{"id":11833,"date":"2024-11-27T08:49:28","date_gmt":"2024-11-27T08:49:28","guid":{"rendered":"https:\/\/new365.azontree.com\/?p=11833"},"modified":"2024-11-27T08:49:28","modified_gmt":"2024-11-27T08:49:28","slug":"billboards-greatest-pop-stars-of-the-21st-century-no-2-taylor-swift","status":"publish","type":"post","link":"https:\/\/new365.azontree.com\/?p=11833","title":{"rendered":"Billboard\u2019s Greatest Pop Stars of the 21st Century: No. 2 \u2014\u00a0Taylor Swift"},"content":{"rendered":"

With the first quarter of the 21st century coming to a close,\u00a0<\/em>Billboard\u00a0has spent the last 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\u00a0here\u00a0\u2014 and now, we examine the century in Taylor Swift, who took pop stardom to places we hadn\u2019t previously thought possible. (Hear more discussion of Taylor Swift and explanation of her list ranking\u00a0<\/em>on our\u00a0Greatest Pop Stars podcast \u2014 with her episode debuting Wednesday \u2014 and see our recently rebuilt list of the Greatest Pop Star by Year from 1981 to 2023<\/em> here.)<\/em><\/p>\n

It\u2019s amusing to think back on Taylor Swift at age 17, staring straight into Tim McGraw\u2019s soul at the 2007 ACM Awards while performing her debut single \u2013 which just so happened to be named after him.<\/p>\n

Pitchy but spirited, plucky but deeply promising as a songwriter, it was clear that she was bursting at the seams with talent and ambition \u2013 fully capable, in theory, of reaching the greatest heights a career in the music business could offer. But the audacity she demonstrated by taking the moniker of one of country\u2019s biggest stars, claiming it for her own release \u2013 her first-ever, at that \u2013 and serenading him with it in front of all of their peers on live television? That proved she also had the sheer nerve she\u2019d need to actually get there.<\/p>\n

Time and time again, that same moxie would propel the Pennsylvania native to previously inconceivable heights, her profile skyrocketing with each album as she stacked up chart records, historic sales numbers and unprecedented Recording Academy recognition. Through honoring all the traits that made her different \u2013 her sharp pen, her relatable girl-next-door awkwardness, her hopeless romanticism \u2013 and rejecting culture\u2019s previous expectations for female artists to be overtly sexy, pliable and cool, she was able to forcefully, gravitationally bend culture to her will and become one of the world\u2019s biggest undisputed pop stars, despite her eight-year late start in country music.<\/p>\n

She is the only person to ever win album of the year at the Grammys four times. She has the second-most Billboard Hot 100 entries of all time (only Drake has more) and ties with Jay-Z for second-most No. 1 albums on the Billboard 200 (bested only by The Beatles). She is one of the most impressive touring artists of the past quarter-century, a status that has culminated with her global Eras Tour becoming the highest-grossing trek of all time in 2023, just halfway through its run, as it repeatedly set stadium attendance records and boosted local economies in its confetti-and-friendship-bracelet-strewn wake. She\u2019s a billionaire, the only female artist to become one predominantly through music alone. She is the most famous woman in the world.<\/p>\n

And, with all due respect to Tim McGraw, the first thing millions of young pop fans really do think of when they hear his name is Taylor Swift.<\/p>\n

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Gareth Cattermole\/TAS24\/Getty Images<\/cite><\/figcaption><\/figure>\n<\/div>\n
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Rick Diamond\/Getty Images<\/cite><\/figcaption><\/figure>\n<\/div>\n

