Between Justin Bieber returning from a three-plus-year hiatus with a *stripped* performance at The Grammys and Harry Styles rolling out an ungodly expensive “residency” at Madison Square Garden, I am fit to be tied over the disparity of work ethic between our male and female pop stars.

Both men have spent the better part of the 2020s in intentional obscurity. We only see Justin fighting with paparazzi (or his wife) on the streets of LA or NYC and Harry can usually be found on a Parisian rendezvous with a racially ambiguous actress. But lately our little recluses have begun to emerge from the shadows and count on their rabid female fanbases to give them a nice windfall of cash. With these two, their fan loyalty is always guaranteed, assumed, and never requires re-earning.

In an interview with Rolling Stone, Grammys executive producer Ben Winston claimed that Justin only rehearsed for 15 minutes and speculated that he hadn’t chosen his wardrobe until right before he was about to walk out on stage. Charming.

However, their female counterparts are not allowed hide. Take Chappell Roan, who has been vocal about her discomfort with her newfound fame, continues to slowly drip out new music as she works on her next album. Despite only having released one album as Chappell Roan, she put together her own mini festival that visited three cities for several nights where she sang nearly her entire discography for hundreds of thousands of fans.

Charli xcx has managed to extend Brat Summer for a full 18 months, putting a bow on the era with her mockumentary “The Moment,” which just debuted at Sundance. In addition to “The Moment,” she recorded an album for the upcoming film “Wuthering Heights.” Sabrina released two Grammy-nominated albums in two years, touring all the while.

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In addition to The Grind, the girlies are consistently reinventing themselves sonically and visually. They leverage fashion, album artwork, and distinct sounds to distinguish each ‘era’ from the next. Meanwhile, all the male acts look like clones of each other. They have the same haircut, the same stupid sequined set, and a mustache that signals bisexuality.

This isn’t exclusive to pop music either. The same can be said for rap – simply none of the men are doing it like Megan or Cardi. Country was perhaps the first genre to suffer from Lazy Man Syndrome.

While the music industry is completely sustained by women’s consistent, groundbreaking efforts, the men coast on legacy and the female fans who have been funding their lives since puberty.

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Note: I had a similar conversation on Threads after Timothee Chalamet beat out Michael B. Jordan at the Critic’s Choice Awards.

The Performances: Comebacks, Firsts, and Best New Artist Takeover

Justin Bieber’s Grand Return

The biggest performance story of the night belongs to Justin Bieber, who returns to the Grammy stage after a four-year hiatus—his first major award show performance since 2022. The last time Bieber performed at the Grammys, he delivered “Peaches” from his Justice album. This comeback is particularly significant given his health struggles with Ramsay Hunt Syndrome, which forced him to cancel his Justice World Tour in 2023. Now, with four nominations for his album SWAG (including Album of the Year), Bieber is making his triumphant return to the award show circuit.

Pharrell’s First Performance in Over a Decade

Pharrell Williams is also making an anticipated return, performing at the Grammys for the first time since his orchestral rendition of “Happy” in 2015. The 13-time Grammy winner is teaming up with hip-hop duo Clipse (brothers Pusha T and Malice). Their collaborative album Let God Sort Em Out earned five nominations, including Album of the Year and Best Rap Album.

Best New Artist Showcase

Following last year’s tradition, all eight Best New Artist nominees will perform in a special segment during the ceremony. This year’s diverse lineup includes:

• Addison Rae: The TikTok star-turned-pop artist making her Grammy stage debut

• Alex Warren: The YouTube sensation whose “Ordinary” topped the Billboard Hot 100 and earned him Best New Artist at the VMAs

• KATSEYE: The six-member America-bbased girl group representing K-pop’s global expansion, who went viral for their GAP ad dancing to Milkshake

• Leon Thomas: The only R&B artist in the Best New Artist category, also nominated for six total awards including Album of the Year

• Lola Young: The British artist whose “Messy” went viral on TikTok last year

• Olivia Dean: The indie-turned-mainstream mega star who’s topping charts

• The Marías: The bilingual indie pop band who broke through with “No One Noticed”

• sombr – The alternative artist whose concert behavior caused viral TikTok drama

Pop Royalty Takes the Stage

Sabrina Carpenter, the first confirmed performer, leads pop’s charge with six nominations including Record of the Year, Song of the Year, and Album of the Year for “Manchild” and Man’s Best Friend. Lady Gaga, in her ninth Grammy performance, arrives with seven nominations—her most ever—for her album MAYHEM and comeback single “Abracadabra.”

The Pop Categories: Sabrina, Gaga & the Rise of K-Pop

The pop categories this year reflect an industry in transition, with established stars facing fresh competition and K-pop making historic inroads.

Record of the Year: Pop Dominance

The pop representation in Record of the Year is formidable:

• Sabrina Carpenter – “Manchild”

• Lady Gaga – “Abracadabra”

• Billie Eilish – “WILDFLOWER”

• Chappell Roan – “The Subway”

• ROSÉ & Bruno Mars – “APT.”

Notably, two of the eight Record of the Year nominees fall under the K-pop umbrella: ROSÉ and Bruno Mars’ “APT.” and HUNTR/X’s “Golden” from the KPop Demon Hunters Netflix film. This marks a significant moment for K-pop’s integration into mainstream Grammy recognition, with 25% of Song of the Year nominees coming from the K-pop sphere.

Album of the Year: Pop’s Power Players

Pop albums make up three of the eight Album of the Year nominations:

• Sabrina Carpenter – Man’s Best Friend (6 total nominations)

• Lady Gaga – MAYHEM (7 total nominations)

• Justin Bieber – SWAG (4 total nominations)

For Sabrina, this marks her second consecutive Album of the Year nomination, following last year’s nod for Short n’ Sweet. Lady Gaga’s fifth Album of the Year nomination without a win mirrors Kendrick Lamar’s trajectory—both artists are looking to finally capture their respective category’s top recognition.

Best Pop Solo Performance: The Heavyweights

This category showcases the year’s biggest pop moments:

• Billie Eilish – “BIRDS OF A FEATHER”

• Chappell Roan – “Good Luck, Babe!”

• Justin Bieber – “Daisies”

• Lady Gaga – “Disease”

• Sabrina Carpenter – “Manchild”

Best Pop Vocal Album: Gaga’s Comeback

Lady Gaga’s MAYHEM represents what many critics are calling a return to her dark pop roots—reminiscent of The Fame and Born This Way. The album’s lead single, “Abracadabra” features bass-driven beats and pulsing synths that evoke her earliest work, with its hypnotic chorus drawing comparisons to “Bad Romance.”

Best New Artist: The Most Diverse Class Yet

This year’s Best New Artist category is remarkably versatile in genre, spanning:

• Traditional pop: Alex Warren, Olivia Dean

• Alt-pop: sombr, The Marías

• Global pop: KATSEYE

• Pop-R&B fusion: Leon Thomas (nominated for 6 total awards, the most of any Best New Artist nominee)

• TikTok-to-mainstream: Addison Rae, Lola Young

Leon Thomas: The R&B Standout

Leon Thomas enters as the lone R&B voice in a pop-heavy category, but he’s hardly an underdog. With six total nominations, including Album of the Year for MUTT, Best R&B Album, Best R&B Performance, Best R&B Song and Best Melodic Rap Performance, Thomas represents a genre-blurring approach that could make him this year’s Chappell Roan—last year’s Best New Artist winner who similarly dominated across categories.

Hip-Hop & R&B: Kendrick’s Continued Reign and a Reunion for the Ages

Kendrick Lamar’s Historic Run Continues

After sweeping five awards at the 2025 Grammys for “Not Like Us” (including Record and Song of the Year), Kendrick Lamar returns as the most-nominated artist of 2026 with nine nods. His surprise-released album GNX and single “luther” (featuring SZA) position him for potential back-to-back dominance. With 66 career nominations and 22 wins, Lamar continues to cement his legacy as one of the most Grammy-decorated rappers ever.

Album of the Year: Hip-Hop’s Triple Threat

For the first time in the 2020s, three rap albums earned Album of the Year nominations:

• Kendrick Lamar – GNX (9 total nominations)

• Clipse – Let God Sort Em Out (5 total nominations)

• Tyler, The Creator – CHROMAKOPIA (5 total nominations)

Best Rap Album: The Veterans vs. The Rising

The Best Rap Album category features:

• Kendrick Lamar – GNX

• Clipse – Let God Sort Em Out

• Tyler, The Creator – CHROMAKOPIA

• GloRilla – GLORIOUS

• JID – God Does Like Ugly

R&B’s Moment: Leon Thomas Leading the Pack

In Best R&B Album, Leon Thomas’s MUTT competes against:

• GIVĒON – BELOVED

• Coco Jones – Why Not More?

• Ledisi – The Crown

• Teyana Taylor – Escape Room

Thomas is the only R&B artist nominated for Best New Artist, highlighting both R&B’s competitive landscape and his crossover appeal.

Record and Song of the Year: Hip-Hop’s Big Moments

Two major hip-hop and R&B tracks compete in both Record and Song of the Year:

• Doechii – “Anxiety” (5 total nominations)

• Kendrick Lamar & SZA – “luther” (the single topped the Billboard Hot 100 for 13 consecutive weeks)

Doechii’s five nominations tie her with Clipse, Sounwave, SZA, and Tyler, The Creator, making her one of the ceremony’s most-nominated artists. Following last year’s win, she’s poised to build on that momentum.

What to Watch For

• Justin Bieber’s emotional return after years away from major performances

• Pharrell’s first Grammy performance in 11 years, marking a full-circle moment

• The Best New Artist sweep of performances, showcasing the future of pop music

• Kendrick vs. himself: Can he repeat last year’s historic sweep?

• Lady Gaga’s quest for Album of the Year on her fifth nomination

• K-pop’s growing Grammy presence, with multiple nominees across major categories

• Leon Thomas’s potential breakout, potentially becoming the second Victorious star to win a Grammy

The 68th Annual Grammy Awards air live on CBS and stream on Paramount+ on Sunday, February 1st at 8 PM ET/5 PM PT from Crypto.com Arena in Los Angeles. With 95 total categories, this year’s ceremony promises to be a celebration of music’s most innovative year yet—and a proper send-off for the venue that’s hosted Music’s Biggest Night for over two decades.

Instead of a new Swiftian era, The Life of a Showgirl feels like Taylor rifling through the pop culture lost and found. Miley Cyrus already did the showgirl thing on Something Beautiful and Gia Coppola’s The Last Showgirl just gave Pamela Anderson her art-film comeback moment. Even Addison Rae’s breathy vocals and Sabrina Carpenter’s horny double entendres feel stamped onto this tracklist. It’s giving “relevance maintenance package” more than “visionary album drop.”

