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Jennifer Lopez Announces It's My Party North American Tour

The 25-date trek kicks off on June 7 in Los Angeles and wraps up the day after her birthday, July 25, in Miami

GRAMMY-nominated pop powerhouse and dancer extraordinaire Jennifer Lopez fittingly wants to celebrate her upcoming 50th birthday, July 24, with music, dancing and all her fans. The Bronx-born star has announced a 25-date tour, her first trek in seven years, kicking off on June 7 in Los Angeles.

The It's My Party tour will then bring her killer moves and infectious energy to other huge venues across North America, including the SAP Center in San Jose, Calif. on June 13, the American Airlines Center in Dallas and the United Center in Chicago on June 29. She will make two stops in Canada, in Toronto on July 7 and Montreal on July 10, followed by a July 12 show at the historic Madison Square Garden in New York. She will hold the final two concerts of the tour in Florida, in Orlando on July 23 and closing out in Miami on July 25.

In the video accompanying her social media announcement, Lopez shared her vision for the tour: "I know I'm going to give them a good show, I know I'm going to make sure that the music feels great, and the flow is right and the set is right. That's what I do…It's a party, baby!"

A press release emphasized that nothing will be held back for J. Lo's birthday extravaganza. The shows will be "a nonstop party mix of Jennifer's new and classic anthems, show-stopping choreography and dancers, dazzling wardrobe, jawdropping technology and set design, and all of the glamour and wow-factor fans have come to expect of Jenny from the Block," it said.

In addition to the excitement of celebrating J. Lo's birthday with the icon herself—fans are already freaking out on Twitter —the tour itself is a big deal. It is her first one since her first major solo tour, the Dance Again World Tour in 2012. Prior to that, she had a joint tour with Marc Anthony in 2007. Lopez' most recent concerts were during her Las Vegas residency , dubbed All I Have, from January 2016– September 2018, during which she performed 120 shows. 

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The multifaceted pop star's last LP was her eighth studio album, 2014's A.K.A. She released several singles last year, including the Spanish language "Te Guste" with rising Latin trap star  Bad Bunny in November and the bilingual " Dinero " featuring DJ Khaled and Cardi B last May. She has teased a new track, "Medicine," featuring rapper French Montana , due out April 5. 

Tour tickets go on sale Fri., March 29 at 10:00 am local time, with presales beginning March 26; more info here .

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Photo: Kevin Mazur/TCA 2008/WireImage/Getty Images

Disney's Golden Age Of Pop: Revisit 2000s Jams From Miley Cyrus, Selena Gomez & More

As Disney Music Group celebrates its defining era of superstars and franchises, relive the magic of the 2000s with a playlist of hits from Hilary Duff, Jesse McCartney and more.

"...and you're watching Disney Channel!" For anyone who grew up in the 2000s, those five words likely trigger some pretty vivid imagery: a glowing neon wand, an outline of Mickey Mouse's ears, and every Disney star from Hilary Duff to the Jonas Brothers . 

Nearly 20 years later, many of those child stars remain instantly recognizable — and often mononymous — to the millions of fans who grew up with them: Miley Cyrus , Selena Gomez and Demi Lovato . Nick , Kevin and Joe . 

Each of those names has equally memorable music attached to it — tunes that often wrap any given millennial in a blanket of nostalgia for a time that was, for better or for worse, "So Yesterday." And all of those hits, and the careers that go with them, have the same starting point in Hollywood Records, Disney Music Group's pop-oriented record label.

This time in Disney's history — the core of which can be traced from roughly 2003 to 2010 — was impactful on multiple fronts. With its music-oriented programming and multi-platform marketing strategies, the network launched a procession of teen idols whose music would come to define the soundtrack to millennials' lives, simultaneously breaking records with its Disney Channel Original Movies, TV shows and soundtracks.

Now, two decades later, Disney Music Group launched the Disney 2000s campaign, honoring the pivotal, star-making era that gave fans a generation of unforgettable pop music. The campaign will last through August and lead directly into D23 2024: The Ultimate Fan Event with special vinyl releases of landmark LPs and nostalgic social media activations occurring all summer long. April's campaign activation was Disney 2000s Weekend at the El Capitan Theatre in Hollywood, which featured special screenings of 2008's Hannah Montana & Miley Cyrus: Best of Both Worlds Concert and 2009's Hannah Montana: The Movie and Jonas Brothers: The 3D Concert Experience .

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But before Miley and the JoBros, Hollywood Records' formula for creating relatable (and bankable) teen pop stars began with just one name: Hilary Duff. At the time, the bubbly blonde girl next door was essentially the face of the network thanks to her starring role in "Lizzie McGuire," and she'd just made the leap to the big screen in the summer of 2003 with The Lizzie McGuire Movie . In her years with Disney, Duff had dabbled in recording songs for Radio Disney, and even released a Christmas album under Buena Vista Records. However, her first album with Hollywood Records had the potential to catapult her from charming tween ingénue to bonafide teen pop star — and that's exactly what it did.

Released on August 26, 2003, Duff's Metamorphosis sold more than 200,000 copies in its first week and debuted at No. 2 on the Billboard 200. The following week, the bubblegum studio set performed the rare feat of rising from No. 2 to No. 1, making the then-16-year-old Duff the first solo artist under 18 to earn a No. 1 album since Britney Spears .

The album's immediate success was no fluke: Within a matter of months, Metamorphosis had sold 2.6 million copies. Music videos for its radio-friendly singles "So Yesterday" and "Come Clean" received constant airplay between programming on the Disney Channel. (The latter was eventually licensed as the theme song for MTV's pioneering teen reality series "Laguna Beach: The Real Orange County," giving it an additional boost as a cultural touchstone of the early '00s.) A 33-date North American tour soon followed, and Hollywood Records officially had a sensation on their hands. 

Naturally, the label went to work replicating Duff's recipe for success, and even looked outside the pool of Disney Channel stars to develop new talent. Another early signee was Jesse McCartney. With a soulful croon and blonde mop, the former Dream Street member notched the label another big win with his 2004 breakout hit "Beautiful Soul."

" When 'Beautiful Soul' became the label's first No. 1 hit at radio, I think that's when they really knew they had something," McCartney tells GRAMMY.com. "Miley [Cyrus] and the Jonas Brothers were signed shortly after that success and the rest is history.

"The thing that Disney really excelled at was using the synergy of the channel with promoting songs at pop," he continues. "I did appearances on 'Hannah Montana' and 'The Suite Life of Zack & Cody' and my music videos were pushed to Disney Channel. The marketing was incredibly brilliant and I don't think there has been anything as connected with an entire generation like that since then."

By 2006, Disney had nearly perfected its synergistic formula, continually launching wildly popular tentpole franchises like High School Musical and The Cheetah Girls , and then giving stars like Vanessa Hudgens and Corbin Bleu recording contracts of their own. (Curiously, the pair's HSM co-star Ashley Tisdale was never signed to Hollywood Records, instead releasing her first two solo albums with Warner.) 

Aly Michalka showed off her vocal chops as sunny girl next door Keely Teslow on "Phil of the Future," and fans could find her off-screen as one half of sibling duo Aly & AJ. In between their 2005 debut album Into the Rush and its electro-pop-charged follow-up, 2007's Insomniatic , Aly and her equally talented younger sister, AJ, also headlined their own Disney Channel Original Movie, Cow Belles . (Duff also helped trailblaze this strategy with her own early DCOM, the ever-charming Cadet Kelly , in 2002, while she was simultaneously starring in "Lizzie McGuire.")

Even after years of proven success, the next class of stars became Disney's biggest and brightest, with Miley Cyrus, Selena Gomez, Demi Lovato and the Jonas Brothers all joining the network — and record label — around the same time. "Hannah Montana" found Cyrus playing a spunky middle schooler by day and world-famous pop star by night, and the network leveraged the sitcom's conceit to give the Tennessee native (and daughter of '90s country heartthrob Billy Ray Cyrus ) the best of both worlds. 

After establishing Hannah as a persona, the series' sophomore soundtrack introduced Miley as a pop star in her own right thanks to a clever double album that was one-half Hannah's music and one-half Miley's. It's literally there in the title: Hannah Montana 2: Meet Miley Cyrus .

From there, Cyrus' stardom took off like a rocket as she scored back-to-back No.1 albums and a parade of Top 10 hits like "See You Again," "7 Things," "The Climb," "Can't Be Tamed," and the ever-so-timeless anthem "Party in the U.S.A."

At the same time, Gomez had top billing on her own Disney Channel series, the magical (but less musical) "Wizards of Waverly Place." That hardly stopped her from launching her own music career, though, first by fronting Selena Gomez & the Scene from 2008 to 2012, then eventually going solo with the release of 2013's Stars Dance after the "Wizards" finale aired.

For her part, Lovato — Gomez's childhood bestie and "Barney & Friends" costar — got her big break playing Mitchie Torres in Camp Rock alongside the Jonas Brothers as fictional boy band Connect 3, led by Joe Jonas as the swaggering and floppy-haired Shane Gray. Much like Duff had five years prior in the wake of The Lizzie McGuire Movie , Lovato released her debut solo album, 2008's Don't Forget, just three months after her DCOM broke records for the Disney Channel. 

Building off their chemistry from the movie musical, nearly the entirety of Don't Forget was co-written with the Jonas Brothers, who released two of their own albums on Hollywood Records — 2007's Jonas Brothers and 2008's A Little Bit Longer — before getting their own short-lived, goofily meta Disney series, "Jonas," which wrapped weeks after the inevitable Camp Rock sequel arrived in September 2010.

As the 2000s gave way to the 2010s, the Disney machine began slowing down as its cavalcade of stars graduated to more grown-up acting roles, music and careers. But from Duff's Metamorphosis through Lovato's 2017 LP, Tell Me You Love Me , Hollywood Records caught lightning in a bottle again and again and again, giving millennials an entire generation of talent that has carried them through adulthood and into the 2020s.

To commemorate the Disney 2000s campaign, GRAMMY.com crafted a playlist to look back on Disney's golden age of pop with favorite tracks from Hilary Duff, Vanessa Hudgens, the Jonas Brothers, Miley Cyrus and more. Listen and reminisce below.

Photos (L-R): Buda Mendes/TAS23/Getty Images for TAS Rights Management, Jeff Kravitz/FilmMagic, Christopher Polk/Getty Images for Clear Channel

Songbook: An Era-By-Era Breakdown Of Taylor Swift's Journey From Country Starlet To Pop Phenomenon

Upon the arrival of Taylor Swift's 'The Tortured Poets Department,' take a deep dive into her discography and see how each album helped her become the genre-shifting superstar she is today.

Editor’s note: This story was updated on April 19 to reflect the release of The Tortured Poets Department.

The world now knows Taylor Swift as a global pop superstar, but back in 2006, she was just a doe-eyed country prodigy. Since then, she's released 11 studio albums, re-recorded four as "Taylor's Version," and cultivated one of the most feverish fan bases in music. Oh, and she's also won 14 GRAMMY Awards, including four for Album Of The Year — the most ever won by an artist.

Swift has become one of music's most notable shapeshifters by refusing to limit herself to one genre, moving between country, pop, folk and beyond. A once-in-a-lifetime generational storyteller, one could argue that she is music's modern-day maverick, constantly evolving both her music and the culture around her.

Every album era has seen Swift reinvent herself over and over, which has helped pave the way for artists to explore other musical avenues. In turn, Swift hasn't just become one of the biggest artists of all time — she's changed pop music altogether.

To celebrate Taylor Swift's newest era with The Tortured Poets Department , GRAMMY.com looks back on all of her albums (Taylor's Versions not included) and how each era shaped her remarkable career.

Taylor Swift : Finding Her Place In Music

In a genre dominated by men, the odds were already stacked against Swift when she first broke into country music as a teenage female artist. The thing that differentiated her from other writers — and still does to this day — is her songwriting. She didn't want to be just "another girl singer" and knew writing her own songs would be what set her apart. 

Written throughout her adolescence, Taylor Swift was recorded at the end of 2005 and finalized by the time Swift finished her freshman year of high school. Serving as a snapshot of Swift's life and teenhood, she avoided songwriting stereotypes typically found in country music. Instead, she wanted to capture the years of her life while they still represented what she was going through, writing about what she was observing and experiencing, from love and friendship to feeling like an outsider. 

As a songwriter, Taylor Swift set the tone for what would be expected of her future recordings — all songs were written by her, some solely and others with one or two co-writers. One writer in particular, Liz Rose , applauded Swift's songwriting capabilities, stating that she was more of an "editor" for the songs because Swift already had such a distinct vision. 

The album's lead single, "Tim McGraw," an acoustic country ballad inspired by Swift knowing her relationship was going to end, represents an intricate part of Swift's songwriting process; meticulously picking apart her emotions to better understand them. With its follow-up, "Our Song" — which spent six consecutive weeks on the top of Billboard's Hot Country Songs chart — she became the youngest person to solely write and sing a No. 1 country single; she also became the first female solo artist in country music to write or co-write every song on an album. 

Although Swift's eponymous debut is underappreciated now — even lacking its own set on Swift's Eras Tour — Taylor Swift 's forthcoming rerecording is arguably the most anticipated by fans, who are eager to hear the songs with the singer's current and more refined vocals. Still, for fans who haven't properly explored Taylor Swift , it's easy to tie together Swift's earlier work to her current discography. 