Swift and her fans were both young when they first saw each other, she an angel-faced teenager with corkscrew curls and lofty dreams that spilled over into both songs and MySpace posts, they a pack of mostly adolescent girls who pored over her interviews, replayed her vlogs long before \u201cvlogging\u201d was even a thing and started picking up guitars at higher rates to emulate their beloved heroine. The details of her origin story are now common bits of trivia \u2014 she was born Dec. 13, 1989 to Scott and Andrea Swift, raised on a Christmas tree farm in Wyomissing, and did you know her lucky number is 13? \u2014 but they used to make up the sacred web of knowledge held dear by her earliest admirers. To them, the tale of what happened next is also etched into memory like a Bible passage: She moved to Nashville as a teenager to pursue a country music career, scored a publishing deal while still a student at Hendersonville High School and later got her big break when Scott Borchetta discovered her at the Bluebird Caf\u00e9 and signed her to his infant label Big Machine Records.<\/p>\n

In 2006, she dropped her self-titled debut LP through Big Machine and promoted it heavily, embarking on radio tours and hand-packing her own CDs into envelopes to personally send off to stations. She performed constantly \u2014 later joining Rascal Flatts, George Strait, Brad Paisley, Faith Hill and, yes, Tim McGraw as an opener on their respective country tours \u2013 and she was already demonstrating an instinctual business savvy that\u2019s uncommon in most creatives, let alone ones who are still just 16. As an incentive for fans to buy copies of the record, for instance, she started planting hidden messages in her CD lyric booklets hinting at the real-life inspirations behind her songs, a tradition that would continue on future albums and grow more tantalizing as her subjects became more famous.<\/p>\n

The specifics of this era feel fuzzier now that Swift has been ubiquitous for years \u2014 especially when, in 2024, modern stars find fame seemingly overnight through the lightning strike of social media virality as opposed to slowly, steadily building their fanbases over time. But her early career was much more of an old-school, brick-by-brick climb up the ranks than we often give her credit for now, fueled by the fact that on Taylor Swift<\/em>, she was already composing with the skill of an experienced career songwriter who had a particular knack for connecting with young girls \u2013 because, well, she still was one herself.<\/p>\n

Lead single \u201cTim McGraw\u201d became Swift\u2019s first entry on the Hot 100 that September, and the following year, the heart-rending \u201cTeardrops on My Guitar\u201d and the maniacally catchy \u201cOur Song\u201d also made their way up the chart. Neither of those would reach their peaks until 2008, though, when fiery breakup bangers \u201cShould\u2019ve Said No\u201d and \u201cPicture to Burn\u201d also entered and became top 40 hits, just in time to capture everyone\u2019s attention ahead of the release of Fearless <\/em>in November. <\/em>She was a darling in the insular world of country music, earning professional recognition from the CMAs and ACMs, but she was becoming a face people recognized in pop culture, too. It was around this time that she was embraced into Miley Cyrus and Selena Gomez\u2019s Disney star ranks and briefly dated Joe Jonas, her first of several tabloid-feeding romances that would become central to the way we think and talk about her persona. People were looking \u2013 she just needed to stick the landing with her next album.<\/p>\n

Again, the magnitude of the entire Fearless <\/em>era is hard to conceptualize now that Swift has dwarfed herself so many times over the years. But in late 2008, the musician officially exploded into crossover-star status thanks to the staggering success of her sophomore album \u2013 which spent an incredible 11 weeks at No. 1 on the Billboard 200 and sold 592,000 million copies in its first week. She dominated radio with country-pop smashes that remain classics in her discography to this day \u2013 most notably, \u201cLove Story\u201d and \u201cYou Belong With Me,\u201d two top five Hot 100 hits with cinematic music videos that inspired some of the most memorable moments in her iconography \u2014 and she became the ultimate it-girl, whose face you craned your neck to see on red carpets, talk shows, magazine covers. The very first headlining trek she ever embarked on, the Fearless Tour, was through arenas, and she capped the triumphant era with a headline-grabbing album of the year win at the 2010 Grammys.<\/p>\n

