tlc fanmail tour gross

The 10 Highest Grossing Girl Group Concert Tours Of All Time

The past two decades, girl groups from around the world have shown the masses what they’re made of. From selling out huge arena tours to breaking international records, it’s pretty hard imagining a world without girl groups.

From the 90’s intervention of teen pop set off by the Spice Girls to the present day wrath of K-pop girl groups, here is the latest update on the list of the 10 highest grossing girl group tours of all time.

10) Girls Aloud – Out Of Control Tour – $16 million

With a thorough discography of critically acclaimed bops such as “Sound of the Underground”, “Love Machine”, & “Biology”, Girls Aloud were one of the few acts to really help revitalize the British pop sound of the 2000’s decade. According to Billboard , their Out Of Control tour grossed over $16 million from 32 performances, landing them in the #10 spot. When Girls Aloud are waiting to go on stage, they love spending time with their adorable doggies – hear about other celebrities here .

9) SNSD – Girls & Peace – 2nd Japan Tour – $21.5 million

Girls’ Generation aka SNSD are icons in helping spread the Korean Wave of K-pop sounds internationally. Besides being readily famous in South Korea, their Japanese fanbase is huge. With a total attendance of 230,000+ people , the 20 stops during this tour were fully worth it.

8) Little Mix – Get Weird Tour – $22.1 million

Little Mix’s “Black Magic’ changed it all for the vocal girl group. Since then, the U.K. have adorned these girls and the Get Weird tour certainly justified that. Pollstar’s mid-year had them at a final gross amount of $22.1 million .

7) SNSD Phantasia Tour – $22.3 million

SNSD take another spot on the list with their Phantasia Tour, generation approximately $22.3 million. The groups biggest night was the back to back slot at the Saitama Super Arena , selling over 30,000 tickets in two nights alone.

6) SNSD – Girls’ Generation Japan 3rd Tour 2014 – $31.6 million

With a 3rd spot on the chart, SNSD are one of the few girl groups to consistently and effectively sell out huge arenas. This was members Jessica Jung’s last tour before departing the group. Their biggest nights was once again at the Saitama Super Arena, only this time they did it 3 times consecutively grossing over 13.3 million alone and selling over 90,000 tickets .

5) Little Mix – Glory Days Tour – $42 million

Little Mix’s ‘Glory Days’ tour amassed an extreme $42 million thus becoming the best selling girl group tour of the 2010 decade so far. They placed at #46 on Pollstar’s 2017 year end top 100 worldwide tours list. Despite not touring North & South America, it’s obvious the damage could’ve been massively higher had they done demographically appropriate but key city shows around these areas. Perhaps next tour?

4) Spice Girls – SpiceWorld Tour – $60 million

The late 90’s was a moment of teen pop revival and leading the movement was the unstoppable Spice Girls. Performing to an estimated 2.1 million fans across Britain, Europe and North America, the girl group readily grossed 60 million dollars despite Geri aka Ginger Spice leaving throughout the American leg of the tour.

3) Spice Girls – The Return Of The Spice Girls World Tour – $70 million

Girl power came, then left, then came back again with a glorious fury! The best selling girl group of all time weren’t calling it quits just yet! Billboard noted that the quarter’s reunion tour “won the 2008 Billboard Touring Award for Top Boxscore for a 17-night stand at London’s The O2 Arena”.  Anyway, racking over 70 million is a pretty nice treat, especially for a reunion tour.

2) Destiny’s Child – Destiny Fulfilled…and Lovin’ It Tour – $70.8 million

While they were once opening acts for TLC (*spoiler alert*), Destiny’s Child proved to be a rather successful R&B girl group. The media may have heckled them with their early split decisions and removal of some past members, but the girl group continued and are now recognized as one of the greatest musical trios of all time . It’s not every year you gross over 70.8 million dollars !

1) TLC – FanMail Tour – $72.8 million

https://www.youtube.com/watch?v=DZgFz9YUfcY

TLC’s FanMail Tour remains the highest and best selling girl group tour of all time. Although the group had to cancel and reschedule a numerous amount of shows, their effective popularity didn’t stop fans from attending other set dates. The tour ended up with a whopping gross of $72.8 million . Opening acts included Destiny’s Child, Christina Aguilera, Marc Nelson, etc. All hail the ultimate R&B queens!

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10 Ways TLC Shaped The Future Of R&B

As the trailblazing trio's blockbuster albums 'CrazySexyCool' and 'FanMail' celebrate milestone anniversaries, dig into how TLC's fearlessness changed R&B — and music as a whole.

From the moment TLC burst onto the scene in 1991, they've tested the limits of what R&B is and can be. Formed as a tomboyish alternative to Bell Biv DeVoe, the Atlanta trio soon ended up eclipsing the New Jack Swing pioneers — and pretty much every other R&B act of the 1990s — with a sound and style that perfectly straddled the gritty and the smooth, the playful and the poetic, and the old and the new.  

Furthermore, each member of TLC brought something distinctive to the table. Tionne 'T-Boz' Watkins had the kind of huskiness that could make the phone book appear seductive; Rozonda 'Chilli' Thomas offered a poppier register tailor-made for radio; and the late Lisa 'Left Eye' Lopes possessed a lyrical flow that flitted between the mischievous and socially conscious. They simply sounded like no other girl group who had come before. 

Of course, the four-time GRAMMY winners subsequently spawned their fair share of emulators — most notably Left Eye protégés Blaque — and inspired a younger generation to channel their winning brand of crazy, sexy, and cool: BLACKPINK , Little Mix, and Fifth Harmony are just a few of the more contemporary girl groups who have publicly acknowledged their influence.

In the same year TLC celebrate both the 30th anniversary of their diamond-selling blockbuster, CrazySexyCool , and the 25th anniversary of its chart-topping follow-up FanMail , here's a welcome reminder of why the three-piece were such a game-changer.

They Empowered Their Audience

Like their arguably most obvious predecessors Salt-N-Pepa , TLC weren't afraid to talk about sex. "Red Light Special" and "Let's Take Our Time," in particular, were steamy enough to leave your speakers dripping; the X-rated "I'm Good at Being Bad" almost makes Megan Thee Stallion and Cardi B 's "WAP" sound chaste. This was an admirably bold move in an era where male R&B performers were celebrated for being insatiable horndogs, and women were castigated for showing the merest sign of lust.

It wasn't just in the bedroom where TLC rallied against such double standards, though. Inspired by a blatant display of toxic masculinity on an episode of"Ricki Lake," "Unpretty" fought back against the ridiculous expectations imposed on women, ultimately setting a benchmark for every female self-empowerment anthem that followed.

They Delivered A Bold Message

The trio also opened up conversations on sex outside the pleasure principle. The video for debut single "Ain't 2 Proud 2 Beg" saw all three members attach condoms to their bright, baggy outfits, with Left Eye famously sporting one on the body part that inspired her nickname to further promote the issue of safe sex. 

Their second No. 1, "Waterfalls," highlighted the need for such protection with a subtle reference to HIV ("Three letters took him to his final resting place," T-Boz warns in the second verse). And the remix of their first chart-topper, "Creep," saw Left Eye spell out more explicitly the dangers of messing around on the downlow. For those who grew up in the early '90s, TLC were arguably more effective than any sexual health initiative.  

They Gave R&B The Blockbuster Treatment

Ah, the '90s, a time when music executives thought nothing of giving artists music video budgets akin to a small country's GDP. Luckily for Arista Records, TLC always delivered plenty of bang for their million-plus bucks.

Interspersing gritty depictions of both the drug and AIDS epidemics with groundbreaking performance footage of the trio in liquified form, "Waterfalls" picked up four wins at the annual VMAs, including Video of the Year. The GRAMMY-nominated visual for "Unpretty" tackled the issue of body image, racism, and gang violence in another highly dramatic mini masterpiece, while "No Scrubs" saw Hype Williams work his usual cyber-futuristic magic on the world's coolest space station. As a result, TLC became the defining R&B act of MTV's second generation.

They Merged The Worlds Of R&B And Hip-Hop 

While Mary J. Blige is often dubbed the Queen of Hip-Hop Soul, it could be argued that the title should be shared amongst TLC. The trio were plausibly the first major outfit to blend the beats and rhymes of rap music with the melodic sensibilities of R&B without any outside assistance. They scored almost as many No. 1s on Billboard's R&B/Hip-Hop Songs chart as they did on the Hot 100 as proof.

Left Eye, a firecracker of an MC whose lyrical flow was every bit as flamboyant as her fashion sense, was undoubtedly the group's secret weapon, allowing them to bounce between slow jams and party anthems with ease. An inspired choice of producers — ranging from established hitmaker Babyface to fellow Atlantans Organized Noize — also helped them to reflect both the sounds of commercial radio and the sounds of the streets.

They're The Queens Of Survival 

While there have been plenty of resilient pop stars, TLC repeatedly proved that they were experts in bouncing back. After all, the trio were forced to deal with near-insurmountable hardships in between nearly every album campaign. Following 1991's Ooooooohhh... On the TLC Tip , T-Boz became severely ill with sickle cell anemia, a condition she'd previously kept under wraps. On the other hand, Left Eye gave the tabloids a field day thanks to a turbulent relationship with Andre Rison, which involved numerous physical altercations and, most famously, the rapper burning the NFL star's house down.

Despite selling 23 million copies of 1994's CrazySexyCool , the group found themselves filing for bankruptcy after discovering they'd been the victim of an exploitative record contract. And then most tragically of all, 2002's 3D had to be completed as a duo when Left Eye lost her life in a car crash. After years of studio inactivity, T-Boz and Chilli once again proved their indomitable spirit with 2017's eponymous LP, particularly on opener "No Introduction" and the Boney M-sampling "It's Sunny" ("Don't be trippin' all over your fears/'Cause the good comes after bad/First you cry and then you laugh/As we head into another year").

They Pushed R&B Into The 21st Century 

After incorporating everything from classic Philly soul to '80s Prince on the retro-leaning CrazySexyCool , TLC decided to push things forward on follow-up FanMail , a thrillingly futuristic record which essentially reshaped the R&B scene for the 21st century. Skillfully interweaving all kinds of Y2K sounds (most notably, the dial-up modem), the opening title track and "Silly Ho" perfectly reflect the album's cyber artwork. Way ahead of their time, meanwhile, several spoken word interludes are attributed to a talking android named Vic-E.

If all this sounds a little gimmicky, then FanMail also had substance to its technological style, with the disconnect between the online and real worlds a recurring theme. "No Scrubs," meanwhile, essentially set a new feminist agenda, spearheading a wave of useless man-dragging anthems from the likes of Destiny's Child ("Bills, Bills, Bills"), Pink ("There You Go"), and Toni Braxton ("He Wasn't Man Enough").

They Were Great At Harnessing New Talent 

One thing TLC don't get enough credit for is how they recognized and utilized talent that had only just started their path to world dominance. Take André 3000 , for example. Having just released their fabulously titled debut Southernplayalisticadillacmuzik , Outkast were still largely unknowns when the flautist unleashed his laid-back drawl on CrazySexyCool closer "Sumthin' Wicked This Way Comes." Within a year, the duo were runners-up on the Billboard 200.

TLC were also the first major label outfit to draw upon the production skills of Jermaine Dupri ("Bad By Myself"), the So So Def founder responsible for 10 Hot 100 chart-toppers, and Kevin 'She'kspere' Briggs ("No Scrubs"), the hitmaker whose partnership with former Xscape vocalist Kandi Burruss set the blueprint for turn-of-the-century R&B.

They Broke Down Barriers 

There are plenty of stats to back up TLC's game-changing status, too. In 1995, they achieved a feat that had remarkably eluded Michael Jackson , Janet Jackson , and Prince: the first act of color ever to win Video of the Year at the MTV VMAs.

In 2000, they became the first female act to win GRAMMYs for Best R&B Song, Best R&B Performance by a Duo or Group with Vocals, and Best R&B Album in the same year. And having shifted an astonishing 65 million records worldwide, they're second only to the legendary Supremes when it comes to America's best-selling girl group . If that wasn't enough, CrazySexyCool 's 10 million domestic album sales means they join Dixie Chicks as one of only two all-women outfits to receive an RIAA Diamond award.

They Were Able To Evolve Their Style 

TLC could never be accused of playing it safe. After gatecrashing the New Jack Swing scene with their playful 1991 debut, the trio transformed into soulful seductresses on the timeless CrazySexyCool before capturing the sound of the millennium on the innovative FanMail .

And while their 21st century releases haven't been quite as game-changing, 2002's 3D and their 2017 self-titled LP still highlighted TLC's ability to move with the times (see the Pharrell and Timbaland productions on 3D and social media clapback "Haters" on TLC ).

They've been equally adaptable when it comes to their sense of style, from the Day-Glo overalls of their early years, to the slinky pajamas and sleek crop tops of their mid-'90s phase, to the striking space-age fashions of Y2K. And their sartorial vision has continued to make waves, with Vogue magazine declaring in 2017 that labels including Gypsy Sport, Valentino, and Balenciaga had all borrowed from the group's 'glam-leisure' look in recent years.

They've Continued To Pervade Pop Culture 

Although their recording output has been relatively slim over the last 20 years, TLC have still remained a part of the pop culture landscape. One of the 21st century's most streamed hits, Ed Sheeran 's "Shape of You," was deemed so similar to "No Scrubs" that the Brit was forced to acknowledge its influence in the songwriting credits.

Drake , Zendaya, and Kaytranada are just a few of the contemporary names who've either sampled or covered the trio, while rapper J. Cole managed to persuade T-Boz and Chilli themselves to join him in the studio on 2013's "Crooked Smile." A 2023 Lifetime documentary special and appearances on various nostalgia tours have further kept the TLC name in the spotlight.

And could we soon be seeing their eventful story played out on Broadway? At the 2023 '90s Con, the duo revealed they'd been working on a new stage musical with the team behind award-winning phenomenon Hamilton .

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Credit: Paul Natkin/Getty Images

20 Iconic Hip-Hop Style Moments: From Run-D.M.C. To Runways

From Dapper Dan's iconic '80s creations to Kendrick Lamar's 2023 runway performance, hip-hop's influence and impact on style and fashion is undeniable. In honor of hip-hop's 50th anniversary, look back at the culture's enduring effect on fashion.

In the world of hip-hop, fashion is more than just clothing. It's a powerful means of self-expression, a cultural statement, and a reflection of the ever-evolving nature of the culture.

Since its origin in 1973 , hip-hop has been synonymous with style —  but the epochal music category known for breakbeats and lyrical flex also elevated, impacted, and revolutionized global fashion in a way no other genre ever has.   

Real hip-hop heads know this. Before Cardi B was gracing the Met Gala in Mugler and award show red carpets in custom Schiaparelli, Dapper Dan was disassembling garment bags in his Harlem studio in the 1980s, tailoring legendary looks for rappers that would appear on famous album cover art. Crescendo moments like Kendrick Lamar ’s performance at the Louis Vuitton Men’s Spring-Summer 2023 runway show in Paris in June 2022 didn’t happen without a storied trajectory toward the runway.

Big fashion moments in hip-hop have always captured the camera flash, but finding space to tell the bigger story of hip-hop’s connection and influence on fashion has not been without struggle. Journalist and author Sowmya Krishnamurphy said plenty of publishers passed on her anthology on the subject, F ashion Killa: How Hip-Hop Revolutionized High Fashion , and "the idea of hip hop fashion warranting 80,000 words." 

"They didn't think it was big enough or culturally important," Krishnamurphy tells GRAMMY.com, "and of course, when I tell people that usually, the reaction is they're shocked."

