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Justin Bieber’s star-crossed chemistry with Hailey Baldwin and Selena Gomez

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Justin Bieber has lived a blessed life. One might even say it feels so holy, holy, holy, holy, holy.

As one of the first mega breakout stars from the YouTube era, the 27-year-old singer (discovered by R&B superstar Usher) skyrocketed to the top of the world and has been a polarizing figure since. With his iconic hair swoop and teeny-bop tunes, he captivated kiddies worldwide with his boyish appeal.

Yet, the bigger he became, the young star found himself growing out of touch with reality, consumed by the ever higher consumption of fame. Love him or hate him, though, the crooner has found that even after some highly publicized scandals and break-ups, he has tried to remain true to his sensitive and down-to-earth heart. So was Bieber always meant to be a star—or did he just get lucky? I’m ready to dive right in, so follow my lead, Beliebers.  

Justin Bieber and Hailey Baldwin pose
Justin Bieber has gone through some significant transformations in his life thus far.
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Justin Bieber’s natal chart shows he has always been popular

Justin Bieber was born on March 1, 1994. This makes him a dreamy Pisces Sun with a brooding Scorpio Moon. Interestingly enough, most of his natal chart is based in elemental water, which shows that he is a highly emotional human being who swims in his feelings. On one hand, he’s super sensitive and sensual—and yes, he’s def a romantic—but on the other, we can see that the megastar isn’t very grounded. Like the tides of the sea, he can cycle through his emotions quickly and he takes everything personally. He’s highly intuitive and creative, but he often gets his head lost in the clouds.

Also, with hella Scorpio energy in his chart, we also know that he’s all-or-nothing, for better or for worse, and his heart’s desires are a top priority. He also has a tremendous emotional intensity to him, and if you get on his bad side, trust me, there will be drama and emotional warfare. Glutton for punishment? You bet. He thrives on the intensity of all of his emotions and if he’s in a bad mood or pissed off at you, yes, you can expect him to be highly manipulative. Now, I’m not saying he’s a bad dude—of course not. He’s just mega deep and sometimes when that happens, people can be pulled to emotional extremes, especially in their close intimate relationships (more on that later—yes, Selenators, I’ll be speaking the truth on them).

The thing that I absolutely love about Bieber’s chart, though, is that so much of his planetary alignments are in perfect harmony. This shows that throughout his life, he has always been able to be at the right place at the right time and be deeply liked by others. He’s had a natural ability to stumble into popularity and fortune without having to fight too hard to get what he wants.

Justin Bieber’s birth chart shows that he’s drawn to beauty—and that women love his sensitive side

Next up, I see that his Moon and Venus, the planet of women and beauty, are especially aspected in his birth chart, too. With them dancing in perfect alignment with so many other planets at the time of his birth, this means that he was literally destined to bring the sensitive and emotional energy of the Moon into his personality along with the soft and feminine energy of Venus, too. This is a guy who just radiates charm—and uh, duh, but he’s a total “feelings guy.” He doesn’t radiate BDE, but he sure as hell radiates “big heart energy.” Kind of like, you know, a doe eyed cuddle bear but with a hair swoop. This also shows why so many women adore him and have since he first hit the scene. His teeny-bop tunes and sweetheart lyrics have been making these queens swoon—and he always will be able to.

Justin Bieber and Hailey Baldwin have some beautiful times ahead of them, but they will also face challenges.

Justin Bieber is growing up—and has some highs and lows ahead of him

What predictions do I have for Mr. Bieber going forward, though? Do you want me to start with the good or the bad—because, uh, there’s definitely a mixed bag ahead.

I’m an optimist, so let’s dive into the happy things, shall we? 2022 will be one of Bieber’s happiest years, filled with new beginnings, joy and fertility. Jupiter, the planet of miracles, will be spinning sweetly through his Sun sign, showing that he’s starting a whole new chapter of his life. He will feel more at peace, creative and yes—there’s a high likelihood that he could become a father in 2022, too—or at the very least, conceive. Professionally, he will likely drop some new work that is especially romantic and inspired, too. But TBH: 2022 will be a bit more focused on his personal life than his career, which isn’t a bad thing when he’s already had such a prolific one.