On the track "A Place In This World," a song she wrote when she was just 13, Swift sings about not fitting in and trying to find her path. While her songwriting has developed and matured, feeling like an outsider and carving her own path is a theme she still writes about now, as seen on Midnights ' "You're On Your Own, Kid." 

Even as a new country artist, critics claimed that she "mastered" the genre while subsequently ushering it to a new era — one that would soon see Swift dabble in country-pop. 

Fearless : Creating A Different Kind Of Fairytale

If Taylor Swift was the soundtrack to navigating the early stages of teenhood, Fearless is Swift's coming-of-age record. More than its predecessor, Fearless blurs the line between country and pop thanks to crossover hits like "Love Story" and "You Belong With Me," yet still keeps the confessional attributes known in country songwriting. 

Most of Fearless is Swift coming to terms with what she believed love to be. On the album's liner notes, Swift says Fearless is about "living in spite" of the things that scare you, like falling in love again despite being hurt before or walking away and letting go. The 2008 version of Taylor wanted to "believe in love stories and prince charmings and happily ever after," whereas in Swift's Fearless (Taylor's Version) liner notes, she looks back on the album as a diary where she was learning "tiny lessons" every time there was a "new crack in the facade of the fairytale ending she'd been shown in the movies." 

Much of Fearless also sees Swift being reflective and nostalgic about adolescence, like in "Never Grow Up" and "Fifteen." Still wistful and romantic, the album explores Swift's hopes for love, as heard in the album's lead single "Love Story," which was one instance where she was "dramatizing" observations instead of actually experiencing them herself. 

Unlike the slow-burn of Taylor Swift , Fearless went straight to No. 1 on the Billboard 200 and stayed there for eight consecutive weeks. It won Swift's first Album Of The Year GRAMMY in 2010, at the time making her the youngest person to win the accolade at age 20. To date, it has sold 7.2 million copies in America alone. It might not be the romantic tale Swift dreamed of growing up, but her sophomore album signalled that bigger things were to come.

Speak Now : Proving Her Songwriting Prowess

Everything that happened after the success of Fearless pushed Swift from country music's best-kept secret to a mainstream star. But this meant that she faced more publicity and criticism, from naysayers who nitpicked her songwriting and vocals to the infamous Kanye West incident at the 2009 MTV Video Music Awards.

For the first time since becoming an artist, she was forced to reckon with the concept of celebrity and how turning into one — whether she wanted it or not — informed her own writing and perception of herself. No longer was she the girl writing songs like "Fifteen" in her bedroom — now she was working through becoming a highly publicized figure. Speak Now is the answer to those growing pains. 

Along with having more eyes on her, Swift also felt pressured to maintain her persona as a perfect young female role model amid a time when her peers like Miley Cyrus and Demi Lovato were attempting to rebrand to be more mature and sexier. During her NYU commencement speech in 2022, she reflected on this era of her life as one of intense fear that she could make a mistake and face lasting consequences, so the songs were masked in metaphors rather than directly addressing adult themes in her music. But that also resulted in some of her most poignant lyrics to date.

Read More: For The Record: How Taylor Swift's 'Speak Now' Changed Her Career — And Proved She'll Always Get The Last Word

Writing the entire album herself, Swift used Speak Now to prove her songwriting prowess to those who questioned her capabilities. Much like her previous two albums, Swift included songs that were both inspired by her own life and being a fly on the wall. The album's title track pulled from the saying, "Speak now or forever hold your peace," inspired by a friend's ex-boyfriend getting engaged; meanwhile, "Mean" was everything Swift wanted to say to a critic who was continuously harsh about her vocals.

Retrospective and reflective, Speak Now is an album about the speeches she could've, would've and should've said. From addressing the aforementioned VMA incident in the forgiving "Innocent" to a toxic relationship in "Dear John," Speak Now also hinted that her rose-colored glasses were cracked, but Swift (and her songwriting) was only becoming stronger because of it.

Red : Coming Into Her Own

Highly regarded as Swift's magnum opus, Red sees the singer shed the fairytale dresses and the girl-next-door persona to craft a body of work that has now been deemed as her first "adult" record. On Red, Swift focused on emotions evoked from a hot-and-cold relationship, one that forced her to experience " intense love, intense frustration, jealousy and confusion " — all feelings that she'd describe as "red." 

Unlike most of her previous writing that had been inspired by happy endings and fairytales, Red explores the lingering pain and loss that can embed itself within despite trying your hardest to let go. In her liner notes, she references Pablo Neruda's poem "Tonight I Can Write," stating that "Love is so short, forgetting is so long" is the overarching theme for the album. She plays with time — speeding it up in "Starlight," dabbling in the past in "All Too Well," and reframing it in "State of Grace" — to better understand her experiences. 

After releasing country-pop records, Red toed the line between genres more than ever before. Swift leaned further into the full pop territory by working with esteemed producers Max Martin and Shellback for the dubstep-leaning track "I Knew You Were Trouble," the punchy lead single "We Are Never Getting Back Together," and the bouncy anthem "22." But even when the pop power players weren't involved, her country stylings still leaned more pop across the album, as further evidenced with the racing deep cut "Holy Ground" and the echoing title track. 

The slight change of direction became polarizing for critics and fans alike. Following the more country-influenced Speak Now , some critics and fans found the pop songs on Red were too pop and the lyrics were too repetitive, possibly indicating that she might be selling out. If that wasn't enough, Red became an era where Swift's personal life went from speculation to tabloid fodder, with misogynistic headlines and diluting her work to just "writing about her exes." It's an era that would eventually inspire many tracks on Red 's successor, 1989 , like "Blank Space" and "Shake It Off."

Commercially, Red debuted at No. 1 on the Billboard 200 and sold 1.2 million copies in its first week, becoming the fastest-selling country album and making Swift the first female artist to have three consecutive albums spend six or more weeks at the top of the chart. The impact of Red extended beyond its own success, too. Often mentioned as a record that inspired a generation of artists from Troye Sivan to Conan Gray , Swift's confessional, soul-bearing authenticity set a new standard for straightforward pop music. 

1989 : Reinventing Into A Pop Genius

The night Red lost the GRAMMY for Album Of The Year in 2014, Swift decided that her next album would be a full-on pop record. After years of identifying as a country artist and flirting with pop, Swift departed her roots to reinvent herself, no matter what her then-label or critics had to say. And in true Swiftian fashion, turning into a pop artist didn't just prove her genre-shapeshifting capabilities — it further solidified her as an artist who is at her best when she freely creates to her desires and refuses to adhere to anyone.

1989 was lauded by critics for its infectious synth-pop that was reminiscent of the 1980s, yet still had a contemporary sound. Swift opted to lean more into radio-friendly hits, which resulted in songs like "Style," "Wildest Dreams," "Blank Space," and "Shake It Off," all of which became singles. And where some might trade a hit or two at the expense of their artistic integrity, Swift didn't falter — instead, her lyrics were just as heartfelt and intimate as they were on prior albums.

After exploring pop-leaning sonics she first found with Red , Swift worked with Martin and Shellback again on most of 1989 . This reinvention brought new (and very important) collaborators as well. Swift's now-frequent collaborator Jack Antonoff credits her as the first person to take a chance on him as a producer with "I Wish You Would" and "Out Of The Woods"; both tracks exemplified how future Antonoff-produced songs would sound on albums like reputation, Lover and Midnights .

At the time, 1989 became Swift's best-selling album to date. It sold nearly 1.3 million copies within release week in the U.S., debuting atop the Billboard 200 and reigning for 11 non-consecutive weeks. The album also earned Swift several awards — including her second Album Of The Year GRAMMY, which made her the first female artist to ever win the award twice. 

Following the release of 1989 , Swift became a cultural juggernaut, and the album has had an omnipresence in music since. Swift didn't just normalize blending genres, but proved that you can create a sound that is uniquely yours by doing so. In turn, Billie Eilish , Dua Lipa and more pop stars have refused to conform or stick to what they've done prior. 

reputation : Killing The Old Taylor

For years, Swift was on a strict two-year cycle — she'd release an album one year, tour the next, and then release a new album the following year. But following the heightened scrutiny and highly publicized tabloid drama that followed the end of the 1989 era, Swift completely disappeared for a year. She stayed away from public appearances, didn't do any press, and missed the album schedule fans became accustomed to. It wasn't until summer 2017 when she returned from her media (and social media) blackout to unveil the fitting title for her new album: reputation .

Born as a response to the naysayers and name-callers, reputation follows Swift shedding her public image — which includes the pressure to be perfect, the drama, and the criticism — by declaring, "There will be no further explanation. There will just be reputation." Leaning on the same tongue-in-cheek songwriting techniques she used while penning "Blank Space," Swift wrote from the mindset of how the public perceived her.

When Swift released the lead single "Look What You Made Me Do," a song she initially wrote as a poem about not trusting specific people, many assumed the album would center on vengeance and drama. Although Swift said that the album has its vindictive moments — even declaring that the "old Taylor" is dead on the bridge of "Look What You Made Me Do" — it's a vulnerable record for her. Swift described reputation as a bait-and-switch; at their core, the songs are about finding love in the darkest moments. 

Swift still remained in the pop lane with reputation , largely leaning on Antonoff and the Martin/Shellback team. The sound almost mirrored the scrutiny Swift faced in the years prior — booming electropop beats, maximalist production and pulsing synthesizers dominate, particularly on "End Game," "I Did Something Bad," and "Ready For It…?" But the "old Taylor" isn't entirely gone on songs like "Call It What You Want," "So It Goes…" and "New Year's Day," where she lets her guard down to write earnest love odes.

Even after Swift spent some time away from the spotlight, the public didn't immediately gravitate toward her return. And even despite matching the 1.2 million first-week sales of her previous releases, some concluded that the album was her first commercial failure when compared to 1989 . With time, though, it became clear that the response to reputation became muddled with the public's overall perception of her at the time — some even claimed that Swift was ahead of her time with the album's overall sound.

For her 2023 TIME Person of the Year profile , Swift described reputation as a "goth-punk moment of female rage at being gaslit by an entire social structure." For years, she felt the pressure to be "America's Sweetheart" and to never step out of line. Writing reputation became a lifeline following the events that catalyzed it  — a way to shed the so-called snakeskin and make peace with however the public wanted to view her. 

Lover : Stepping Into The Daylight

After finding love amongst chaos with reput ation, Swift was learning to deal with the anxiety and fear of losing her partner — became a major theme of another aptly titled album, Lover . Both sonically and visually, Lover was a complete change from reputation . After touring reputation , Swift found that her fans saw her as "a flesh-and-blood human being," inspiring her to be "brave enough to be vulnerable" because her fans were along with her. Stepping away from the dark and antagonistic themes around reputation encouraged Swift to step into the light and be playful with her work on Lover .

Swift also found a new sense of creativity within this new mindset, one where she aimed to still embed playful themes in her songwriting but with less snark than that of "Blank Space" and "Look What You Made Me Do." Leaning into Lover being a "love letter to love," Swift explored every aspect of it. Tracks like "Paper Rings" and "London Boy" exude a whimsical energy, even if they center on more serious themes like marriage and commitment. Other songs, including "Death By A Thousand Cuts" and "Cornelia Street," are Swift at her most vulnerable, reflecting on a love lost and grappling with the extreme worry that comes when you could potentially lose someone. 

Looking at Lover retrospectively, it's an album that almost symbolizes a bookend in her discography. She was playful yet poignant, picking apart her past lyrics and feelings and looking at them with the perspective of someone who was once on top of the world, hit rock bottom, and survived in spite of it. This evolution is mentioned throughout Lover, particularly in a direct callback to 2012's Red , "Daylight," which sees her describe her love as "golden" rather than "burning red." 

Lover also marked the first time Swift divulged into politics and societal issues, like campaigning against Donald Trump, releasing the Pride-infused "You Need To Calm Down," and feeling disillusioned by the political climate with "Miss Americana & the Heartbreak Prince." Swift's documentary Miss Americana explores this change further, discussing how she regrets not being vocal about politics and issues prior, in addition to opening up about her body image issues and mental health struggles.

Lover became Swift's sixth No. 1 album in America, making her the first female artist to achieve the feat. But Lover was more than any accolades could reflect — it was Swift's transitional album in many ways, notably marking the first album that she owned entirely herself following leaving Big Machine Records for Republic Records in 2018.

folklore : Looking Beyond Her Personal Stories

After the pandemic started and Swift cancelled her Lover Fest, she spent the early stages of quarantine reading and watching a myriad of films. Without exactly setting out to create an album, she began dreaming of fictional stories and characters with various narrative arcs, allowing her imagination to run free. The result became folklore , 2020's surprise archetypal quarantine album.

Crafting a world with characters like the folklore love triangle between those in "betty" and "august," as well as Rebekah Harkness from "the last great american dynasty" (who once lived in Swift's Rhode Island mansion), was Swift's way of venturing outside her typical autobiographical style of writing. She'd see visceral images in her mind — from battleships to tree swings to mirrored disco balls — and turned them into stories, sometimes weaving in her own personal narrative throughout, or taking on a narrator role and speaking from the perspective of someone she had never met. 