On her 12th studio album, produced by Max Martin and Shellback, Taylor hints at her excitement for domestic bliss on songs like Wi$h Li$t (dreaming of kids who look like Travis Kelce—couldn’t be me). But then, on Actually Romantic, she takes pointed shots just to generate the “who’s this about???” headlines she feeds on. That would be fine if she hadn’t already spent 32 tracks doing exactly that on The Tortured Poets Department. And it’s extra messy considering she was just praising Charli XCX’s lyrics and danced to her set at the Grammys earlier this year. Sympathy is a knife was Charli being insecure about her place in the industry; Taylor flipping it into a diss track lands less “fun shady” and more vindictive and mean-spirited.

And honestly, it makes sense. Now that she’s engaged and fully settled with someone who loves the spotlight as much as she does, the mystery that once built up excitement about listening to her music on its first release has been diluted. With Travis, there’s no tortured longing or messy situationship to decode. So instead, she’s drumming up drama by taking shots at Charli—manufacturing intrigue where her love life no longer provides it.

The bigger issue is that the formula feels off, much like the rollout did. Normally, Taylor’s the lyrical assassin with the best producers money can buy. Here, the production is the life raft and the lyrics are…half-baked. Some songs hit (Opalite has an undeniable hook), but others are straight-up embarrassing. Father Figure isn’t about Olivia Rodrigo—it’s clearly about Scott Borchetta. Which is wild, because she already nailed that exact subject in my tears ricochet—one of her sharpest, most haunting tracks ever. Why retread it with clunky metaphors? Same with Eldest Daughter with its meme-ified lyrics. While that is the lyrics’ purpose, it doesn’t make it any easier to listen to.

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What is abundantly clear from this album is that Taylor is on cloud 9, in love and satisfied both sexually and otherwise, but it also shows an artist past her peak. While she’d hate this, Taylor Swift’s albums have always been defined by their muses. The greatest eras came when she sharpened her pen on complicated, introspective partners. But since her whirlwind romance with Kansas City Chiefs’ tight end, Travis Kelce, the songs sound less sophisticated and more…corny. Previous muses (actors, artists, writers) brought complicated baggage; the lyrics reflected that. Here, the source material is surface-level charm, and the songs flatten into that shallowness.

That’s the tension at the heart of The Life of a Showgirl. Taylor sees herself as the tortured poet still bleeding brilliance into her diary, which maybe she once was. But the album proves what she’s actually great at: being palatable. She knows how to give just enough drama, just enough sparkle, just enough catchiness to dominate charts without alienating anyone — including her Republican besties like Brittany Mahomes. She doesn’t realize that this isn’t excellence—it’s accessibility.

Overall, the album is solid, though not her best, and certainly not one of the best albums released this year. Taylor will continue to see unprecedented commercial success, but not for her excellence at songwriting or as a musician but rather because she’s quite palatable, and she always has been. And as the New York Times put it, you can’t be the showgirl and the girl next door at the same time.

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Doja Cat’s fifth studio album, Vie, is fun, but a little too cohesive for its own good. The 1980s-inspired record pairs seamlessly with her rap-pop hybrid, but the downside is that many tracks blur together. It’s clever lyrically, but rarely vulnerable, making the listening experience feel more like surface-level style lacking substance. Some of the more upbeat, dance-leaning songs will remain in my rotation, while others I’ll probably forget exist.

“Jealous Type” was the perfect lead single—catchy, dynamic, and promising a range that the album as a whole doesn’t consistently deliver. Instead, Vie presents one sleek mood and stays there. When it works, it’s a party. When it doesn’t, the redundancy dulls the impact.

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The Strengths:

The energetic tracks are the album’s strength —catchy, quick-witted lyrics and sticky beats. “Cards” and “Stranger” lean into shimmering ‘80s synths, showing off Doja’s pen, where “Take Me Dancing,” boosted by SZA’s presence, has been singled out by Riff for its chemistry—SZA grounds the song while Doja keeps it light on its feet, making it one of the album’s most replayable songs. “Silly! Fun!” earns its title, toggling between earnest hooks and tongue-in-cheek sarcasm, taking a page out of the Sabrina Carpenter playbook. “One More Time” delivers a clean, hook-heavy closer that captures why Doja thrives in uptempo spaces: the tracks may not reinvent her formula, but they keep her quirky persona front and center. These moments prove that when she leans into maximalist, dance-ready pop, she’s untouchable.

The Weaknesses:

The slower tracks like “Couples Therapy,” “Acts of Service,” “All Mine,” “Make It Up” are the real drag. Instead of grounding the record with intimacy and vulnerability, they stall it. Without the gloss that props up the uptempo songs, the surface-level writing is exposed

Critics’ sentiment is split: Slant argued that Vie is more style than substance, too repetitive to make a lasting impact and Elle pointed out that Doja’s “sing-rap-sing” structure becomes formulaic, causing tracks to blend together. And even positive reviews from outlets like WTOP admitted the slower tracks were the weakest links. These reviews echo my main critique: cohesion that begins to veer into monotony.

Meanwhile, The Guardian praises Doja’s balance of “bubbly pop and her trademark provocative lyricism,” calling Vie a “nuanced evolution,” and Variety frames Vie as a statement that Doja doesn’t need to stay in one lane: that she can stretch between genres and still retain identity — fair!

The Verdict

Despite mixed reviews, album has performed well so far, garnering 13 million streams on Spotify on day one with six tracks charting on the app.

Vie is a reminder that Doja Cat can command the pop spotlight at will, even when the material doesn’t always rise above the aesthetic. It’s not her boldest or most surprising record, but it shows her mastery of mood. The highs are bright and fun, the lows are forgettable, but the overall vibe is polished enough to keep her firmly in the conversation.

After a seven-year hiatus, Cardi B returns with Am I the Drama, a record that is equal parts triumphant and vulnerable — and already a massive commercial success. Certified platinum within hours of release, the album instantly reaffirmed her status as a dominant force in rap. It’s also one of the strongest albums of the 2020s, a master class in feminizing rap without losing bite: razor-sharp disses, anthemic bravado, and emotional core tracks about Offset and identity sit alongside club bangers and melodic features. Overall, the album is a bold, dynamic, near-flawless comeback that proves Cardi can disappear for nearly a decade and still return to the top on her own terms.

Critics have largely echoed this sentiment. Rolling Stone praised the project as a “massive comeback triumph” that “made up for lost time” and reaffirmed her dominance. Variety called the album “unflinching, raw and refined,” pointing to divorce-driven tracks like Shower Tears and Magnet as some of her most affecting work. The Guardian praised her ruthless wit and musical range but noted the record occasionally drags.

Cardi showcased her growth over the past seven years by expanding her palette. Tracks like Safe showcase a softer, more reflective side, accompanied by a moody Kehlani feature that contrasts with her edgier tracks. Meanwhile, Hello feels like a mission statement — the perfect tone-setter that I think should have opened the record — and Pretty & Petty proves she’s still unmatched when sharpening her pen against opps. Even the weaker cuts, like Principal and Trophies, aren’t bad songs so much as pauses in an otherwise relentless ride.

Ultimately, Am I The Drama reasserts Cardi B as a cultural force who can balance spectacle with substance, heartbreak with humor, and bravado with vulnerability. It may not be flawless, but it doesn’t need to be. The album perfectly captures exactly why Cardi remains one of the defining voices of her generation.

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Track Highlights

Favorites

• ErrTime: A pure adrenaline rush and the kind of chant-ready anthem only Cardi can deliver. While not her sharpest lyrically, its booming production makes it the album’s immediate hype track. Officially my new hype song.

• Hello: I personally believe this track should have opened the album. It perfectly sets the tone, reintroduces her as rap’s dominant voice and indicates the start of a new chapter.

• Safe (feat. Kehlani): Kehlani’s ethereal voice perfectly offsets (no pun intended) Cardi’s intensity, creating one of the album’s most vulnerable and affecting songs. Proof that she can do intimacy as well as hype.

• Pretty & Petty: Cardi’s diss tracks are always headline-worthy, and here she unloads on rivals like Bia and JT with surgical precision. Her flow is relentless and unflinching and her pen is lethal.

• Man of Your Word: A standout among the divorce-inspired cuts, it blends raw emotion with sharp imagery and is surprisingly empathetic toward her ex despite his repeated infidelity.

Least Favorites

• Principal: A promising concept that never fully materializes. The Janet nod feels surface-level, and the song ultimately adds little to the tracklist.

• Trophies: A flex track that struggles to justify its place. Competent, but redundant next to sharper, more memorable moments.

Even these weaker cuts are more serviceable than outright missteps, making them rare lulls in a project that otherwise pushes Cardi’s artistry forward. Brava!

Selena Gomez & Benny Blanco — I Said I Love You First (Released: Mar 21, 2025)

Selena returned to music alongside her fiancé Benny Blanco with the intimate I Said I Love You First, featuring Gracie Abrams, J Balvin, Finneas, and the Marías. The album debuted at #2 on the Billboard 200 with 120,000 units—the biggest first week of both their careers—cementing Selena’s evolution into a narrative-driven pop artist rather than just a singles star.

Miley Cyrus — Something Beautiful (Released: May 30, 2025)

Shortly after, Miley released Something Beautiful, a visual concept album centered on healing and reinvention. The project echoed showgirl motifs from The Last Showgirl (for which Miley recorded the title track) and repositioned her as the experimental veteran pushing format and spectacle on a Beyoncé scale. The album debuted at #4 on the Billboard 200, marking Miley’s 15th U.S. top-10 album.

Demi Lovato — It’s Not That Deep (Upcoming: Oct 24, 2025)

Demi’s new project’s title hints at levity after her heavier, rock-leaning projects and years of public mental health battles. She has stated she doesn’t “feel like [she needs] to sing huge emotional ballads anymore,” describing the new record as “a perfect reflection of where I’m at today” and her official “Popvato era” — lighter, dance-pop and unapologetically fun. As the final early aughts Disney alum to release in 2025, she closes out the trifecta.

While Selena leaned more intimate and Miley went visual and conceptual, Demi now has space to deliver something lighter and more mainstream — potentially reshaping her role in this alum resurgence. Over the years, these Darlings have cycled through hardcore phases, R&B detours, bubblegum pop and full-blown pop-punk, but what makes this moment resonate is how both the artists and their audience have aged together: the angsty preteens who once blasted these songs in their bedrooms are now 30-somethings still invested in the evolution.