However, there will not just be clear skies in 2022 for the pop star and that’s because there are some challenging things for him to deal with, too. Let’s start with Saturn. The crooner has just begun his Saturn Return and it will continue until 2024. Is the Saturn Return all bad news? No, of course not, but it sure as hell makes things heavier. He will pay up for the karma he’s built in the previous decades as he sets down new roots for the coming thirty years ahead. Anything that is not right for him will break down and leave his life during this time as he has to step into true adulthood and carry more responsibility. Oh, and then we have Saturn moving through his Sun sign of Pisces beginning 2023 until 2026. Even more heavy energy will be brought upon him, as he has to learn his true sense of strength. Cloudy, gloomy skies? Mmhmm. Sorry, bro, I don’t make the rules, I just report them. He will feel the weight of the world and will need to watch both his mental and physical health.

Justin Bieber and Selena Gomez at an awards show
Selena Gomez and Justin Bieber had a very high astrological compatibility. But that doesn’t mean it was meant to last.
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Is Justin Bieber more compatible with Hailey Baldwin or Selena Gomez?

Oh, and of course I was going to dive into his connection with both Hailey Baldwin and Selena Gomez because errrrrrbody has heard the drama between this little love triangle (and I specialize in celebrity pop culture astrology). So here are the deets: Bieber’s wife, Hailey Baldwin was born on November 22, 1996. This makes her a Sagittarius Sun with an Aries Moon. If that wasn’t enough fire, her chart is basically composed of elemental fire in full. This is a woman who is impulsive, passionate and when she sees something she wants—she goes after it. This is why we can see that basically since day one, when she decided she wanted to be Mrs. Bieber, she would do anything to get it (including playing some games and strategic planning. Get it, girl!). Selena Gomez was born on July 22, 1992. This makes her a Cancer Sun with an Aries Moon. Whoa, so Bieber clearly likes chicks who are emotionally feisty and take the lead in their personal relationships. Both ladies are driven by their heart’s needs and aren’t afraid to be a bit of an emotional dom. Gomez’s chart, though, is mostly composed of earth energy.

Now, moment of truth: who is Bieber more compatible with? My compatibility rating for Bieber and Gomez is… 7 out of 10. My compatibility rating for Bieber and Baldwin is…6 out of 10. Brutallllllll. Bielebers, do not come for me! When it comes to the way his planets and chart link with each of these women, the more compatible relationship was the one he had with Gomez—at least, of course, initially. The connection between them was extremely deep, and was crucial for the both of them to evolve into who they are today.

Yet, just because two people may have a strong astrological compatibility doesn’t mean it’s guaranteed to work out—in fact, we always have free will. And let’s put it this way: very few relationships that start as young as it did for Bieber and Gomez end up working out in the end (especially with so much fame thrown in to blur the lines of reality and clear thinking). Also, this does not mean Bieber and Baldwin are not going to make it for the long haul. These are just two people who didn’t initially have as mighty of a spark and needed to take their time to build it. They are inherently very different people, but by being dedicated to the connection, they have put work and effort into making it strong. This is one of the most important testaments to any relationship. Oh, and with 2022 and 2023 having such a big energy of fertility for the both of them, I definitely think kids could soon be ahead!


Astrology 101: Your guide to the stars


Kyle Thomas is a globally recognized pop culture astrologer who has been featured in Cosmopolitan Magazine, ABC Television, Hulu, Bustle, Elite Daily, House Beautiful, Marie Claire, YahooNews, MSN and more. He is known for his cosmic guidance for celebrities, business executives and prominent influencers. His work harnesses the power of the stars in regards to entertainment lifestyle and trends affecting people worldwide. For more information, visit KyleThomasAstrology.com.

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Cardi B and Fat Joe Step in to Help Victims of Bronx Fire

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Cardi B and Fat Joe represent for the Bronx in a major way.

Only 9 days into the New Year, a high rise fire would strike an apartment building at the Twin Parks North West in the Bronx of New York, killing 17 people. Sadly, 8 of those individuals would be children.

Overall, 44 people were injured from the fire and many took to social media to ask for help as many are houseless, some are even the last of their family following the deadly fire.