The most talked-about moment from the first of Swift\u2019s many imperial phases, though, was none of the above \u2014 but you probably already know where this is going. Like Shakespearean foils crossing paths for the first time, Kanye West fatefully thrust himself into the then-19-year-old Swift\u2019s storyline, publicly declaring at the 2009 VMAs that she actually didn\u2019t deserve one of the countless awards she would take home that year and leaving her shellshocked on stage in a moment that would catapult her into the international news cycle for weeks to come. Everyone from Dr. Phil to President Barack Obama had an opinion on the matter, with the latter famously declaring the rapper to be \u201ca jacka\u2013.\u201d<\/p>\n

Now, to look at the trajectory Swift was already on up until this point and still argue that the VMAs incident \u201cmade [her] famous,\u201d as Ye would later claim, is laughable. But his protests at the show would foreshadow so many others coming for her down the line \u2013 namely, questions about her overall worthiness as an awards powerhouse, as debates raged over whether such a young (and female) performer was actually writing her own songs, or merely coasting off the contributions of her older male collaborators.<\/p>\n

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In response to those criticisms, she would pen the entirety of her 2010 follow-up album, Speak Now<\/em>, without any outside lyrical help, resulting in a magical 14-track romantic dreamscape that remains a fervent fan-favorite to this day. If Fearless <\/em>showcased her ability to craft hooky, accessible earworms, her third studio effort introduced her gift for penning deeply personal, woundingly emotional ballads like \u201cBack to December,\u201d \u201cDear John\u201d and \u201cLast Kiss,\u201d a trade most important to the DNA of Swift\u2019s musical genius.<\/p>\n

Though it spent six weeks at No. 1 and helped make Swift Billboard\u2019s <\/em>then-youngest Woman of the Year, Speak Now <\/em>didn\u2019t spawn the same level of pop smashes, critical acclaim or Grammy love as its older sister did. When she made 2012\u2019s Red<\/em>, she seemed determined to make up for its lack of universality, enlisting the help of pop-music godfathers Max Martin and Shellback to push her sound up to the absolute barrier of pop, while staying just country enough to hold onto her identity and keep Big Machine happy. It worked: the deliberately cloying \u201cWe Are Never Ever Getting Back Together\u201d became her first-ever No. 1 hit on the Hot 100, and with numerous top 40 smashes (\u201cI Knew You Were Trouble,\u201d \u201c22\u201d and \u201cBegin Again,\u201d to name a few), the project had double the capacity for hits as Fearless. <\/em>Slower, more intimate tracks like \u201cThe Last Time,\u201d \u201cI Almost Do\u201d and crown jewel \u201cAll Too Well\u201d also expanded on the confessional sad-girl oeuvre she\u2019d started with Speak Now, <\/em>making Red <\/em>a beautiful hodgepodge of all the best parts of both albums that crystallized what we now recognize as Swift\u2019s greatest contributions to modern music: catchy hooks and heartbreaking ballads.<\/p>\n

When Red <\/em>also failed to take home album of the year at the Grammys, and her self-described \u201cbreak my heart and I\u2019ll write a song about you\u201d schtick started to be met with antagonism \u2013 as Swift later explained, she became a \u201cnational lightning rod for slut-shaming\u201d \u2014 she once again sought to level up. Breaking almost entirely away from her longtime Nashville collaborators and assembling a top 40 dream team comprised of Martin, Shellback, Ryan Tedder and newbie producer Jack Antonoff, the increasingly self-assured artist narrowed her focus on making an unabashed pop album that exploded with energy and shimmering \u201880s synths. She chose singles centered less on boys and more around moving to New York (which she did around that time), feuding with a frenemy (ahem, Katy Perry) and shaking off the haters. It was a colossal success by every metric. Thus began imperial phase no. 2: 1989<\/em>.<\/p>\n