Yet, at the 50 year anniversary , sands continue to shift swiftly. Last year exhibitions like the Fashion Institute of Technology’s Fresh, Fly, and Fabulous: Fifty Years of Hip-Hop Style popped up alongside notable publishing releases including journalist Vikki Tobak’s, Ice Cold. A Hip-Hop Jewelry Story . Tabak’s second published release covering hip-hop’s influence on style, following her 2018 title, Contact High: A Visual History of Hip-Hop.

"I wanted to go deeper into the history," Krishnamurphy continues. "The psychology, the sociology, all of these important factors that played a role in the rise of hip-hop and the rise of hip-hop fashion"

What do the next 50 years look like? "I would love to see a hip-hop brand, whether it be from an artist, a designer, creative director, somebody from the hip-hop space, become that next great American heritage brand," said Krishnamurphy.

In order to look forward we have to look back. In celebration of hip-hop’s 50 year legacy, GRAMMY.com examines iconic moments that have defined and inspired generations. From Tupac walking the runways at Versace to Gucci's inception-esque knockoff of Dapper Dan, these moments in hip-hop fashion showcase how artists have used clothing, jewelry, accessories, and personal style to shape the culture and leave an indelible mark on the world.

*The cover art to Eric B and Rakim’s* Paid in Full

Dapper Dan And Logomania: Luxury + High Fashion Streetwear

Dapper Dan, the legendary designer known as "the king of knock-offs," played a pivotal role in transforming luxury fashion into a symbol of empowerment and resistance for hip-hop stars, hustlers, and athletes starting in the 1980s. His Harlem boutique, famously open 24 hours a day, became a hub where high fashion collided with the grit of the streets.

Dapper Dan's customized, tailored outfits, crafted from deconstructed and transformed luxury items, often came with significantly higher price tags compared to ready-to-wear luxury fashion. A friend and favorite of artists like LL Cool J and Notorious B.I.G. , Dapper Dan created iconic one-of-a-kind looks seen on artists like Eric B and Rakim’s on the cover of their Paid in Full album.

This fusion, marked by custom pieces emblazoned with designer logos, continues to influence hip-hop high fashion streetwear. His story — which began with endless raids by luxury houses like Fendi, who claimed copyright infringement — would come full circle with brands like Gucci later paying homage to his legacy.

Athleisure Takes Over

Hip-hop's intersection with sportswear gave rise to the "athleisure" trend in the 1980s and '90s, making tracksuits, sweatshirts, and sneakers everyday attire. This transformation was propelled by iconic figures such as Run-D.M.C . and their association with Adidas, as seen in photoshoots and music videos for tracks like "My Adidas."

*LL Cool J. Photo: Paul Natkin/Getty Images*

LL Cool J’s Kangol Hat

The Kangol hat holds a prominent place in hip-hop fashion, often associated with the genre's early days in the '80s and '90s. This popular headwear became a symbol of casual coolness, popularized by hip-hop pioneers like LL Cool J and Run-D.M.C. The simple, round shape and the Kangaroo logo on the front became instantly recognizable, making the Kangol an essential accessory that was synonymous with a laid-back, streetwise style.

*Dr. Dre, comedian T.K. Kirkland, Eazy-E, and Too Short in 1989. Photo: Raymond Boyd/Getty Images*

N.W.A & Sports Team Representation

Hip-hop, and notably N.W.A. , played a significant role in popularizing sports team representation in fashion. The Los Angeles Raiders' gear became synonymous with West Coast hip-hop thanks to its association with the group's members Dr. Dre , Eazy-E, and Ice Cube , as well as MC Ren.

 *Slick Rick in 1991. Photo: Al Pereira/Getty Images/Michael Ochs Archives*

Slick Rick’s Rings & Gold Chains

Slick Rick "The Ruler" has made a lasting impact on hip-hop jewelry and fashion with his kingly display of jewelry and wealth. His trendsetting signature look — a fistful of gold rings and a neck heavily layered with an array of opulent chains — exuded a sense of grandeur and self-confidence. Slick Rick's bold and flamboyant approach to jewelry and fashion remains a defining element of hip-hop's sartorial history, well documented in Tobak's Ice Cold.

Tupac Walks The Versace Runway Show

Tupac Shakur's runway appearance at the 1996 Versace runway show was a remarkable and unexpected moment in fashion history. The show was part of Milan Fashion Week, and Versace was known for pushing boundaries and embracing popular culture in their designs. In Fashion Killa , Krishnamurpy documents Shakur's introduction to Gianni Versace and his participation in the 1996 Milan runway show, where he walked arm-in-arm with Kadida Jones.

*TLC. Photo: Tim Roney/Getty Images*

Women Embrace Oversized Styles

Oversized styles during the 1990s were not limited to menswear; many women in hip-hop during this time adopted a "tomboy" aesthetic. This trend was exemplified by artists like Aaliyah ’s predilection for crop tops paired with oversized pants and outerwear (and iconic outfits like her well-remembered Tommy Hilfiger look.)

Many other female artists donned oversized, menswear-inspired looks, including TLC and their known love for matching outfits featuring baggy overalls, denim, and peeking boxer shorts and Missy Elliott 's famous "trash bag" suit worn in her 1997 music video for "The Rain." Speaking to Elle Magazine two decades after the original video release Elliot told the magazine that it was a powerful symbol that helped mask her shyness, "I loved the idea of feeling like a hip hop Michelin woman."

Diddy Launches Sean John

Sean "Diddy" Combs ’ launch of Sean John in 1998 was about more than just clothing. Following the success of other successful sportswear brands by music industry legends like Russell Simmons ’ Phat Farm, Sean John further represented a lifestyle and a cultural movement. Inspired by his own fashion sensibilities, Diddy wanted to create elevated clothing that reflected the style and swagger of hip-hop. From tailored suits to sportswear, the brand was known for its bold designs and signature logo, and shared space with other successful brands like Jay-Z ’s Rocawear and model Kimora Lee Simmons' brand Baby Phat.

 *Lil' Kim. Photo: Ron Galella/Ron Galella Collection via Getty Images*

Lil’ Kim Steals The Show

Lil' Kim ’s daring and iconic styles found a kindred home at Versace with

In 1999, Lil' Kim made waves at the MTV Video Music Awards with her unforgettable appearance in a lavender jumpsuit designed by Donatella Versace. This iconic moment solidified her close relationship with the fashion designer, and their collaboration played a pivotal role in reshaping the landscape of hip-hop fashion, pushing boundaries and embracing bold, daring styles predating other newsworthy moments like J.Lo’ s 2000 appearance in "The Dress" at the GRAMMY Awards.

Lil Wayne Popularizes "Bling Bling"

Juvenile & Lil Wayne 's "Bling Bling" marked a culturally significant moment. Coined in the late 1990s by Cash Money Records, the term "bling bling" became synonymous with the excessive and flashy display of luxury jewelry. Lil Wayne and the wider Cash Money roster celebrated this opulent aesthetic, solidifying the link between hip-hop music and lavish jewelry. As a result, "bling" became a cornerstone of hip-hop's visual identity.

Jay-Z x Nike Air Force 1

In 2004, Jay-Z's partnership with Nike produced the iconic "Roc-A-Fella" Air Force 1 sneakers, a significant collaboration that helped bridge the worlds of hip-hop and sneaker culture. These limited-edition kicks in white and blue colorways featured the Roc-A-Fella Records logo on the heel and were highly coveted by fans. The collaboration exemplified how hip-hop artists could have a profound impact on sneaker culture and streetwear by putting a unique spin on classic designs. Hova's design lives on in limitless references to fresh white Nike kicks.

Daft Punk and Pharrell Williams. Photo: Mark Davis/WireImage

Pharrell Williams' Hat At The 2014 GRAMMYs

Pharrell Williams made a memorable red carpet appearance at the 2014 GRAMMY Awards in a distinctive and oversized brown hat. Designed by Vivienne Westwood, the hat quickly became the talk of the event and social media. A perfect blend of sartorial daring, Pharrell's hat complemented his red Adidas track jacket while accentuating his unique sense of style. An instant fashion moment, the look sparked innumerable memes and, likely, a renewed interest in headwear.

Kanye’s Rise & Fall At Adidas (2013-2022)

Much more than a "moment," the rise and eventual fall of Kanye ’s relationship with Adidas, was as documented in a recent investigation by the New York Times . The story begins in 2013 when West and the German sportswear brand agreed to enter a partnership. The collaboration would sell billions of dollars worth of shoes, known as "Yeezys," until West’s anti-semitic, misogynistic, fat-phobic, and other problematic public comments forced the Adidas brand to break from the partnership amid public outrage.

Supreme Drops x Hip-Hop Greats

Supreme, with its limited drops, bold designs, and collaborations with artists like Nas and Wu-Tang Clan , stands as a modern embodiment of hip-hop's influence on streetwear. The brand's ability to create hype, long lines outside its stores, and exclusive artist partnerships underscores the enduring synergy between hip-hop and street fashion.

*A model walks the runway at the Gucci Cruise 2018 show. Photo: Pietro D'Aprano/Getty Images*

Gucci Pays "homage" to Dapper Dan

When Gucci released a collection in 2017 that seemingly copied Dapper Dan's distinctive style, (particularly one look that seemed to be a direct re-make of a jacket he had created for Olympian Dionne Dixon in the '80s), it triggered outrage and accusations of cultural theft. This incident sparked a conversation about the fashion industry's tendency to co-opt urban and streetwear styles without proper recognition, while also displaying flagrant symbols of racism through designs.

Eventually, spurred by public outrage, the controversy led to a collaboration between Gucci and Dapper Dan , a significant moment in luxury fashion's acknowledgement and celebration of the contributions of Black culture, including streetwear and hip-hop to high fashion. "Had Twitter not spotted the, "Diane Dixon" [jacket] walking down the Gucci runway and then amplified that conversation on social media... I don't think we would have had this incredible comeback," Sowmya Krishnamurphy says.

A$AP Rocky x DIOR

Self-proclaimed "Fashion Killa" A$AP Rocky is a true fashion aficionado. In 2016, the sartorially obsessed musician and rapper became one of the faces of Dior Homme’s fall/winter campaign shot by photographer Willy Vanderperre — an early example of Rocky's many high fashion collaborations with the luxury European brand.

A$AP Rocky's tailored style and impeccable taste for high fashion labels was eloquently enumerated in the track "Fashion Killa" from his 2013 debut album Long. Live. ASAP , which namedrops some 36 luxury fashion brands. The music video for "Fashion Killa" was co-directed by Virgil Abloh featuring a Supreme jersey-clad Fenty founder, Rihanna long before the two became one of music’s most powerful couples. The track became an anthem for hip-hop’s appreciation for high fashion (and serves as the title for Krishnamurphy’s recently published anthology). 

*Cardi B. Photo: Steve Granitz/WireImage*

Cardi B Wears Vintage Mugler At The 2019 GRAMMYs

Cardi B has solidified her "it girl" fashion status in 2018 and 2019 with bold and captivating style choices and designer collaborations that consistently turn heads. Her 2019 GRAMMYs red carpet appearance in exaggerated vintage Mugler gown, and many custom couture Met Gala looks by designers including Jeremy Scott and Thom Browne that showcased her penchant for drama and extravagance.

But Cardi B's fashion influence extends beyond her penchant for custom high-end designer pieces (like her 2021 gold-masked Schiaparelli look, one of nine looks in an evening.) Her unique ability to blend couture glamour with urban chic (she's known for championing emerging designers and streetwear brands) fosters a sense of inclusivity and diversity, and makes her a true trendsetter.

Beyoncé & Jay-Z in Tiffany & Co.’s "About Love" campaign

The power duo graced Tiffany & Co.'s "About Love'' campaign in 2021, showcasing the iconic "Tiffany Yellow Diamond," a 128.54-carat yellow worn by Beyoncé alongside a tuxedo-clad Jay-Z. The campaign sparked controversy in several ways, with some viewers unable to reconcile the use of such a prominent and historically significant diamond, sourced at the hands of slavery, in a campaign that could be seen as commercializing and diluting the diamond's cultural and historical importance. Despite mixed reaction to the campaign, their stunning appearance celebrated love, adorned with Tiffany jewels and reinforced their status as a power couple in both music and fashion.

Kendrick Lamar Performs At Louis Vuitton

When Kendrick Lamar performed live at the Louis Vuitton Men’s spring-summer 2023 runway show in Paris in June 2022 following the passing of Louis Vuitton’s beloved creative director Virgil Abloh, he underscored the inextricable connection between music, fashion and Black American culture.

Lamar sat front row next to Naomi Campbell, adorned with a jeweled crown of thorns made from diamonds and white gold worth over $2 million, while he performed tracks including "Savior," "N95," and "Rich Spirit'' from his last album, Mr. Morale and the Big Steppers before ending with a repeated mantra, "Long live Virgil." A giant children’s toy racetrack erected in the Cour Carrée of the Louvre became a yellow brick road where models marched, clad in designer looks with bold, streetwear-inspired design details, some strapped with oversized wearable stereo systems.

Pharrell Succeeds Virgil Abloh At Louis Vuitton

Pharrell Williams' appointment as the creative director at Louis Vuitton for their men's wear division in 2023 emphasized hip-hop's enduring influence on global fashion. Pharrell succeeded Virgil Abloh, who was the first Black American to hold the position.

Pharrell's path to this prestigious role, marked by his 2004 and 2008 collaborations with Louis Vuitton, as well as the founding of his streetwear label Billionaire Boy’s Club in 2006 alongside Nigo, the founder of BAPE and Kenzo's current artistic director, highlights the growing diversity and acknowledgment of Black talent within high fashion.

Listen To GRAMMY.com's 50th Anniversary Of Hip-Hop Playlist: 50 Songs That Show The Genre's Evolution

Photo: Ron Galella/Ron Galella Collection via Getty Images

5 Takeaways From 'TLC Forever': Left-Eye's Misunderstood Reputation, Chilli's Motherhood Revelation, T-Boz's Health Struggles & More

A&E/Lifetime's latest documentary, 'TLC Forever,' features never-before-seen footage and untold stories of the group's iconic legacy, from their tribulations to their triumphs.

When Tionne "T-Boz" Watkins , Lisa "Left-Eye" Lopes , and Rozanda "Chilli" Thomas joined forces as TLC , the landscape of girl groups changed forever.

During their exhilarating run, TLC smashed records, set new style trends, and shined a light on important issues like HIV/AIDS and body image. Their unique sound and willingness to take risks helped solidify their status as one of the best-selling female groups of all time. And now, their legacy is immortalized on film.

TLC Forever , a new documentary premiering on A&E/Lifetime on June 3, dives into the drastic highs and lows of the trio's 30-year career. Amid their many incredible achievements, there was also a lot of struggle, including bankruptcy, headline-making brawls, and tragedy. As Watkins jokingly declared at the 1996 GRAMMYs, "TLC will leave this business being remembered for a lot of things."

The nearly 120-minute film follows the iconic musical trio from their first meeting to Lopes' untimely death in 2002, and follows Watkins and Thomas as they prepare to perform at the 2022 Glastonbury Festival. It will be particularly special to fans, as the doc sees Watkins and Thomas watch the rare footage with longtime manager Bill Diggins in real time. 

Whether you're familiar with TLC's story or are eager to learn more, TLC Forever is worth the watch. Below, take a look at five key takeaways from the documentary.

Left-Eye's Infamous Mansion Torching Was Misconstrued By The Media

In the spring of 1994 — a mere five months before TLC's best-selling CrazySexyCool dropped — Lopes sought revenge on her then-boyfriend, former Atlanta Falcons wide receiver Andre Rison. After she allegedly caught him cheating, Lopes set a pair of his sneakers on fire in a bathtub in his two-story mansion, which subsequently spread to the rest of the home. 