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Hilary Duff — Hints of Return

Hilary has teased a comeback by signing with Atlantic Records, her first major label deal in nearly a decade. She’s also developing a docuseries with director Sam Wrench (Taylor Swift, Billie Eilish) to document her return.

A key piece: Hilary’s husband, Matthew Koma, is a well-established musician and producer. Beyond fronting indie-pop band Winnetka Bowling League, he co-wrote and performed vocals on Zedd’s Grammy-winning “Clarity,” co-wrote Zedd & Alessia Cara’s hit “Stay,” and worked on tracks for Carly Rae Jepsen, Shania Twain, Gwen Stefani, and Tiësto (“Wasted”). His track record suggests Hilary’s comeback could lean on pop credibility, not just nostalgia.

The Renaissance Completed

The Disney Darlings who once soundtracked middle school sleepovers and first heartbreaks are now delivering albums that speak to 30-somethings navigating reinvention, resilience and reclaimed joy. It’s a full-circle cycle—proof that the stars shaped by the Disney machine are still driving pop culture, this time on their own terms, with their original audience grown up and still listening.

On Sunday night, Alex Warren, whose song “Ordinary” went viral on TikTok earlier this year, won Best New Artist at the VMAs. Last year, this was one of the primetime, highly anticipated awards, taken home by none other than Chappell Roan. This year, it was quietly handed out pre-show, a clear sign of how underwhelming the category felt. However, Gen Z it-boy Sombr was also nominated, and I half-expected him to get a grand coronation akin to Chappell’s.

Regardless, Alex still got a prime mainstage slot, which leaned hard into evangelical cosplay: youth pastor energy, gospel-adjacent staging and a nearly all-Black choir singing the whitest song my ears have ever heard. The result was underwhelming yet bizarrely committed.

Authentic Yet Unoriginal

In fairness, this aesthetic is genuine for him — his late father’s love of worship music shaped his sound, and faith became a lifeline during his unstable childhood following his father’s death and his mother’s descent into alcoholism. But authenticity doesn’t equal originality. The swooning, gospel-tinged pop ballad has already dominated male pop for the better part of the last decade, from Sam Smith to Lewis Capaldi.

Christian and gospel-sounding music is, for some reason, experiencing a surge in mainstream streaming, driven primarily by Gen Z audiences who are craving a spiritual experience through music, even outside of a church context. What is making this fall flat (to me) isn’t just the oversaturation and staleness, it’s the manipulation baked into the music itself. Gospel-coded pop ballads rely on the same bag of tricks: soaring builds, swelling choirs, big “lift” key changes, the kind of chord progressions designed to trigger goosebumps whether or not you care about the contents. It’s music reverse-engineered to feel profound.

So, even though Alex seemingly means it, the performance still felt tired — especially stacked against the women currently dominating pop who are challenging the rules of the genre: Addison Rae, Charli XCX, Chappell Roan and Sabrina Carpenter continue to produce fresh takes on sounds from the past. In that landscape, Alex’s set lands less as revelation, more as déjà vu.

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Enter: The Hype House Backstory

But here’s the kicker: when I texted a friend about the spectacle, she dropped some lore I’d missed — Alex is a Hype House original.

I only knew Hype House in passing (mostly Addison Rae and the D’Amelios) but the dudes in the cast? Total mystery to me. For those even more behind than I, Hype House was an LA content mansion born in late 2019 that later gave way to a Netflix reality show no one really asked for.

Inside that circus, Alex became the unofficial vlogger-in-chief. While Charli, Dixie, and Addison were carefully curating TikTok empires, he was on YouTube doing his best David Dobrik impression (e.g., pranks and loud group chaos), seemingly serving as the house’s comic relief. His other defining storyline was his long-term romance with Kouvr Annon, portrayed as the mansion’s emotional anchor in a space otherwise dominated by drama and clout. They’re now married, and she’s the muse behind “Ordinary.”

Addison, on the other hand, was the unanimous star—the face of Hype House to anyone outside the TikTok bubble. Her viral dance videos weren’t just personal content; they served as the marketing arm of the House, the only real reason mainstream audiences even knew it existed.

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Bigger Picture: Who Makes the Jump

That split carried into their careers. Addison’s leap into music felt inevitable: viral dance videos to debut album, cosigns from Charli XCX and performances with real star quality (even if the vocals can be shaky). She channels a fresh sound and a nostalgic aesthetic that suit her.

Alex’s entry feels… different. His music relies on hollow spectacle — slick megachurch vibes and clever chord progressions that evoke emotion without substance. Where Addison proves social media can democratize fame and produce genuine cultural players, Alex reminds us that virality is often mistaken for taste.

Addison is messy and magnetic; Alex is polished but shallow. Together, they illustrate the two possible outcomes when influencers attempt to transition to the main stage.

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Okay, sure. The VMAs are low stakes – no one remembers who won Best Female Pop 1999, but little old MTV’s annual celebration of pop culture is truly the industry’s Super Bowl. The Oscars hand out little gold men to award movies nobody watched, but the VMAs? That’s where the magic happens.

Launched in 1984 to celebrate the music video era, the VMAs quickly became less about trophies and more about shock, spectacle, and career-defining moments. If the Academy Awards reward prestige, the VMAs reward culture impact.

Join me on a stroll through VMA’s past!

1980s: The Birth of the VMA Moment

Madonna, “Like a Virgin” (1984)

At the very first VMAs held at Radio City Music Hall in 1984, Madonna debuted her iconic track, “Like a Virgin,” emerging from a towering wedding cake in a bridal bustier with a rhinestoned belt that read “Boy Toy.”

The provocative performance immediately positioned the VMAs as a stage for unforgettable spectacle, with MTV touting it as the place “where water cooler moments happen.” Behind the scenes, her manager feared the stunt would end her career, but by the 1990s and 2000s it was widely hailed as “genius” by outlets like Rolling Stone. It set the precedent for the VMAs as a showcase of rawness, risk and artistic spectacle.

Guns N’ Roses, “Welcome to the Jungle” (1988)

The early years of the VMAs were dominated by pop, but in 1988, Guns N’ Roses crashed the party with a sweaty, hard rock performance that shocked the MTV system. It signaled that rock was alive and dangerous, and capable command a TV audience. While pop stars gave choreographed, polished performances, GNR was raw, volatile and messy. It felt unscripted and an evolution past the glossy haze of the 80s pop acts and signaled where MTV could go next.

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1990s: Legacy on the Line

Nirvana, “Lithium” (1992)

MTV hired Nirvana to play the 1992 their smash “Smells Like Teen Spirit,” but the band insisted on the unreleased and controversial “Rape Me.” MTV refused, forcing them into a compromise: “Lithium.” When the time came, Kurt Cobain strummed the opening chords of “Rape Me” before swerving into “Lithium,” faking out the network. Prior to the performance, a fight nearly broke out after Courtney Love heckled Axl Rose and a screaming match broke out between Guns N’ Roses and Nirvana.

On stage, the performance dissolved into chaos: Krist Novoselic launched his bass in the air only to be knocked out by his instrument, Dave Grohl taunted Rose on the mic and Cobain smashed his guitar, culminating in pure grunge anarchy.

Michael Jackson, “Thriller” medley (1995)

At the 1995 VMAs, Michael Jackson delivered a 15-minute medley of his greatest hits, a spectacle that reaffirmed his legacy as the King of Pop. He’d become a global sensation, capable of selling out the largest venues, and the VMAs gave him a stage of that size. With elaborate choreography, multiple costume changes and even a surprise appearance by Slash during “Black or White,” MJ transformed the broadcast into a cultural event. It cemented the VMAs not just as a platform for rising stars but as a stage where legends demonstrate their supremacy.

2000s: Shock Becomes Pop Currency

Britney Spears, “I’m a Slave 4 U” (2001)

In a performance that made me who I am today, Britney Jean Spears took the VMA stage in 2001, debuting her “Britney” era complete with a live python draped around her shoulders in one of the most boundary-pushing, image-sculpting performances in pop culture history. Britney has since written in her memoir that this performance had her paralyzed with fear, but she delivered a legacy-cementing performance regardless.

Madonna, Britney & Christina, “Like a Virgin” remix (2003)

Madonna reprised her legendary performance alongside her two heirs apparent, Britney Spears and Christina Aguilera, each dressed as brides, each angling for the pop crown. The performance itself would have been iconic enough, but the moment seared into history was Madonna kissing both women on the lips. For Madonna, it was proof she could embrace a younger generation rather than competing. For Britney and Christina, it was a coronation. For MTV, it was a reminder that the VMAs were where pop history got written in real time. By not tuning in, you're already behind.

Beyoncé, “Crazy in Love” (2003)

That same year, Beyonce, uninhibited by the need for stunts, gave her breakout VMA performance alongside Jay Z. She descended from the ceiling upside down and went on to bring the house down with a fierce display of vocal chops, stage presence and sex appeal, launching the solo superstar we know and worship today.

2010s: Narrative & Era-Defining Stunts

Lady Gaga, “Paparazzi” (2009)

In a high camp performance, Lady Gaga made her VMAs debut in which she coined her signature theatrics with a wild performance that ended with her bleeding. She proved her vocal ability and showed that while she is highly skilled at delivering a spectacle, she’s more than that. The full range of her talent was put on full display, challenging a trend of female artists being either talented or interesting, but rarely both.

Beyoncé, “Love on Top” (2011)

Beyoncé revealed her pregnancy with Blue Ivy during her 2011 “Love on Top” performance which led to our current culture of celebrity pregnancy as public performance. It turned what was once private or exclusively media-managed into a cultural moment and, critics argue, paved the way for how we learn celebrity baby news today. The reveal produced a then-record 8,868 tweets per second, making it the most tweeted-about moment in history at that time, signaling the VMAs staying power in the age of virality. The broadcast drew 12.4 million viewers, MTV’s most-watched broadcast ever

2020s: Viral Myth-Making

Lil Nas X, “Industry Baby” (2021)
A trailblazer as an openly gay rapper, Lil Nas X followed up his “Old Town Road” success with a saucy, prison-themed spectacle that stands as one of the most theatrical VMA performances in recent memory. He recreated the Montero State Prison set from the video — pink uniforms, shirtless choreography, a full marching band — and turned it into stadium pop scaled down for the small screen. Clips racked up millions of views, dominating timelines and proving that VMA moments now have to be engineered for virality, not just live TV shock and awe. His performance wasn’t confined to the broadcast; it was built to live forever online — shared, remixed, and memed into cultural permanence.