After hearing the devastating news, Cardi B stepped in to help cover the cost of funeral and burials for the victims of the tragedy. “I cannot begin to imagine the pain and anguish that the families of the victims are experiencing, but I hope that not having to worry about the costs associated with burying their loved ones will help as they move forward and heal,” Cardi B stated.  “I send my prayers and condolences to everyone affected by this horrific tragedy.”

Cardi B speaks on the deadly Bronx fire that happened on January 9th, taking the lives of 17 people and sending many more to the hospital. She also names other artists that are also helping the victims like Fat Joe, Remy Ma, Dream Doll, Brooklyn Johnny, Hot 97 & Power 1051. pic.twitter.com/9LaQ0jhQ4J

— Bardi V | 💎 (@imcardivenomb) January 19, 2022

Cardi B will be partnering with The Mayor’s Fund to Advance New York City to cover the expenses for the families.

Along with Cardi B, Fat Joe would also collaborate with The Mayor’s Fund to Advance New York City to provide a relief fund for victims who were impacted by the fire, getting support from Roc Nation who posted the link to Joe’s aid on their website.

“No matter where I go in the world or what I achieve, I could never forget my community,” Fat Joe stated. “I had to react, but I couldn’t do it on my own.” Fat Joe’s efforts raised 1 million dollars along with the help of other celebrities such as Jay-Z and Dj Khaled.

Although Fat Joe raised 1 million dollars, the “Lean Back” rapper shared with Pix11 that he plans on continuing to do what he can to support the victims of the Bronx fire.

“We have so much more to raise,” he stated. “These people have real lifelong issues with emotional [and] mental distress.”

Our hearts and prayers are with the victims of the tragic Bronx fire.

Check out the video below to hear Fat Joe’s explanation as to why he felt he needed to get involved.

Anyone interested in donating to help the victims of the fire can click here.

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‘Payola Is Illegal’: Lawsuit Revives Pay-for-Play Accusations in Radio Industry

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In March 2020, Green Day’s Billie Joe Armstrong released a cover of “I Think We’re Alone Now,” hoping to offer a small measure of comfort to a pandemic-stricken world. “I figure if we have to spend this time in isolation, at least we can be alone together,” the singer wrote on YouTube. The familiarity of Tommy James & the Shondells’ original combined with the sweet sentiment created an unexpected hit — Armstrong’s cover cracked several Billboard charts and earned radio play in both the Rock and Adult Top 40 formats.

But that May, Steve Zap, an independent radio promoter, texted an employee at a station he has worked with to reduce the single’s play count. “I hate to do this but Billie Joe needs to go down,” Zap wrote. “They said they aren’t working it” — apparently meaning the record label wasn’t actively pushing the song — “and not paying bills… If we take down, let’s see if they are all of a sudden working it?” Based on a later follow-up text from Zap, this tactic appeared unsuccessful: “Billie Joe down and they never paid a dime.”

In 2020, Rolling Stone obtained a trove of Zap’s texts, several of which explicitly refer to payments in money or goods to radio stations in connection with airplay. (“Please put Rua into 50 spin rotation,” the promoter wrote to a radio programmer, referring to the pop-rock trio. “I can use the billing.”) Zap vehemently denied any wrongdoing, acknowledging in a statement at the time that he had channeled “certain promotional support” to one radio station, but insisting that support wasn’t linked to spins, and that his operations were above-board.

Last year, a court battle between other players in the radio industry unearthed documents that hint at the large amount of money that can move between Zap and the stations he works with. Records produced in the lawsuit identified more than 130 “payments by Steve Zap in 2020 alone — totaling over $300,000” to help cover bills for Royce International Broadcasting, which then owned three radio stations. According to court filings, Zap also allegedly acknowledged that he had been paying “a budget set at $200,000” annually for those three stations — the Bay Area’s KREV, Palm Springs’ KRCK, and Las Vegas’ KFRH — for “several years” running.

Speaking on behalf of his companies Z-entertainment and Artbeatz, Zap said in a statement that he “has not, did not, and never will participate in payola, and maintains full compliance with the FCC and regulations of the record industry.”

Zap went on to call Rolling Stone’s previous article describing his business practices “reckless misreporting” and “unsubstantiated hatchet job reporting.”