She worked remotely with two producers — again working with her right-hand man Jack Antonoff, and first-time collaborator Aaron Dessner from The National . Some songs, like "peace," were recorded in just one take, capturing the essence and fragility in the song's story, whereas the lyrics for the sun-drenched "august" were penned on the spot as Swift was in her makeshift home studio in Los Angeles.

Another aspect that separated folklore from her previous work was the obvious decision not to create hits made for radio play, so much so that Dessner claimed that she made an anti-pop record at a time when radio wanted clear "bops." Sonically, it ventured into genres Swift hadn't explored much outside of a few folkier tracks on Lover . Rather than relying on mostly electronic elements, Swift, Antonoff and Dessner weaved in soft pianos, ethereal strings, and plucky guitars.

folklore 's impact on the zeitgeist at a time where everyone was stuck at home helped shape people's quarantine experience. Fans rejoiced at having songs to comfort them during difficult times, and artists like Maya Hawke , Gracie Abrams , and Sabrina Carpenter credit folklore for inspiring them to create and be even more emotionally honest in their songwriting. After its release, folklore became the best-selling album of 2020 after selling 1.2 million records. At the 2021 GRAMMYs, folklore took home Album Of The Year , making her the fourth artist in history to win three times in the Category. 

evermore : Embracing Experimentation

It was exciting enough for Swifties to experience one surprise album drop from Swift, an artist who typically has an entire album campaign calculated. So when evermore was released just six months after folklore , fans were in shock. 

Like its (literally) folklorian sister, evermore was a surprise release at the end of 2020, marking the first time Swift didn't have distinct "eras" between albums. She felt like there was something "different" with folklore , stating in a social media post that making it was less like she was "departing" and more like she was "returning" to the next stage of her discography. In turn, the album served as a similar escape for Swift as folklore did.

Bridging together the same wistful and nostalgic themes as heard on its predecessor, evermore sees Swift venture even further into escapism. She explores more stories and characters, some based in fiction like "dorothea," and some real, like "marjorie," written in dedication to Swift's grandmother. 

Evermore follows folklore 's inclusion of natural imagery and motifs, like landscapes, skies, ivy, and celestial elements. In contrast to the fairytale motifs and happy endings of Fearless , evermore saw Swift become fixated on "unhappy" endings — stories of failed marriages ("happiness"), lifeless relationships ("tolerate it"), and one-time flings ("'tis the damn season"). 

Sonically, evermore is a slight departure from its sister record; where folklore relies on more alt-leaning and indie-tinged sounds, evermore takes the sonics from all of Swift's past records — from pop to country to indie rock — and features all of them on one album. Country songs like "cowboy like me" and "no body, no crime" reaches back to Swift's earlier work in narrative building, seamlessly crafting a three-party story with ease. "Closure" is a "skittering" track that has the same energy as tracks like Lover 's "I Forgot That You Existed," whereas the ballad "champagne problems" is thematically reminiscent of Swift's Speak Now track "Back To December" where she takes responsibility for her lover's heartache. 

Working mostly with Dessner on evermore , Swift was emboldened to continue creating and opted to embrace whatever came naturally to them rather than limiting themselves to a sound. Swift felt a "quiet conclusion" after finishing up evermore , describing that it was more about grappling with endings of all "sizes and shapes," and the record represented a chapter closing. Even so, its poetic lyricism and mystical storytelling cleverly foreshadowed what was to come with subsequent albums, particularly The Tortured Poets Department .

Midnights : Encapsulating Her Artistic Magic

After coming out of the folklorian woods following folklore and evermore , fans and critics alike were intrigued to see what direction Swift would take on her next studio album. On Midnights , Swift leaves behind indie folk sounds and returns to the pop production of 1989 and Lover .

Her most conceptual album to date, Midnights charts 13 sleepless nights and explores five themes, from self-hatred and revenge to "what if" fantasies, falling in love, and falling apart. They are the things that keep her up at night, like the self-critiquing in "Anti-Hero," her rise to fame in "You're on Your Own, Kid," and the anxiety of falling in love again in "Labyrinth." Similarly to Swift's cheeky songwriting style that sees her create caricatures of herself in songs like "Blank Space" and "Look What You Made Me Do," she doubles down on claims she's "calculated" on "Mastermind," a song about devising a plan for her and her lover. 

Although the album is a departure from the two pandemic sister albums, the overall creation process didn't differ too much. In addition to working alongside Antonoff (and bringing Dessner in for the bonus-track-filled 3am Edition), Swift's worldbuilding is still the throughline that connects Midnights and Swift's recent albums, whether she's dreaming of a Parisian escape in "Paris" or using war imagery as a metaphor for the struggle of love in "The Great War."

Read More: 5 Takeaways From Taylor Swift's New Album 'Midnights'

Following the success with folklore and evermore , Swift's intrigue was at a then-all-time high upon the release of Midnights . Along with breaking several streaming records — including becoming the first album to exceed 700 million global streams in a week — it was Swift's 11th No. 1 debut on the Billboard 200, and was the highest-selling album of 2022 (and, remarkably, the second best-selling of 2023).

To say that Swift's celebrity has become otherworldly since the release of Midnights would be an understatement. Celebrating her genre-defying and varied discography through The Eras Tour has resulted in old songs having a resurgence, new inside jokes and Easter eggs within the fandom, and a plethora of new listeners being exposed to Swift's work. 

As a result, there has arguably never been more excitement for a Taylor Swift album than for The Tortured Poets Department — especially because the announcement came on the heels of her lucky 13th GRAMMY win in February. Midnights helped further solidify Swift's larger-than-life status at the finale of the 2024 GRAMMYs, too, as she became the only artist in history to win Album Of The Year four times. 

The Tortured Poets Department : A Grief-Stricken Poetic Odyssey

It’s been a while since Swift has penned a full-fledged breakup album. On The Tortured Poets Department , she navigates the five stages of grief — denial, anger, bargaining, depression and acceptance — after her long-term relationship ended. Taking a page from the release of folklore and evermore , she dropped a double album and announced The Tortured Poets Department: The Anthology at 2 a.m. on release day. Throughout a total of 31 tracks, the prolific songwriter shelved the glittery pop radio-friendly tunes in favor of more subdued, synthy and heart-wrenching songs. 

On Instagram, Swift described the album as a collection of poetic songs that reflect the "events, opinions and sentiments from a fleeting and fatalistic moment in time," Swift pulled out the fountain and quill pens to craft songs about the "tortured poets" in her life — sometimes musing about lovers, sometimes taking aim at villains, and sometimes pointing the finger at herself. 

TTPD is also her most confessional album thus far. It pokes fun at so-called fans who overstep with her personal life ("But Daddy I Love Him"), says goodbye to a city that gave her a home ("So Long London"), and muses on how her own celebrity has stunted her growth ("Who's Afraid Of Little Old Me?"). To help explain this chapter of her life, Swift brings together a myriad of collaborators — from Stevie Nicks as fellow poetess, to duets with Florence Welch and Post Malone — and leans on real and fictional characters, like Clara Bow, Peter Pan ("Peter"), and Patti Smith .

In the same post, Swift declared that once she’s confessed all of her saddest stories, she’s able to find freedom. Yet The Tortured Poets Department (and its accompanying 15-track anthology) spends much time reflecting: she toys with her own lore, self-referencing past songs from albums like 1989 and poems from her reputation era. 

Fourteen years ago, Swift declared that she would never change, but she’ll never stay the same either. The Tortured Poets Department proves that in the throughline of Taylor Swift's many artistic eras is a commitment to exploration and a love of autobiographical lyricism.

All Things Taylor Swift

Photo: Ron Galella, Ltd./Ron Galella Collection via Getty Images

25 Years Of Backstreet Boys' "I Want It That Way": 10 Covers By Ed Sheeran, Lil Uzi Vert & More

To commemorate the anniversary of Backstreet Boys' biggest hit, take a look at 10 clever ways it's been covered and sampled — from Ed Sheeran's karaoke bit to a Weird Al special.

When the Backstreet Boys released "I Want It That Way" on April 12, 1999, they likely had no idea how beloved their smash hit would still be a quarter-century later.

Written by the Swedish powerhouse team of Andreas Carlsson and Max Martin , "I Want It That Way" is undoubtedly BSB's signature hit, particularly thanks to its memorable undulating melody and its long-debated cryptic meaning. But perhaps the most surprising part of the song's legacy is how it has resonated across genres — from a TikTok cover by Korn to a hip-hop sampling by Lil Uzi Vert .

As the Backstreet Boys celebrate the 25th anniversary of "I Want It That Way," take a look at how the song has been diversely covered, lovingly lampooned and karaoke jammed by an array of voices in the business.

Weird Al Yankovic (2003)

When the king of parody songs selects one to skewer, you know it's an iconic song. Weird Al Yankovic paid tribute to the largeness of the Backstreet Boys classic when he used "I Want It That Way" as the basis of a song called "eBay" in 2003.

Yankovic's chorus replaces the original's with, "A used pink bathrobe/ A rare mint snow globe/ A Smurf TV tray/ I bought on eBay." The Backstreet Boys send up appears on Yankovic's album Poodle Hat , which won Best Comedy Album at the 2004 GRAMMYs.

One Direction (2013)

Three years One Direction formed on "The X Factor," the five lads — Harry Styles , Zayn Malik, Niall Horan, Liam Payne and Louis Tomlinson — included a cover of "I Want It That Way" on their 2013 concert set lists, the young boy band paying homage to the ones that came before them. Though their English accents poked through at times, their version was loyal to the original, and got their crowds singing along.

"Glee" (2013)

Poking fun at the presumed rivalry between *NSYNC and Backstreet Boys, a medley of the former's "Bye Bye Bye" and "I Want It That Way" was featured in Season 4, Episode 16 of "Glee." In the episode — aptly titled "Feud" — choir director Mr. Schuester (Matthew Morrison) and glee club heartthrob Finn (Cory Monteith) face off in an epic boy band battle, which ultimately proved the groups' respective music was more cohesive than divisive.

Brittany Howard and Jim James (2016)

The lead singers of Alabama Shakes and My Morning Jacket covering a boy band classic. It doesn't sound real, but Brittany Howard and Jim James did just that in 2016 when they recorded "I Want It That Way" for an animated short cartoon called "A Love Story."

Released by the fast food chain Chipotle Mexican Grill, the clip was part of a creative campaign to showcase the company's focus on natural ingredients. Howard and James highlight the poignancy and versatility of the song by adding lush string arrangements and dramatic beats.

Backstreet Boys x Jimmy Fallon and The Roots (2018)

The 2018 live performance of "I Want It That Way" by the Backstreet Boys, Jimmy Fallon and The Roots for "The Tonight Show" is arguably the sweetest rendition of the song — and not just because they're using a mini xylophone, baby tambourine and other toy classroom instruments. It's even more endearing than the previous collaborations between Fallon and Backstreet Boys: a barbershop singing version of Sisqo's "Thong Song" and a "Bawkstreet Boys" version of "Everybody (Backstreet's Back)," with everyone dressed like fluffy birds.

The 1975 (2020)

British rockers The 1975 performed a fairly faithful cover of "I Want It That Way," hitting all the high notes at several of their 2023 world concert tour stops. But it's not the first time frontman Matty Healy has hinted at the Backstreet Boys' influence on his band: he told Pitchfork in 2020 that " College Dropout -era Kanye West meets Backstreet Boys" was part of their veritable moodboard at the time when working on their own song called "Tonight (I Wish I Was Your Boy)."

Lil Uzi Vert (2020)

In 2020, Lil Uzi Vert released a rap song called "That Way" that includes a refrain of "I want it that way" sung to the tune of the Backstreet original, but with an AutoTune twist. From there, the lyrics become quite a bit naughtier than anything the BSB guys have uttered in any song.

"I don't know how [the idea of] Backstreet Boys got involved in this song, I really don't," the song's producer Supah Mario told Splice at the time. "I think it was all Uzi. But it was a game changer."

The interpolation was so good, in fact, that Nick Carter even invited Lil Uzi Vert to collaborate: "Now you're gonna have to be featured on our next album bud," he tweeted upon the song's release.

Korn (2022)

Fans of Korn know that the nu metal band has a sense of humor, but few could've expected that Jonathan Davis and crew would post a TikTok of themselves singing "I Want It That Way" in 2022.

"I never wanna hear you say… 'Worst Is On Its Way,'" reads the caption on the post, a tongue-in-cheek reference to Korn's 2022 song of the same name.

Backstreet Boys responded on the app via a hilarious Duet video with Nick Carter. In the video, Carter — who sports fabulous metal eye makeup and a long silver wig — doesn't actually say or sing anything, he just drops his jaw in amazement.

Backstreet Boys x Downy (2022)

Downy hired the Backstreet Boys to poke fun at "I Want It That Way" with the now-viral "Tell Me Why" commercial in 2022. All five members — Nick Carter, Howie Dorough , Brian Littrell , AJ McLean and Kevin Richardson — appear as a Backstreet Boys poster on the wall that comes to life, using the "tell me why" hook of their hit to engage a woman doing laundry in a conversation about washing her clothes.