Charged with felony arson, placed on a five-year probation, and sentenced to a $10,000 fine, the then 23-year-old rapper was never quite able to shake her "crazy" reputation brought on by the incident. However, TLC Forever uncovers details that give her actions more context. 

In the doc, Thomas describes Lopes and Rison's relationship as "toxic," before adding that "it was always something going on." Months after they started dating, Lopes and Rison got into a heated argument in a grocery parking lot, where Rison allegedly assaulted her and fired a warning shot to stop bystanders from getting involved. 

"I felt so bad for her, because when I walked in the room, I just remember the look on her face," Watkins says in the film, referring to the house fire. "Her nails were popped off, she was scratched up, bruised up and bleeding, and the whole world was looking at her like, 'What did you do?' And everybody didn't respond like they should've."

As many fans know, Lopes had protested CrazySexyCool 's lead single "Creep," due to its lyrics promoting infidelity (especially amid the ongoing AIDS epidemic, which claimed nearly 42,000 lives in the U.S. alone that same year). Plus, the chart-topper went against what TLC had been known for: wearing condoms on baggy clothes as a way of advocating for safe sex. 

Though the song was actually inspired by Watkins' own relationship woes, Lopes feared that Rison would think she was cheating on him, possibly triggering more alleged abuse within their tumultuous relationship. So, for the remix, she wrote a verse warning listeners of the consequences of creeping: "Creepin' may cause hysterical behavior in the mind/ Put your life into a bind and in time/ Make you victim to a passionate crime," she raps.

Chilli Re-Evaluated Her Relationship With Dallas Austin After Becoming A Mom

Early in Thomas' longtime romance with LaFace producer Dallas Austin , she became pregnant ahead of the trio's debut album, Ooooooohhh... On the TLC Tip , which jeopardized her future with the group. Not receiving much support from Austin and fearing then-manager Perri "Pebbles" Reid would find out, Thomas reluctantly had an abortion at the age of 20, calling it a "horrible experience" in the documentary. 

"After that, I probably experienced some kind of breakdown. I couldn't forgive myself," she says. "I just felt this tremendous guilt for what I had done, and that guilt not being properly dealt with is what made me latch on more to Dallas."

In 1997, Thomas and Austin had a son named Tron, which acted in many ways as closure for the singer. "Once I had Tron, it really put the relationship I had with Dallas into perspective. It was clear that wasn't a functioning, healthy, loving relationship," she admits. They went their separate ways a couple years later, still working together creatively and co-parenting their son, who is now 26.

Read More: The Evolution Of The Girl Group: How TLC, BLACKPINK, The Shirelles & More Have Elevated Female Expression

Left-Eye's Absence On FanMail Was Partly Due To Her Beginning A Spiritual Journey

Despite CrazySexyCool selling 15 million copies worldwide, spawning two No. 1 hits on the Billboard Hot 100, and winning two GRAMMYs, TLC filed for Chapter 11 bankruptcy in 1995 before going on a five-year hiatus that was prolonged by tension within the group. In the months leading up to TLC's third studio effort, FanMail — whose title was coined by Lopes and dedicated to the fans — Lopes expressed her dissatisfaction with the project after a handful of her songs were rejected by Dallas Austin. 

"I cannot stand 100 percent behind this TLC project and the music that is supposed to represent me," Lopes famously said in a 1999 interview with Vibe , which fueled rumors of a breakup. "This will be my last interview until I can speak freely about the truth and present myself on my solo project."

Around the same time, Lopes challenged Watkins and Thomas to record solo albums and offered a $1.5 million prize for whichever member sold the most copies. Lopes' raps can only be heard on three of FanMail 's 17 tracks — and while a lot of her absence was certainly due to internal conflict, Watkins and Thomas confirmed that where Lopes was creatively "just didn't match" with what Austin was producing. At the time of Lopes' passing, she was on a 30-day spiritual retreat in Honduras, parts of which were recorded and released as 2007's posthumous documentary The Last Days of Left Eye .

T-Boz Struggled With Depression After Brain Tumor Diagnosis

In 2006, Watkins privately battled an acoustic neuroma, a potentially fatal brain tumor that sat on her facial, hearing and balance nerves. The then 36-year-old underwent surgery to remove the tumor , a risk exacerbated by her ongoing complications from sickle cell anemia since childhood. 

"[The doctor] said in case something goes wrong and I can't save either your hearing or your face or your balance, give me the order that you want to save yourself," she said in the doc. "This industry is about your face, your voice, your dancing — that's my whole job. So, they took my balance, I saved my face for the most part, [and] I only lost three percent [of my hearing] at the time."

Watkins added that she felt depressed and unattractive for many years after the surgery, until her mother changed her perspective. "I remember looking in the mirror one day and I started crying, and my mom said, 'No.' She said, 'Look, this is just your journey back to normal. This is not how you're gonna stay, this is not how you're gonna be. This is only your journey back to how you started,'" she recalled. "I said, 'Yeah, okay, if I look at it that way, then all I gotta do is survive this and get through it and I can be cool. And then the fight kicks in that I'm living, I'm going to survive this, I'm going to beat this."

Now 53, Watkins is still going strong. However, the film gives viewers a deeper look into just how much preparation is required for her to be able to perform without compromising her health. Before and after hitting the stage, Watkins must receive enough fluids and oxygen to keep inflammation at a minimum.

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T-Boz & Chilli Were Faced With An Ultimatum Right After Left-Eye's Death

Watkins and Thomas discuss the immense amount of pressure they faced from their label to move forward without Lopes, who tragically passed away at 30 years old in a car accident during her Honduras trip. "After Lisa passed, the record company said they were gonna put out a greatest hits [album] if we didn't finish [ 3D ], so we kinda felt forced to go back into the studio," Watkins said in TLC Forever . "We were given an ultimatum." Thomas added, "We had tunnel vision, let's just finish it."

Despite going platinum, 3D was seen as a commercial failure by TLC's standards, selling fewer than 700,000 copies and its lead single, "Girl Talk," peaking at No. 28 on the Hot 100. Following their first live performance without Lopes at Z100's annual Zootopia concert in 2003, the music industry seemingly wrote them off — but Thomas said she never felt it was truly over. It wasn't until their VH1 Super Bowl Blitz concert in 2014 that promoters started reaching out, which eventually led to the biggest performance of their extraordinary career: taking the stage at Glastonbury last year.

"The greatest reward is when you don't have the No. 1 song anymore and you're able to sell out your tours," Thomas says as the film wraps. "That means you have a great body of work that can stand the test of time, and time has told us that we did good. We did alright."

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Photo: M. Caulfield/WireImage for VH-1 Channel - New York

15 Songs That Will Make You Dance And Cry At The Same Time, From "Hey Ya!" To "Dancing On My Own"

Whether it's "Tears of a Clown" or "Tears in the Club," take a listen to some of the most sneakily sad songs by Outkast, TLC, Avicii and more.

In 2003, OutKast scored their second No. 1 hit with "Hey Ya!" The timeless track has an upbeat energy that makes you want to shake it like a polaroid picture — until you happen to catch its rather unhappy lyrics.

"Are we so in denial when we know we're not happy here?" André 3000 sings on the second verse. The line that follows may sum up its contrasting nature: "Y'all don't wanna hear me, you just wanna dance."

The ability to make listeners feel (and physically react) to a wide range of emotions is part of the genius of songwriting. Tunes like "Hey Ya!" — a sad narrative disguised by an infectious melody — is one trick that has been mastered by Outkast, R.E.M. , Smokey Robinson , Robyn and many more. 

If you've ever happily boogied to a beat before realizing that the lyrics on top are actually a big bummer, you're certainly not alone. BBC and Apple Music both call such tracks Sad Bangers , a fitting name for what's become an unofficial genre over the past half-century. 

In light of Mental Health Awareness Month this May, GRAMMY.com compiled a list of 15 songs that will both get you in your feelings and get your body moving. 

Smokey Robinson & The Miracles — "The Tears of a Clown" (1967)

The upbeat music on this Motown classic was written by Stevie Wonder , a 25-time GRAMMY winner who is deft at crafting tearjerkers that will tease your body into joyful dancing. The bassoon-bottomed song registers at 128 beats per minute, a tempo that's still favored by modern dance music producers. So when Smokey sings, "The tears of a clown/When there's no one around," you'd be forgiven for also welling up just a little bit while you're in the groove.

Gloria Gaynor — "Never Can Say Goodbye" (1975)

Gloria Gaynor reimagined the Jackson 5 's 1971 pop hit "Never Can Say Goodbye" for the disco era. The sweeping string arrangements and trotting beat helped to fill dance floors, and to make the poignant song about holding onto a love of her own. Other cover versions by Isaac Hayes and the Communards also capture the contradictory vibe.

Tears For Fears — "Mad World" (1983)

British duo Tears For Fears became internationally known after outfitting their first danceable hit with a depressing and dramatic chorus that's hard to shake even 40 years after its release: "I find it kinda funny, I find it kinda sad, the dreams in which I'm dying are the best I've ever had." Roland Orzabal and Curt Smith would later release more uplifting fare, such as "Everybody Wants to Rule The World" and "Sowing the Seeds of Love."

Kate Bush — "Running Up That Hill" (1985)

Kate Bush has had three twirls through charts around the world with "Running Up That Hill," beginning with its 1985 release and then as an unlikely Summer Olympics closing ceremony song in 2012.

"And if I only could, I'd make a deal with God/And I'd get him to swap our places/Be running up that road/be running up that hill/With no problems," she sings in the chorus of the racing track, longing to be more worry-free.

More recently, a placement in the Netflix drama Stranger Things in 2022 earned the weepy, minor key-led dance number a whole new generation of fans. The English artist was recently named a 2023 Rock & Roll Hall of Fame inductee.

Midnight Oil — "Beds Are Burning" (1988)

Midnight Oil lead singer Peter Garrett channeled the rage he felt from early climate change and the lack of Aboriginal land rights in the Australian Outback into "Beds Are Burning." The powerful dance tune flooded airwaves and dance floors around the world in the late '80s, reaching No. 17 on the Billboard Hot 100 chart.

"How can we dance when the Earth is turning?" he sings in the rousing chorus. "How do we sleep while the beds are burning?"

Garrett clearly had a personal connection to the song's yearning message: He later dedicated his life to environmental activism as the leader of the Australian Conservation Foundation, and became an elected Member of Australia's House of Representatives.

Crystal Waters — "Gypsy Woman (She's Homeless)" (1991)

A house music hit about a woman without a home, "Gypsy Woman (She's Homeless)" helped New Jersey singer Crystal Waters achieve international success despite a somewhat somber subject. A subsequent parody on the sketch comedy series "In Living Color" drew attention to the contrast of having happy and upbeat instrumentation with dispiriting lyrics.

"She's just like you and me/But she's homeless, she's homeless," rings the chorus. "As she stands there singing for money/La da dee la dee da…"

R.E.M. — "Shiny Happy People" (1991)

This upbeat collaboration is between rock group R.E.M. and B-52's singer Kate Pierson .The jangly guitar pop makes you want to clap your hands and stomp your feet, but the lyrics make you question if everything is indeed quite so shiny and happy.

The song is rumored to be about the massacre in China's Tiananmen Square, because the phrase "Shiny Happy People" appeared on propaganda posters. Pierson isn't so sure about that, though.

"I can't imagine that R.E.M. was thinking at the time, Oh, we want this song to be about Chinese government propaganda ," she said in a 2021 interview with Vulture . "It was supposed to be shiny and happy. It was a positive thing all-around."

TLC — "Waterfalls" (1994)

"Waterfalls" was a worldwide hit for TLC in 1994, thanks to its sing-along chorus and funky bassline. The song's insistent bounce softens a firm lyrical warning that pulls people back from the edge: "Don't go chasing waterfalls/Please stick to the rivers and the lakes that you're used to/I know that you're gonna have it your way or nothing at all/But I think you're moving too fast."

"We wanted to make a song with a strong message — about unprotected sex, being promiscuous, and hanging out in the wrong crowd," Rozonda "Chilli" Thomas shared with The Guardian in 2018. "The messages in 'Waterfalls' hit home. I think that's why it's our biggest hit to date."

Outkast — "Hey Ya!" (2003)

André 3000 sings about loveless relationships to a whimsical, time-shifting dance beat on this Billboard Hot 100 chart-topping smash. The seriousness of the song — which André 3000 once explained is about "the state of relationships in the 2000s" — got lost among many listeners. *

Its unhappy lyrics were masked by André's peppy singing, as well as the song's jangly guitar and keyboard-led groove, which infectiously doubles up in speed at the end of every four beats. Even Outkast themselves couldn't help acknowledging the song's juxtaposition in a 2021 tweet.

Robyn — "Dancing On My Own" (2010)

A penultimate example of a sad banger is "Dancing On My Own" by Swedish pop star Robyn. The rueful song — a top 10 hit in multiple countries — commands you to shake your stuff, while also picturing yourself watching your ex move on at the club. Calum Scott's 2016 cover really brings out the sadness that can be obscured by Robyn's uptempo version.

"Said, I'm in the corner, watching you kiss her, oh no/And I'm right over here, why can't you see me?" Robyn sings in the chorus. "And I'm giving it my all/ But I'm not the girl you're taking home."

Fun. — "Some Nights" (2012)

fun. (the trio of Jack Antonoff , Andrew Dost and Nate Ruess ) is best known for the zeitgeist-grabbing pop-rock power ballad "We Are Young," which is about the relentlessly positive enthusiasm of youth out on the town. The title track to their 2012 album Some Nights (which contains "We Are Young") is a much dancier, yet sadder song.

"What do I stand for?" Ruess asks as your feet shuffle along to the beat. "Most nights, I don't know anymore."

Avicii — "Wake Me Up" (2013)

Avicii collaborated with soulful pop singer Aloe Blacc for this worldwide chart-topper that is considered one of EDM's peak anthems. The slapping beat masks the track's sad, self-reflective lyrics about being lost.

The Swedish DJ/producer's 2018 death by suicide adds an even heavier air to Blacc's impassioned chorus: "So wake me up when it's all over/When I'm wiser and I'm older/All this time I was finding myself, and I/I didn't know I was lost."

Flume featuring Kai — "Never Be Like You" (2015)

"Never Be Like You" isn't the fastest cut in Australian DJ/producer Flume's bass-heavy discography, but the wispy track still has an irresistible bump to it. Canadian singer Kai begs her lover not to leave her ("How do I make you wanna stay?"), but her lovely tone still manages to keep the song hopeful.

FKA twigs featuring The Weekend — "Tears In The Club" (2022)

Perhaps the most overt selection of this entire list is "Tears In The Club," which finds FKA twigs and The Weeknd taking to the dancefloor to shake off the vestiges of a bad relationship. The singer/dancer has been candid about being in an abusive relationship , and the song is a lowkey bop that's buoyed by despairing chants such as, "I might die on the beat, love."

Everything But The Girl — "Nothing Left to Lose" (2023)

Nearly 30 years after DJ/producer Todd Terry helped introduce Everything But the Girl to the international dance music community with a remix of "Missing," the duo leaned into their electronic side on "Nothing Left to Lose." A single from their first album in 24 years, Fuse , "Nothing Left to Lose" features a squelching electronic bassline that contrasts the song's helpless yearning.

"I need a thicker skin/ This pain keeps getting in/ Tell me what to do/ 'Cause I've always listened to you," the pair's Tracy Thorne sings on the opening verse. Later, she makes a demand that fittingly sums up the conflicts of a quintessential sad banger: "Kiss me while the world decays."