Independent promoters like Zap are a longtime feature of the radio landscape. Some in the music industry liken their role to “consultants” or “lobbyists”; third-party boosters hired to use their connections to persuade program directors to add songs to playlists or give them more spins.

When the New York Attorney General’s Office investigated the radio industry in the 2000s, however, it took a different view, describing them as “middlemen” enlisted to “act as conduits for delivery of the labels’ ‘promotional support’ to [radio] stations, and help perpetuate the fiction that this support is not actually being delivered by the labels in exchange for airplay.”

“There are people that add value, that have true relationships, that you can use to complement your efforts” to get a song on the airwaves, says one label promoter. (Sources who spoke for this story did so on the condition of anonymity, fearing retribution.) But radio veterans say some independent promoters establish exclusive relationships with stations and demand “a toll” in exchange for airplay. “When you just have to pay a gatekeeper? It can become very costly,” the label promotions executive adds.

Following the New York Attorney General’s investigation, any “promotional efforts” linked to spins were regulated by the music industry. The major labels agreed to “not use … [contests or giveaways, commercial transactions, advertising, artist appearances and performances] in an explicit or implicit exchange, agreement or understanding to obtain airplay or increase airplay.”

Independent promoters were not initially embroiled in the dispute between a slew of labels and Royce International Broadcasting. But a judge put owner Ed Stolz’s stations in the hands of a receiver — a third-party custodian with extensive media experience — after a jury ruled that Royce had failed to pay licensing fees for some of the music it played. And as the receiver, W. Lawrence Patrick, prepared to arrange a sale of Stolz’s stations, he dug into their operations and discovered that they had been getting sizable payments from Zap.

“If I were on the stand, I would say it appeared that Steve was influencing what songs were being played on the radio,” Patrick tells Rolling Stone. “And it also appeared that Stolz was having Steve pay most of the bills that stations were incurring.”

Patrick and his legal team broached the transactions with Zap. The promoter claimed “that this arrangement came about because Stolz threatened to refuse to play any of Zap’s clients’ songs on the stations without [payment],” the lawyers alleged in a court filing. They argued that “whether Zap was a willing participant in this payola scheme, or was simply coerced by Stolz, is immaterial. Payola is illegal unless the pay-for-play is explicitly announced.”

“Steve kept saying, ‘I have to do this, I have to pay these bills,’” Patrick says. “And I said, ‘why?’ And he said, ‘[Stolz] won’t play my music.’ So you’re basically buying your way on to the station, and that’s not right.”

In a subsequent hearing, the Royce owner offered a very different explanation for his financial arrangement with Zap. “The status of an independent promoter in the industry is to serve as the contact point between a programmer and the industry, and that programmer then provides a listing of the musical performances that are played over a given station in that week,” Stolz testified in court.

Rolling Stone read this statement to a label promotions executive; his skeptical response was, “that’s definitely not the whole story.” “No label needs to pay an individual to find out what a station is playing — there are monitoring services that do that digitally,” adds another radio and record industry veteran who has experience with independent promotion practices.

“In a normal relationship, the label or artist manager would pay a promoter for their service, and the movement of money ends there — it’s just work-for-hire,” the veteran continues. “If money is making its way to a radio station, or vendors of that radio station, something very different is occurring. In that case, the independent promoter actually has an exclusive relationship with the radio station. The ‘promoter’ inserts itself as a gatekeeper between the station and the label and charges for access to the station’s airwaves.”

Either way, Patrick and his lawyers did not buy Stolz’s explanation. They pressed the station-owner with follow-up questions in court: “When was that [play information] transmitted to Mr. Zap?” Stolz had “no idea.” He ducked another question about his connection to the promoter, but Patrick persisted.

“Isn’t it true that Steve Zap is paying bills or infusing cash into your company in exchange for airplay for songs that he is promoting through his company?” Patrick asked during the court hearing. “Absolutely not,” Stolz replied. (Stolz’s lawyers did not respond to a request for comment.)

Court documents filed in the Stolz case referenced Rolling Stone‘s previous reporting on Zap’s 2020 texts, which provided a rare insight into the carefully targeted mechanics of radio campaigns. In those messages, the promoter frequently discussed adjusting airplay to help labels achieve chart goals, often by taking away spins from one artist higher on the chart and assigning them to a lower-ranking act.