As Saatchi group account director Jen Brotman told Muse at the time, the nostalgic ad also spawned some memories for the folks working on the ad campaign.

"The moment [BSB] stood in front of the camera, they rehearsed 'I Want It That Way' just to get the notes right, and we felt like we were getting serenaded on set," Brotman recalled. "We couldn't believe how emotional we all got — there may or may not have been tears in some eyes. The song has always been a karaoke favorite of the team, so we knew which 'tell me whys' we wanted them to hit, and we still can't get it out of our heads."

Ed Sheeran (2023)

When he fancies singing a bit of karaoke, Ed Sheeran loves leaning on "I Want It That Way," as the star showed at his favorite Nashville bar in July 2023. A patron caught him on camera and his happiness level is undeniable when belting out this enduring pop classic.

As Sheeran told CBS News a few months later, he grew up on the pop hits of everyone from Backstreet Boys to Britney Spears . But what he said about "I Want It That Way" specifically may be the best way to describe its long-lasting impact: "You can't be in a bar, a couple of beers in, and 'I Want It That Way' comes on and not be like, 'This is a good song.' You can't."

24 Songs Turning 20: Listen To 2004's Bangers, From "Yeah!" To "Since U Been Gone"

Photo: Ashok Kumar/TAS24/Getty Images for TAS Rights Management

Get Ready For Taylor Swift's ‘The Tortured Poets Department’ Album Release: Everything You Need To Know

As we count down to Taylor Swift's 11th studio album release on April 19, feast on all the morsels GRAMMY.com has gathered about the Queen of Pop's upcoming "tortured poet" era.

The dawn of Taylor Swift 's "tortured poet" era is upon us. The reigning Queen of Pop is set to release her highly anticipated 11th studio album, The Tortured Poets Department , on Friday, April 19. 

Ever since she announced the new album during the 2024 GRAMMYs — while accepting her lucky 13th GRAMMY Award for Best Pop Vocal Album for Midnights —- Swifties have been meticulously analyzing every detail of her existence for clues about the release of The Tortured Poets Department .

Fortunately, Swift has been serving a lot of information to snack on. After revealing the cover art in an Instagram post before accepting her record breaking fourth win for Album Of The Year , she didn't stop the feast. From the full track list to a five-stage breakup playlist — and, of course, all the bonus tracks and special editions — here's all the breadcrumbs GRAMMY.com collected in preparation for The Tortured Poets Department . 

All The Art Is Black And White

View this post on Instagram A post shared by Taylor Swift (@taylorswift)

The cover art for The Tortured Poets Department displays a black-and-white inset photo of Swift in repose on a stack of white pillows, with the album's title in uppercase white letters above her. The photography accompanying the album, including back covers and special editions, captures Swift in reflective solitude: standing before a body of water wearing an oversized white button-up, and in a pensive self-embrace against a stark black backdrop.

The photography for the album was shot by Swift's photographer since 2020, Beth Garrabrant, who also shot the covers of Swift's folklore , evermore , Fearless (Taylor's Version), Red (Taylor's Version), Midnights, Speak Now (Taylor's Version) , 1989 (Taylor's Version) . She's known for using a medium-format film photography that evokes an emotional closeness to her subjects — especially fitting for an album titled The Tortured Poets Department .

The Album Features Two Notable Collaborations

On GRAMMY night, alongside the album announcement, Swift posted the complete track list on her Instagram. The post included a photo of the album's back cover, showing a close-up of Swift with her hand on her forehead, overlaid with the text "I love you, it's ruining my life" in all-caps. 

The 16-track release has been split into four sides and also features collaborations with Post Malone on Side A opener "Fortnight" as well as Florence + The Machine on Side B's "Florida!!!" 

Check out the full track list:

** Side A ** “Fortnight” (feat. Post Malone) “The Tortured Poets Department” “My Boy Only Breaks His Favorite Toys” “Down Bad”

** Side B ** “So Long, London” “But Daddy I Love Him” “Fresh Out the Slammer” “Florida!!!” (feat. Florence + the Machine)

** Side C ** “Guilty As Sin?” “Who’s Afraid of Little Old Me?” “I Can Fix Him (No Really I Can)” “loml”

** Side D ** “I Can Do It With a Broken Heart” “The Smallest Man Who Ever Lived” “The Alchemy” “Clara Bow”

Bonus Tracks:

“The Manuscript”

“The Black Dog”

"The Albatross"

The Album Title Hints At Another Ex 

Mere moments after Swift dropped The Tortured Poets Department album name, the internet was ablaze with viral speculation that the title is derived from a play on ex Joe Alwyn's group chat, "The Tortured Man Club" with Paul Mescal and Andrew Scott. 

Alwyn and Mescal revealed their "club name" during an interview with Variety in December 2022 and it didn't take long for fans to connect the dots. Upon unearthing the tie-in, Swifties rushed to share memes and comment on the original interview across various social channels.

There Are Three Bonus Tracks (So Far)

Swift has revealed at least three bonus tracks for different editions of the album, each marked with its own "file name." The initial track list release, referred to as "The Manuscript," includes a bonus track sharing this name.  

On Feb. 23, Swift posted a slideshow on Instagram to promote a special edition named "The Albatross." It featured the bonus tracks and revealed the back cover, which presented a track list alongside a contemplative close-up of Swift overlaid with the question, " Am I allowed to cry?" 

Then, on March 3, she introduced the bonus track “The Black Dog” through a similar post that showcased new cover art, with the album's reverse side portraying Swift and the haunting text, "Old habits die screaming." 

Lyrics Have Already Been Shared

Unlike her previous album campaigns, Swift hasn't unveiled any music ahead of The Tortured Poets Department ’s release — but she has dropped plenty of hints at the subject matter to come. Handwritten lyrics first appeared in the album announcement post, in a stack of papers inside a folder tabbed with a monogram of the album's name.

"And so I enter into evidence/ My tarnished coat of arms/ My muses, acquired like bruises/ My talismans and charms/ The tick, tick, tick of love bombs/ My veins of pitch black ink," is written above the sign-off, "All's fair in love and poetry… Sincerely, The Chairman of The Tortured Poets Department."

Then, in an Instagram story posted on April 8 — the date of the total solar eclipse — Swift shared an image of a typewriter loaded with a sheet of paper stamped with the words, "Crowd goes wild at her fingertips/ Half moonshine, Full eclipse." 

Swift Created Five Playlists To Mirror The Stages Of A Breakup

Gearing up for the release, Swift dropped a 5-part playlist series on Apple Music on April 5 featuring previously released work arranged in playlists that reflect the five stages of grief. The playlist for "Denial: I Love You, It’s Ruining My Life Songs," features hits including Midnight 's "Lavender Haze," and Lover 's "Cruel Summer" and "False God." 

The other playlists run through the emotional gamut with titles like "Anger: You Don’t Get to Tell Me About Sad Songs," the midpoint "Bargaining: Am I Allowed to Cry? Songs," "Depression: Old Habits Die Screaming Songs," and finally "Acceptance: I Can Do It With a Broken Heart Songs." Each one takes listeners on a Taylor Swift escapade through love won and lost, representing what many believe to be a musical voyage through Swift's stages of grief following the end of her relationship with ex Joe Alwyn. 

Each playlist also includes a description from Swift. For "Denial," it says, "This is a list of songs about getting so caught up in the idea of something that you have a hard time seeing the red flags, possibly resulting in moments of denial and maybe a little bit of delusion. Results may vary.”

As April 19 nears closer, take a deep dive into everything Swift has unleashed so far — and get ready for a lot more divulging once The Tortured Poets Department arrives.

• 1 Jennifer Lopez Announces It's My Party North American Tour
• 2 Disney's Golden Age Of Pop: Revisit 2000s Jams From Miley Cyrus, Selena Gomez & More
• 3 Songbook: An Era-By-Era Breakdown Of Taylor Swift's Journey From Country Starlet To Pop Phenomenon
• 4 25 Years Of Backstreet Boys' "I Want It That Way": 10 Covers By Ed Sheeran, Lil Uzi Vert & More
• 5 Get Ready For Taylor Swift's ‘The Tortured Poets Department’ Album Release: Everything You Need To Know

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How the Team Behind Jennifer Lopez’s It’s My Party Tour Created an Epic 50th-Birthday Bash Onstage

By Rachel Wallace

Despite the fact that Jennifer Lopez appears to be aging backward, the singer-dancer-actress is actually celebrating a milestone birthday on July 24. And in honor of her 50th, she recently hit the road, performing old favorites like “Waiting For Tonight” and “I’m Real” as well as newer tunes like “Medicine” featuring French Montana on the It’s My Party tour. The show has racked up some rave reviews since opening night at the Forum in Los Angeles on June 7, proving that J.Lo can be the life of the party even on the grandest of scales.

So, what can the audience expect from this extravaganza? Much like Lopez’s 2016 Las Vegas residency All I Have, the show spans her entire two-decade music career (yes, her debut album On the 6 turned 20 this year), but her big birthday is decidedly the night’s theme. Production designer Cory Fitzgerald and lighting designer Alex Reardon of Silent House Productions weren’t sure about the exact number of balloons, which descend on the stage at the beginning and end of the show, but let’s just say that crews at arenas across the country will be cleaning up a lot of latex in the next few weeks. “The balloons were a big concept for her as far as opening the show with this big party feel,” says Fitzgerald, who designed Lopez’s set in Las Vegas as well as her blowout Super Saturday Night gig ahead of the 2018 Super Bowl in Minneapolis. And the number dropped is “sufficient to cover the stage and get into the audience,” says Reardon.

"My father is an architect, so I see the pace at which more traditional architecture operates at, and the pace we move at—and they are worlds apart," says Reardon.

The show is broken up into acts that call for various structures, all meticulously designed to the perfect size to accommodate intricate choreography. “We are one cog in this under the direction of [creative directors Napoleon and Tabitha D'umo of NappyTabs], so as soon as they have a concept for a scenic piece, they bring us in to design it, but also simultaneously they work with choreographers to work out how the physical function of the piece is going to be interpreted by those performing on it. It is very much led by them. We all collaborate together to figure out, ‘Okay, how much space do you need on this thing? Well, you need four feet. We therefore make each ring four feet.’”

Jennifer Lopez performing on the opening night of It's My Party.

An early rendering of the It's My Party stage.

Some standout set pieces include a wine-glass chandelier underneath which Lopez is suspended in a ring, a train-shaped box made of video tiles which can serve as both a New York City subway prop (she is still Jenny from the block, after all) and a DJ booth, and a chaise lounge made for a sexy number. And of course, no birthday party is complete without cake, which in this case is a three-tiered structure that serves as the B stage. “It elevates with each layer going up by three-foot-six. The cake is all LED [lights], so that can become anything—at the end it becomes a cake,” says Reardon. “Other structural elements include a kinetic lighting rig over the B stage which animates throughout the show. We have a bi-parting LED stage, which is a great reveal and very useful to bring her and the props in and out.”

Of all the different elements, Fitzgerald says, the grand finale was a favorite when he saw the show on opening night: “The ending section—the Latin or EDM section—was the most high energy, and kind of re-envisioned in a way that we had never done before. It is primarily a dance show. She is a fabulous dancer and singer. It is all about movement and choreography, but they really upped the game by bringing in other Latin dance groups and pushing the envelope.”

For Reardon, it was impossible to pick just one standout moment: “I’ve been doing this for 30 years and I can count using the fingers on one hand the artists that are able to create such an authority on stage and to hold the emotions of every audience member throughout and guide them in this incredible way. It was something that I was really blown away by.”

By Katherine McLaughlin

By Joyce Chen

By Sarah Archer

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Jennifer lopez throws her own extravagant birthday bash for the ‘it’s my party’ tour.

The triple threat hosts a lavish celebration at second sold-out show in Los Angeles for her upcoming 50th birthday.

By Adelle Platon

Adelle Platon

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Two decades ago, Jennifer Lopez made her official foray into music with her debut album On The 6 . After heightened success as the star in the 1997 biopic Selena , she released the album — an amalgamation of chart-friendly pop mixed with dance floor-ready R&B and Latin soul — on June 1, 1999. Its title and sonic influences were nods to her roots, specifically the 6 train which runs from her native Bronx to other parts of New York City. On the second night of her sold-out stint at Los Angeles’ The Forum (June 8), the triple threat not only celebrated twenty years of infectious earworms with a two-and-a-half-hour set but hosted a lavish birthday celebration as proof of how far Jenny from the block has come.

A montage of J.Lo ’s iconic career opened the show, depicting the former Fly Girl from In Living Color reminiscing on her milestones from humble beginnings to motherhood. “I was just a dancer from New York and I was trying to make it,” she said in the video. That hustle manifested into superstardom as she pumped out albums, tours, movies, fashion and beauty franchises that have kept her brand — and cash flow — from going stagnant.

As a summer-long pregame for her real-life birthday, Lopez set the Party off with a decadent Moët & Chandon champagne bottle parade and 20 dancers in tow (including finalists from her dance show World of Dance , Swing Latino, season two winners The Lab and dancer Briar Nolet). “Everyone’s a VIP member,” her DJ proclaimed as Lopez proceeded to host an extravaganza that could only be described as balling with no budget. With roughly eight wardrobe changes, cinematic vignettes that provided opportune moments to switch ‘fits, elaborate sets, and enough confetti showers to rival New York’s Times Square on New Year’s Eve, Lopez made every attendee feel like it was his or her life’s anniversary, too.