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Photos (L-R, clockwise): GAB Archive/Redferns, Ron Galella/Ron Galella Collection via Getty Images, Kevin Winter/Getty Images, Chung Sung-Jun/Getty Images

The Evolution Of The Girl Group: How TLC, BLACKPINK, The Shirelles & More Have Elevated Female Expression

From the Supremes to the Spice Girls, take a deep dive into the history of girl groups — and how their songs, performance and vocal power changed pop culture.

For more than eight decades, girl groups have harmonized their way into the collective consciousness, bringing female empowerment to the forefront — and changing culture along the way.

Of course, girl groups have come in many forms: there's the family-friendly Andrew Sisters, the funk rock-infused Labelle, and the R&B-leaning Destiny's Child . As the construct of the girl group has evolved, so has their cultural impact — while acts like the Supremes helped push popular music in a more diverse direction in America, J-Pop and K-Pop groups have helped girl groups be viewed through a global lens in recent years.

What has tied all of these groups together is their infectious and inspirational records, which have encouraged women to express themselves and feel empowered in doing so. Groups like the Spice Girls and the Shangri-Las, for instance, have helped women express all sides of themselves, reminding the world that there is joy and beauty in contrast.

As Women's History Month nears its end, GRAMMY.com celebrates all of the powerful women who have been part of the girl group evolution. (To narrow the field, we characterize a girl group as acts with a minimum of three members and a focus on vocal performance; hence why you won't see bands like the Go-Gos or the Chicks on this list.)

Below, take a look at how girl groups have changed in both construct and impact for nearly 90 years — and counting — and listen to GRAMMY.com's official Girl Groups playlist on Amazon Music ,  Spotify ,  Apple Music , and Pandora .

Though women have no doubt sung together since the beginning of time, the formal concept of the girl group came sometime in the '20s or '30s, with the rise in popularity of tightly harmonizing family acts like the Boswell Sisters and the Hamilton Sisters (the latter of whom would become Three X Sisters). The groups really started to see a rise in popularity around the beginning of WWII — perhaps because the entrance of more women into the workforce opened peoples' minds to the idea of the pop girl group, or perhaps because the soldiers overseas sought comfort and mild excitement via the groups' smooth sounds and attractive looks.

The Andrews Sisters, who officially formed in 1937 as a Boswell Sisters tribute act, would become the most popular of the sister acts, riding tracks like "Boogie Woogie Bugle Boy," "Don't Sit Under The Apple Tree (With Anyone Else But Me) " and "Beer Barrel Polka (Roll Out The Barrel)" straight to the top of the charts. They're considered one of the most successful girl groups of all time, selling an estimated 80 million records and counting. Other girl groups followed the Andrews' act, including the Dinning Sisters, who released " They Just Chopped Down The Old Apple Tree " as an answer to their rivals' hit.

The Andrews Sisters continued to be popular well into the '50s, inspiring similar close harmony acts like the Chordettes, who found success with tracks like "Mr. Sandman" and "Lollipop," and the Lennon Sisters, who became a mainstay on "The Lawrence Welk Show."

Around the middle of the decade, girl groups started pulling a bit more from the doo-wop movement, with songs like the Bobbettes "Mr Lee" helping pave the way for a wave of all-Black girl groups to come. The Chantels — who had come up together singing in a choir — quickly followed with "Maybe," which solidified the genre's style with a blend of rock, pop, doo-wop that would act as a sonic template for years to come.

In 1961, the Shirelles found quick success with tracks like "Tonight's The Night" and "Will You Still Love Me Tomorrow," which became the first girl group cut to go to No. 1 on Billboard's Hot 100 chart. The group would have five more hit singles throughout the decade, and inspired acts like the Marvelettes, whose "Please Mr. Postman" would become the first No. 1 single for Motown Records.

Keen to seize on that success, Motown invested heavily in creating more girl groups, crafting trios and quartets out of various singers that they might have previously eyed for solo work or even passed on signing. That kind of business-minded molding is what yielded Martha and the Vandellas, the Velvelettes, and a little act called the Supremes, who would go on to become the most successful American vocal group of all time, according to CNN . The success of the Motown acts — the majority of whom were all Black — was also a sign of American culture's increasing acceptance of the integration of popular music.

Having seen the success that Motown had in consciously crafting its girl groups, other producers and small, independent labels sought to capture some of that lightning in a bottle for themselves. The Philles label cashed in on the sound of the Crystals and the Ronettes, while Jerry Lieber and Mike Stoller signed the Shangri-Las and the Dixie Cups to their Red Bird label. Tracks like the Shangri-Las' "Give Him A Great Big Kiss" offered a surprisingly real perspective on teen girl crushes, while   "Leader Of The Pack" helped bring female perspective to a subgenre of songs about macabre teenage tragedies previously dominated by all-male acts like Jan And Dean and Wayne Cochran And The C.C. Riders.

First formed in the '60s as Patti LaBelle and the Bluebelles, Labelle pushed the genre out of the sock hop and into the nightclub, becoming one of the premiere girl groups of the '70s. Their funky, rock-infused singles were unlike anything girl group aficionados had heard before, and in 1974, the group captured America's heart with "Lady Marmalade," a slightly suggestive song that broke out of the discos and into the collective consciousness. Other acts originally formed in the '60s found similar success, like the Three Degrees, who had a number of hits, including the sunny and soothing "When Will I See You Again."

Sister Sledge also capitalized on the disco boom, crafting lasting hits like "We Are Family" and "He's The Greatest Dancer." The Pointer Sisters went through a rainbow of genres, including R&B (1973's funky "Yes We Can Can" ) and country (1974's "Fairytale," which won a GRAMMY for Best Country Performance By A Duo Or Group With Vocal in 1975), before finding their biggest success at the beginning of the next decade with tracks like the sultry "Slow Hand" and the more frantic "I'm So Excited."

Girl groups went through a bit of a lull in the '80s, as the culture trended toward hair metal and hip-hop. Some acts still managed to break through, capturing listeners' hearts with dance-friendly cuts imbued with Latin freestyle flair. Full of synths and syncopated percussion, freestyle burst out of clubs and parties in New York and Philadelphia, finding a particular hold amongst Hispanic and Italian-American audiences.

Miami's Exposé was one of the decade's biggest freestyle acts, blending girl group harmonies with synthetic sounds for hits like "Point Of No Return" and "Seasons Change." Two New York groups, Sweet Sensation and The Cover Girls, had freestyle success that bridged the '80s and '90s. Sweet Sensation's "Never Let You Go" tore up the dance charts, and while the Cover Girls' "Show Me" and "Because Of You" weren't quite as popular, they still hold a special place in the hearts of freestyle fans.

Girl groups roared back in a big way in the '90s, thanks in part to the emergency of new jack swing and a renewed interest in R&B's smooth vocal stylings. En Vogue was one of the first groups to go big in the '90s, with debut single "Hold On" first hitting the Billboard charts in 1990. Their biggest tracks came later in the decade, with the powerful "Free Your Mind" and "Giving Him Something He Can Feel" showcasing the quartet's vocal range and character.

Two groups from Atlanta also came to prominence around the same time as En Vogue. First was the street-savvy quartet Xscape, who harnessed the sounds of 1993 with tracks like "Just Kickin' It." 

TLC had a more dynamic arc, first bursting into the collective consciousness with the new jack swing-infused "Ooooooohh… On The TLC Tip," which featured three top 10 singles, including "Ain't 2 Proud 2 Beg." The group's baggy pants and hip-hop aesthetic pushed girl group boundaries, in part because its members actually acknowledged their sexual desires, as well as the need for everyone to have safe sex. Later in the decade, TLC would rise to even higher heights with tracks like "Waterfalls" and the GRAMMY-winning "No Scrubs," the latter of which was actually co-written by two members of Xscape.

Destiny's Child initially emerged from Houston in the late '90s as a quartet, though they'd later lose some members and gain new ones, ending up as a trio. While it was hard to ignore the sheer star power of Beyonce , the threesome did generally function as a group, producing a string of danceable earworms, including "No, No, No," and "Bills, Bills, Bills." By the time they disbanded in 2006, Destiny's Child sold tens of millions of records and earned three GRAMMY Awards (and a total of nine nominations).

Out west, Wilson Phillips ' Chyna Phillips, Wendy Wilson and Carnie Wilson were channeling the sounds of their respective parents, who had been members of the Beach Boys and the Mamas & The Papas . Their songs featured  vocal harmonies and were largely about emotional longing, pushing back against the dance and funk that ruled much of the radio dial throughout the '90s.

Girl groups were also gaining major traction in the U.K during the '90s, spurred by a boy band boom in the country around the same time. Two groups — All Saints and the Spice Girls — were actually assembled by managers, something that didn't help allay naysayers' concern that much of pop music at the time was wholly manufactured. (Another U.K. mainstay, Ireland's B*Witched, came together organically.)

Regardless, both All Saints and the Spice Girls found commercial success, with the latter becoming absolutely massive not just because of catchy pop romps like "Wannabe," but because of the quintet's singular personas and the strength of their "girl power" messaging. The Spice Girls even starred in their own movie, "Spice World," which came out at the height of Spice-mania in 1997 and drew instant comparisons to the Beatles' "A Hard Day's Night."

Girl groups continued to reign in the early part of the 2000s. A number of 2000s girl groups formed on television as part of reality programming, with U.K. sensation Girls Aloud forming on the ITV show "Popstars: The Rivals" and Danity Kane both forming and developing over three seasons of Sean Puffy Combs ' "Making The Band." TV acted as a great launching pad for these pop acts, as fans were often emotionally invested in the group's success from watching the show so when a new single dropped, they were quick to get on board.

Girls Aloud and Danity Kane — as well as their peers, like Dream, 3LW, and Blacque — made pop music that was sexy, confident, and larger than life, with expensive-looking music videos to match. The songs also often crossed over from pop to urban radio.

Another of the most successful (and sexiest) girl groups of the 2000s also formed in a fairly roundabout way. The Pussycat Dolls found success with tracks like "Don't Cha" and "Buttons," but the actual origin of the Pussycat Dolls name and brand came almost 15 years earlier when an L.A. based choreographer named Robin Antin launched a burlesque troupe. After her club events and dancers became more and more popular (even posing for Playboy ), she was urged by Interscope Records' Jimmy Iovine to attach the name to a pop group.

Antin recruited five singers who could hold a tune and looked the part, including Nicole Scherzinger — who initially got her start in Eden's Crush, another group formed on a TV show, the U.S. iteration of "Popstars" — and the Pussycat Dolls quickly strutted onto radio dials and Billboard charts with their catchy multi-tracked (and often risqué) hits.

Girl groups were also getting huge around the globe in the '00s, with Spain's Las Ketchup producing the insanely catchy pop ditty conveniently named "The Ketchup Song," Sweden's Play crossed over to commercial success in the American market, and the U.K.'s Atomic Kitten formed purely as a songwriting vehicle for Orchestral Maneuvers In the Dark's Andy McCluskey and Stuart Kershaw. Members of the latter would come and go throughout its career, but songs like "Whole Again" (which was also recorded by Play) have stood the test of time.

Though modern K-pop culture had begun in South Korea in the late '90s, it started to really pick up steam in the '00s, with both boy bands and girl groups benefiting from the surging Hallyu or Korean wave. One of those, Wonder Girls, found quick success in the late '00s with genre-spanning tracks like "Tell Me" and "Nobody," thanks in part to the pop act's ability to perform English versions of their songs while on tour with the Jonas Brothers.

Two of the 2010s biggest girl groups also came from televised reality competition shows. Little Mix, a quartet, was formed on the U.K.'s "The X Factor" and came to redefine the girl group era in Britain, selling more than 60 million records and topping the charts with high octane singles like "Cannonball" and "Shout Out To My Ex." 

Stateside, Fifth Harmony was birthed on "The X Factor," where all five members had competed individually the season before but failed to advance. But after producers brought them back to compete as a group, Fifth Harmony was born, with viewers picking the name and ultimately helping them take third place in the competition.

The quintet emerged from the show signed to judge Simon Cowell's record label, Syco, and like so many great girl groups before it, embarked on a tour of malls and talk shows before eventually releasing a pop record tinged with both hip-hop and R&B. Fans latched on to songs like "I'm In Love With A Monster" and "Work From Home," the trap-laced monster hit that has garnered billions of hits on YouTube since its release.

The K-pop wave also continued in the 2010s, with groups like Girls Generation and Twice , both of whom broke the mold of a traditional girl group by having eight and nine members, respectively. At the same time, a J-Pop act, AKB48, rose to popularity, with a structure girl groups hadn't seen before — it has 80 members in total, with the group being divided into different "teams" that members are elected into by rabid fans.  All three acts were literally and figuratively massive, selling tens of millions of highly produced bubblegum pop LPs and larger than life dance singles.

The success of K-pop girl groups shot to a new level when BLACKPINK entered the scene in 2016, forming after its members joined a girl group academy and underwent what amounts to girl group boot camp. The result is a fine-tuned musical machine that's produced pop hit after pop hit — including " Boombayah " and " DDU DU DDU DU " — as well as music videos that have been viewed billions of times online.

Spurred by the devotion of their fans (known as the BLINKs), BLACKPINK has also managed to rack up an impressive roster of accolades. They were the first Asian act to headline Coachella, the first female K-Pop artists on the cover of Billboard , and have amassed the most subscribers of any musical act on YouTube . But they're not the only female K-Pop act helping girl groups stay alive: Groups like Mamamoo and Red Velvet released hit after hit in the 2010s, and 2NE1 captured hearts everywhere with tracks like " Lonely " and " I Am The Best ." In 2012, 2NE1 set out on what many consider to be the first world tour by a K-pop girl group, visiting 11 cities in seven countries.

A British girl group whose members pull from their individual cultures to create a unique, hip-hop influenced sound, Flo was also influenced by artists like Ciara and Amy Winehouse . Though they've only been together for a few years, their unique retro sound became almost instantly popular in the UK, with debut single " Cardboard Box " racking up almost a million views on YouTube within days of its release in early 2022. Other hit singles, like "Immature" and "Summertime" have followed.

Another thoroughly modern girl group, Boys World, was formed after managers found videos of five different women singing online and then contacted them to see if they wanted to team up. They said yes, launched a TikTok account , and moved into a house together in Los Angeles. Their thoroughly online approach to becoming a girl group has captivated audiences, along with their empowering anthems.

The K-Pop wave has continued to surge as well, with BLACKPINK headlining Coachella in 2023 and the quickly rising NewJeans earning the distinction of being the very first female Korean act to play Lollapalooza later this summer. Like so many girl groups before them, both acts continue to break boundaries and impact the culture at large, proving that the genre is as vital as ever.

While they may not be as abundant as in decades past, the girl group movement certainly hasn't shuttered. And with a diverse array of women still captivating audiences around the globe, girl groups will likely continue to spice up your life for years to come.

Listen To GRAMMY.com's Women's History Month 2023 Playlist: Swim In The Divine Feminine With These 40 Songs By Rihanna, SZA, Miley Cyrus, BLACKPINK & More

• 1 10 Ways TLC Shaped The Future Of R&B
• 2 20 Iconic Hip-Hop Style Moments: From Run-D.M.C. To Runways
• 3 5 Takeaways From 'TLC Forever': Left-Eye's Misunderstood Reputation, Chilli's Motherhood Revelation, T-Boz's Health Struggles & More
• 4 15 Songs That Will Make You Dance And Cry At The Same Time, From "Hey Ya!" To "Dancing On My Own"
• 5 The Evolution Of The Girl Group: How TLC, BLACKPINK, The Shirelles & More Have Elevated Female Expression

The views expressed in this article are those of the author and do not necessarily reflect the official policy or position of any other agency, organization, employer or company.