Doja Cat, “Attention / Paint the Town Red / Demons” (2023)
Doja staged a dark-sided trilogy with demon dancers drenched in fake blood, pushing the awards show’s aesthetic into horror-glam territory while debuting her Scarlet era. The medley stitched together something almost Rocky Horror-esque — a blend of camp, gore, and high fashion, pulled into one unsettlingly cohesive display. It wasn’t cheap shock for its own sake; it was a masterclass in provocation, cementing Doja as pop’s reigning provocateur, the one most willing to make menace and glamour dance together on live TV.

Chappell Roan, “Good Luck, Babe!” (2024)
Chappell’s breakout VMA moment was a true arrival complete with campiness and charisma. Dressed in Joan of Arc drag, she twirled among men in knight’s armor, belted the song’s gut-punching high note, all while the set literally caught fire around her. While other acts that year cosplayed queerness, Chappell embodied it — flipping it into a symbolic, subversive display of affection and staking her claim as pop’s next great torchbearer… literally.

The VMAs may never carry the prestige of a Grammy, but that is not the show’s intent. MTV has orchestrated a stage where artists can turn risk into reward and spectacle into cultural history. Every generation gets its defining VMA moment — and every year, we tune in wondering what could possibly top the last.

Tune into this year’s VMAs tomorrow at 7PM Central.

Gen Z listens to a crazy amount of music. Like, they make up nearly 50% of Spotify’s global listenership. They listen to nearly 25% more music per day than millennials, the generation that was risking the family computer to make a mixtape for their middle school boyfriend of 3 days.

This group, aged 13 to 28, values emotional vulnerability, with diary-entry-like lyricism as the connective tissue, powerful vocals, and diversity representing vast backgrounds, lived experiences and genre experimentation. And queerness is part of that baseline — not a niche or side note. Whether it’s artists who are openly queer or those embraced as safe-space staples, younger fans expect identity and artistry to blend in a way that is seamless and authentic.

Millennial Influences Gen Z Thinks Are Cringe

• Mariah Carey: Teens today know her as the Christmas meme queen, but her vocal runs and sultry sound shaped the vocal DNA of today’s powerhouse singers like Olivia Dean and Lola Young.

• Avril Lavigne: Avril’s mix of bratty honesty and pop hooks shows up in Lola Young’s blunt breakup anthems and Gigi Perez’s confessional songwriting, minus the skinny ties and deep side parts.

• 2000s Emo Bands (Boys Like Girls, Green Day, My Chemical Romance, Fall Out Boy): Hot Topic may be dead, but the sound lives on. Sombr and Role Model both lean into that emo-pop/alt-rock energy—loud guitars, emotional lyrics and songs made for singing along.

• Taylor Swift → Taylor didn’t invent diary-core (shout out to Alanis Morissette for that), but she mainstreamed hyper-specific storytelling at pop scale. Today’s Notes App lyricism is her legacy.
  Sombr

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SOMBR

Sombr has quickly become Gen Z’s latest “it boy,” blending confessional lyrics with radio-ready hooks that thrive on TikTok virality. His breakout singles Back to Friends and Undressed helped propel him to nearly 50M monthly listeners on Spotify, making him one of the fastest-rising names in the alt-pop/indie-pop lane. His ascent mirrors the new discovery pipeline — first a For You Page favorite, then a streaming staple, and now a fixture on award show radars.

He’s nominated for Best New Artist at the VMAs this year, a slot MTV often reserves for artists on the cusp of mainstream takeover, and I predict that he will take home the Moon Person. Critics point out that his appeal lies in how he repackages the emo-pop sound of the 2000s for Gen Z audiences — a blend of diary-entry angst and big, shout-along choruses.

ROLE MODEL

Role Model (aka Tucker Pillsbury) has carved out a loyal following with his confessional alt-pop, where moody, bedroom-produced tracks double as emotional soundtracks for Gen Z. His breakout single Sally, When the Wine Runs Out helped push his catalog past 1B streams and earned him roughly 9M monthly Spotify listeners. His sound is often described as “sad boy pop” — intimate, quotable, and tailor-made for TikTok edits and late-night scrolling.

While firmly in the alt-pop lane, Role Model also carries echoes of 2000s emo and pop-punk bands like Boys Like Girls or Dashboard Confessional — guitar-driven melancholy, emotional oversharing, and songs meant to be shouted in your bedroom. Beyond the music, his live shows are frequently described as safe spaces for queer teens, creating an inclusive environment that resonates with younger fans who prize community as much as catharsis.

GIGI PEREZ

Gigi Perez is a soul queen whose TikTok confessional tunes earned her 3 VMA nominations — a rare jump from bedroom videos to award show spotlight.

Perez resonates with younger audiences because she doesn’t polish away the rough edges. Her lyrics wrestle with grief, faith and identity, and her voice carries a raw emotional weight that doesn’t hide behind production tricks. That directness has struck a chord with queer listeners, especially, who see themselves in the openness of her writing.

LOLA YOUNG

Lola Young's style is rooted in a bold artistic lineage. She cites Joni Mitchell, Prince, Frank Ocean, and Anderson .Paak as key influences, blending introspective songwriting with genre-defying textures, and she attended the prestigious BRIT School, where both Amy Winehouse and Adele trained.

Her aesthetic is unapologetically unpolished, leaning into raw, gritty vocals and rough-around-the-edges production, embracing imperfection as a sign of authenticity. That vibe connects with young listeners who crave realness over sheen.

Lola’s track Messy exploded on TikTok, eventually topping the UK charts, and earned her two 2025 VMA nominations.

OLIVIA DEAN

Named Amazon Music’s Breakthrough Artist of the Year in 2021 and BBC Introducing Artist of the Year in 2023, Olivia Dean has quickly become one of the UK’s most celebrated new voices. Her debut album also titled Messy (2023) introduced her to a global audience, racking up over 1.1B streams and building her fanbase to more than 18M monthly Spotify listeners.

Drawing inspiration from Billie Holiday’s phrasing and Lauryn Hill’s emotional frankness, she blends classic soulfulness with contemporary pop sensibility. As a counterpoint to glossy, over-produced pop, Olivia has carved out a space defined by authenticity and timeless vocals. Critics praise her live shows, often backed by a full band, for their Motown-inspired richness and intimate storytelling — qualities that resonate deeply with Gen Z listeners looking for music that feels as “real” as it sounds.

GRIFF

Griff is a synth-pop darling who blends glossy, 1989-style production with diary-core lyrics. She broke through with her debut album Vertigo (2024) and picked up momentum opening for Sabrina Carpenter’s Short n’ Sweet tour. She’s also been featured on tracks with DJs like Zedd and Duke Dumont, giving her festival reach far beyond her own fanbase.

Unlike many of her Gen Z peers, Griff has built her following the “old-fashioned way,” meaning through touring, festival slots and steady word-of-mouth buzz as opposed to TikTok virality. That slow burn has made her a critic’s favorite and an artist Gen Z audiences discover organically, one live show or playlist add at a time.

RAYE

Raye has already cemented herself as a UK powerhouse, sweeping six Brit Awards in 2024 and earning three Grammy nominations in 2025. Her breakout single Escapism went viral on TikTok, introducing her raw lyricism to a global audience. But her discovery story isn’t just algorithm-driven: she’s also built recognition through high-profile collaborations (including Mark Ronson’s “Suzanne”) and headline-making performances like the James Bond tribute at the 2025 Oscars with Doja Cat and Lisa of BLACKPINK.

Her discography is defined by brutal honesty about survival, addiction, and industry transparency, paired with Adele-level vocals. For Gen Z, she’s proof that you can be both a viral star and a critically acclaimed artist — while for millennials, she feels like the continuation of a soul-pop lineage that prizes real voices and unflinching truth.

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Even if they pretend they don’t care about millennial music, their playlists prove otherwise — Mariah’s vocal runs, Avril’s brat-pop angst, emo’s vulnerability, and Taylor’s diary-core all haunt the tracks they can’t stop playing.

But the trendline is shifting: rawness is in. Expect more messy anthems and fewer polished pop moments ahead, as Gen Z and Alpha double down on artists who sound unfiltered, vulnerable, and honest — voices that crack, lyrics that overshare, aesthetics that embrace the chaos.

On August 29, Sabrina Carpenter released her 7th studio album, Man’s Best Friend. The album, released just a year after her Grammy-winning Short n’ Sweet, is a kaleidoscope of eras past — from Donna Summer and ABBA-inspired disco to flashes of Dolly Parton’s country and Christina Aguilera-esque vocals, her influences are clear. The record is also a perfect example of a phenomenon called nostalgia stacking. Nostalgia stacking refers to artists pulling from several decades at once, layering aesthetics to make the output feel both retro and fresh. It’s become the defining creative strategy of the 2020s.

Recent Case Studies

Miley Cyrus — Something Beautiful

Miley’s recent album showcased nods to 80s rock icons like Joan Jett and Pat Benatar with gritty, raw vocals layered atop 70s disco-style, dance-floor-ready arrangements, also evoking an ABBA-like quality. Pair this with the soul and funk undertones and avant-garde visuals, and you have a suprisingly cohesive amalgamation of cinematic surrealism through the decades.

Beyonce — Cowboy Carter

Following up her futuristic feel on Renaissance, Beyonce’s Cowboy Carter fused country, Americana and folk, R&B and Afrobeats while the costumes and live visuals presented a rodeo queen/showgirl crossover that felt equal parts Dolly Parton and Betty Davis

Chappell Roan — The Rise and Fall of a Midwest Princess

In her debut album that earned her Best New Artist at both the Grammys and the VMAs, Chappell Roan’s The Rise and Fall of a Midwest Princess wrapped rhinestones and drag pageantry around small-town rodeo aesthetics. Sonically, her references are clearly the glossy melodrama of ’80s synth-pop in the lineage of Kate Bush, with the flamboyant theatricality of Freddie Mercury, with the queer dance-floor abandon of early Lady Gaga. Her incredible voice ties it all together moving easily from glitter-drenched camp to ’90s spoken-word asides to stadium-sized belts.

Why This Resonates Now

Much like disco in the 70s which rose out of social unrest, the sparkle is being used here as cultural armor. Instead of reflecting the darkness back to us, today’s artists are leaning into campiness and maximalism as an antidote. The sequins, pedal steel and disco beats help us disappear into an alternate reality. It’s less about nostalgia for the past and more about creating a glittery refuge in the now.

Pop in the 2020s is a mood board of showgirls’ past. Dolly and Donna, disco balls and rodeo queens, Kate Bush and Gaga’s fingerprints are all over today’s biggest hits. Nostalgia stacking is less about revivalism and more about reimagining — not living in the past, but remixing it into a sparkling today.