For those still hung up on the 2000s, J.Lo catered to the day-ones with updated versions of her early hits. Her inaugural hit “If You Had My Love” set the mood for a burlesque performance that included a sultry lap dance from her and two dancers for a lucky male audience member. She also worked a hefty, black chaise chair with a steamy striptease that quenched the thirst of anyone at the show without a beverage. This later transitioned into a candlelit performance of Drake’s Scorpion slow jam “Teenage Fever,” which sampled the 1999 song and perhaps, served as a gratuitous thank you to the 6 God for showing love. “Waiting For Tonight” ditched the green laser aesthetic from the iconic video for a more vibrant, Pride Month-friendly set-up as Lopez slipped into a lime green catsuit and her dancers vogued ball-style in neon colored outfits that exposed their taut bods.

Never shying away from her hip-hop swag, several numbers saluted her rap ties like the J.Lo and Ja Rule collaborations “I’m Real” and “Ain’t It Funny” triggered instant nostalgia of Juicy Couture velour suits and dog days at the local park. The LOX-assisted “Jenny From The Block” featured Lopez in a cheeky jumpsuit and shimmery New York fitted cap. She broke it down to French Montana’s “Shot Caller” and the song’s sampled classics: 20th Century Steel Band’s “Heaven and Hell is on Earth” and Boogie Down Productions’ “South Bronx.” More contemporary jams like the money-loving anthem “Dinero” (with featured guest and fellow Bronx boo, Cardi B, projected against a backdrop of a golden bank vault) the rump-shaker “Booty,” and a random but here-for-it dance performance to Blueface’s “Thotiana” also got the crowd hype.

Any J.Lo set would be remiss without an emotional segment that harps on her incessant campaign of positivity. After slipping on a voluminous red gown, Lopez slowed down the tempo to deliver a rendition of “Limitless” off the soundtrack for her 2018 rom-com Second Act mashed up with David Guetta and Sia’s powerhouse number “Titanium.” To tug at heartstrings even more, Lopez’s daughter Emme joined her mother onstage and flaunted her vocal chops in an impressive sing-off. The night’s leading lady also admitted that birthdays, especially big ones (she turns 50 in July), often prompt deep self-reflection.

  View this post on Instagram   I can’t take it! #Emme #Limitless #ProudMama #JLoItsMyParty A post shared by Jennifer Lopez (@jlo) on Jun 8, 2019 at 8:59am PDT

After covering one of her favorite songs “Gravity” by Sara Bareilles, Lopez launched into a mini-TED Talk on perseverance. “Even though [“Gravity” is] a love song, it’s about a struggle. Life is like that,” she said. “But somehow, we always find our way back to ourselves when we make it through its tough times. You get to a certain point in your life and people start asking you for advice. It’s like, ‘What have you learned? Give me some secrets. What do you wanna teach your children? What do you want them to know?’

“And I always say, I just want them to know they can do whatever they want to do or they can be whoever they want to be,” she continued. “Life gon’ be hard sometimes and they’re gonna fall down but they gon’ get right back up and mommy’s always gonna be right there.” She turned her attention to the fans, injecting them with the same can-do attitude. “In some of the toughest times I’ve had, when I have fallen down, you guys have helped me get right back up. I want everybody to know that because we’ve really been on this journey together, haven’t we?” she asked. “Something I’ve learned… It took a long time for me, maybe just this year, it really clicked in, is that you can really do whatever you want to do.”

With her toast-worthy speech a wrap, Lopez resumed her boogie-down bash, bringing the funk with “Hold It Don’t Drop It” before repping for all the Latinos in the house with a medley of her Spanish-language bops like her verse on Nio García, Darell and Casper Mágico’s 2017 smash “Te Bote” as well as the Bad Bunny duet “Te Guste.” While Lopez has since secured a diamond from her now-fiancee Alex Rodriguez, “El Anillo” still rang off (pun intended) in the arena.

After shaking what her momma gave her all night, Lopez brought a different type of cake for the finale. After burning what was probably several hundred calories during performances of the club bangers “Dance Again” and “On The Floor,” she returned in a nude bodysuit surrounded a flurry of showgirl feathers as the centerpiece of a three-tiered structure mirroring a wedding cake. It was a fitting encore for a 49-year-old woman who has spent her entire career chasing her passions, even if the risks yielded some type of personal loss or failure both in private and in the public eye. Being an entertainer who can pull off a soirée of this magnitude across the country (while juggling motherhood, an acting career, and other entrepreneurial endeavors) requires the type of confidence only afforded by those who know and trust themselves. As pyrotechnics lit up the stage and metallic streamers and oversized white balloons fell from the ceiling, one particular J.Lo one-liner from the night mirrored her life in that moment. “I’m from the Bronx and this is my party,” she said. “I can do what I want.”

It’s My Party Tour Set List

Medicine Love Don’t Cost A Thing Get Right Dinero I’m Real (Remix) Ain’t It Funny (Remix) Jenny From The Block If You Had My Love Teenage Fever (Drake original) Girls Booty Gravity (Sara Bareilles original) Limitless Titanium (David Guetta featuring Sia original) Ain’t Your Mama All I Have Hold It Don’t Drop It Te Bote 2 (Nio García, Darell and Casper Mágico original) Te Guste The Ring (“El Anillo”) Waiting For Tonight Dance Again On The Floor Let’s Get Loud

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It's My Party Tour

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It's My Party Tour was the fourth concert tour by American entertainer Jennifer Lopez . The tour was announced during her appearance on The Ellen DeGeneres Show on February 13, 2019. The North American leg of the tour began on June 7, 2019, in Inglewood, California and ended on July 27, 2019, in Miami, after performing after 32 shows in Canada and the United States. Lopez performed six international shows, starting in Tel Aviv on August 1, 2019, and ending in Saint Petersburg on August 11, 2019.

• 1.1 Merchandise
• 2 Commercial performance
• 3 Awards and nominations
• 5 Tour dates
• 7 References

Planning, itinerary and ticketing [ ]

In December 2018, while promoting her film Second Act , Lopez announced plans to tour the United States during the summer of 2019. [1] The tour was officially announced by the entertainer during her appearance on The Ellen DeGeneres Show on February 13, 2019. [2] She revealed that she would be doing "a small amount of shows" throughout June and July to celebrate her 50th birthday on July 24, 2019. [3] The dates for the 24-city North American tour, titled It's My Party: The Live Celebration, were announced shortly after her appearance on the show. The tour was scheduled to start on June 7, 2019, at the Talking Stick Resort Arena in Phoenix and end on July 26, 2019, at the American Airlines Arena in Miami . [4] Shortly after the tour's announcement, several third-party websites began selling fake tickets to the show. [5] Marketing specialist Shalimar Madrigal acknowledged that he was aware of these websites on February 14, 2019, and warned buyers to be careful and to only purchase tickets from official websites. [6] Ticketmaster issued a statement on their official Twitter account on February 20, 2019, stating that "we see tickets for @JLo's #ItsMyPartyTour on other websites, but no tickets have been sold yet". [7] [8] On February 27, 2019, several dates were rescheduled and additional shows were added in select cities, with the tour now beginning on June 7, 2019, at The Forum in Inglewood, California . [9] The show at the Coliseo de Puerto Rico Jose Miguel Agrelot in San Juan planned for June 28, 2019, was cancelled on March 18, 2019; a reason for the cancellation was not specified. [10]

On March 22, 2019, the tour was re-announced as the It's My Party tour; a 25-city North American tour that begins at The Forum in Inglewood, California on June 7, 2019, and ends at the American Airlines Arena in Miami on July 25, 2019. A pre-sale for American Express cardholders began on March 26, 2019, while tickets went on sale to the general public starting on March 29, 2019. [11] Four additional concerts were announced on March 27, 2019, bringing the total up to 29 shows. [12] On April 5, 2019, it was reported that Lopez would be bringing the tour to Israel , which would be her first concert in the country. Israeli media had previously reported that she would be performing in Tel Aviv in 2012 and 2016, but neither one of these shows materialized. According to The Jerusalem Post , "the concert rumors were met with online campaigns by the BDS movement calling on Lopez to cancel". [13] The concert was officially confirmed on April 17, 2019 and announced to take place on August 1, 2019. Concert prompter Mario Arlowski claimed that Lopez "had not faced any pressure from boycott activists" for the concert, which went on sale later that same day. The show was also revealed to be the first of six international concerts that Lopez would be playing during the It's My Party tour. [14]

On April 22, 2019, it was announced that she would be performing in Moscow on August 4, 2019; tickets for the show went on sale the same day. [15] A second show in Chicago and a third show in Miami was announced on April 29, 2019. Tickets for these two shows went on sale on May 3, 2019. [16] [17] Several days later, it was revealed that Lopez would be bringing the tour to the North Coast of Egypt , although the exact location and venue could not be confirmed at the time. [18] It was announced on May 13, 2018, that Lopez would be performing in Turkey on August 6, 2019, as part of the Regnum Carya Live in Concert series. [19] After a series of conflicting reports, the show in Egypt was officially announced on May 24, 2019, to take place on August 9, 2019, at the Seacode beach club in El Alamein . Tickets for the show were on sale before the city and venue were confirmed. [20] On July 12, 2019, it was announced that Lopez would be performing in Spain on August 8, 2019. [21]

Merchandise [ ]

On May 30, 2019, it was announced that Guess would serve as the official merchandise partner for the It's My Party tour. The company had previously collaborated with Lopez during their spring 2018 campaign. Dubbed as GUESS x Jennifer Lopez "It's My Party" Tour , the collection consists of a variety of concert T-shirts and a denim jacket that features a "colorful J.Lo pop art graphic on the back". Select pieces of the collection will be available at select Guess locations in the United States and Canada, as well as on the company's website, starting on June 7, 2019. The full collection will be available for sale at each show during the duration of the tour. [22] [23]

Commercial performance [ ]

According to The Times of Israel , Lopez's concert at Hayarkon Park in Tel Aviv on August 1, 2019 drew an audience of around 57,000. [24]

According to Touring Data , It's My Party Tour grossed $54.5 million with 31 reported shows. Overall, the tour had a total gross of $68,387,824 million and 505,380 in attendance in 37 shows. [25]

Awards and nominations [ ]

Set list [ ].

This set list is representative of the show on June 7, 2019, in Inglewood, California . [26] It may not represent every show.

• " Medicine "
• " Love Don't Cost a Thing "
• " Get Right "
• " I'm Real "
• " Ain't It Funny "
• " Jenny from the Block "
• " If You Had My Love "
• " Gravity "
• " Limitless "
• " Ain't Your Mama "
• " All I Have "
• " Hold It Don't Drop It "
• " Te Boté " / " Te Guste "
• " El Anillo "
• " Waiting for Tonight "
• " Dance Again "
• " On the Floor "
• " Let's Get Loud "
• After her concert in Montreal, Lopez performed a cover of Selena 's " Si Una Vez ". [27]

Tour dates [ ]

Template:Notelist

References [ ]

• ↑ Heavy.com - Jennifer Lopez's Tour 2019 plans
• ↑ Oprahmag.com - J.Lo is celebrating her 50th Birthday in the Splashiest Way—and You Could Join Her
• ↑ globalnews.ca - Jennifer Lopez Announces It's My Party tour, 3 Canadian dates
• ↑ Billboard.com - Jennifer Lopez Announces It's My Party: The Live Celebration Tour
• ↑ KRGV.com - Valley Woman Warns about Website Selling Fake JLo Concert Tickets
• ↑ Valleycentral.com - Fake JLo Tickets sold after Valley summer concert
• ↑ Twitter.com - Safe #TicketTips: Be Carefeful #JLovers. We see tickets for @JLo's #It'sMyPartyTour on other websites, but no tickets have been sold yet
• ↑ Twitter.com - #jlovers, I know you're ready to celebrate but "It's My Party Tour" tickets not on sale yet
• ↑ Idolater.com - Jennifer Lopez Announces It's My Party Tour: The Live Celebration' Tour Dates
• ↑ 10.0 10.1 Primerahora.com - Jennifer Lopez no dara su concierto en Puerto rico
• ↑ Billboard.com - Jennifer Lopez Confirms "It's My Party; Tour Dates"
• ↑ 12.0 12.1 Newsday.com - J.Lo adds second MSG show
• ↑ jpost.com - Is Jennifer Lopez coming to Israel?
• ↑ 14.0 14.1 timesofisrael.com - Tel Aviv will have Jennifer Lopez's 'Love' on August 1
• ↑ handofmoscow.com - Jennifer Lopez will arrive in moscow
• ↑ Twitter.com - JUST ANNOUNCED: @JLo added a second show at the United Center
• ↑ Twitter.com - Not one, not two, but THREE! #JLOItsMyParty⁣⁣ Due to overwhelming demand, @JLo has added a THIRD show here at AmericanAirlines Arena on July 27! Tickets go on sale Friday, May 3 at 10am
• ↑ Template:Cite web
• ↑ 20.0 20.1 Template:Cite web
• ↑ 21.0 21.1 Template:Cite web
• ↑ Template:Cite news
• https://web.archive.org/web/20190708160923/http://billboard.com/biz/current-boxscore
• https://web.archive.org/web/20190713001250/https://www.billboard.com/biz/current-boxscore
• https://web.archive.org/web/20190730193517/https://www.billboard.com/biz/current-boxscore
• https://web.archive.org/web/20190817125007/https://www.billboard.com/charts/current-boxscore
• https://web.archive.org/web/20190824001009/https://www.billboard.com/charts/current-boxscore
• 1 Emme Muñiz
• 2 David López
• 3 Debbie Rosado

Jennifer Lopez Plots ‘It’s My Party: The Live Celebration’ Tour

By Brittany Spanos

Brittany Spanos

Jennifer Lopez turns 50 this year, so she will naturally be ringing in that milestone with her first tour in six years.  It’s My Party: The Live Celebration will launch in June.