Reaching the upper reaches of the Billboard charts and platinum success with their first two albums, Ooooooohhh… On the TLC Tip and CrazySexyCool, R&B group TLC appeared to be sitting on top of not only the music industry, but the world itself. Behind the scenes, the story was starkly different than anything fans could’ve have imagined, which they found out when T-Boz, Left Eye and Chilli filed for Chapter 11 bankruptcy in light of a financial dispute with management and production company Pebbitone.

In addition, the controversy surrounding Lisa “Left Eye” Lopes and the 1994 arson incident toward then-boyfriend and NFL player Andre Rison’s Atlanta home also cast a dark shadow over the group. The subsequent years consisted of the trio attempting to put the pieces together in hopes of recapturing the magic they had shown they were capable of making prior to the drama. Hooking up with longtime producer Dallas Austin, TLC went about crafting FanMail, the trio’s long-awaited follow-up to CrazySexyCool .

Featuring production by Austin, Kenneth “Babyface” Edmonds, Kevin “She’kspere” Briggs, Cyptron, Jermaine Dupri, Jimmy Jam and Terry Lewis, Daryl Simmons, Carl So-Lowe and more; FanMail marked the return of one of the beloved acts in R&B.

With the 20th anniversary of its release upon us, REVOLT looks back at TLC’s FanMail and list seven reasons why the album is a certified classic.

1. The Album Concept

Having endured public embarrassment from filing for Chapter 11 bankruptcy while at the height of their career, as well as battling internal friction, TLC appeared to be on the brink of imploding. However, during the trio’s most tumultuous moments, kinds words from their devoted legion of fans kept them motivated and inspired. This led the group — at the behest of Lisa “Left Eye” Lopes — to name their comeback album FanMail as a show of appreciation for their patience and support during their lengthy hiatus.

2. The Lead Single

With a track record for rolling out monstrous hits, TLC’s first single being a home run was essential in setting the tone for their comeback. And T-Boz, Chilli and Left Eye rose to the occasion; churning out what became one of the biggest songs of not only the year, but the decade. That song was “No Scrubs.” Co-written by Kevin “She’kspere” Briggs and former Xscape members, Kandi Burruss and Tameka “Tiny” Cottle; “No Scrubs” served as a rallying cry for women tired of being pursued and approached by undesirable or financially unstable men.

Released at the top of February 1999, the track quickly skyrocketed to No. 1 on the Billboard charts, where it stayed for four consecutive weeks. The success of “No Scrubs” was historic. It became the first song to peak with over 140 million audience impressions, as well setting a record for most weeks at number 1 on the Rhythmic charts with 15 weeks.

A pop culture sensation, the song would inspire a response called “No Pigeons” by rap group Sporty Thieves, which peaked at No. 12 on the pop charts due in large part to the popularity of the original. Of all of TLC’s hits and fan-favorites, “No Scrubs” is regarded by many as one of the group’s signature songs and has gone on to transcend generations.

3. Women Empowerment Anthems

One song from the album that struck a chord with listeners was “Unpretty,” a song promoting self-confidence among women in the face of pressure to conform to societal standards of beauty. Co-written by T-Boz and Dallas Austin — and with production by the latter — the song was unveiled as the second single from the album and soared to No. 1 on the pop charts, a position it held for three consecutive weeks. Accompanied by a Paul Hunter-directed music video depicting internal struggles various women go through, “Unpretty” continued TLC’s trend of making statements with their lyrical and visual content.

4. The Deep Cuts

The success of TLC’s third album may be driven by its succession of singles, but also thrived in the marketplace due to multiple deep cuts that effectively round out the album. Viewers may have gotten a taste of the song at the tail-end of the “Unpretty” video. But, “I’m Good at Being Bad” in its entirety is one of the gems on the tracklist that standout. “I Miss You So Much” is a piano-driven ballad produced by Babyface and Daryl Simmons that casts Chilli as the lead, a role she resumes on “Come On Down,” which is dominated by acoustic guitars provided by Dallas Austin. Additional highlights include the bouncy numbers “My Life” and “Lovesick.” However, FanMail reaches its climax with the album outro “Don’t Pull Out on My Yet.” A steamy bedroom track in the vein of “Red Light Special,” this straightforward salvo leaves the listeners — particularly the fellas — salivating for more.

5. Its Commercial Success

Despite nearly five years having passed since the release of CrazySexyCool, TLC’s FanMail was one of the most anticipated albums at the time. While CrazySexyCool peaked at No. 3 on the Billboard charts, FanMail leap-frogged its predecessor in its opening week, debuting at No. 1 with 318,000 copies sold. The album held the top position for five consecutive weeks on the way to exceeding six million copies sold in the U.S. alone. Worldwide, FanMail has surpassed the 10 million copies sold mark since first hitting shelves, making it their second highest-selling album behind CrazySexyCool .

6. It Was Critically Acclaimed

In addition to its overwhelming commercial success, FanMail was acclaimed by critics of all varieties with the album receiving glowing reviews as their most progressive work at the time. The Grammy Award committee also took notice, bestowing eight nominations upon the album in 2000. These included nods for Album of the Year, Record of the Year, and Song of the Year. While TLC ultimately lost out in those major categories, they did take home hardware for three: Best R&B Album, Best R&B Song, and Best R&B Performance by a Duo or Group with Vocals. This gave the trio their most Grammy wins and nominations.

7. It Cemented Them As The Preeminent Female R&B Group of the ’90s

The ’90s was a glorious decade for R&B with countless soloists, duos and group’s contributing timeless material. That being said, it’s hard to dispute TLC’s standing as the most successful and decorated female R&B group of their era. Over the course of three albums, T-Boz, Left Eye and Chilli accounted for chart-topping singles, tens of millions in album sales; and also helped bridge the gaps between hip hop soul, rap, and rhythm and blues. Their final studio album released with the original lineup intact, FanMail bookends one of the dominant runs we’ve seen in music over the past quarter-century and stamped TLC as modern-day legends.

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Refresh: The Lonely Futurism of TLC's FanMail

By Lindsay Zoladz

A quiz: Is the following a quote from Drake's blog or something an android said in 1999?

"Communication is the key to life. Communication is the key to love. Communication is the key to us. There's over a thousand ways to communicate in our world today. And it's a shame that we don't connect . So if you also feel the need for us to come together, will you communicate with me?"

OK, it's sort of a trick question-- only a small part of it is uttered by an android. The rest is spoken by the very human members of TLC , on an interlude toward the end of their third proper album, 1999's FanMail .

TLC have been on the tips of a lot of tongues lately. Part of this has to do with last week's 10th anniversary of Lisa "Left Eye" Lopes' death at age 30, not to mention the jarring announcement that the surviving members were planning to tour with a Left Eye projection. But even before last week, the sounds of TLC have been hovering in the ether: Grimes cited the group as a major influence on her album Visions ; Nite Jewel called them one of her favorite bands; and all across the indiesphere, a rapidly proliferating group of DIY pop acts like How to Dress Well , Purity Ring , Maria Minerva , and U.S. Girls have paid homage to the 90s R&B sound of which TLC-- still the best-selling American female group in history-- were the undisputed queens. "You can't really help it," says Aluna Francis, 90s child and the singer of UK pop upstarts AlunaGeorge , "[This music] was so ingrained in me that our music ended up sounding quite R&B without meaning to."

When most people think TLC, their brains immediately go to the sounds and images of their 1994 R&B classic CrazySexyCool : "Waterfalls" , silk pajamas , "Red Light Special" . But, perhaps because I still have a very vivid memory of buying it in a New Jersey mall, my thumb obscuring the Parental Advisory sticker so my mom wouldn't see it, the TLC album I've found myself returning to the most in recent years is FanMail .

It was not the group's greatest success (coming off CrazySexyCool , the first-ever diamond-selling album by a female group, six million units in the U.S. is good-not-great), though FanMail did spawn the mega-hit "No Scrubs" , the #1 single "Unpretty" , and earned two Grammys. But this record doesn't seem as ingrained in the collective cultural memory of TLC. Maybe because it's something of an inconsistent hodgepodge, or because certain elements of its futuristic aesthetic have not aged particularly well. But when we talk about TLC's current influence on a whole crop of web-minded, Tumblr-savvy, android-obsessed artists, we don't seem to realize how much we're talking about FanMail -- a record that, almost a decade and a half after its release, still sounds hauntingly prescient, like a transmission from the future.

FanMail was one of the first pop records to aestheticize the internet.

In the years between CrazySexyCool and FanMail, the TLC story got tumultuous. Lopes burned down her boyfriend Andre Rison's house and went to rehab, the group declared bankruptcy at the height of their success thanks to a profoundly shitty recording contract, and internal tensions became almost unbearable. Plenty of other things were going on between 1994 and 1999, behind bedroom doors and in front of flickering screens. Over that five-year span, I added a computer, email address, and an AIM screen name to my life, and by 1999 these things had begun to feel intricately interlaced with my personal identity.

Considering CrazySexyCool and FanMail back-to-back, you can hear these cultural changes take place. A skittish, glitchy album full of distractions, interruptions, and ruptures in consciousness, FanMail was one of the very first pop records to aestheticize the internet. And, like most first times, it was not without awkwardness. Its cover is swathed in not-so-subtle binary code accents and features virtual reality avatar portraits of the ladies. Its beats are gilded with the aged chirps of dial-up connections, and then there's the whole conceit of Vic-E (pronounced "Vicki"), the record's recurring android character who narrates interludes and-- in her shining moment-- raps an entire verse on the track "Silly Ho" : "You know you can't get with this…/ Stuck on silly shit/ Boy you know you need to quit." On its surface, FanMail screams "Y2K."

But if you can get past that, the album grapples with something much deeper that reverberates throughout a lot of pop music today. Although the way the group's delight in singing about email, cyberspace, and "the future of music" captures a sense of emergent-technology wonder that's always a little embarrassing in hindsight,  FanMail is not nearly as interested in what's gained by technology as it is elegiac about what's lost in this new way we connect.

And no song on the album captures that as masterfully as the title track . "Welcome, we have dedicated our entire album to any person who ever sent us fanmail," Vic-E drones over the song's intro, "TLC would like to thank you for your support. But just like you..."-- and here the human voices join in-- "... they get lonely too." If you unfold the booklet accompanying the FanMail CD, you'll see a poster listing the names of thousands of people who had sent the group fan letters, and in the foreground there's a large image of T-Boz, Left Eye, and Chilli made up to look like computer-generated androids themselves, steely and stoic.

As if to say, "this is your brain on the internet," the atmosphere of "FanMail" teems with disembodied voices and interruptions (shouts of "fanmail!" and "the letters!" nag like a backlog of unanswered messages), while T-Boz's gravelly alto lays out the verses: "I got an email today/ I kinda thought that you forgot about me/ So I wanna hit you back to say/ Just like you, I get lonely too."

When the song came out, plenty of listeners probably thought it was about cybersex (another one of those quaint Y2K words), but it doesn't sound that simple today. At first, it seems odd to combine the whole theme of fan letters with a lyrical address that feels so privately seductive-- but isn't that also the crux of Drake's similarly unconsummated "Marvin's Room" , when the rapper confesses into a receiver that he's "having a hard time adjusting to fame"? "FanMail" is all about the bizarre feeling of being inundated with messages and superficial attempts at connection-- and somehow feeling even more isolated because of it. Libidinous yet unremittingly anxious, the track articulates a whole new kind of longing: the loneliness of constant connectedness, and how the more time we spend in the digital world, the more we fetishize the real. "Every day I think I'm gonna meet ya," T-Boz confesses as the track escalates towards an abrupt anti-climax, "Can't wait til the day I see ya." It's no shock that when Drake covered a TLC song in 2010, he chose "FanMail."

We are now used to art that poeticizes these sorts of feelings, whether it's Drake's Take Care , or the pathetically relatable final scene in David Fincher's The Social Network in which the protagonist is left alone, waiting for his ex to accept his friend request, or the particularly great moment at the end of the third episode of "Girls", where we watch Lena Dunham's character Hannah brighten her mood by deleting a solipsistic tweet and replacing it with a slyly optimistic one, inspired by Robyn's "Dancing on My Own" .

"FanMail" instantly became my favorite TLC song when I heard it-- and it still is today-- because it honored the things I was feeling. It was the first song to make me think that digital existence wasn't trivial and dumb, but something out of which tragedy and poetry could spring-- that it was valid to make art out of these feelings, and that maybe other people were feeling them too.

In 1999, I spent some time in front of a computer teaching myself HTML and Photoshop, and I would visit strangers' personal websites to get ideas for new designs. These were the days when most websites had hit counters to measure their traffic, and I have a distinct memory from around this time of stumbling upon a site that promised to post the name of their 100,000th visitor. The counter was only about 50 hits shy, and somehow there was something exciting to me about acquiring this bit of micro-fame. So I refreshed. And refreshed and refreshed and refreshed. And then the counter said 100,000 and I took a screenshot of it and emailed it with my name to the person who ran the site. I had achieved what I'd set out to achieve. So why didn't it feel that way?

Fame now feels that much more attainable, but the catch is that we finally get to know all about that alone-in-a-crowded-room feeling that famous people have been singing about for years.

In the 10 years since Left Eye's death, we all got to be a little famous. The idea of "fanmail"-- even the very word -- feels quaint and outdated. The channels have opened up so that we all send it and-- more importantly-- receive it on a daily basis in some form, be it retweets or reblogs or likes. The fact that I took a screenshot of a hit counter just so I could see my name on someone's website is now deeply embarrassing to me, because how can you even imagine a time when it was a thrilling novelty to see your name on the internet? One thing that even the all-knowing Vic-E could not predict is the democratization of celebrity. Which means fame now feels that much more attainable, but the catch is that we finally get to know all about that alone-in-a-crowded-room feeling that famous people have been singing about for years.

I have a Word document where I keep snippets of new technology-related phenomena that are unsettling in one way or another (which sounds like an idea I got from Tumblr but is actually based on the section of Doris Lessing's The Golden Notebook that's composed entirely of newspaper clippings the protagonist has collected about communism and nuclear war). Recent additions include quotes from an article about Twitter death hoaxes, a few lines from a year-and-a-half old New York Times Magazine story about what happens to your social media profiles after you die, a screenshot of a friend's status chastising a guy (a 21st century scrub?) for avoiding relationship drama by faking his own death on Facebook, a link to a tribute honoring the music of Left Eye with an embedded video of the handheld footage leading up to the seconds her car crashed, an image of Hologram Tupac (and a link to a comments section in which a man who professes to be a scientist explains that it's not technically a hologram when you get right down to it), a joke about "Ghost Coachella 2013", and every news item I can find about the Left Eye Hologram Reunion Tour. The point of which is to say that, in 1999, I did not yet know how I felt about rapping androids or the future of music or a lot of the other ideas that FanMail kicked up, but I knew I felt something.

By Jazz Monroe

By Matthew Strauss

By Madison Bloom

By Pitchfork

By Nina Corcoran

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TLC’s ‘FanMail’ Turns 20: A Track-By-Track Retrospective With the Girl Group and Behind-the-Scenes Collaborators

TLC, Dallas Austin and Kandi Burruss go through each track of the legendary girl group's third album, 'FanMail' for its 20th anniversary with Billboard.

By Bianca Gracie

Bianca Gracie

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As the world approached the brink of the new millennium in the year 1999, no one knew what to expect. This fear of the unknown crept into the music of our favorite late-’90s pop stars, from the baby robot voice embedded throughout Britney Spears’ …Baby One More Time debut, Backstreet Boys shooting their second album Millennium   right into outer space  and Blaque booming like an earth-shattering 808  on its self-titled debut. But it was TLC who fully embraced the impending chaos that many thought the Y2K Scare was going to bring, with their third album FanMail .