Sabrina Carpenter’s 7th studio album, Man’s Best Friend is a whirlwind that features disco beats dusted with fiddles, banjos and pedal steel. She delivers an effervescent mix that subtly celebrates all the divas who came before her, from Dolly to Donna and everyone in between. Playful, cheeky and unmistakably Sabrina, the record is a genre-bending masterpiece that still manages to feel cohesive.

Sabrina has never been one to shy away from risk, but this project pushes her further than ever—folding together the sequined joy of ’70s disco, the maximalist pop drama of the ’80s, and the yearning nature of country music. But she doesn’t borrow aesthetics; she expertly weaves them into a sound that feels at once retro and brand new. The production by Jack Antonoff is a great example of a recent trend called nostalgia stacking: mixing a disco bassline meets honky-tonk riffs, giving us something that feels like the past and the future at the same time.

Standout Songs & Moments

• Manchild: A perfect intro track featuring country-inspired guitar riffs that meet disco beats, setting the sonic tone for the whole album. The cinematic video, packed with references, shows off both Sabrina’s film knowledge and disdain for men.

• Tears: The spiciest track serves disco club energy with tongue-in-cheek innuendos. Colman Domingo stars in a Rocky Horror-style video (above), while the sound nods to Donna Summer at her peak.

• My Man on Willpower: Opens with unapologetically 80s Madonna-esque synths. One of the most relatable tracks, capturing the moment when guys’ egos kick in and suddenly work is the only thing that matters. Big “I don’t have time for a girlfriend, I’m building my empire” energy.

• Sugar Talking: A slower, R&B-leaning bop that feels closest to “old-school Sabrina.” It’s about being sweet-talked after a fight, landing somewhere between empowerment and sadness.

• We Almost Broke Up Again Last Night: An almost-ballad with strong musical-theatre DNA. It could slide into Grease next to “Hopelessly Devoted.”

• Nobody’s Son: A melancholy breakup song about being the perpetual third wheel while everyone else is in love. Another track that leans slower but still cuts deep.

• Never Getting Laid: A witty, R&B-tinged revenge track with one of the album’s best one-liners: “Wish you a lifetime full of happiness and a forever of never getting laid.” Cheeky, clever and quintessentially Sabrina.

• When Did You Get Hot?: A sultry, playful cut in the vein of Ariana Grande’s thank u, next era. R&B influences again shine through here.

• Go Go Juice: The soundtrack to my next girls’ night. A wine-fueled singalong with the perfectly delivered line: “Ain’t nobody safe when I’m a little bit drunk.”

• Don’t Worry I’ll Make You Worry: Self-deprecating and very funny, this one’s about being bad at dating and knowing it with lines like “And I’ll never call you right back / But when I do, I’m making you laugh”

• House Tour: The most fun song on the record. Upbeat, disco-leaning, and irresistibly catchy, it could slate perfectly into a 90s rom-com shopping montage.

• Goodbye: A grand, ABBA-inspired closer with big disco drama. It channels the joy of driving away from a toxic relationship, while showing off the deeper, smokier end of Carpenter’s vocals. The perfect cherry on top of a fun, playful album.

What makes Man’s Best Friend one-of-a-kind is not just its genre play, but its emotional precision. Carpenter has crafted an album that can soundtrack both a glittery night out and the lonely comedown after. It challenges egos and pokes fun at heartbreak. In a haze of disco glamour, country storytelling and pop melodrama, she’s staked a claim as one of the few artists who can expertly wield humor alongside both heartache and high camp. No notes!

Ever since Doja Cat appeared in our for you pages years ago, it was clear that she possessed true starpower. A descendant of genre-bending legends like Gwen Stefani, Missy Elliott and Fergie, Doja has built a career on eradicating boundaries. Her keen awareness of meme culture and the algorithm keeps us hooked, while her refusal to play it safe in the studio and IRL cements her as one of the most exciting artists of the moment.

Early Career

Doja Cat began uploading music onto SoundCloud in the early 2010s before being signed to RCA in 2014, when she dropped her first EP Purrr! In 2018, she released her debut album Amala which included tracks like “Go to Town” and “Candy,” which gained traction online and laid the groundwork for her signature sound.

Later in 2018, she released an absurdist video on YouTube called “Mooo!” which really can’t be explained… that introduced her to the internet at large.

Rise to Stardom

The following year, Doja Cat’s sophomore album Hot Pink which did numbers on the charts and online, with “Say So” dominating TikTok and the Nicki Minaj remix reaching No. 1 on the Billboard Hot 100.

Rather than fading after a viral hit, Doja leveraged the moment. Planet Her (2021) was a blockbuster era with multiple global hits (“Kiss Me More,” “Woman,” “Need to Know”) and a Grammy win. By the time Scarlet arrived in 2023, she’d proven she could pivot into darker, rap-driven territory and still hit No. 1 with “Paint the Town Red.”

Main Pop Domination

Planet Her was a study in versatility, blending disco, Afrobeats, and R&B influences into one of the defining pop-rap albums of the decade. Its commercial success elevated Doja to global superstardom, making her a festival headliner and industry fixture.

In 2023, Doja Cat released Scarlet, an experimental rap album that pivoted from her pop-leaning sound. In an interview with Harper’s Bazaar, she described “Scarlet” as an alter ego that represents rebirth. This persona showed a side of Doja that is more rage-driven and disruptive as opposed to her internet-savvy, laid back POV from previous albums. Critics were split, but the commercial success was undeniable: “Paint the Town Red” became her second Billboard Hot 100 No. 1.

The Chaos Factor

Being chronically online enough to achieve virality almost guarantees a complicated digital footprint, and Doja is no exception. In 2020, old clips of her participating in public chat rooms resurfaced and sparked allegations of involvement in alt-right spaces — which she denied, clarifying they were not white supremacist communities.

Additionally, she has a complicated relationship with her fans, not unlike her contemporaries Chappell Roan, Cardi B and Nicki Minaj. She clashed with them online on multiple occasions including famously mocking their chosen fandom name, “Kittens.” The drama hasn’t derailed her trajectory, but it’s made her one of the most polarizing figures in pop.

New Era Incoming: Vie

Last Thursday, Doja Cat released her latest single, “Jealous Type”, which marks a bold return to funk-pop, with cinematic visuals and retro flair, evoking the vibes of Prince and Janet Jackson.

Her upcoming album Vie arrives September 26, 2025, produced with Jack Antonoff/Y2K, offering a fresh direction that reinforces Doja’s artistic growth. Where Scarlet thrived on disruption, Vie promises a more pop-forward, romantic direction — proof that Doja’s knack for reinvention knows no bounds.

The Queen of Reinvention

Doja’s trajectory embodies internet contradictions: absurd yet serious, campy yet calculated. She proudly carries the torch of the pop/rap crossover icons before her but makes it distinctly chaotic, authentic and perfectly Gen Z.

She is proof that audiences are hungry for artists who take risks, embrace the mess and aren’t afraid of reinvention.

On Monday morning, Taylor Swift’s official fan page @TaylorNation teased her newest era with a carousel of orange outfits from The Eras Tour. Hours later, Travis Kelce’s podcast New Heights teased an upcoming guest—fans spotted his brother Jason wearing an Eras Tour T-shirt. Soon after came the confirmation: Taylor herself would appear on the show to announce her brand-new album The Life of a Showgirl.

As an OG Swiftie, my first reaction was: huh??? This is a huge departure from her usual rollout style, where personal relationships remain firmly in the background. (Have you ever seen her walk a red carpet with a boyfriend? The answer is no.) Even Joe Alwyn’s songwriting contributions were hidden behind the pseudonym “William Bowery.”

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The next day GQ revealed Travis Kelce as its September cover star. The timing was… convenient.

For years, she’s kept her art and her love life separate, letting the music lead and the partner play a subplot. This era? The couple is the headline. Different rollout strategy, different visuals, and given her reunion with Max Martin and Shellback, possibly a return to her 1989 sound.

I’m not trying to be one of the “Brads, Dads and Chads” she joked about in her Time cover story. I enjoy the paparazzi shots of the two of them stepping out at Italian restaurants around NYC. I love that Travis isn’t intimidated by her fame and even popped up for a cameo at an Eras show. But lately it feels like he’s trying to match her star power. His GQ quote, “I hadn’t experienced somebody in the same shoes as me,” made me roll my eyes. Taylor Swift is not in your shoes, sir. You are not Beyoncé.

And yes, I draw the line at being asked to tune into a straight man’s podcast.

I want to make it clear that I remain ecstatic about this album, with its most overt sexuality and a return to a more colorful palette. While I’m sick of seeing Travis’ face everywhere, (wait — am I just the reverse Brad?) I appreciate the ways he’s either inspired her as a muse or rekindled a light within her that she was perhaps performing.

What’s shifted is the parasocial dynamic. Younger fans, especially women, often form intense one-sided bonds with celebrities, and couples double the appeal by offering an ongoing romantic storyline. But as fans get older, those bonds tend to fade, and authenticity starts to matter more than fantasy.

That’s where I am now, a 30-year-old, married fan who used to decode liner notes in her high school library and cry to the original “All Too Well” after my high school boyfriend broke up with me (repeatedly). I helped build this fandom, but I no longer see myself in its new focal point: shipping a relationship I can’t relate to.

It’s not that I dislike Travis. I just miss the way Taylor’s relationships used to unfold: embedded in the music itself, revealed through lyrics and storytelling rather than through constant appearances alongside her. For most of her career, fans discovered the personal story as part of the album experience — like girls gossiping at a sleepover, not having the men themselves become part of the club. Since 2020, she’s released eight albums, evenly split between originals and rerecordings, without the Swifties ever catching fatigue. From the visuals and credits we’ve seen so far, this new era promises growth and a renewed vitality, but Travis’ presence feels ever more omnipresent, perhaps signifying an end of the era of mystery.

Very few child stars successfully make the transition from adolescence to adulthood in the public eye. Think, Jojo Siwa. However, Miss Sabrina Carpenter has gracefully made the jump, giving a masterclass in delayed gratification. 

Though Sabrina has been part of the entertainment industry since the early 2010s, first appearing on Law & Order: SVU in 2011 and Orange is the New Black in 2013 before making her Disney debut on an episode of Austin & Ally later the same year. She landed her role on Girl Meets World in 2014, which ran for 3 seasons, meanwhile appearing in the DCOM “Adventures in Babysitting” in 2016. 

Her music career spans back to 2014, when she released her first single “Can’t Blame a Girl for Trying,” followed by her debut album of the same name. Over the years, she released several more albums and EPs, including “emails i can’t send,” "Eyes Wide Open," "Evolution," and "Singular." While recent singles off her previous album performed successfully like “Feather” and “Nonsense”, her latest hit, “Please Please Please,” has rocketed to the top spot on the Billboard Hot 100 songs chart, replacing her previous release, “Espresso,” setting the stage for the release of Carpenter’s album Short n’ Sweet, scheduled to drop on August 23.