Swift was downright inescapable at this point, with 1989 <\/em>selling 1.29 million copies in its first week and reigning atop the Billboard 200 for 11 weeks. Her dominion was powered by an impeccable single and music video run, with \u201cShake It Off,\u201d \u201cBlank Space\u201d and \u201cBad Blood\u201d all spending time at No. 1 while \u201cOut of the Woods,\u201d \u201cStyle\u201d and \u201cWildest Dreams\u201d held down her rule over radio and department-store speakers for years after the fact. She embarked on her first-ever stadium tour, on which she often brought out guest artists and random famous friends from her #Squad \u2013 the innerworkings of which were constantly being dissected by fans and gossip sites alike, both boosting Swift\u2019s fame and narrowing the microscope on her body, style, decisions and personal life. She became Billboard\u2019<\/em>s first-ever two-time Woman of the Year while making history as the youngest musician to ever take home album of the year at the Grammys twice.<\/p>\n

She was Caesar, finally ascending the throne, her ambition and tunnel vision at last giving way to more success than even she could\u2019ve dreamed of. But she hadn\u2019t gotten there with the amount of support and trust she\u2019d hoped from her advisers at Big Machine, who she has insinuated dragged their feet on every step of her country departure. Meanwhile, someone else was preparing to reenter the picture, a sharp knife strapped to his Yeezys.<\/p>\n

When public opinion tilted in Ye\u2019s favor following the Great Phone Call Dispute of 2016, Swift responded to the chorus of voices undermining her \u2014 fellow celebrities and people behind the scenes included \u2014 by hiding away. After a year of self-imposed solitude in London, during which time she fell in love with actor Joe Alwyn, the singer re-emerged in November 2017 with Reputation,<\/em> one of her most pointed creative risks to date. The dark, theatrical LP found Swift truly reclaiming her narrative and explaining her side of a controversy in detail for the first time in her career, a sharp swerve from her previous method of staying quiet and letting the public decide what she was thinking for her. She would never again be the girl in the silver gown, stunned into silence on the VMAs stage.<\/p>\n

As soon as her six-album contract was up with Reputation, <\/em>Swift split from Big Machine and signed with Republic, at the time only hinting at the reason behind her decision: \u201cIncredibly exciting to know that I\u2019ll own all of my master recordings that I make from now on,\u201d she wrote on Instagram. But the signs that she\u2019d been quietly battling her own label for years were there; with 1989,<\/em> she was open about how hard she\u2019d had to fight Borchetta to let her release a pop album, and on the Reputation Tour, a dedication to Loie Fuller, who \u201cfought for artists to own their own work,\u201d was shown onscreen each night.<\/p>\n

By the time the situation exploded with the sale of Big Machine \u2014 and with it, her master recordings \u2014 to Scooter Braun in 2019, Swift had already turned in Lover. <\/em>As we\u2019d learn later in her 2020 Netflix film Miss Americana<\/em>, she felt that, at 29, this project was her last chance to reach audiences on a global scale before she aged out of pop stardom. This fear seemed to lead to her releasing \u201cMe!\u201d \u2014 a slightly juvenile and generic pop track that documentary footage would later show she wrote not with the ambition of living up to her own pop genius, but with the quaint goal of little kids singing along \u2014 instead of the LP\u2019s clear pop banger, future four-week No. 1 \u201cCruel Summer,\u201d as its lead single. The most important part of the Lover <\/em>era to Swift\u2019s overall legacy is that she finally started using her immeasurable influence for political causes after a decade of silence, championing the LGBTQ community through \u201cYou Need to Calm Down\u201d and endorsing Tennessee Democrat Phil Bredesen for U.S. senate over Republican opponent Marsha Blackburn.<\/p>\n

But when Scootergate happened, a fire was lit under her. She issued scathing response after scathing response, making her fury abundantly clear and quickly publicizing her intention to re-record her first six albums in order to reclaim ownership of her past works. While waiting for the clock to run out on the legal barriers blocking her from doing so before November 2020 \u2013 and after the COVID-19 pandemic sidelined her plans for the continuation of the Lover <\/em>era, including a limited run of performances dubbed \u201cLover Fest\u201d \u2013 she surprise-dropped Folklore <\/em>and Evermore. <\/em>Un-muddled by months of pre-release rollout or the need for flashy singles or visual moments, the back-to-back albums reminded the general public that her true gift lies in her storytelling \u2014 and thanks in part to an understated acoustic-folk sound assisted by The National\u2019s Aaron Dessner, they made Swift \u201ccool\u201d to an entire audience that had never seen her that way before. In 2021, Folklore <\/em>gave her a record-tying third AOTY win at the Grammys.<\/p>\n