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Kandi Burruss

The album, which turns 20 on Saturday (Feb. 23), aestheticized a digital world that was born after the turbulent events that the girl group went through during the five-year hiatus they took after releasing 1994’s Diamond-certified CrazySexyCool , still the best-selling U.S. album by a girl group of all time. Rozonda “Chilli” Thomas became a first-time mother with the group’s longtime producer Dallas Austin , Tionne “T-Boz” Watkins spent many nights in the hospital to combat her sickle-cell anemia, and the late Lisa “Left Eye” Lopes made headlines for burning down the house of ex-boyfriend Andre Rison, while also getting into conflict with other members about TLC’s musical direction.

Throughout all of this, the group revealed they were bankrupt, and trying to claw themselves out of a messy contract with Pebbitone, the management company founded by L.A. Reid’s former wife Pebbles. When they finally got back into the studio, they decided to dedicate the entire album to their supportive fans — but the recording process wasn’t easy.

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“The only thing we were nervous about was being gone for so long and wanting everyone to [still] accept you,” T-Boz tells Billboard . “But FanMail was the one where Lisa started tripping out! [ Laughs. ] That’s when she decided after we signed our contractual obligation that she wanted to go solo. All of that drama!”

Due to Left Eye’s absence, the group had to figure out how to replace her signature voice. Thus, the female android Vic-E was created. “Lisa didn’t want to be in the studio at the time so Dallas and I were just like, ‘Well, “eff” it! We’ll make the computer rap!’” T-Boz continues. “We went on the Mac computer, and back then you could choose different voices [as your greeting]. So we picked Vic-E because she sounded sexy. When Lisa got back on board, she said, “Well shit, let’s go ahead and make it a character!”

Austin, who was friends with Chilli and T-Boz before the group’s ideation, echoed: “[Recording] was a little bit of a disaster because Left Eye wanted to take it a little too far and name the album Fan2See . She wanted a website where the fans would be able to create their own fantasies. Back then we had Lil Kim and other female rappers doing their thing, so she wanted to push the envelope a bit more. When we told her it wasn’t a good idea, she got a little mad at us.”

The narration of FanMail ’s Vic-E was a direct reflection of the era’s journey to cyberspace, as seen with the rise of of AOL Instant Messenger, HotMail and dial-up connections. With Left Eye now just a sporadic presence, the album filled that void with dial tones, glitchy synths, computer keyboard clicks and warped vocal effects that echoed the cold nature of the song’s themes. “I was dying to get into the future because 2000 was about to come up,” explains Austin. “But I’ve always been into that stuff because I’m a big Star Wars fan. Since we had to use Vic-E in place of Lisa’s voice, I thought, ‘Let’s just go as futuristic as we can.'”

Those otherworldly elements were found not just in the songs themselves, but the actual binary code-wrapped album cover as well. “We were actually painted with real silver paint,” reveals Chilli. “When we had the shoot, [photographer] Dah Len of course saved that for the end because you just can’t throw that on and wipe it off for another look. I showered so much for a whole week! It was behind the ears, on our neck, under our chin, around our nose — just everywhere. That was not digitally altered at all. We went in for real.”

All of these creative risks proved successful for TLC, as FanMail peaked at No. 1 on the Billboard 200 and stayed there for five non-consecutive weeks. It was certified six times Platinum by the RIAA and spawned two massive No. 1 hits: “No Scrubs” (which topped the Hot 100 for four straight weeks) and “Unpretty” (three weeks at No. 1). The album was also nominated for eight Grammys, including album of the year, and took home the trophies for best R&B album, best R&B performance by a duo or group with vocals and best R&B song for “No Scrubs.”

100 Greatest Girl Group Songs of All Time: Critics' Picks

Below, TLC’s T-Boz and Chilli — along with collaborator Kandi Burruss and the album’s co-executive producer Dallas Austin — dive into the backstory of every track of FanMail ( not including the three interludes), and reflect on what the impact of its mainstream success meant for the future of R&B.

“FanMail”

Dallas Austin: I thought the  FanMail  concept was brilliant. So I took a bunch of interviews they did to create the actual “FanMail” song. I was listening to a lot of drum and bass, which was becoming big in London at the time. I thought, “How do I incorporate this without being too overbearing for people?” I always looked at albums like movies, so I seek out the title track. When you hear “FanMail,” that should help you understand what the rest of the album is gonna feel like. It’s become one of my favorite songs I’ve done.

Chilli: We used to get so much fan mail back then, and we just could not respond to everybody. A lot of it got lost, and then we tried to retrieve as much as we could. So that was the song for the fans period. It was us feeling bad that we weren’t able to get to everybody. When Drake redid “FanMail” [with 2010’s “I Get Lonely Too” ], that was a big deal. It’s funny because a lot of our fans told us about his cover. But I wasn’t very familiar with Drake. When I heard it, I wanted to make sure he did a good job — I didn’t care who it was! [laughs] And I thought he did great. I was really happy with how he put his own little spin on it.

T-Boz: [The title] was actually Lisa’s idea. When we were going through all that [legal] stuff with Pebbles [Reid] and trying to get away from her, we had missed a lot of fanmail. We tried to fit as many names as we can possibly fit in the [album booklet]. When the record company screws you over and doesn’t promote certain things the way they should have been, the fans make you realize you’re still important. Because we didn’t even promote this [album] and it still went platinum.

“Silly Ho”

Austin: I knew they had a great response from fans in Japan from the last record. So I wanted to include that international aspect in the album. Everyone thinks about Europe when they’re making a record, but not Japan. So I started the song out with [mimics sound effects], ding-ding-ding-ding! And the [“Vic-E Interpretation”] interlude before it says, “In Japan they just move to the one and two.” So that, along with the street lyrics, separated the group at that time. T-Boz loved “Silly Ho” because she liked songs that didn’t make her feel like too soft of a girl.

T-Boz: Well “ho” is my favorite word ’cause I don’t like them! [ Laughs .] We used to put up signs in the studio that said “No hoes allowed.” Dallas said that we should write a song about it, so I just talked about everything that I didn’t like about hoes. It’s so funny because that’s the song my kids like the most, and of course it had to be the most explicit one. I can’t clean it up, there’s no way to get around hoes!

Chilli: When the song got leaked, I heard that Timbaland got upset about it. He was feeling like Dallas bit off of his sound or whatever. I didn’t think it sounded exactly like his stuff, but it definitely sounded like maybe he could have did a collaboration. It was just a popular sound at the time. The lyrics are so TLC, as far as our whole girl power thing and talking about guys. It’s actually one of my favorite songs to perform.

“No Scrubs”

Kandi Burruss:  [Xscape girl group member Tameka “Tiny” Cottle] and I got the music from [producer Kevin “She’kspere” Briggs]. I had this notepad that I used to write song titles or concepts in. I used to say it to all my friends all the time: If there was like a dude that was wack, we just called him “that scrub.” So I thought, “That’d be a cute concept for our record.” One day I was riding around with my friend while listening to the track that She’kspere gave me. We were both were dating brothers at the time, and we were dogging them out because we were mad at them. I freestyled the entire song while just driving down a highway: the verse, hook, pre-chorus, the whole thing.

I actually wrote a majority of the record on an old envelope that was sitting in my car! I took it to Tiny the next day. The lyric originally was: [sings] “A scrub is a guy who thinks he’s fly and also known as a busta/ Always talking about what he wants and just sits on his fat ass!” Tiny busted out laughing and was like, “Girl, you are so crazy!” But I thought that people were going to like it.

Austin: So this song came in at the last minute. It was originally for Kandi and Tiny because they wanted to do a project together. But I told Kevin, “If you let me have this for TLC, I’ll make it the first single.” It would be different, with Chili singing the record, rather than us always starting with T-Boz. “No Scrubs” was a breakthrough for Chili because we hadn’t focused on her like that for the first two albums. It was a great way to expose her; being a secondary vocalist was not just her purpose. After the song’s success, it felt like TLC was a new group, because we took a different approach to reinvent them.

T-Boz: Kandi and Tiny wrote the heck out of that song, and I’m glad they gave it to us instead of keeping it for themselves. When we did the video, we went all out except for Chili — she wanted to look like an island princess! [ Laughs. ] I was so excited about the part where I wore the all-white outfit where my boobs lit up. We never really did anything super sexy like that. I remember not having a routine and [the video’s director Hype Williams] just told me to dance. RuPaul also came to see us on set, but he wasn’t in drag. His makeup artist [Mathu Andersen] did our makeup and it was so amazing. Me and Lisa had a ball with that. I was like, “Can I put rhinestones on my lips too?”

Chilli: Being on set was really scary, especially the one scene where it was all three of us and it looked like we were in space. This tube thing was constantly moving so you couldn’t stand still or else you would fall. I was getting so frustrated and yelling, “How many more takes?” Lisa was falling and we were hitting each other by accident, it was just crazy. That’s why we were acting so silly at the end of the video, because trying to fight against [the moving set] was not working. Then, there was that really ginormous swing. I had to practice first because I was so nervous. Of course by the end, I didn’t want to get off the thing! That was a long day, but it was fun doing the whole futuristic stuff. Even our space suit-looking outfits were right up our alley. We always knew that our image was just as important as our music.

TLC's Chilli Wants to Perform 'No Scrubs' With Weezer, Thanks to 'Teal Album' Cover

“No Scrubs” is an empowerment anthem. When we are performing it, I look out in the audience and say this cool little speech about certain guys you got to stay away from. I always say this — and I’ll say it forever — but scrubs are like roaches. You can never get them under control completely. [ Laughs .] They just won’t die. They just keep multiplying. That’s why you just got to stay away from them suckers! The reason I knew [the song] was going to be big because what it’s talking about is so relatable to every woman in America. It doesn’t matter where you are in the world, scrubs come in all shapes, sizes and colors. So it was just a universal song that every woman can high-five each other with. It was a winner.

We were cracking up when we heard Sporty Thieves’ [response track] “No Pigeons.” There’s so many songs that are negative towards women and you don’t hear a lot of females saying, “We’ve got to do an anti version of that one.” So it’s funny that you have these guys that want to flip “No Scrubs” real quick. They can’t take the heat! I just knew that our song hit some real nerves. But I absolutely loved Weezer’s version , and reposted it on Instagram. We’re actually talking with them now and trying to figure out when we’re going to perform it together on upcoming shows. I love when guys sing that song. Any man that can sing “No Scrubs” comfortably, he is definitely not a scrub — or he’s a reformed scrub. Those days are far behind him and he’s like, “I can sing this proudly!” [ Laughs. ]

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“I’m Good At Being Bad”

Chilli: We actually worked with Jimmy Jam & Terry Lewis on this one. They are the sweetest people ever. You would be so surprised at how humble they are, no diva [attitude] anywhere. They were so creative and open to our ideas. They asked for our input, so the collaboration was amazing. Tionne and Lisa were really excited about saying “I need a crump, tight n—a” and all that kind of stuff. I was just like, “Guys I’m not saying all that! I got the pretty stuff.” The song is jamming, I just don’t like saying the n-word.

T-Boz: So I wrote the song with Jimmy Jam in Minneapolis, and he works so fast. He said, Jjust go to the booth. I’m gonna play the beat. Whatever comes to your mind, just hum it.” I had never written like that before. Usually you listened to the beat, you sit down and you write it. But that technique really helped me grown as a writer. So I got out the booth then we wrote the lyrics to it.

I loved the way Kurt Cobain used to go soft and then hard, like on “Smells Like Teen Spirit.” So I told Jimmy we could be like Nirvana, just sing really pretty and then go into “I need a crump type n—a!” I actually wanted Lisa to do that first rap part, but she thought I sounded good because my voice was thicker. So they keep me on it until she did the final rap verse.

Austin: Jimmy Jam and Terry Lewis are my favorite producers in the world. They just did Michael and Janet Jackson’s “Scream” [in 1995] and I was like, “Wow, these guys are insane!” So when we got them for the TLC project, I knew they were gonna come with something different. When I first heard “I’m Good At Being Bad” I thought, “NO. WAY. This is crazy!” They did a great job of showing off the [R&B] genre, and it was a great contrast for all three of them.

“If They Knew”

Chilli: This song is just giving another perspective [of a relationship], because we’re definitely not about being on that side whatsoever. But we always thought that it was important to make songs that were not always just from our point of views, but from some of our friends who were experiencing things like that.

T-Boz: Me, Dallas and Lisa were in the studio basically gossiping about scenarios we know about, with guys trying to get with you when he’s in a relationship. And that happens all the time. That’s how people cheat. We’ve all been approached by somebody who’s married or already in a relationship and you know, we’re basically talking about how [would] that other girl feel, if she knew you were doing this over here with me?

“I Miss You So Much”

T-Boz: Chilli ended up doing this as a solo song because it’s just too pretty for me. I was too rough and rugged for that at the time, I don’t want to talk about missing nobody! [ Laughs. ] But she sounded amazing and it was totally up her alley. It really highlighted her as a singer. I would have messed the song up!

Chilli: We were signed to [ FanMail  co-executive producer] Babyface’s label [LaFace Records], so I was always around him. He is such a joy to work with. A lot of people do not know that he is actually a really silly guy. He’s just very quiet and observes everything. But when we would get in the studio, we just laughed the whole time.

We were at the end of recording the album and I was sick. I had like a sinus infection and was on all these steroids trying to get my voice back all the way. And I asked Babyface, “Can we do [this song] next weekend?” But we had this deadline to finish the album. And so I was just like nasal spraying it up. It was crazy. I wanted to redo it because I sounded stuffy. But he thought it sounded good and was going to work out well. I just loved being in the studio with him because he helps to bring out things in you that you didn’t even know you had.

“Unpretty”

T-Boz: At the time, I had just got out the hospital and was in my hotel room. My boyfriend still went out and left me. When you get out the hospital, you feel so weak and frail and ugly. I had all these IV marks and bruises everywhere, and I was just really skinny. When he left, I was watching [an episode of] Ricki Lake that night, where these men were calling women fat pigs, so I was already emotional. I went to the desk, turned on the light and I got a piece of paper. Men have a way of making us feel the opposite of pretty. So I put “un-” in front of it. That actually sparked me writing a whole poetry book on my thoughts. So I took this poem to Dallas and he was like, “Oh my god, this is it!” He got in the booth so fast and put it in song form.

The words mean everything when I sing them, because that’s every last emotion that I felt. But I had no idea that so many other people felt the way that I did, until the song went to No. 1 [on the Billboard Hot 100]. I remember Lady Gaga was crying so hard when she met me [in 2013]. She said, “You don’t understand how much ‘Unpretty’ changed my life, because I was an outcast.” Fans also told me the song prevented them from committing suicide. That was deep, and I’m glad our song could help people.

Austin: I knew I wanted to do a song like “Unpretty,” because at the time I was listening to a lot of folk and alternative artists like Ani DiFranco and Tori Amos. I was trying to figure out a way to bridge that into TLC’s music, because I knew that would make them different [compared to] everybody else. By having an acoustic-driven pop song, that would take them to a whole ‘nother place they haven’t been before. So “Unpretty” was a big breakout record for them, just as much as “Waterfalls” was. It separated them from Destiny’s Child and SWV. I didn’t want people to see them as trendy. By this record, I wanted everyone to look at them as being established and that they know what they were doing.

We would get letters back then from kids saying this song changed their lives, whether they were a cancer patient or getting bullied at school. For my career, it’s one of the most touching songs I’ve done as far as the impact it had on fans.