She has built a dedicated fan base largely due to her live performances on the Latin American leg of Taylor Swift’s The Eras Tour in addition to an iconic festival run including Bonnaroo, Gov Ball and Coachella.

While some child stars seek to leave behind their childhood like a shedding of a skin, comparable to a debutante “coming out,” Sabrina has played the long game. By sticking out the Disney run through the entirety of her youth, she had the time and resources to dedicate to finding her sound, experimenting with songwriting, and developing her on-stage persona. The Sabrina Carpenter we see now might be new to this level of stardom, but she’s a seasoned professional with a well thought out approach to her music, aesthetic and public image.

Just a few years ago, Sabrina was at risk of forever being “that blonde girl” that Olivia Rodrigo referenced in “drivers license,” an instant classic breakup ballad written about the love triangle between Carpenter, Rodrigo and their fellow Disney alum, Joshua Bassett.

Released in January 2021, the hit song's lyrics reference a breakup and mention a "blonde girl," which many fans speculated was about Sabrina Carpenter, who was dating Joshua Bassett at the time. Shortly after “drivers license” gained popularity, Sabrina released a song called "Skin," which many interpreted as a response to Rodrigo's song. Joshua Bassett also released his own music around the same time, further fueling the speculation and drama among fans and media. 

The songs and the surrounding media coverage led to a lot of public interest and discussion about the relationships and perceived drama between the three young stars. However, Rodrigo’s “drivers license” massively outperformed the others’ music, which could have set Sabrina’s career back, in terms of public perception.

Thanks to her laid back demeanor and light sense of humor (plus some backup in the form of Taylor Swift), Sabrina managed to turn lemons into lemonade. After all, who doesn’t love some healthy scandal?

Tickets to the 33-date Short n’ Sweet Tour have sold out within 9 days of going on sale, including major bookings such as Crypto.com Arena and Madison Square Garden.

Going from Disney’s it girl to the main pop diva is no easy feat, but she’s made it happen. Congrats, Sabrina! You’ll always be famous.

Dua Lipa

Bonafide Pop Icon

Dua Lipa is a British singer-songwriter who gained initial recognition with her breakthrough single "New Rules" in 2017, which became a worldwide girl-power breakup anthem.

Dua's music blends elements of pop, R&B, and dance, characterized by infectious beats and lyrics that resonate with listeners. Her self-titled debut album, also released in 2017, was critically acclaimed and featured hits like "IDGAF" and "Be the One," solidifying her place in the pop music landscape. The album earned her numerous awards, including the prestigious Grammy Award for Best New Artist.

Continuing her meteoric rise, Lipa released her second album, "Future Nostalgia," in 2020, which spawned chart-topping singles such as "Don't Start Now," "Physical," and "Levitating." Known for its retro-futuristic sound and empowering themes, the album garnered widespread acclaim and further cemented Lipa's status as a pop icon.

Dua Lipa's highly anticipated third studio album, "Radical Optimism," finally arrived on May 3, 2024, under Warner Records. The album crafted a vibrant sonic landscape that blends neo-psychedelia with her signature pop sensibilities.

Ahead of its release, "Radical Optimism" teased fans with three electrifying singles: "Houdini," "Training Season," and "Illusion," each showcasing Lipa's evolution as an artist and setting the stage for what was to come. Critics have showered praise on the album, celebrating its experimental flair while noting its undeniable charm. While some critics wished for a touch more radicalism, the album has resonated strongly, debuting at No. 1 on the UK Albums Chart and marking the biggest opening week for a British female artist in three years.

To bring the music to life, Lipa embarked on the exhilarating Radical Optimism Tour, kicking off in June 2024. With her infectious energy and boundary-pushing creativity, Dua Lipa continues to captivate audiences worldwide, proving once again why she's a force to be reckoned with in the music industry.

Sabrina Carpenter

Certified Bop Star

Sabrina Carpenter is an American singer, songwriter, and actress who rose to prominence in the entertainment industry at a young age with appearances in television shows like "Law & Order: SVU" and Disney Channel's "Girl Meets World," where she played a lead role. Her musical journey started with the release of her debut single "Can't Blame a Girl for Trying" in 2014, followed by her first album of the same name. Carpenter's music blends pop, folk, and acoustic elements, showcasing her versatile vocal range and songwriting skills. Known for her catchy melodies and heartfelt lyrics, Carpenter has built a dedicated fanbase and achieved success on the charts.

Sabrina Carpenter’s latest hit, “Please Please Please,” has rocketed to the top spot on the Billboard Hot 100 songs chart, just one week after debuting at No. 2. This marks her first number one on the chart, a major milestone for the talented pop singer-songwriter and actress. Released on June 7, the song was accompanied by a captivating music video starring her partner, Oscar-nominated Barry Keoghan, and Carpenter wowed fans with a live performance at New York’s Governors Ball the very next day.

As if that wasn’t enough, she announced her eagerly anticipated 29-date Short n’ Sweet Tour, kicking off on September 23 in Columbus, Ohio. This announcement follows Carpenter’s recent appearances alongside Taylor Swift on The Eras Tour in South America last year and earlier this year in Australia and Singapore. The success of “Please Please Please,” along with her track “Espresso” climbing to No. 4 on the Hot 100 shortly after peaking at No. 3, sets the stage for the release of Carpenter’s album Short n’ Sweet, scheduled to drop on August 23.

Charli XCX

Queen of the Club Kids

Charli XCX, born Charlotte Emma Aitchison in Cambridge, England, is a boundary-pushing pop artist known for her innovative approach to music and fearless experimentation with genres. Her career began in the early 2010s with the release of singles like "Stay Away" and "Nuclear Seasons," which gained attention for their unique blend of electronic and alternative pop.

Charli XCX rose to prominence with her breakout hit "Boom Clap" in 2014, which was featured on the soundtrack of the film "The Fault in Our Stars" and became a global chart-topper. Following this success, she released her acclaimed sophomore album "Sucker," featuring hits such as "Break the Rules" and "Doing It" with Rita Ora.

In 2019, Charli XCX released her self-titled album "Charli," which received critical acclaim for its futuristic sound and introspective lyrics. The album featured collaborations with artists such as Christine and the Queens, Lizzo, and Troye Sivan, further expanding her artistic horizons.

Charli’s most recent studio album “Brat” was recently released on June 7, 2024, led by the single “Von Dutch” and takes inspiration from her teenage years clubbing in illegal London raves. Charli XCX told Billboard's Katie Bain, Brat is produced from a tight collection of sounds to create "this unique minimalism that is very loud and bold." The album has been claimed as the soundtrack to the summer… #BratSummer.

In the United Kingdom, “Brat” debuted at number two behind Taylor Swift's The Tortured Poets Department, earning Charli her second top ten charting album and her biggest opening week sales in the country. In the US, “Brat” debuted at number three on the Billboard 200 with 77,000 album-equivalent units sold on its opening week, consisting of 40,000 pure album sales. With this feat, it became Charli's highest charting album in the country. It also earned Charli her highest first week overall sales and her biggest streaming week ever with 46.72 million streams.

On a personal level, Charli is also engaged to the drummer of the band The 1975, George Daniel.

Gracie Abrams

Singer-Songwriter Supreme

Gracie Abrams (aka Taylor Swift’s bestie) is a rising star in the indie and dream pop scenes, known for her introspective and emotionally resonant songwriting. Daughter to the prominent filmmaker J.J. Abrams (heard of him????) and film producer Katie McGrath, Gracie grew up in Los Angeles surrounded by creativity. She began gaining attention in 2019 with her single "Mean It," which showcased her delicate voice and poignant lyrics, and quickly established her as a promising new artist. Her 2021 album, This Is What It Feels Like drew comparisons to artists like Taylor Swift, Phoebe Bridgers, and Lorde.

Gracie recently released her sophomore album "The Secret of Us” on June 21, which showcases her growth as an artist with intimate lyricism and expansive production. This album was produced by Abrams, Aaron Dessner, and Audrey Hobert, and features contributions from Taylor Swift and Jack Antonoff. Musically, it blends country pop, indie pop, and folk, drawing comparisons to Taylor Swift's "Folklore" and "Evermore" as well as Phoebe Bridgers' work.

Critically, the album received positive reviews, and debuted at number two on the Billboard 200 in the United States and reaching number one on the UK Albums Chart. This feat marks Abrams' first top 10 and highest-charting album in the US, and her first number-one album in the UK.

In addition to her studio work, Gracie has gained considerable attention through live performances, including being an opening act for Taylor Swift’s The Eras Tour. This exposure has helped her build a dedicated fan base of sad gen-z girlies.

Chappell Roan

THE Moment

Chappell Roan, born Kayleigh Rose Amstut in Missouri, is known for her soulful voice and drag-like persona. She started writing songs at a young age and gained attention with her debut single "Good Hurt" in 2017 before signing with Atlantic Records. Her music blends elements of pop, soul, and alternative, and she has been praised for her emotive storytelling and powerful vocal delivery.

Chappell’s 2020 single “Pink Pony Club” marked the introduction of her new drag persona, which features maximalist makeup styles and colorful, cartoonish clothing, mirrored after queer icons like Divine and Lady Gaga. “Pink Pony Club” became wildly successful, and ended up on her debut album "The Rise and Fall of a Midwest Princess" which debuted in October 2023. The album achieved significant success, notably reaching the number one position on the iTunes singer-songwriter chart within 24 hours of its release. 

As of mid-2024, Chappell Roan's music has seen a remarkable surge in streaming numbers, surpassing 68.36 million weekly streams by June 20, a stark increase from just under 3 million earlier in the year. Her latest single "Good Luck, Babe!," released in April, has been pivotal, not only becoming her highest-charting Billboard Hot 100 hit but also driving overall streaming figures upwards. The album "The Rise and Fall of a Midwest Princess" has also seen an explosion in streams, exceeding 46,000 units per week, a significant rise from its initial performance. Meanwhile, Chappell has achieved a milestone with four songs simultaneously charting on the Billboard Hot 100: "Red Wine Supernova" at No. 54, "Hot to Go!" at No. 55, "Pink Pony Club" at No. 90, and "Good Luck, Babe!" making a notable impact across radio formats, climbing to No. 19 on Pop Airplay and No. 30 on Adult Pop Airplay charts.

She has also recently performed at several notable festivals that helped propel the popularity of “Good Luck, Babe!” including sets at Bonaroo, Governor’s Ball, and countless Pride performances in addition to a feature on NPR’s Tiny Desk.