In March 2020, Zap texted, “can we … spike Maren Morris. 1 week only and [then] Dua lipa can get in.” Two weeks later, he followed up: “Please make sure Dua Lipa goes to super power and maren comes down a bit… Give a 50 spin difference.” (A song in power rotation is one of the most played at a station.) Unsavory as this track-flipping seems, there’s nothing illegal about shifting plays from one artist to another as long as it’s not linked to some payment in money or goods.

Zap’s texts also offered a window into the fractious communications that occur behind the scenes as labels compete for positions on charts that few listeners are actually aware of (AAA and Adult Top 40 are hardly household names). Even as the promoter worked with the record companies, his texts indicated frustration with his label counterparts. “Going to make [P]atty beg for increase” in spins for a Lewis Capaldi song, one text read. “Wendy crying about Backstreet Boys,” Zap wrote. “… She can’t save it but whatever.” “That record isn’t a hit and Pete isn’t cool,” Zap texted at another point. “Don’t play [the song] so much.”

The radio press all but ignored Rolling Stone‘s reporting on Zap’s messages. Perhaps that’s a sign that the behavior described in his texts is so commonplace it does not rise to the level of news in the trades. In his recent statement, Zap said that “his promotion activities on behalf of various record labels and musicians [are] standard in the industry, and completely permissible.”

When Zap’s name came up multiple times in court documents filed in the Stolz brouhaha, the radio publication All Access — which did not reply to a request for comment — initially wrote an article citing the promoter by name: “Patrick charged that Stolz lied about payments from promoter Steve Zap that Patrick has characterized as payola/plugola.”

Zap’s name was later removed from the article, replaced with “a promoter.”

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Ghislaine Maxwell Is Using Questions About a Juror’s Sexual Abuse History to Ask for a New Trial

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On Wednesday night, just before the filing deadline, Ghislaine Maxwell’s lawyers submitted a motion for a new trial, aiming to dismiss her December conviction on sex-trafficking charges. Maxwell’s defense initially requested a new trial and indicated they would file a motion to that end earlier in January, after a juror revealed to a reporter that he may have omitted pertinent information during the selection process. On Wednesday, they filed the motion under seal and asked that all submissions be sealed until U.S. District Judge Alison Nathan makes her ruling.

“Today, counsel for Ghislaine Maxwell filed her Motion for a New Trial (the “Motion”) and accompanying exhibits under seal,” said a Jan. 19 letter from attorney Bobbi Sternheim to Judge Nathan. “For the reasons set forth in the Motion, we request that all submissions pertaining to Juror No. 50 remain under seal until the Court rules on the Motion.”

Maxwell’s closely watched sex-trafficking trial began shortly after Thanksgiving in New York’s Southern District, where the British socialite stood accused of helping procure underage girls for the late financier and sex offender Jeffrey Epstein. Throughout the monthslong proceedings, four accusers shared intimate and graphic details of abuse they’d endured during their teenage years by Epstein and how Maxwell had groomed them for it and, at times, participated. Recounting their experiences, they often wept on the stand. On Dec. 29, the Maxwell was found guilty on five of the six charges she faced, including enticing a minor to travel to engage in illegal sex acts and sex trafficking a minor. 

Now, a post-trial interview threatens those results. Days after the verdict was announced, a juror, released from his obligation not to talk about the case, gave a celebratory interview to The Independent in which he discussed convincing fellow jurors to believe survivors of sexual abuse by sharing his own experience as an abuse survivor during deliberations. “This verdict is for all the victims,” said the juror, who identified himself by his first and middle name only, Scotty David. 

Unfortunately for the security of the verdict, however, Scotty David also revealed to the press that he could not remember being asked about his experience with sexual abuse during jury selection, either on the 51-question jury questionnaire — which included a question on whether you or any friends or family members have been the victim of sexual abuse or sexual assault — or during follow-up questioning known as voir dire. The possibility that he’d lied during the selection process and then gone on to play an influential role in deliberations was enough to trigger this motion for a new trial by Maxwell’s defense. The prosecution has until Feb. 2 to respond. On Thursday morning, the judge had not yet addressed to the request to seal all submissions related to the juror.

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