Lopez made the announcement on  Ellen , revealing that there will be guest appearances from the stars of NBC reality competition  World of Dance , where she serves as both executive producer and judge. This will be Lopez’s first trek since 2012’s  Dance Again World Tour , which was in support of her album  Love? and featured Enrique Iglesias as her co-headliner on the American tour dates. Since then, she has headlined a successful Las Vegas residency called  All I Have , which concluded last year.

Prior to the announcement, Lopez appeared at Sunday’s Grammy Awards as the star of a tribute to Motown’s 60th anniversary. Last August, she was honored at the MTV Video Music Awards where she received the Video Vanguard honor. Her last full-length album was 2014’s  A.K.A., though she has been steadily releasing Spanish-language singles since then, most notably the Bad Bunny collaboration “Te Guste.”

Jennifer Lopez’s  It’s My Party: The Live Celebration  Tour Dates

June 7 –  Phoenix, AZ @  Talking Stick Resort Arena June 8 –  Las Vegas, NV @  T-Mobile Arena June 10 –  San Diego, CA @  Pechanga Arena June 12 –  Los Angeles, CA @  Staples Center June 15 –  San Jose, CA @  SAP Center June 16 –  Sacramento, CA @  Golden 1 Center June 19 –  Denver, CO @  Pepsi Center June 21 –  San Antonio, TX @  AT&T Center June 22 –  Hidalgo, TX @  Bert Ogden Arena June 24 –  Dallas, TX @  American Airlines Center June 25 –  Houston, TX @  Toyota Center June 28 –  San Juan, Puerto Rico @  Coliseo de Puerto Rico Jose Miguel Agrelot June 30 –  Chicago, IL @  United Center July 5 –  Detroit, MI @  Little Caesars Arena July 7 –  Toronto, ON @  Scotiabank Arena July 10 –  Montreal, QC @  Centre Bell July 12 –  New York, NY @  Madison Square Garden July 16 –  Mansfield, MA @  Xfinity Center July 17 –  Washington, D.C. @  Capital One Arena July 19 –  Newark, NJ @  Prudential Center July 20 –  Philadelphia, PA @  Wells Fargo Center July 22 –  Atlanta, GA @  State Farm Arena July 23 –  Orlando, FL @  Amway Center July 26 –  Miami, FL @  AmericanAirlines Arena

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Jennifer Lopez Launched Tour Merch With Guess & The Denim Jacket Is EVERYTHING

Summer concert season is already in full affect, and fans are more than ready to jam out to music. If you’re stuck on how to dress for the occasion, J.Lo just dropped her new tour merch with Guess . And it’s so cute, you’ll want to wear it far beyond her tour dates.

Per a Guess press release, the collection (offers sizes XS to L) comes to fans in the form of a capsule collection for J.Lo’s upcoming It’s My Party Tour . While the collection only features eight pieces in total, it exudes all signs of summer, and you’ll want these fits whether you’ve got tickets to a J.Lo show or not.

Featuring an assortment of colorful graphic tees, crop tops, and jackets, shoppers are set up with a bunch of tops that are perfect for summer. Merch in the capsule are donned with J.Lo motifs and the It’s My Party tour logo.

The line is already available for purchase online at Guess.com where prices retail between $35 and $175. And if J.Lo stans are going to see the live tour and want to try before they buy, the collection is also being distributed at Guess store locations corresponding with the It’s My Party Tour stops .

Take a look at some of the best picks in this super summer-inspired tour merch collection.

Jennifer Lopez x Guess It's My Party Graphic Cropped Tee

Anyone planning to rock Jenny from the Block on their sleeves should think about snatching up this psychedelic graphic cropped tee. Whether or not you have a seat to the J.Lo show, this tee is cute enough for any casual event.

Jennifer Lopez x Guess Palm Tree Graphic Tie-Dye Tee

What even is summer tour merchandise without at least one tie-dye shirt? Perfect for summer, these pastels with palm tree graphics are fitting for an outdoor soiree. Preferably one with loud music.

Jennifer Lopez x Guess J.Lo Dillon Denim Jacket

The statement piece in this collection is this medium wash denim jacket from Guess that feature distressed tears around the sleeves and a pop art graphic with four J.Lo's strewn in the center of the back. While it's one of the more expensive pieces, retailing at $175 it's definitely a standout jacket for those cool summer nights.

Jennifer Lopez x Guess Dusk Cropped Tee

For something a little less pastel and more demure and low-key, J.Lo and Guess offer up this cute dusk palm tree crop top. Topped with a crew neck and cuffed cap sleeves, this shirt is ready for a night of debauchery.

Jennifer Lopez x Guess Graphic Tee

The collection also includes traditional full length tees like this one. Splattered across the front is some J.Lo cover art topped off with her and Guess' logos. This funky top retails for $35, and yes, it comes in black, too

Jennifer Lopez x Guess Pop Art Graphic Tee

Those who can't get enough of the pop art motif of the entertainer can find the same design in another one of the capsule's tees. This retro-looking basic retails for $39, and yes, it comes in black, too.

J.Lo is kicking off summer celebrations with some serious summery silhouettes, and since it's her party, she's going out with a bang.

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Jennifer Lopez Tour 2024 Tickets & Dates

Jennifer lopez tour 2022 | concerts information, jennifer lopez information about concert.

Fresh off her triumphant turn celebrating Motown's history at Sunday night's Grammy Awards, Jennifer Lopez announced on Wednesday (Feb. 13) that she is hitting the road this summer. The 24-city North American It's My Party: The Live Celebration tour, Lopez's first outing in more than six years, will kick off on June 7 with a show at the Talking Stick Resort Arena Phoenix, Arizona.

Lopez made the announcement on Ellen, revealing that there will be guest appearances from the stars of NBC reality competition World of Dance, where she serves as both executive producer and judge. This will be Lopez’s first trek since 2012’s Dance Again World Tour, which was in support of her album Love? and featured Enrique Iglesias as her co-headliner on the American tour dates. Since then, she has headlined a successful Las Vegas residency called All I Have, which concluded last year.

As a bonus, the show will allow the singer/dancer/actress to celebrate her 50th birthday all summer long on the Live Nation-produced tour, which will also feature the "World of Dance Experience," during which audiences will get surprise dance guest performances from the stars of Lopez's NBC show World of Dance. Tickets for the tour will go on sale soon.

Jennifer Lopez - JLO It’s My Party Tour Dates 2024:

June 7 -- Phoenix, AZ @ Talking Stick Resort Arena June 8 -- Las Vegas, NV @ T-Mobile Arena June 10 -- San Diego, CA @ Pechanga Arena June 12 -- Los Angeles, CA @ Staples Center June 15 -- San Jose, CA @ SAP Center June 16 -- Sacramento, CA @ Golden 1 Center June 19 -- Denver, CO @ Pepsi Center June 21 -- San Antonio, TX @ AT&T Center June 22 -- Hidalgo, TX @ Bert Ogden Arena June 24 -- Dallas, TX @ American Airlines Center June 25 -- Houston, TX @ Toyota Center June 28 -- San Juan, Puerto Rico @ Coliseo de Puerto Rico Jose Miguel Agrelot June 30 -- Chicago, IL @ United Center July 5 -- Detroit, MI @ Little Caesars Arena July 7 -- Toronto, ON @ Scotiabank Arena July 10 -- Montreal, QC @ Centre Bell July 12 -- New York, NY @ Madison Square Garden July 16 -- Mansfield, MA @ Xfinity Center July 17 -- Washington, D.C. @ Capital One Arena July 19 -- Newark, NJ @ Prudential Center July 20 -- Philadelphia, PA @ Wells Fargo Center July 22 -- Atlanta, GA @ State Farm Arena July 23 -- Orlando, FL @ Amway Center July 26 -- Miami, FL @ AmericanAirlines Arena

Ellen Skrmetti

Hey jesus, it’s me.

Ellen Skrmetti is a Mississippi Born and Alabama based comedian. Her southern charm and quick wit have proven to be a winning combination to make millions laugh!

Ellen started studying comedy in 2018 and got serious when she started learning the art of Stand Up Comedy from the famed Second City! There, she found her tribe of up and coming comedians and honed her comedic voice. With local comedy clubs closed, Ellen used online sketch comedy to find her audience. With over 3 million impressions per month on Instagram, Ellen has found Instagram’s funny bone!

Her 1st book will be published by Hachette Book Group in the Fall of 2024, she’s not NOT on tour and she continues to post daily content.

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Pop Culture Yesterday at 10.30am

‘it was my eras tour’: meet the world’s biggest truebliss fans.

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For a few months at the turn of the millennium, TrueBliss burned bright as the biggest pop stars in the country. Alex Casey chats to two superfans who still hold the flame. 

During a humble backyard wedding in Nelson, 1999, one of the cordially invited guests had to excuse themselves from the festivities. Nicola Pugh was just 12 years old, but had informed the gracious hosts that she had very important business to attend to in the downstairs lounge. “I had to disappear for an hour, but I was back in time for dessert” she laughs. “Everyone at the time understood – you couldn’t fight with a Popstars fan.”

At the time, Popstars was one of the biggest shows in the country, following five New Zealand girls as they formed the pop group TrueBliss. It aired every week at 7.30pm after Shortland Street, and Pugh was one of the many hundreds of thousands hooked by the groundbreaking reality show. “The wedding must have been planned before the show was released,” says Pugh, “because otherwise they just wouldn’t have scheduled the clash with it.” 

Slightly further up the country in Naenae, Lower Hutt, Aaron Hailwood was 17 years old and similarly clearing his calendar, and the home phone line, to devour new episodes of Popstars each week. “I think it’s important that we remind people what television was like back then,” he says. “You’d be sitting around waiting for it to start at 7.30pm every week, and then, as soon as the ads came on, you would ring your friends to talk about what you just watched.” 

Pugh is now 37 and has a seven-year-old daughter of her own, but still remembers exactly how it felt to be a young pop fan at the turn of the millennium. “The whole moment just felt so girl-oriented,” she explains. “The Spice Girls were a couple of years old by then, Britney Spears was just coming into the picture with ‘Baby One More Time’, and then TrueBliss arrived at the perfect time – except this time they were normal local girls just like us.” 

“Look, I was a gay child born in 1982 who was obsessed with Kylie Minogue, Madonna, the Spice Girls and Steps,” says Hailwood of his own pop passion. “Most of my friends tended to be girls and we were really into 5ive and the Backstreet Boys, so we would get together and watch Top of the Pops and learn all the dance routines.” When a local pop group began forming on TV before his eyes, he remembers feeling like he was witnessing something totally new. 

“We hadn’t really had anything like that before. It was just amazing that suddenly not only did we now have our own pop group, but that we could also watch them being made.” 

After just one episode of nationwide auditions, the five original members of TrueBliss – Joe Cotton, Megan Alatini, Erika Takacs, Keri Harper and Carly Binding – were selected. “They struck gold with the cast,” says Hailwood, who, although he always felt like Joe Cotton could have been his best friend, still has a soft spot for Carly Binding. “I just liked her attitude, she always seemed so fierce,” he says, citing her infamous refusal to wear sneakers onstage.   

Pugh preferred Keri Harper, the youngest and blondest in the group. “I loved Baby Spice, and in one of the episodes they referred to Keri as Baby Bliss, so I always held a soft spot for her.”

As the audience picked their favourites, the series followed the girls adjusting to pop star life – getting makeovers, rehearsing choreography and recording an album in just one week. All the while, TrueBliss mania was spreading to every corner of the country. “Three weeks ago, you had no idea who any of these people were, and then suddenly they were everywhere,” says Hailwood. “It really felt like a sort of celebrity that New Zealand hadn’t ever seen before.” 

When their first single ‘Tonight’ went to number one, their ubiquity reached another level. “It was on the radio, it was on TV, the Sounds windows were blacked out with TrueBliss posters,” recalls Pugh, who bought the single on cassette. “I just remember spending hours with my Walkman,” she says. “Three minutes of joy, to then spend another 90 seconds rewinding it back.” Hailwood bought every TrueBliss release on cassette and CD, the day of release. 