The pop divas are currently having a moment. Miley Cyrus won her first Grammy, Taylor Swift and Beyonce reinvented live performances with their record-breaking tours and Sabrina Carpenter, Charli XCX and Chappel Roan’s careers are skyrocketing. However, some of the ghosts of pop icons past are having a harder time. Justin Timberlake was recently arrested for a DWI and Jennifer Lopez had to cancel her stadium tour due to abysmal ticket sales. However despite the turning tides, Katy Perry seems determined to reclaim her spot on the Mount Rushmore of pop music with her new single “A Woman’s World.” 

@katyperryWOMAN’S WORLD SONG JULY 11 VIDEO JULY 12 PRE-SAVE + PRE-ORDER GET READY TO POP OFF KATYPERRY.COM

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The single is Katy’s first release since her 2020 album “Smile,” which debuted at #5 on the Billboard 200 Albums Chart but dropped to #54 in week two. She teased a snippet of the song on June 17 via TikTok, in which she revealed the pithy lyrics: “Sexy, confident. So intelligent. She is heaven sent. So soft, so strong.” The comment section was unfiltered, with fans writing things like “are these AI lyrics???” and “why does this feel like the sims music?” (Fair.) However, Katy then deleted the original TikTok (and later re-posted…) and posted a new teaser on June 22, with a different song of the same title, featuring the lyrics, “it’s a woman’s world and you’re lucky to be living in it,” telling fans “that’s all you get.”’

In addition, Rolling Stone revealed that the track, among others, was produced by Dr. Luke, who is the same producer who allegedly “sexually, physically, verbally and emotionally” abused Kesha throughout the duration of their professional relationship. Kesha first formally accused Dr. Luke of abuse in a 2014 lawsuit, and only reached a settlement last year on June 22, 2023. Fans continue to point out the discrepancy between the song’s central theme and the history of the producer on the track. However, X/Twitter user @electricrafik claims that Katy Perry is contractually obligated to complete three more albums with Dr Luke.

Only time will tell if Katy Perry can overcome the obstacles that have thwarted her peers’ attempts at comebacks to the pop game. What do you think?

We are in the midst of a rap beef renaissance, notably 30 years after the beginning of the consummation of the infamous east coast-west coast rivalry. Everyone is squabbling, and they’re pulling out all the stops, from diss remixes to AI-generated verses from beyond the grave. Here is a guide to the beef our favorite rappers are currently embroiled with.

Drake vs. Kendrick Lamar

This one all began last October when Drake and J. Cole released their song “First Person Shooter",” referring to themselves and Kendrick Lamar as the “big three” of rap.

Last month, Kendrick Lamar responded dissing Drake and J. Cole on his verse on “Like That” with Metro Boomin and Future.

It's up. Lost too many soldiers not to play it safe
If he walk around with that stick, it ain't Andre 3K
Think I won't drop the location? I still got PTSD
Motherf**** the big three, n****. It's just big me

J. Cole released then quickly retracted a diss track, ultimately saying responding that way “didn’t sit right with [his] spirit.”

Drake, however, released “Push Ups” on which he dissed Kendrick Lamar, Metro Boomin, Future, The Weeknd, Rick Ross and - kind of - J. Cole.

He took shots at Kendrick’s height and shoe size.

“Pipsqueak, pipe down
You ain’t in no big three, SZA got you wiped down
Travis got you wiped down, Savage got you wiped down
Like your label, boy, you Interscope right now.”

The Degrassi alum went hard at Rick Ross, rapping, “Spend that lil’ check you got and stay up out my business/Worry ’bout whatever goin’ on with you and….” obviously nodding to the investigations into Diddy, who Rick Ross has been tight with in the past.

Rick Ross then entered the chat with “Champagne Moments,” which he posted about recording mere hours after “Push Ups” was first leaked. He takes shots at Drake calling him a “white boy,” reigniting the accusation of using ghostwriters and getting procedures like a BBL and a nose job to look more white.

“You ain't never want to be a n**** anyway, n****
That's why you had an operation to make your nose smaller than your father nose, n****”

Kanye vs. Everybody

Now, Kanye is inserting himself into the picture. “Ye” recently teased a snippet of his remix to “Like That” on his Instagram in which he raps,

“Y’all so out of sight, out of mind
I can’t even think of a Drake line. Play J. Cole, get the p***y dry
Play this sh*t back 130 times”

Jeff Ihaza of Rolling Stone notes that this is perhaps due to Kanye’s longstanding hostility toward Kendrick, “arguably the nucleus of this entire attack.”

Quavo vs. Chris Brown

Quavo and Chris Brown have been ops for a few years now, primarily due to their mutual interest in Karrueche Tran. In February 2017, Karrueche obtained a restraining order against Chris Brown, alleging past violence and death threats. Speculation arose that this move coincided with her alleged relationship with Quavo. Since then, CB and Quavo have been feuding, which has been reignited by their recent diss tracks.

The track, titled “Weakest Link,” first alleges that Chris hooked up with Quavo’s ex, Saweetie.

“You f–ked my ex-ho, that’s cool, I don’t give no f***, lil’ n**** (Still a bitch)
‘Cause I f–ked your ex when you were still with her, bitch, I’m up, lil’ n–a (I’m up)
They say revenge is sweet (Revenge is sweet), now think about that s***
Don’t let that line go over your head, I might just sing about that s***

Then, he took it to literal hell, referencing Quavo’s late bandmate, Takeoff’s death. Even 50 Cent weighed in, saying it was “a wrap” if Quavo didn’t respond.

“R.I.P. Takeoff, he the only real one that got true respect

Crazy how when he died, everybody really wished it was you instead.”

Quavo's diss track “Over Hoes & B*tches” featured the late Takeoff’s voice included daggers claiming that Chris Brown’s career has been stalled since the notorious 2009 assault on his then-girlfriend, Rihanna, in addition to labeling him the “Crackhead Michael Jackson.”

Pussy n****, pull up, crash out about your bae (Boy, you pussy)
Lil' bitch, come dance battle with my drac' (Brrt)
You been f***ed your bag up when you punched Ri' in the face
Talking about fashion week, you sparing who?

There’s been plenty of discourse regarding whether beef makes the rap game more interesting and competitive or boring. Simply put: As a lover of gossip, I am pro rap-beef. As a fan of the music, I find it annoying.

Stay tuned for part two, in which I will deep dive into the Nicki Minaj vs. Everybody war and its trickle-down effect on the new generation of rap divas.

Morgan Wallen first graced our ears with his crooning when he competed on NBC’s The Voice in 2014, followed by the release of his smash hit “Whiskey Glasses” in 2018. The country singer, who won Billboard Music Award for Top Country Male Artist in back-to-back years (2021 and 2022) has quickly made a name for himself in the industry for both his talent and unruly behavior.

Last night, Wallen unceremoniously canceled his show in Oxford, Mississippi mere minutes before the start time. Nearly 60,000 fans gathered in Ole Miss’s Vaught-Hemingway Stadium, awaiting the headliner when a message appeared on the stage screens:

“Ladies & gentlemen, unfortunately Morgan has lost his voice and is unable to perform tonight – therefore tonight’s show has been cancelled. Please make your way safely to the stadium exits. Refunds for tonights event will be available at point of purchase.”

On his Instagram story, Wallen posted a message of his own:

“After last night’s show I started losing my voice so I spent the day resting up, talking to my doctor and working through my vocal exercises trying to get better. I really thought I’d be able to take the stage and it kills me to deliver this so close to showtime, but my voice is shot and I am unable to sing. All tickets will be refunded at point of purchase. I am so sorry, I promise you guys I tried everything I could.”

@mollyy.millss@morganwallen I didn’t think you would do us like this 😭😭😭#morganwallen #morganwallentiktok #morganwallenconcert #canceled #olemiss #oxfordmississippi

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Lots of fans were infuriated by the last-minute cancelation, calling the move “complete bullshit.” Others saw it as a sense of justice for a fan base that has stuck by Wallen through his problematic past. Let’s take a look.

Getting axed by SNL for violating COVID protocol

You may remember Saturday Night Live replacing him at the musical guest last minute in October 2020 for violating the network’s COVID safety policies. The night before his would-be performance, videos spread around TikTok of Wallen in Tuscaloosa, partying with the University of Alabama students and kissing several fans on the mouth. The news came less than three months after Wallen’s son was born. Wallen was slated to be the musical guest for the second episode of the season, hosted by comedian Bill Burr, which was only the second performance with an audience since the start of the pandemic.

In a since-deleted video posted to his Instagram, Wallen said he respected the show’s decision and apologized to fans, saying, “I wish I could have made country music and my fans proud this Saturday.” He added, “I think I’ve lost myself a little bit. I’ve tried to find joy in the wrong places, and I don’t know—it’s left me with less joy.”

Wallen went on to appear in a later episode of SNL, where he mocked himself in a sketch, set in the Tuscaloosa bar, Innisfree, (A bar I know well), alongside Jason Bateman and Bowen Yang.

Using the N-word

In early February 2021, doorbell footage circulated online in which Wallen was seen returning back to his Nashville abode after a wild night out with friends. As he starts toward his house, he turns and yells to a friend, "Take care of this "p****-ass mother******,” and then, "take care of this p****-ass n*****," before disappearing into the house.

“I am embarrassed and sorry,” Wallen said in his apology. “I used an unacceptable and inappropriate racial slur that I wish I could take back. There are no excuses to use this type of language, ever. I want to sincerely apologize for using the word. I promise to do better.”

While the industry attempted to hold him accountable: His contract with his Big Loud Records was suspended, his booking agent dropped him, his music was blacked out on radio stations, he was banned from award shows and criticized by fellow artists. Despite this, country music fans sent his album sales soaring, increasing 1,220% according to Rolling Stone.

Will jilting 60,000 awaiting fans be the straw that breaks Morgan Wallen’s career’s back, or do we have a Country Music Justin Bieber on our hands? You be the judge.

Jessie James Decker is famous for both her country music career and her high-profile marriage to NFL alum, Eric Decker. E! even produced three seasons of a reality show, Eric & Jessie, which followed the pair’s wedding and the relationship with the James family. Jessie is also the founder of Kittenish, the women’s clothing store, and competed in the last season of ABC’s “Dancing With the Stars.”

This week, the 35-year-old mother of three has once again made headlines for reasons unrelated to the aforementioned accolades. Her brother-in-law, Blue Jays player Anthony Bass went viral for tweeting a complaint at United Airlines because they asked his pregnant wife, Jessie’s sister Sydney, to clean up the mess of popcorn made by her two young children on a flight. The internet, for once, unanimously agreed that this was out-of-touch and entitled, with many Twitter users stating that the children should have been the one to clean up the mess.