Chilli: As beautiful as you are and as much as you have to offer — I don’t mean just the outward beauty, I’m talking like good stuff on the inside — being in the wrong relationship makes you doubt everything. We’ve all been there. It could even be a family member that’s talking negative towards you and making you feel bad about yourself. So that’s one of those songs that again, resonates with so many people. Not just girls, but guys too. Everybody can get that low.

For me, I’m a very petite woman, and was never extra developed like how most girls in high school were. I wanted bigger boobs and all that. So that’s why when we shot the video, it was personal to me to tell that story. I don’t think there’s anything wrong with you feeling like you want to get a breast job or reduction. But the most important part is it needs to happen because that’s something you want for yourself, not someone else. Not some guy telling you that you’ll look better if this was bigger. If they do say that, just drop them.

“My Life”

Chilli: [Co-writer and producer] Jermaine Dupri is a part of the team. We couldn’t put out another record and not have him be a part of it. I always crack up at him because he’s not a singer, but he’ll try to push those notes out. It’s so cute to see him do it ’cause his head kind of cocks to the side and he is just singing all beautiful. He’s so creative and has so much energy. It’s almost like a little party when we’re in the studio working with Jermaine.

T-Boz: Lisa loved the media. She thought all press was good press, but me and Chilli don’t feel that way. [ Laughs. ] We didn’t have TMZ [back then]. So if something was a rumor, that meant it went a long way, because it was through word of mouth. [The lyrics] are really about living life in this industry and being a real person, but being looked at as a celeb. You’re still a real person even though people don’t view you as that. I breathe the same and my heartbeat’s the same. I didn’t want my whole life on display. I don’t owe you anything but a song and a dance, because that’s all I signed up for with my contract.

“Shout”

T-Boz: We got the inspiration from [Tears For Fears’ 1984 single], “Shout.” But this song isn’t a favorite of mine, I’ll be honest. [ Laughs. ] So when they would do the salsa breakdowns to “Shout” on the FanMail tour , you’ll see that I leave the stage and don’t come back until they’re done. I’m such a prissy tomboy. Everyone would get so mad at me, but I didn’t care!

Austin: It was fun doing “Shout.” The remixed version [which was never officially released] had Enrique Iglesias and Sheila E. on it. I was trying to have a little Latin feel to it — because it was really kicking in at the time — while still keeping it futuristic.

Chilli: I love Lisa’s rap verse on this song. “Shout” and “Hat 2 Da Back” [from 1992’s Ooooooohhh… On the TLC Tip ] are my favorites. She just lost her mind and went crazy. You can just tell when something is personal or truly speaks to a person’s spirit when they’re recording. So I was really proud of her with how she delivered.

“Come on Down”

T-Boz: I went into the booth and attempted to do it, because the verses were written [by Diane Warren] for me. I came out and said, “Diane, I’m sorry but I can’t do this!” [laughs] She is an amazing writer, and I love her because she respected my views. I told her to give it to Chili because it was such a sexy song. “Red Light Special” [from 1994’s CrazySexyCool ] worked for me, but not “Come On Down.”

Chilli: I don’t know who she originally wrote this song for, but she told me on the phone that whoever it was didn’t want to sing it. I loved everything about “Come On Down” because you know what it’s talking about, but it was very nicely subliminal. I loved the country feel of the record, so I couldn’t wait. And she was so excited that I wanted to do it. She wasn’t actually in studio with me ’cause we recorded it in Atlanta and she was in LA. But I was happy that she was so happy with it. It’s definitely one of my favorite songs because I do like a little touch of country. It reminded me of something Shania Twain would do.

Britney Spears' 'Baby One More Time' Created Millennial Pop

“Dear Lie”

Chilli: “Dear Lie” also came from one of Tionne’s poems, and she worked with Babyface on it. I love it because it’s kind of like a metaphor. You can hear a lie that somebody says about you and it’s not true. But it can really have so much power over you and that is why it sucks. But you’ve got to take that power back. We get so caught up sometimes in being upset about things and the person that we’re allowing to have that type of power over us are doing just fine and — as they say these days — living their best life.

T-Boz: Babyface liked this one because I was talking about a lie as if it were a person. My father used to lie all the time, so I absolutely despise liars. So I thought about what I would say if it was a person. I love the way it starts off vulnerable and then turns into a place of strength where you’re saying, “I won’t let you hurt or unravel me.”

“Lovesick”

Chilli: It wasn’t one of my favorite songs, because being love sick is not good! It’s so sad, but that what was going on at the time. And who can’t relate to being love sick?

Austin: Chilli and I were together back then. One of us was love sick at the time, maybe it was both of us! [ Laughs. ] The way I used to write for them was to think about if I were them. For this song, we took [inspiration] from both of our perceptions as well as experiences from people we knew.

I think that was the first record we cut for FanMail . I remember being at the front desk at the studio and the phone keypad made a blip blip! sound. I thought it sounded cool, so I found it on the computer and turned it into a little rhythm. It’s funny because we did the “Communicate” interlude before the song and AT&T hit us up and asked, “Can we use that for a commercial?” I did [that style] on purpose, because if you looked at movies that were based on the future back then — like Blade Runner — you always hear that voice telling you what to do. So I took that element and put it into the song.

T-Boz: Chilli and Dallas were going through so much at the time! I think Dallas was the one who was lovesick. That song was about all of us, because me and my boyfriend were going at it every five seconds. It was perfect because that’s how you feel, especially when [your ex] gets into another relationship and you’re not quite over them. It makes you feel better when they girl is not as cute. But don’t let it be a bad chick that’s actually pretty! [ Laughs .]

“Automatic”

Austin: That was me diving back into the Prince element for them. He actually had a song called “Automatic” [from his 1982 album 1999 ], so I wanted to maintain that Minneapolis sound a little bit. We did that one second because it was connected to “Lovesick.”

Chilli: I like that song way better than “Lovesick” because it’s not sad. [ Laughs. ] When VH1 used it during the opening credits [for 2013’s CrazySexyCool: The TLC Story film], we just had to make sure they had access to whatever song they needed.

T-Boz: We were so excited about that song because a new digital style was just created where you can play a certain sound in the right speaker and another one in the left. We were being innovative because we were among the firsts to do a digital album with all those effects. I love the way the song drifts in and out of the different speakers.

“Don’t Pull Out On Me Yet”

Austin: I had a leftover TLC song called “Oh Honey” that we didn’t end up using for CrazySexyCool because it had that doo-wop feel. It was a little more sensual. So when we got to recording “Don’t Pull Out On Me Yet,” I still thought we needed to capture that. It was kind of like my interpretation of something Babyface would do. I was also thinking, “How can I get them back to earth a little bit?” [ Laughs .] I wanted to bring them from the future and back in the land of songs like “Baby-Baby-Baby” [from 1992’s Ooooooohhh… On the TLC Tip ].

Chilli: This one has a little bit of a Prince vibe. It’s funny how during that era, almost every song you recorded got on the album. You have the ones that are some really good album cuts, and then some are just okay. [ Laughs. ] You can tell because those are the ones that’s usually like number 10, 11 or 12 [on the tracklist].

But I think that’s a real good feel-good TLC record for that album. This song was a little more mature, because by that time I was a mama. We were in our late 20s and by that time you’re conscious of not making some of the silly mistakes that you made when you were in your early twenties. You do grow and you share that with the world, because they’re growing too. Even when we’re trying something different like on “Don’t Pull Out On Me Yet,” it still felt like a TLC record, you know, even though it was a little different. So, you know, we just always made sure that we stayed true to ourselves.

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BLACKPINK’s ‘Born Pink’ tour becomes the highest-grossing girl group tour.

Blackpink has surpassed the spice girl’s 2019 ‘spice world’ tour in ticket sales..

BLACKPINK’s ‘Born Pink’ tour has broken the record for the highest-grossing tour by a girl group, having grossed $100 million with 29 dates still to go, according to the American box score tracker Touring Data.

The K-pop group has reportedly also surpassed the Spice Girl’s 2019 ‘Spice World’ tour, which grossed $78.2M.

Behind the Spice Girls is TLC’s ‘FanMail Tour’ in 1999, which earned $$72.8M, and Destiny’s Child’s final tour ‘Destiny Fulfilled... and Lovin’ It Tour’ in 2005, which grossed $70M.

The Spice Girl’s 1998 ‘Spiceworld Tour’ earned $60M in ticket sales.

The biggest K-pop girl group world tour

‘Born Pink’ is the biggest world tour ever put on for a female K-pop group, and has been projected to receive over 1.5 million fans.

The tour began in Seoul, South Korea last October, and from there they have performed 26 shows in 2022 alone, with a total audience of 366,248 people.

The history of BLACKPINK

BLACKPINK consists of four members, Jisoo, Jennie, Rosé, and Lisa. The group began releasing music in 2016, after spending years as trainees at YG Entertainment, who were looking to create a new girl group after their success with 2NE1.

Jennie was the first member confirmed in 2016, followed by Lisa, who was also the first foreigner to join YG, after successfully passing the YG auditions in her native Thailand.

Soon after, Jisoo and Rosé were confirmed as the final members. The group’s name was revealed as Blackpink, according to YG meaning “pretty isn’t everything” and that “they are a team that encompasses not only beauty but also great talent.”

The group then released their debut single album ‘Square One’, which consisted of the songs ‘Whistle’ and ‘Boombayah’.

Since then, the group has enjoyed the success of their albums ‘The Album’ released in 2020, with the hit single ‘How You Like That’ and ‘Born Pink’, with the lead single ‘Shut Down’, released in 2022.

At the 2023 Coachella Music Festival, BLACKPINK became the first female Korean act to headline the festival and the second POC female act to headline after Beyoncé.

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The epicenter of modern Russia, Moscow booms with shiny new skyscrapers, the bulbous onion domes of the tsars and politically-rich Red Square. Explore the metropolis with a tourHQ guide.

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The sprawling, mind-boggling metropolis of Russian Moscow has long been one of the theatrical stages on which the great dramas of Europe and Asia have been played out in grand style. Burned by Napoleon in 1812, immortalised by Tolstoy, utilised by the Bolsheviks and championed as a bastion of heroic defiance by the post-war communists, it’s almost hard to believe just how defining the historical events that found their home on Moscow’s streets have been. Moscow tour guides will easily be able to mark the major must-see landmarks on the map, from the onion-domed orthodox Saint Basil's Cathedral, to the political powerhouse of Red Square just next door, while others will be quick to recommend a ride on Moscow’s famous subterranean metro system, or a visit to the UNESCO-attested Novodevichy Convent on the city’s southern side. But Moscow is a city also in the throes of a cultural wrangling between the old and the new. Creative energies abound here: Boho bars and pumping super clubs now occupy the iconic mega structures of the old USSR; high-fashion outlets, trendy shopping malls and luxurious residential districts stand as testimony to a city that’s now the undisputed playground of the world’s super-rich, while sprawling modern art museums dominate the cultural offering of the downtown districts north of the Moskva River.  

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Moscow-City – The Moscow International Business Center

• 3 years ago

Moscow-City is an iconic location for life and work in Russia’s capital. Enormous skyscrapers, business centers, the best restaurants and retail spaces – all this is concentrated in one place. The ultramodern Moscow-City towers are truly striking in their outward appearance, and the layout of the apartments inside and the fantastic views that can be seen from the higher floors are nothing short of impressive.

This skyscraper compound, often referred to as Moskva-City, is the Russian take on Manhattan, where businessmen strike multi-million dollar deals daily while ordinary life goes on next door. Its state of the art spaces offer the ultimate convenience. The infrastructure of this business district is so well-developed that anyone can find something interesting for themselves here: from residential apartments to boutiques, clubs, exhibitions and more.

When the foundations for the Moscow-City skyscrapers were laid, a special kind of concrete was used, the properties of which are amplified by many times compared to standard concrete. Even in the event of a plane crashing into one of the buildings, the structural integrity of the towers will be preserved.

The architects of the Moscow-City Business Center have created a unique locality that has integrated into itself the hub of the capital’s business life and a whole ensemble of historical monuments. Anyone can admire the beauty of these skyscrapers from within or without the compound. There are also a number of apartments for sale or rent available in the MIBC itself. But first, let’s have a look at some more interesting facts about the financial core of Russia’s capital.

• 1 How It All Began
• 2.1 Moscow-City Central Core
• 2.2 Tower 2000
• 2.3 Evolution Tower
• 2.4 Imperia Tower
• 2.5 Moscow Tower and St. Petersburg Tower
• 2.6 Steel Peak Tower
• 2.7 Federation Tower
• 2.8 Mercury City Tower
• 2.9 OKO Tower Complex
• 3.1 Afimall City Shopping Center
• 3.2 Bagration Bridge
• 3.3 Expocentre Fairgrounds
• 4 Renting and Buying Real Estate in Moscow-City

How It All Began

The history of Moscow-City goes all the way back to 1992. The government of Moscow at the time wanted to bring into existence its own skyscrapers like the ones in London or New York. And the idea caught on. In 1992 the project for the construction of the huge “Moscow-City” MIBC compound was enthusiastically approved, kick-starting the painstaking preparatory works. The original intention was that the skyscrapers would only house office space. However, as time went on, the towers began to welcome in ordinary residents who wanted to live on the territory of this business and finance hub.

Moscow-City is undoubtedly a city within a city. Its grandeur is mind-boggling. It is perfect in every way: from location to infrastructure. And today, anyone can get a feel of the atmosphere of the “capital city” of Russia’s business world – many of the apartments in Moscow-City are available for rent. Any citizen of Russia and even nationals of other countries can make use of these offers.

What It’s Like in 2021

Today Moscow-City is not just a magnificent and fascinating sight, but also a real hub for the work, life and leisure of thousands. Its infrastructure is organized in such a way that there is no need to leave the territory of the “city within a city” at all. This business district contains everything one may need for work and recreation. And if one does decide to venture out into the larger metropolis, the MIBC’s three subway stations make this remarkably simple to do.

Moscow-City stands on the Presnenskaya Embankment . Each of the buildings in the district has a name, which simplifies its identification. Some of the buildings form complexes that are united under one name, such as the Neva Towers and the Naberezhnaya Tower complex of two skyscrapers and one high rise. There are a total of 16 towers in the MIBC, of which the most popular are:

• Moscow-City Central Core;
• Tower 2000;
• Evolution Tower;
• Imperia Tower;
• City of Capitals (Moscow Tower and St. Petersburg Tower);
• Steel Peak Tower;
• Federation Tower;
• Mercury City Tower;
• OKO Tower Complex.

Moscow-City Central Core

This is the most complex building within the MIBC compound. Its total floor area is a whopping 1 476 378 sqft (450 000 m²). It consists of two massive parts, each of which boasts a truly impressive infrastructure. The underground part includes 3 Moscow Metro stations, a parking lot for automobiles and a shopping mall. The aboveground part houses a concert hall and a hotel.

Tower 2000 is a skyscraper having 34 stories. Its total floor area is 200 318 sqft (61 057 m²), most of which is office space. The key feature of this skyscraper is its direct connection to the Bagration Bridge, which has its own shopping arcade. The tower has everything one may need while working here, including a large parking lot and several restaurants.

Evolution Tower

This elegant structure is 836 feet (255 m) high – that’s a whole 54 stories! The total floor area here is 554 462 sqft (169 000 m²). The Evolution Tower’s key feature is that it has its own Wedding Hall. This skyscraper houses large office spaces, a parking lot and several restaurants.