Next came the nationwide ‘Number One’ tour, which saw the band visit 17 locations across the country, where they were met with so much demand that they added matinee shows to most dates. “My very first thought was, ‘little kids will be easier to push past, so let’s go to the four o’clock show’,” recalls Aaron, who went to the show at Wellington’s Michael Fowler Centre. “I was wrong – those little kids were vicious. I just remember a lot of pushing and a lot of Pinky bars.”  

Pugh won tickets to the Nelson leg of the tour through her local radio station’s daily TrueBliss trivia competition. Much like the backyard wedding, she excused herself from class on the day of the Nelson concert and lined up outside the Trafalgar Centre at lunchtime for the evening show. “I got right to the front with all the other 10-16 year old girls, and I just remember turning back and seeing all the Mums and Dads scattered in the background.” 

She can also recall the moment that TrueBliss walked out on stage wearing their Fifth Element-inspired holographic outfits from the music video for their second single, ‘Number One’. “The crowd just went crazy and it was definitely very, very loud,” she says. “I just remember seeing them for the first time and thinking to myself: This is it. This is the reason. This is what life is all about. It was my first live music experience and, man, it really set the bar high.” 

After the concert, Pugh was so desperate to meet the band that she hung around the back doors of the Trafalgar Centre for “hours and hours and hours” but they never showed up. “The next day I was crying having breakfast because it was all over and I didn’t get to meet them.” She made a clip art presentation for her parents explaining why she should be allowed to travel the country alone to attend the remaining concerts. “They declined for some reason.” 

Without social media to follow the band’s every move and connect with other fans, both Pugh and Hailwood had to find alternative means to keep their passion for TrueBliss alive. “I always bought all the magazines and pulled out every TrueBliss article and poster, and I had a few penpals that would send me stuff from the local papers as the girls went through their towns,” says Pugh, who only recently threw out “a couple of decent sized containers” of TrueBliss clippings. 

Hailwood, who was slightly older at the time, established a TrueBliss Geocities fan site , and was an active member on the TrueBliss message board on the Sony website. When Pepsi ran promotional TrueBliss collector cards, he struck gold on the job at The Warehouse when he found a giant sack of Megan Alatini cards in a dusty back cupboard. He offered them up on the message board, sent them around the world, and even arranged to gift them to fellow fans IRL. 

These were the primitive days of the internet, when meeting up with online strangers was yet to become an everyday occurrence. “I remember meeting up with one guy in Wellington from the message board,” says Hailwood. “He was absolutely terrified that I was going to be an axe murderer, but he also just really, really wanted that Megan Alatini collector card.” They had a coffee, got chatting, and have been best friends ever since. 

While the fans hoarded collector cards, Burger King posters and $2 shop stickers that were so hastily printed that they mistook Erika for Carly, TrueBliss’ third single ‘Freedom’ failed to make the top 50. “I think that’s when the backlash really started,” says Hailwood. “The focus became all about how they fell off the charts, and not about how their album went double platinum in its first week, making it the fastest-selling New Zealand-made album of all time.” 

The dawn of a new millennium saw New Zealand be the first to survive the Y2K panic, but TrueBliss faced their own set of challenges. Carly Binding left the band, citing creative differences, and the Popstars format launched in Australia. “There was a bit of heartbreak there, because everyone thought that’s when TrueBliss was going to take on the world,” says Pugh, “but then it turned out that it was just the format that would take on the world.” 

Their trans-Tasman counterparts Bardot featured husky-voiced superstar Sophie Monk, and even shinier PVC outfits. ‘Poison’, their first single, debuted at number one in New Zealand, and local pop fans had their allegiances firmly tested. “I definitely jumped on the Bardot bandwagon pretty hard,” recalls Pugh. “I had family in Sydney who would send me all the articles, and my Nana sent me the album before it came out here so I was pretty powerful at school.” 

Hailwood “hated” Bardot for taking TrueBliss’ place in the spotlight, but couldn’t resist going to see them perform live at North City mall. “I wore my TrueBliss T-shirt when I went up to get my CD signed,” he laughs. “They were nice enough, but I vividly remember Sally looking at my T-shirt and pulling a face at me.” Later that year, a four-piece TrueBliss would have a national anthem sing-off against Bardot before a Bledisloe Cup test in Wellington. It would be their last public performance for years.

“Everything sort of moved on,” says Hailwood. “Keri moved away, Erika started doing RTR, Joe did M2, Megan was on The Tribe, and it felt like the TrueBliss ship had sailed a bit.” His attention turned to following the Popstars format as it formed similarly manufactured pop groups around the world. “It was literally in 50 countries. People don’t realise just how big it went around the world – sure, it did one season here but it did 12 seasons in Germany.” 

In the years that followed, Pugh says her love for TrueBliss never waned. “The flame kept burning in the background, maybe not necessarily as bright continuously, but it was always there.” The creation of Facebook brought about a new platform for fans to connect and reminisce, with Hailwood starting a TrueBliss fan page in 2010 and eventually connecting with members of the band via the thrill of an accepted friend request. 

TrueBliss released a charity single ‘One Minute of One Day’ in 2012, performing it once live at Northern Mystics netball game, and then reunited onstage at Toast Martinborough in 2015. “I went along to that wearing my TrueBliss T-shirt from 1999, and I got talking to them there,” says Hailwood. “I asked Megan ‘how much would it cost to get you girls together for my 40th?’ and she’s like ‘just get us down there, get us a hotel, and we’ll do it.’”

Enlisting a friend to dress up as ‘Number One’ era Carly Binding, Hailwood has treasured memories of TrueBliss performing at his 40th birthday party. “Everyone seemed to really enjoy it,” he says. “And thankfully most of the people in the room got the reference.” 

Hailwood has now found himself as TrueBliss’s unofficial band manager – he runs their social media accounts and is organising new merchandise drops and a re-release of Dream on vinyl. “It’s about trying to preserve a bit of their legacy,” he says. “I think it’s important that we recognise this pop culture moment for what it was – our culture can’t just be knowing who won the Rugby World Cup in 2003, there should be a place for all of it.”

The band’s appearance on Anika Moa Unleashed, the Popstars reboot in 2021 and members popping up on Celebrity Treasure Island have all seen renewed interest in the band, but it took this year’s 25th anniversary for TrueBliss to put on the reunion concert Pugh had been waiting for since her clip art presentation back in 1999. “I’m an adult with my own money now so I did everything I wanted to do back then – I flew up, I got a T-shirt printed… it was my Eras tour.” 

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Seeing her favourite childhood band back together was “brilliant” says Pugh. “It felt like a reward for me holding them in my heart for 25 years,” she says. And, in a lifelong dream that had been a quarter century in the making, she was finally able to meet the band after the show. “I don’t think I made a whole lot of sense, because I was just a wreck,” laughs Pugh. “I just wish I could tell that 12- year-old girl crying the day after the concert that it was going to be OK.” 

“You’ll see them again – it’s just going to take 25 years.”

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• 11 May, 2020

Grand Egyptian Museum receives King Khufu gift

being put on display in a special museum on Giza Plateau, the 4,600-year-old boat that belonged to King Khufu is to be transported to the Grand Egyptian Museum The 45-metre “solar ” – a ritual vessel intended to carry the resurrected king – is believed to have been made for the pharaoh Khufu, also known […]

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Egypt opens the Royal mummies hall to visitors at the new Civilization Museum

The Royal Mummies’ Hall of the NMEC opened to the public on Sunday. The Mummies’ Hall is specially designed to display the mummies belonging to kings and queens from the 17th, 18th, 19th and 20th dynasties that ruled ancient Egypt over 3,000 years ago.  Royal Mummies Hall at Cairo’s new National Museum of Egyptian Civilization […]

How to spend the perfect summer in Egypt

Egypt has mainly two seasons: winter and summer. Winter starts in November and ends in April, and summer begins in May and lasts until October. Summer in Egypt is dry and might be scorching at certain times of the day, hence now of year is taken into account the off-season for tourism.  While the climate […]

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ethnographic food tours | culinary trips | food research lab

immersive, meaningful & fun experiences through food, culture & people.

We are pleased to announce that 𝗢𝗵! 𝗠𝘆 𝗖𝗼𝗱 Food CulturalTours & Trips 𝘄𝗮𝘀 𝗱𝗶𝘀𝘁𝗶𝗻𝗴𝘂𝗶𝘀𝗵𝗲𝗱 𝗮𝘀 𝘁𝗵𝗲 𝗯𝗲𝘀𝘁 𝗖𝘂𝗹𝘁𝘂𝗿𝗮𝗹 𝗮𝗻𝗱 𝗟𝗮𝗻𝗱𝘀𝗰𝗮𝗽𝗲 𝗧𝗼𝘂𝗿𝗶𝗻𝗴 𝗽𝗿𝗼𝗷𝗲𝗰𝘁, by the Ibérico Heritage Awards and AR&PA Bienal Ibérica de Património Cultural, in the 2023 edition. These prizes are a tribute to all the good practices in the field of cultural heritage in the Iberian peninsula. Thank you to the juris and to everyone who supported us! Including our hosts, food experts and cultural mediators!

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ORIGINAL LISBON FOOD & WINE TOUR

The original food tour of Lisbon since 2016. Take a walk through history and contemporary life. Discover one of Top Gastronomic Experiences in the World, with more than 5000 five-star reviews on several platforms. Portuguese Cuisine and its influences in 4 food stops, 3 districts and 17 tastings.

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5 DAYS ALL-INCLUSIVE CULINARY TRIP IN THE AZORES ISLANDS

The Azores islands are an internationally certified sustainable destination and the remote island of Pico is yet to know the effects of mass tourism, welcoming each visitor to its black and green landscape in a distinctive and slow-paced way.

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Umami & Garum Lisbon Food Tour

The only Food Tour in Portugal exploring taste of umami and the Roman techniques of fish conservation perfected by a Portuguese Chef. Be one of the first to dig the head and the tongue on those artisan products in savoring balanced, local, and gourmet fish recipes.

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Portuguese diner and sunset cruise in Lisbon

Discover the city from the water while connecting with amazing locals through delicious food, win and music on this Lisbon sunset sailing tour.

Fado, organic wines & 'caldo verde' in Alfama

After a short walk in the old Alfama district, this gastronomic and cultural event intends to create an immersive, gastronomic and cultural experience to introduce you to Portuguese wines, food and Fado music!

The first way to get to know our country is through its food. The second, is to join us!

I was inspired to merge my academic in Transcultural Psychology and Cultural Anthropology, my love for Portugal & food with a conscious travel mindset, to create impactful & meaningful experiences . Since 2016, we support local communities and connect travelers with social & cultural subjects , in a fun, ‘foodie’, & informative way.

Delicious food with locals, it’s the best medium to discover a country, go deep into contemporary culture and cross several layers of history.

Our model of Slow Food Travel and food experiences is made up of meetings and exchanges in small-group food and cultural experiences. Food tours, meetings with farmers, winegrowers, or cheesemakers, cooking classes, food trips, you choose!

Experience options suitable for vegetarians, gluten-free foodies, pescatarians, lactose intolerant, and keto diet travelers.

Experiences grounded on notions of transcultural cuisine and glocal , supported by critical thinking which we apply to our personal experiences but also to history and culture.

Food, as the gateway to local and global history, as the way to express counter narratives, power relations, social changes, migrations and even gender roles.

Who said a big group can’t have an intimate, fun, authentic, and immersive food and cultural experience? With us, they now can!

Our secret relies on how carefully these experiences are curated, the quality and dedication of each service and partners (cooks, wine experts, boat service, professional fado singers, the Oh! My Cod Food & Cultural hosts).

All these factors allow that any detail counts – even the smaller ones – and that every person is seen, listened to, guided and truly hosted by each of the Oh! My Cod Food and Cultural local experts.

All our food, walking, and sightseeing tours were granted the Clean & Safe certification by Turismo de Portugal (Portuguese Tourism Board). This label declares that we abide by all the requirements defined by our national tourism board, following the guidelines of the World Health Organization regarding prevention and control related to COVID-19.

5-STAR REVIEWS FROM OUR CLIENTS

Absolutely amazing time. Would recommend to anyone. The trip was very relaxed, with some great company who we met on the day. Our host (Silvia) was extremely welcoming and friendly (as was everyone on the boat). The boat itself was fantastic, as were the route and views. The swim partway through was also very enjoyable, maybe my favourite part! Before we finished we had a few tastings coupled with some wine, but I won’t give too much away as part of the fun is tasting & guessing. Can’t recommend it enough.

A Magical experience ....Great food, wine and people!! Sylvia is warm, bubbly and makes sure everyone is relaxed and enjoying themselves. She personalises the places we pass on the boat. Then there is Miguel a chef and Natacha the skipper who make it feel like one big family. I loved our serene swim towed behind the boat on a rope under the bridge and even saw Dolphins playing. I recommend this experience to all ages , whether you’re solo.a couple or a family you’ll have the time of your life. ... 100/100 points.

Silvia is truly an expert on all things Lisboa! She is so fun and personable and not only knows Lisboa gastronomy but city history as well. This is a food AND history tour. She shows the best spots in the city which I wouldn’t have ever found on my own. If you’re looking for an Anthony Bourdain-esque experience, THIS IS IT!