Actor Michael Park responded, “Hey Anthony, just spit balling here… (Heyyyooo. You’re welcome.) as a father of three grown adult children may I suggest that the 5 and 2 yr old HELP clean up the mess made as a teaching moment of personal responsibility? You can thank me later… Also #GoYanks.” Sports commentator John Kincade replied, “Personal accountability and responsibility is a great lesson at any age.” One Reddit user claimed to be on the flight, claiming that Sydney had “zero control of her kids and was asked numerous times” to check their behavior.

Despite the unified response to this debacle, Jessie James Decker defended her sister on Instagram, saying Sydney was “crying and humiliated” as she cleaned up the mess made by her children.

All the major news outlets have covered #Popcorngate, — from US Weekly to PEOPLE.

The pop-country singer is no stranger to internet drama, as she is repeatedly embroiled in controversy. Last Thanksgiving, she made headlines for sharing photos of her children, who she shares with her husband, ex-NFL player Eric Decker, at the beach, showing off their well-defined abs. Some commenters expressed praise for the kids’ physiques while others thought it might be a joke. Several users thought the photos were altered to accentuate the children’s ab muscles.

The response to the photos enraged Jessie, and her response was coded with fat-phobic rhetoric. On her follow-up post, her caption read:

I didn’t plan on addressing this because it’s bonkers but the photos are out there and every single news outlet has posted about this. When I posted the pix of our vacation and included the kids being silly flexing on the beach on our thanksgiving trip I had NO clue it would get the reaction it did. But Being accused of photoshopping abs on my kids (I can’t help but laugh) or … the polar opposite over “overtraining” our kids makes me realize how bizarre our world has gotten regarding the body and what’s normal and what’s not. We preach about body positivity and acceptance but my kids having a mass amount of genetic and built muscle from athletics is “weird”? I want to raise my kids to feel proud of their bodies and hard work from either Vivis elite competitive gymnastics to Eric Jr wanting to be like dad as an NFL receiver to little Forrest who spends hours dancing his heart out. Let’s not pick and choose what we normalize regarding bodies and be accepting of all people and children. If we wanna do “better” then do better. I’m proud of my children and encourage them to live their dreams. So we’ll see y’all at the 2032 Olympics, and wearing Bubbys jersey in the stands and dancing at Forrests rock concert✌️

Jessie has also come under fire for her silence on the Black Lives Matter movement and issues concerning minorities and other segments of the population, comments about her husband “refusing” to get a vasectomy because “he says it takes, like, his manhood away from him,” and other problematic statements throughout the years.

In addition to her tendency to put her foot in her mouth, Jessie’s clothing brand Kittenish, has experienced its own bouts of controversy. Initially, the brand was launched as a collection alongside Rachel Turzer, a bonafide fashion designer behind the brand Kora Rae, which has now adapted into an athletic wear manufacturer, EVR BRANDS. The line launched successfully under the duo’s direction, but the relationship soured in late 2017.

In December, Jessie announced that her brand would be moving in a different direction without Turzer and Kora Rae and the two women and brands unfollowed each other on Instagram. Turzer goes on to partner with other Nashville celebs like Brittany Aldean and Joelle “Jojo” Fletcher.

Following the partnership split, Jessie took over as lead designer and the flagship location of her first store opened in Nashville in February 2019. Soon after the relaunch, complaints poured in from customers about the quality and fit of the new line, which prompted Kittenish to have to issue a statement on Instagram in April.

“Dear Kittenish Loyal Customers,

There have been many questions and many many many emails as to why kittenish store and online are not carrying the same items . First off I apologize from the bottom of my heart that these items have not been available to you online. When I opened the store in mid Feb. I never knew how much y’all would love these items you were seeing in store and on the kittenish Nashville Instagram. Secondly there’s so much that goes on behind the scenes that you don’t know or are unaware of that I try to not share to protect the situation but I now realize this isn’t helping and I need to also protect and let my customers know what the deal is so y’all don’t have to keep wondering. What I want to share is that my online and my Nashville store are ran completely separately. I am in complete control of the store and not online. I should have explained this a long time ago so everyone understood that I wasn’t ignoring my online loyal KITTENISH customers and that’s this has been out of my hands. Moving forward in the near future I am taking full control of online so that everything will be cohesive and there will not be such a disconnect from the store and online anymore. I apologize 100 times for the inconvenience of this but also want to thank y’all for having such passion for my brand. Every business owner knows that in the beginning there are SO many ups and downs and kinks that get worked out to learn from and make a company successful. The success of kittenish has been so huge and the growth has been so strong that there have been times where simply have just been unable to keep up. But this is changing now, I have an incredible team of amazing women around me and even more women I am planning on hiring and I can promise you that you will not be disappointed anymore moving forward and all things Nashville will make a home on kittenish.com . This letter was to address that I hear you loud and clear and I am working on this day in and day out with my team!

I love y’all so much and again thank you for your patience, and for supporting me and for supporting Kittenish!”

In December of the same year after reviews continued to plummet while complaints skyrocketed, Eric Decker stepped in as President and Co-Owner of Kittenish. Despite this, Jessie continued to post on the Kittenish Instagram account about being “overwhelmed” by the growth and “thousands and thousands of orders” made in the “past 4 months.”

Kittenish opened its Destin store in December 2019, which is now permanently closed, and went on to create more stores in Dallas in August 2021 and Tampa in November 2021.

Beyond the logistical issues, the general public has taken issue with Kittenish’s lack of diversity, as the brand rarely showcases Black and brown women and carries very limited sizes.

Following these many public image flubs, Jessie has amassed quite a following on Reddit for all the wrong reasons. The “snark” subreddit r/jjdandfamily, which was created in November 2019, is currently 28,280 users strong and has uncovered even more drama within the James family, including a years-long spat between Jessie, Sydney and their mother Karen, who abruptly stopped speaking to their brother John, around 2017.

Despite the drama, Jessie chooses to ignore it — except for when she directly addresses it on her Instagram. During an AMA earlier this week in the midst of the #Popcorngate debacle, an Instagram follower asked why she didn’t report the Reddit page dedicated to her. Her response was, “Cus they my number 1 fans. They think about me alot to them. Gives them something to do. They love me. Once that page disappears it means I’m not relevant to them anymore. So keep it up superfans”

I have a feeling they will…

Once Upon a Time…

The media has a long, complicated history with Taylor Swift. “Our Song” captivated my generation and we fell in love with her as a curly-haired, fairytale-obsessed, boy-crazy country music star. Since the day she exploded onto the scene, she’s been evolving, rarely staying within one era for long. Before our very eyes, she transformed herself into a bonafide pop princess, collecting famous boyfriends like infinity stones and putting out what felt like an annual Album of the Year contender.

Despite her commercial and financial success, Taylor couldn’t seem to stay out of the headlines. Notably, she beefed with several of her exes, namely John Mayer and Joe Jonas, and had an infamous feud with Katy Perry. Most of the time, she had the public on her side, partly because much of her fighting was done through her song lyrics. But then the Kimye fuse was lit.

(Why does it feel like everything comes back to Kanye?)

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As we all remember clear as day, in 2009, Kanye interrupted Taylor’s VMA acceptance speech with his infamous, “I’mma let you finish,” line, and fans watched in shock and horror as a 20-year-old Taylor stood there clutching her award, mouth agape. Taylor gave Kanye props publicly for calling her to apologize and being “very nice,” but in 2013, he took back his apology, citing that he’d fallen to peer pressure five years prior.

In mid-2015 the musicians agreed to let bygones be bygones. In an interview with Vanity Fair, Taylor said, “…I like him as a person. And that's a really good, nice first step, a nice place for us to be.” The same month that interview was published, Taylor presented Kanye’s MTV’s Video Vanguard Award at the VMAs joking, “I first met Kanye West six years ago – at this show, actually!” Afterward, Kanye sent her flowers. (Below)

Things were hunky dory for less than a year, which turned sour when Ye debuted “Famous” in February 2016. In the single he rapped, “I feel like me and Taylor might still have sex/ Why? I made that bitch famous (Goddamn)/I made that bitch famous.”

Less than a week later, a now 28-year-old Taylor delivered an empowering speech, shading Kanye without directly calling him out. "[A]s the first woman to win album of the year at the Grammys twice, I want to say to all the young women out there, there are going to be people along the way who will try to undercut your success or take credit for your accomplishments or your fame."

Things were quiet for a bit until Kim Kardashian (West, at the time) decided to air out the dirty laundry in an interview with GQ, saying Taylor “totally” approved of the lyrics and knew it was coming out.

The Reckoning

Here’s where things began to crumble beneath Taylor’s feet. Kim eventually released Snapchat recordings of a phone call between West and Swift, in which Taylor does give approval for the “I feel like me and Taylor might still have sex” line, but is not warned about the statement “I made that bitch famous.” Despite this discrepancy, KUWTK stans flooded Taylor’s social media with snake emojis and nasty messages.

Taylor defended herself with one final message, making the infamous, “I’d very much like to be excluded from this narrative…” statement and subsequently hid away for nearly a year, refusing interviews, declining attendance to award shows, as she worked on her comeback in the form of reputation.

The Comeback

Since the release of her sixth studio album, we’ve seen a new Taylor: one that isn’t afraid to curse, who’s dropped the ‘good girl’ act, and who is actually pretty horny. Despite losing the rights to her earlier music, Taylor refused to lay down and take it from “The Man.” She showed that she was self-aware, poking fun at herself in her music videos

She began keeping her relationships (romantic and otherwise) closer to the chest, only posting on social media when communicating directly with her fans about album releases. She’s reconciled with many of her former ops including Joe Jonas, who attended her 2021 SNL performance after-party with his wife Sophie Turner and even changed the lyrics to one of the Jonas Brothers’ songs about Taylor. She’s also made up with Katy Perry, who appeared in her “You Need to Calm Down” music video.

At 32-years-old, she’s just released her tenth studio album as she works on re-recording her sold masters in tandem, and this week made history by occupying the entire Billboard Top 10. Her first tour in five years begins in March 2023.

The Takeaway

On her most recent album Midnights is a song called “Karma,” in which she sings, “Ask me why so many fade, but I'm still here.” While Taylor may attribute her success to good karma and “keeping her side of the street clean,” she should be given more credit for the poise and resilience she’s shown as she’s grown up before our eyes and has been trifiled with by some of the most powerful people in the country.

It’s time we give Taylor Swift the respect she deserves, not only as the most successful singer-songwriter of our generation, but as a bad ass woman who doesn’t take shit from anyone. We could all use more of that attitude.

Fuck you, Kanye.