The first piece of imperial phase no. 3 fell into place that April. With the unveiling of her Fearless (Taylor\u2019s Version) <\/em>re-recording, <\/em>Swift took her first steps on an escalator that, at the close of the quarter-century, is still going up, sharing a near-exact replica of the album that made her a household name with the additions of never-released songs she wrote and recorded more than 15 years prior. Following that same formula each time, the re-records have only ramped up in cultural significance as they\u2019ve progressed; Red (Taylor\u2019s Version) <\/em>spawned history\u2019s longest song to go No. 1 with fans\u2019 beloved \u201cAll Too Well (10 Minute Version)\u201d; Speak Now (Taylor\u2019s Version) <\/em>outsold its predecessor by 138k units in its first week; and 1989 (Taylor\u2019s Version) <\/em>became the first re-record to outsell its original counterpart, blowing the already staggering first-week numbers of 2014\u2019s 1989 <\/em>out of the water with 1.36 million.<\/p>\n

The beauty of the re-recordings was that they both allowed longtime fans to relive some of their best memories with Swift while giving newer fans \u2013 or simply outsiders who weren\u2019t paying much attention the first time these albums rolled around \u2013 a second chance at experiencing her most quintessential eras in real time. But arguably the most shocking part of the process was the fact that, in between the Taylor\u2019s Versions<\/em>, she was still <\/em>recording original music. She dropped Midnights <\/em>in 2022, moving a jaw-dropping 1.58 million first-week units and spawning her longest-running No. 1 hit with \u201cAnti-Hero\u201d \u2014 the most honest she\u2019s ever been in her music about her personal demons and incomprehensible station in life \u2014 while making chart history, as the first artist to ever simultaneously occupy the entire top 10 of the Hot 100, not to mention winning a record-setting fourth AOTY Grammy.<\/p>\n

By the time she embarked on her global Eras Tour, interest in her body of work \u2014 old songs and brand new \u2014 had never been higher, and like the mirror ball she is, Swift has rewarded fans for it every night on the road with more than three hours\u2019 worth of over-the-top scream-your-face-off catharsis, each show an homage to the painstaking career she\u2019s built, brick by brick, one beautiful, messy era at a time. The unprecedented scale of the tour aligns with the absolutely unfathomable reach she\u2019s achieved in 2023 and onward, her victory lap only continuing with the introductions of boyfriend Travis Kelce to the fairytale \u2013 through which she\u2019s also captivated the NFL, proving that no major institution is off limits for her to take over \u2014 and the release of 15-week Billboard 200-topper The Tortured Poets Department<\/em>. The dense 31-track blockbuster LP is second only to Adele\u2019s 25 <\/em>in highest first-week sales of all time (2.6 million) and has once again swept nominations in every major Grammy category for Swift in 2025, including what could be a record-extending fifth album of the year.<\/p>\n

Last year, she was Billboard<\/em>\u2019s Greatest Pop Star of 2023, making her the only artist to ever win the title in three separate years (following 2015 and 2021), but the run she\u2019s had in the past biennium isn\u2019t just the grandest of her own career; it\u2019s also possibly the most extraordinary cultural supremacy any of us have ever seen one artist accomplish in our lives. Her decisions, whereabouts and opinions are all considered public domain \u2013 you\u2019re out of the loop if you haven\u2019t seen what she wore to the latest Kansas City Chiefs game \u2013 and there is no reason to believe that if she dropped another album tomorrow, it wouldn\u2019t invariably end up spending more weeks at No. 1 on the charts than even Tortured Poets,<\/em> because when hasn\u2019t she been able to top herself? Nothing is out of the realm of possibility for her.<\/p>\n