Unmissable experience! My fiancé and I had the pleasure of spending the evening sharing, talking, drinking and eating our way through Sílvia’s Lisbon. The food and drink was absolutely amazing and the knowledge and conversation at each stop made us fall in love with Lisbon more and more each time! You will definitely go home with a full stomach and will leave satisfied and with a new friendship in Sílvia! Thank you for sharing some of your passion with us and we hope to see you next time we visit!

We had the best afternoon with Silvie! She is so personable and warm and full of stories / memories from her life in Lisbon. Everywhere we went we could feel the mutual respect between her and the shop owners, restauranteurs, and merchants. We really felt like we were in the hands of a food & history expert! Each stop was she showed us was more delicious than the next, and we learned so much thanks to her wealth of knowledge as we meandered through the streets together. Thank you so much Silvia for all of your travel advice and for showing us around to your favorite spots!

AMAZING tour! Sylvia is super knowledgeable about Portuguese history and food and was so much fun to spend some time with. I got to try all sorts of food I wouldn't have known to try and also got a great tour of Lisbon. Cannot recommend this tour highly enough, a must do if in Lisbon.

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Idina Menzel Opens Up About the ‘Versatility’ of Her Career That Inspired Her Take Me or Leave Me Tour

The superstar is heading out on her first tour in nearly a decade.

By Rania Aniftos

Rania Aniftos

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Idina Menzel is heading back out on the road.

The superstar announced her Take Me or Leave Me Tour exclusively via Billboard on Tuesday (April 23), marking her first tour in nearly eight years. “I was really missing the connection with my fans,” she tells Billboard of the decision to tour again. “I have my new musical Redwood at La Jolla Playhouse that I’m passionate about, and it’s been occupying me. I thought, if that goes through another iteration, I wanted to make sure I got my time with my fans from a personal perspective as opposed to through a character.”

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The beloved actress’ tour will feature a career-spanning setlist of hits, which she’s currently putting together and stays “up all night thinking about,” and she promises an “eclectic” mix of hits from her own albums and jazz standards as well as musicals she’s performed in like Wicked , Rent and, of course, Frozen . “I often wrestle with the fact that I often assume that people will be bored if I sing the same songs over and over, like ‘Let It Go’ or ‘Defying Gravity,'” she shares. “I’m always trying to rewrite things, discover or cover new songs, reinterpret them and then I always get this feedback of ‘No, we want to hear these songs!’ I’m trying to strike a balance between performing songs the way I think my audience would want to hear them and feeling like, as an artist, that I’m growing and singing the songs in a way that their lyrics resonate with me. I juggle it and then I sit with my band and we play with it and assess it and sort of see what kind of floats to the top.”

Artist presale tickets for Menzel’s tour as well as VIP packages will be available starting on Wednesday (April 24) at 10 a.m. local time. General on-sale for tickets begins Friday (April 26) at 10 a.m. local time. See the full list of dates below, and check out the venues and ticket information here .

July 19 – Seattle, Washington July 21 – Oakland, California July 23 – Los Angeles, California July 25 – Mesa, Arizona July 26 – Highland, California July 27 – Las Vegas, Nevada July 30 – Austin, Texas July 31 – Dallas, Texas August 2 – Atlanta, Georgia August 3 – Charleston, South Carolina August 4 – Orlando, Florida August 6 – Auburn, Alabama August 7 – Greenville, South Carolina August 9 – Chicago, Illinois August 10 – Pittsburgh, Pennsylvania August 11 – Detroit, Michigan August 13 – Toronto, Ontario, Canada August 15 – New York, New York August 16 – Hershey, Pennsylvania August 17 – Washington, DC August 18 – Greensboro, North Carolina

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RBC Heritage: How to watch Monday finish, live scores, tee times, TV times

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A Monday finish will take place at the RBC Heritage after the final round was suspended due to darkness Sunday evening at 7:45 p.m. ET. Play resumes at 8 a.m. on Monday morning as Scottie Scheffler looks for back-to-back wins for a second time this season and his fourth win in five starts. The world No. 1 holds a five-shot lead with three holes remaining. This will be the second unscheduled Monday finish on the PGA TOUR this season and first since the Cognizant Classic in The Palm Beaches.

Here's everything you need to know to follow the action.

HOW TO FOLLOW (all times ET)

Television:

• Monday: 8 a.m. (Golf Channel, Peacock)

PGA TOUR Radio on SiriusXM and free on PGATOUR.COM/liveaudio :

• Monday: 8-9 a.m.

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2024 RBC Heritage leaderboard: Scottie Scheffler nears fourth win in five starts with event to finish Monday

Weather prevented the final round from completing, but scheffler is well on his way to continuing his hot streak.

Scottie Scheffler's fourth victory in his last five tournaments will have to wait one more day. With the 2024 RBC Heritage experiencing more than a 2.5-hour weather delay Sunday, tournament action was unable to be completed before nightfall; it will instead leak into the work week. The final round at Harbour Town Golf Links will resume Monday at 8 a.m. ET with Scheffler holding a five-stroke lead at 20 under.

The world No. 1 is well clear of his nearest pursuer, Wyndham Clark, with three holes left in his tournament. Clark, meanwhile, is in the clubhouse at 15 under hoping for another runner-up check behind Scheffler. Others on the golf course like J.T. Poston, Patrick Cantlay and Sahith Theegala stand at that same number with holes to play.

Monday morning may only be a formality as Scheffler looks to be in control of just about everything -- like he has been the last two months.

Scheffler began Sunday in Hilton Head Island with one arm already slipped in the tartan jacket. Possessing a one-stroke lead, the Texan was crowned by many late Saturday evening despite the bevy of stars who had plans to upend him.

After knocking in a 6-foot par save on the 1st, Scheffler more or less turned those predictions into a reality. Chipping in for eagle on the par-5 2nd from long of the green (his 11th hole-out from off the green this season), Scheffler opened a three-stroke lead on the field and never looked back.

Charges were made by many, including a familiar foe in Clark, but none were that threatening. The reigning U.S. Open champion turned in 7-under 29 and tacked on another birdie on the 11th to get within one of Scheffler, but the pressure of perfection proved too much.

Hitting a tree with his second shot on No. 12, Clark's ball ricocheted out of bounds and led to a double bogey. Another dropped shot came on the following hole and all but secured another near miss from the U.S. Open champion.

Collin Morikawa, Ludvig Åberg, Cantlay and Theegala all hovered on the first page of the leaderboard but never truly threatened. Instead, it was Patrick Rodgers who emerged as Scheffler's greatest threat thanks to an eagle-2 at the turn. A bogey a few holes later put an end to his Cinderella story.

Remaining in the wake of mistakes was a spotless Scheffler at 19 under, four ahead of the field. Turning in 3 under, the steadiest man in the game marched forward with a heavy diet of fairways and greens before a spell of thunderstorms halted his momentum on the par-4 12th.

Inclement weather was all that could stop Scheffler as the 27-year-old returned to the golf course more than two hours later and resumed his round without a hitch. While temperatures cooled and winds freshened, Scheffler was unaffected.

He picked off a birdie on the 13th to push his lead to five before a mud ball on the 15th led to his second finding the water on the par 5. It didn't matter as Scheffler launched a pitching wedge onto the surface, spinning it left and utilizing the slope to access the tucked pin. He avoided what would have been his first dropped shot since the 3rd hole on Thursday with an emphatic par save, and he will sleep easy Sunday night knowing five strokes separate him from the field and three holes separate him from victory.

Rick Gehman, Kyle Porter, Patrick McDonald and Greg DuCharme discuss Scottie Scheffler's hold on the RBC Heritage, Nelly Korda's fifth straight victory and Miles Russell finishing top 25 as a 15 year old. Follow & listen to The First Cut on  Apple Podcasts  and  Spotify .

Play called for evening

The final group is on the green on the par-5 15th meaning they will have three holes to play on Monday. Scottie Scheffler faces a par putt from 10 feet to maintain his five-stroke lead as he stands at 20 under.

Five clear with five to go!

The only thing that can stop him is the sunlight at this rate. Scottie Scheffler adds a birdie on 13 to get to 20 under and five clear of the crew at 15 under. Without the world No. 1 this tournament would be very, very good, but alas they are all fighting for first flight honors it appears.

Conditions are considerably harder for these guys. The wind has switched, it's about 10 degrees cooler and they are racing against the clock. Scottie Scheffler and Sepp Straka make par on No. 12 and head to the par-4 13th. Wyndham Clark posts the clubhouse lead at 15 under, four behind Scheffler.

Let's play ball!

Players are on the golf course and play is set to resume. Scottie Scheffler in the final pairing has about 7.5 holes remaining and one hour until sunset meaning this thing is probably going to leak into Monday unfortunately. 

Play to resume at 7 p.m.

Coverage information, play to resume at 6 p.m. et.

The expectation is this thing will be finished today as the range is open and play is set to resume in 40 minutes at 6 p.m. ET. This will leave Scottie Scheffler a couple hours to complete just about seven holes as he left off in the middle of the 12th fairway with a four-stroke lead at 19 under.

Play suspended due to weather

The horn has sounded at 4:28 p.m. ET as a large weather system (with lightning) has engulfed Harbour Town. This comes as Scottie Scheffler stands in the 12th fairway with a four-stroke lead at 19 under over a number of pursuers up ahead of him on the golf course. Players are being brought back into the clubhouse as rules officials make an assessment on when play will return.

Rain comin' down hard

Scheffler turns in 33 with three-stroke lead.

Scheffler lets a chance slide by on the short ninth and will instead settle for a 3-under 33 on his front nine. It was highlighted by his eagle-3 on the par-5 2nd and Scheffler will head to the back side with a three-stroke edge.

Theegala thriving

Theegala cards four 3s in a row to end his front nine and get within four of Scottie Scheffler. Sahith spoke yesterday about how cool it is what Scheffler is currently doing and how it is a motivating factor for someone like him to get better. It's a great perspective and Theegala continues to get better and better, but it may not be enough this week as he is four behind with nine to go.

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It is decision time for Jets general manager Joe Douglas — playmaker or protector?

That is what the decision at pick No. 10 in the first round of Thursday’s NFL draft is expected to come down to for Douglas.

Does he feel the Jets need to get another pass catcher for Aaron Rodgers or another player to keep him upright?

Whatever happens ahead of them, the Jets feel confident they will be able to land a good player at No. 10.

“We definitely have 10 players that we’re excited to take,” Douglas said last week. “We’re ready to roll.”

There could be four quarterbacks taken in the first five picks, which would help push down non-quarterback talent toward the Jets.

They could be looking at one of the top three wide receivers — Marvin Harrison Jr., Malik Nabers or Rome Odunze — falling to them or getting to a point where Douglas moves up to take one.

Then, there is Georgia tight end Brock Bowers, who seems to be the most popular player linked to the Jets in mock drafts .

Bowers scored 31 touchdowns (26 receiving, five rushing) in three years at Georgia and can line up all over the formation.

He is the consensus top tight end in the draft and considered one of the top five players in the draft by some draft evaluators.

If the Jets do select Bowers or a wide receiver in the first round, it will give the offense a weapon to go along with Garrett Wilson and Breece Hall and help Rodgers, who has never completed a pass to a wide receiver or tight end drafted in the first round by the team he was on.

Douglas did not use any names but commented on what was available this year in the top 10.

“There’s a lot of special players on the offensive side of the ball and guys that are playmakers and top-level blockers, top-level playmakers, dynamic playmakers and they’re all a different flavor,” Douglas said, “whether you want a precision route runner that’s super productive, whether you want an explosive just freak, whether you want a high-level route runner that can go up and get the ball and also run by people. There’s different flavors in blockers too. A tight end that’s a Swiss Army knife and can move all around the formation and can really stress the defense. It’s a really cool group.”

Bowers is the Swiss Army knife and we’ll see if Douglas wants to add that to his offense.

Douglas did not tip his hand in his pre-draft press conference, but did talk about how much a good tight end can help an offense.

“If that tight end can become someone that turns into what Kansas City [has in Travis Kelce], San Francisco [has in George Kittle], what [Sam] LaPorta did last year in Detroit,” Douglas said, “those are dynamic weapons for your offense and guys that put a lot of stress on your defense because they can create mismatches. It’s hard to put a linebacker on those guys. You put a DB on one of those guys and it creates a size mismatch. You put a safety on those guys, he better be able to run, he better be able to play man coverage. The right type of tight end can be a real weapon.”

The argument against taking a pass catcher is that Rodgers is 40 years old and coming off an Achilles injury that could hinder his movement.

The Jets signed Tyron Smith and traded for Morgan Moses to play tackle.

Both players are 33 and have recent injury histories.

The odds are low that both are going to be healthy for 17 games and their time with the Jets could be limited to this year.

Taking a tackle at No. 10 like Oregon State’s Taliese Fuaga, Penn State’s Olu Fashanu, Alabama’s J.C. Latham or a versatile lineman like Washington’s Troy Fautanu would address depth now and give you a possible long-term starter on the line later.

The team’s offseason moves up to this point have indicated an “all in” mentality for 2024.

Taking a pass catcher over a lineman would continue that trend.

A year after trading for Rodgers, it is all about what sets him up for the most success.

We’ll find out Thursday night if Douglas thinks that is a playmaker or a protector.

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