresight in blending Spanish and English within her music paved the way for today’s artists, who now benefit from the doors she helped to open. Reflecting on the music industry today, superstars like Bad Bunny, J Balvin and Karol G navigate high-profile careers entirely in Spanish, a testament to how far the industry has evolved from the days when bilingual or English-language offerings were deemed necessary for true crossover success.

With the tremendous and more recent success of superstars like Bunny, Balvin, Karol, and also música mexicana stars like Fuerza Regida and Grupo Frontera — both collaborators on her latest album — their momentum has also helped legacy Latin artists like Shakira maintain their relevance and influence amid the surge of Latin music, currently the fastest-growing genre in the U.S. With the 2024 Latin Grammy nominations announced on Tuesday (Sept. 17), Shakira continues to garner recognition: She is currently nominated for three awards, including album of the year for Las Mujeres Ya No Lloran, song of the year for the Tex-Mex-leaning “(Entre Paréntesis)” with Grupo Frontera, and best Latin electronic music performance for “Bzrp Music Sessions, Vol. 53 (Tiësto Remix).”

Shakira’s saga, marked by groundbreaking successes and personal challenges, epitomizes the journey of a true pop titan in the 21st century. Charting a path that brought Latin rhythms into mainstream global consciousness, her countless hits and charismatic stage presence have not only defined her career but also substantially influenced the current musical landscape. Moreover, her resilience and adaptability exhibit a model of empowerment and artistic authenticity. By weaving through personal hardships and consistently emerging on top, Shakira has not merely navigated the complex terrains of global pop music but has left an indelible mark on it. As we celebrate her as one of the greatest pop stars of this era, Shakira remains a pillar of innovation and resilience. After all, her hits don’t lie. 

Read more about the Greatest Pop Stars of the 21st Century here — and be sure to check back on Thursday when our No. 16 artist is revealed!