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Frederick M. Brown\/Getty Images<\/cite><\/figcaption><\/figure>\n<\/div>\n

All of this to say, the star is still outdoing herself, still beating her own unbeatable feats, still forging ahead in the same uncharted direction when most others would\u2019ve long since burned out or jumped ship to alternative career paths \u2013 all of which, it shouldn\u2019t go without saying, is exceedingly rare for someone nearly 20 long years into their career. She is venerated by the greats who came before her, from Paul McCartney and Ringo Starr \u2014 who declared that Swift\u2019s mega-popularity is the closest phenomenon to Beatlemania he\u2019s ever seen \u2013 to Stevie Nicks, Dolly Parton and Carole King. At just 34 years old, her catalog has inspired college courses all over the world that treat her written word with the same level of analysis as Wordsworth, and her business innovations \u2013 be it the album variations she\u2019s been experimenting with since 1989\u2019s <\/em>collectible Polaroid sets, her negotiations with Spotify and Apple Music for fairer streaming rates or the playbook she\u2019s still writing on how to re-release old music to new blockbuster returns \u2013 will continue to have reverberations throughout the industry, for longer than we can probably even currently imagine.<\/p>\n

For all these reasons and so many more, she is Billboard\u2019s <\/em>No. 2 Greatest Pop Star of the 21st<\/sup> century, blowing past countless other accomplished hitmakers and icons. The fact that controversy will likely tear through the internet over her being just one small space below No. 1 is just another testament to her power, but regardless, her placement shouldn\u2019t leave Swifties upset for too long \u2014 especially considering how much later in the millennium she got her start, both in the genre and music in general. In a way, Swift has always been like pop\u2019s most curious tourist, never quite feeling like she\u2019d always belonged there, more so trying on the things she liked best about the territory and sticking to her own guns for the rest. Instead of coming up and thriving naturally within the bounds of what we understand pop to be then and now, she rewrote the genre in her own image and, in doing so, charted a new course for crossover success that countless other confessional singer-songwriters like Olivia Rodrigo, Phoebe Bridgers, Gracie Abrams have since benefitted from.<\/p>\n

That\u2019s a lot more than tween Taylor bargained for when she wrote on her first album that she was \u201cjust a girl, trying to find a place in this world.\u201d And if what her history has told us remains true, she\u2019s still just getting started.<\/p>\n

Read more about the Greatest Pop Stars of the 21st Century\u00a0here\u00a0\u2014 find our accompanying podcast deep dives and ranking explanations\u00a0here\u00a0\u2014 and be sure to check back next Tuesday (Dec. 3) as we unveil our No. 1 Greatest Pop Star of the Century so far!<\/em><\/p>\n

THE LIST SO FAR:<\/strong><\/h2>\n

Honorable Mentions<\/p>\n

25.\u00a0Katy Perry
\n24.\u00a0Ed Sheeran
\n23.\u00a0Bad Bunny
\n22.\u00a0One Direction
\n21.\u00a0Lil Wayne
\n20.\u00a0Bruno Mars
\n19.\u00a0BTS
\n18.\u00a0The Weeknd
\n17.\u00a0Shakira
\n16.\u00a0Jay-Z
\n15.\u00a0Miley Cyrus
\n14.\u00a0Justin Timberlake
\n13.\u00a0Nicki Minaj
\n12.\u00a0Eminem
\n11.\u00a0Usher
\n10.\u00a0Adele
\n9.\u00a0Ariana Grande
\n8.\u00a0Justin Bieber
\n7.\u00a0Kanye West
\n6.\u00a0Britney Spears
\n5.\u00a0Lady Gaga
\n4. Drake
\n3. Rihanna
\n2. Taylor Swift<\/p>\n","protected":false},"excerpt":{"rendered":"

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