Imperia Tower

MIBC’s Imperia Tower is the undeniable focal point of the MIBC’s business life. Its height is 784 feet (239 m), which means one can hold conferences and resolve key business matters on the 59 th floor! And that really is amazing! The tower has everything: offices, hotels, restaurants and parking lots. But if you want a truly unforgettable experience, visit the viewing platform! It is situated on the 58 th floor and a simply astounding view of Moscow can be seen from it.

Moscow Tower and St. Petersburg Tower

The Moscow and St. Petersburg Towers are the chief representatives of the MIBC. The Moscow Tower has 76 stories and is 990 feet (302 m) high, while the St. Petersburg Tower has 65 stories and stands 843 feet (257 m) tall. Both towers offer fantastic views of the capital city.

Most of the floors of these two skyscrapers are taken up by luxurious sky apartments. There are also several recreational and entertainment centers, office spaces, restaurants, etc.

Steel Peak Tower

Also known as the Eurasia Tower of Moscow-City, this supertall skyscraper has a total of 680 912 sqft (207 542 m²) of floor space. Most of this is taken up by offices, and the rest – by residential quarters (around 65 616 sqft or 20 000 m²). The tower also houses a number of the greatest restaurants, studios and shopping centers.

Federation Tower

The Federation Tower is a complex of two skyscrapers, known as Tower East and Tower West. Tower East is the second highest building in Europe (the first is a skyscraper recently erected in the city of St. Petersburg). Its height is a colossal 1 223 feet (373 m) and that makes 95 stories! Tower West, on the other hand, is noticeably shorter at 794 feet (242 m).

The Federation Tower is a multifunctional complex.

Mercury City Tower

The Mercury City Tower skyscraper is widely known as one of the tallest buildings in Europe. Its height is 1 112 feet (339 m) and it has 75 stories. It is multifunctional by concept, holding within its walls shopping centers, offices and all kinds of other spaces. It is also possible to rent apartments here.

OKO Tower Complex

The OKO Tower Complex consists of two towers – the North Tower (49 stories and 803 ft or 245 m in height) and the South Tower (85 stories and 1 155 ft or 352 m in height).

Each of the MIBC’s tower complexes has its own recreational and entertainment areas, restaurants and parking lots. The top floors of most of these buildings contain luxurious fully-furnished apartments. At night, the towers shine with bright lights, while inside them the panoramic windows reveal astounding views of Moscow. This breathtaking view of the capital of Russia is why visiting Moscow-City is a must!

What Not to Miss

There are many interesting landmarks within the Moscow-City compound, but three of them are truly deserving of special attention:

• The Afimall City Shopping Center;
• The Bagration Bridge with two galleries and a shopping arcade;
• The Expocentre Fairgrounds.

Afimall City Shopping Center

The Afimall City Shopping and Entertainment Center is located in Moscow-City’s Central Core. It is divided into 4 zones, each with its own theme – one for every season of the year. The shopping center houses the biggest indoor fountain found worldwide. The height of this watery wonder is 118 feet or 36 meters.

The shopping and entertainment center contains everything one might expect from one of the largest centers of its kind:

• Retail brand stores;
• Exhibitions;
• Game rooms;
• and Restaurants.

The main recreational space is roofed with a giant transparent dome, which is an impressive sight to behold.

Bagration Bridge

Bagration Bridge with its upper and lower galleries has a shopping center all of its own and was the first structure to be built as part of the Moscow-City business district. Its lower gallery is a shopping arcade and its upper gallery is an open-air viewing platform with a spectacular view of the MIBC and the Moskva River. The hall of the bridge houses the 23 foot tall sculpture called “Tree of Life”. Having gone through the bridge via either one of its two galleries, a pedestrian would find themselves standing right on the Kutuzovsky Prospekt.

Expocentre Fairgrounds

The Expocentre Fairgrounds exhibition venue is located at the very heart of the capital. The first exhibition held at the Expocentre happened all the way back in 1959, much earlier than the MIBC was erected. Today it is the venue of many interesting events.

Exhibitions with very diverse themes are regularly held at this complex. An up-to-date schedule can be found on the official webpage of the Expocentre. The events can be free or fixed-price entry, depending on their type.

Renting and Buying Real Estate in Moscow-City

Moscow-City is not only a work and business hub, but also a residential neighborhood. Any citizen of Russia can rent or buy apartments or elite sky lounges here. The variety of residential real estate available inside the skyscrapers is impressive, including options for any pocket. The following buildings in the MIBC contain residential blocks:

This skyscraper has a mirror glass façade which reflects the passing clouds. Just imagine how beautiful that looks! Anyone can buy an apartment in the Federation Tower. Such properties are not only a good investment, but also a mark of prestige. The average price of residential real estate here is 45 million rubles for an apartment with a total floor area of 334 sqft (102 m²). The average price of a square meter (3.28 square feet) is in the range of 650 to 700 thousand rubles. There are two- and three-room apartments available in the Federation Tower, each with its own loggia. As for rent, the minimum price of one month’s stay in a three-room apartment in this skyscraper is 300 000 rubles per month.

The Mercury City Tower skyscraper welcomes citizens from all parts of Russia. This building is no less tall than the world-famous Dubai skyscrapers. Living in its apartments is a delight. The minimum cost of an apartment in the Mercury City Tower is 75 million rubles. The average price of a square meter (3.28 square feet) is 800 thousand rubles. And for those looking for a lower price point, some of the properties are also available for rent – in this case you will pay a minimum of 250 thousand rubles per month.

The Imperia Tower is a key cluster of interesting offers. The best options for buying and renting apartments within the MIBC can all be found in this skyscraper. The lowest price of a residential apartment here is 40 million rubles. A square meter (3.28 square feet) in a luxurious apartment in the Imperia Tower currently costs 600 thousand rubles, while the price range of the listings available for rent in this skyscraper is from 350 thousand all the way up to 1 million rubles per month.

This complex, standing on a faceted or “crystal” base, is an architectural engineering project boasting spectacular design. Behind its impressive façades is an abundance of penthouses and apartments having floor areas in the range of 262 sqft (80 m²) to 984 sqft (300 m²). The minimum price of an apartment in the OKO Tower Complex is 40 million rubles (the price of a square meter (3.28 square feet) is 500 thousand rubles). You can rent an apartment here starting from 400 thousand rubles per month.

City of Capitals

The City of Capitals is an exemplary architectural complex. Its sum appearance gives the impression of a huge city. Inside its walls are spacious apartments available for purchase and rent. This complex is considered to be especially prestigious. The prices of apartments here start from 50 million rubles, while the minimum cost of renting is 400 thousand rubles per month.

Please note! The price of real estate available for purchase or rent depends on: the tower, the floor, the total floor area, the furnishings and/or interior design, and other factors.

The key advantages of buying/purchasing real estate in Moscow-City are:

• Favorable location;
• Convenient transportation links;
• Well-developed infrastructure;
• High safety level;
• Efficient architecture;
• Panoramic windows.

Buying real estate in Moscow-City is very much a rational decision, most appealing to those who value the ultimate level of comfort. The residential apartments here boast impressive interior design solutions executed in the contemporary style.

Related posts

Property tax in russia, the best international schools in moscow.

Our Rating of the Best Districts of Moscow for Living In

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The Comprehensive Guide to Moscow Nightlife

• Posted on April 14, 2018 July 26, 2018
• by Kings of Russia
• 8 minute read

Moscow’s nightlife scene is thriving, and arguably one of the best the world has to offer – top-notch Russian women, coupled with a never-ending list of venues, Moscow has a little bit of something for everyone’s taste. Moscow nightlife is not for the faint of heart – and if you’re coming, you better be ready to go Friday and Saturday night into the early morning.

This comprehensive guide to Moscow nightlife will run you through the nuts and bolts of all you need to know about Moscow’s nightclubs and give you a solid blueprint to operate with during your time in Moscow.

What you need to know before hitting Moscow nightclubs

Prices in moscow nightlife.

Before you head out and start gaming all the sexy Moscow girls , we have to talk money first. Bring plenty because in Moscow you can never bring a big enough bankroll. Remember, you’re the man so making a fuzz of not paying a drink here or there will not go down well.

Luckily most Moscow clubs don’t do cover fees. Some electro clubs will charge 15-20$, depending on their lineup. There’s the odd club with a minimum spend of 20-30$, which you’ll drop on drinks easily. By and large, you can scope out the venues for free, which is a big plus.

Bottle service is a great deal in Moscow. At top-tier clubs, it starts at 1,000$. That’ll go a long way with premium vodka at 250$, especially if you have three or four guys chipping in. Not to mention that it’s a massive status boost for getting girls, especially at high-end clubs.

Without bottle service, you should estimate a budget of 100-150$ per night. That is if you drink a lot and hit the top clubs with the hottest girls. Scale down for less alcohol and more basic places.

Dress code & Face control

Door policy in Moscow is called “face control” and it’s always the guy behind the two gorillas that gives the green light if you’re in or out.

In Moscow nightlife there’s only one rule when it comes to dress codes:

You can never be underdressed.

People dress A LOT sharper than, say, in the US and that goes for both sexes. For high-end clubs, you definitely want to roll with a sharp blazer and a pocket square, not to mention dress shoes in tip-top condition. Those are the minimum requirements to level the playing field vis a vis with other sharply dressed guys that have a lot more money than you do. Unless you plan to hit explicit electro or underground clubs, which have their own dress code, you are always on the money with that style.

Getting in a Moscow club isn’t as hard as it seems: dress sharp, speak English at the door and look like you’re in the mood to spend all that money that you supposedly have (even if you don’t). That will open almost any door in Moscow’s nightlife for you.

Types of Moscow Nightclubs

In Moscow there are four types of clubs with the accompanying female clientele:

High-end clubs:

These are often crossovers between restaurants and clubs with lots of tables and very little space to dance. Heavy accent on bottle service most of the time but you can work the room from the bar as well. The hottest and most expensive girls in Moscow go there. Bring deep pockets and lots of self-confidence and you have a shot at swooping them.

Regular Mid-level clubs:

They probably resemble more what you’re used to in a nightclub: big dancefloors, stages and more space to roam around. Bottle service will make you stand out more but you can also do well without. You can find all types of girls but most will be in the 6-8 range. Your targets should always be the girls drinking and ideally in pairs. It’s impossible not to swoop if your game is at least half-decent.

Basic clubs/dive bars:

Usually spots with very cheap booze and lax face control. If you’re dressed too sharp and speak no Russian, you might attract the wrong type of attention so be vigilant. If you know the local scene you can swoop 6s and 7s almost at will. Usually students and girls from the suburbs.

Electro/underground clubs:

Home of the hipsters and creatives. Parties there don’t mean meeting girls and getting drunk but doing pills and spacing out to the music. Lots of attractive hipster girls if that is your niche. That is its own scene with a different dress code as well.

What time to go out in Moscow

Moscow nightlife starts late. Don’t show up at bars and preparty spots before 11pm because you’ll feel fairly alone. Peak time is between 1am and 3am. That is also the time of Moscow nightlife’s biggest nuisance: concerts by artists you won’t know and who only distract your girls from drinking and being gamed. From 4am to 6am the regular clubs are emptying out but plenty of people, women included, still hit up one of the many afterparty clubs. Those last till well past 10am.

As far as days go: Fridays and Saturdays are peak days. Thursday is an OK day, all other days are fairly weak and you have to know the right venues.

The Ultimate Moscow Nightclub List

Short disclaimer: I didn’t add basic and electro clubs since you’re coming for the girls, not for the music. This list will give you more options than you’ll be able to handle on a weekend.

Preparty – start here at 11PM

Classic restaurant club with lots of tables and a smallish bar and dancefloor. Come here between 11pm and 12am when the concert is over and they start with the actual party. Even early in the night tons of sexy women here, who lean slightly older (25 and up).

The second floor of the Ugolek restaurant is an extra bar with dim lights and house music tunes. Very small and cozy with a slight hipster vibe but generally draws plenty of attractive women too. A bit slower vibe than Valenok.

Very cool, spread-out venue that has a modern library theme. Not always full with people but when it is, it’s brimming with top-tier women. Slow vibe here and better for grabbing contacts and moving on.

High-end: err on the side of being too early rather than too late because of face control.

Secret Room

Probably the top venue at the moment in Moscow . Very small but wildly popular club, which is crammed with tables but always packed. They do parties on Thursdays and Sundays as well. This club has a hip-hop/high-end theme, meaning most girls are gold diggers, IG models, and tattooed hip hop chicks. Very unfavorable logistics because there is almost no room no move inside the club but the party vibe makes it worth it. Strict face control.

Close to Secret Room and with a much more favorable and spacious three-part layout. This place attracts very hot women but also lots of ball busters and fakes that will leave you blue-balled. Come early because after 4am it starts getting empty fast. Electronic music.

A slightly kitsch restaurant club that plays Russian pop and is full of gold diggers, semi-pros, and men from the Caucasus republics. Thursday is the strongest night but that dynamic might be changing since Secret Room opened its doors. You can swoop here but it will be a struggle.

Mid-level: your sweet spot in terms of ease and attractiveness of girls for an average budget.

Started going downwards in 2018 due to lax face control and this might get even worse with the World Cup. In terms of layout one of the best Moscow nightclubs because it’s very big and bottle service gives you a good edge here. Still attracts lots of cute girls with loose morals but plenty of provincial girls (and guys) as well. Swooping is fairly easy here.

I haven’t been at this place in over a year, ever since it started becoming ground zero for drunken teenagers. Similar clientele to Icon but less chic, younger and drunker. Decent mainstream music that attracts plenty of tourists. Girls are easy here as well.

Sort of a Coyote Ugly (the real one in Moscow sucks) with party music and lots of drunken people licking each others’ faces. Very entertaining with the right amount of alcohol and very easy to pull in there. Don’t think about staying sober in here, you’ll hate it.

Artel Bessonitsa/Shakti Terrace

Electronic music club that is sort of a high-end place with an underground clientele and located between the teenager clubs Icon and Gipsy. Very good music but a bit all over the place with their vibe and their branding. You can swoop almost any type of girl here from high-heeled beauty to coked-up hipsters, provided they’re not too sober.

Afterparty: if by 5AM  you haven’t pulled, it’s time to move here.

Best afterparty spot in terms of trying to get girls. Pretty much no one is sober in there and savage gorilla game goes a long way. Lots of very hot and slutty-looking girls but it can be hard to tell apart who is looking for dick and who is just on drugs but not interested. If by 9-10am you haven’t pulled, it is probably better to surrender.

The hipster alternative for afterparties, where even more drugs are in play. Plenty of attractive girls there but you have to know how to work this type of club. A nicer atmosphere and better music but if you’re desperate to pull, you’ll probably go to Miks.

Weekday jokers: if you’re on the hunt for some sexy Russian girls during the week, here are two tips to make your life easier.

Chesterfield

Ladies night on Wednesdays means this place gets pretty packed with smashed teenagers and 6s and 7s. Don’t pull out the three-piece suit in here because it’s a “simpler” crowd. Definitely your best shot on Wednesdays.

If you haven’t pulled at Chesterfield, you can throw a Hail Mary and hit up Garage’s Black Music Wednesdays. Fills up really late but there are some cute Black Music groupies in here. Very small club. Thursday through Saturday they do afterparties and you have an excellent shot and swooping girls that are probably high.

Shishas Sferum

This is pretty much your only shot on Mondays and Tuesdays because they offer free or almost free drinks for women. A fairly low-class club where you should watch your drinks. As always the case in Moscow, there will be cute girls here on any day of the week but it’s nowhere near as good as on the weekend.

In a nutshell, that is all you need to know about where to meet Moscow girls in nightlife. There are tons of options, and it all depends on what best fits your style, based on the type of girls that you’re looking for.

Related Topics

• moscow girls
• moscow nightlife

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