When thinking of defining artists of the 21st century, it doesn't take long for Adele to come to mind. Since her rise in the late 2000s, the London-born singer has captured the hearts of millions with her disarming wit and a powerful voice that is practically unmatched.

In the 15 years since her debut album, 19, introduced her to the world, Adele has reached heights few others ever achieve. She's one of the best-selling artists of all time, she has collected countless awards (including 16 GRAMMYS), and she has sold out arenas around the globe. Between the unabashed honesty of her lyrics and the gravity of her voice, Adele's music has earned her enduring adoration.

Adele's charm and cultural impact have most recently come to life through her sold-out Las Vegas residency, Weekends With Adele. The shows — which initially ran from November 2022 through this March — are a journey through many of the mega-hits fans love, and a celebration of her illustrious career so far. They've seen such acclaim and high demand that Adele added 34 more dates through Nov. 4, kicking off June 16.

As Adele begins the second leg of her Vegas residency, GRAMMY.com looks back at some of the defining songs from beloved superstar's discography.

"Hometown Glory," 19 (2007)

Technically the fourth single from 19, "Hometown Glory" is actually the first song Adele wrote. It was originally released as an introductory standalone single in 2007, giving a glimpse into Adele's relatable songwriting.

While there are elements that make it unique — like an extended piano intro before Adele begins to sing — it's still easy to pick up on the traits that would later make her a star. The vocal intensity is already there, as is her love for human connection. "The people I've met are the wonders of my world," she sings on the chorus, a sentiment that would carry on throughout her career. 

"Chasing Pavements," 19 (2008)

The single that put Adele on the map, "Chasing Pavements" contains many of the elements that define 19. It leans more heavily into the singer/songwriter world than Adele's later work, with verses scored by mellow and understated guitar — a contrast to the big, powerful chorus that incorporates soulful melodies and jazz-like horns.

"Chasing Pavements" gave Adele early success and recognition, becoming her first entry on the Billboard Hot 100 and her first Platinum single. It also snagged the singer her first GRAMMY (for Best Female Pop Vocal Performance) as well as nominations for Record and Song Of The Year.

"Rolling in the Deep," 21 (2010)

Adele cemented her staying power with her sophomore album, 21. The first offering from the LP, "Rolling in the Deep," perfectly introduced the more expansive sound and power of the new record. Driving, forceful production from Paul Epworth is matched by a more confident, determined Adele, as she lays into a terrible ex: "Think of me in the depths of your despair/ Make a home down there, as mine sure won't be shared."

Adele's assertiveness spoke to listeners: "Rolling in the Deep" became her first No. 1 single and helped her win the trifecta of Record, Song, and Album Of The Year at the 54th GRAMMY Awards.

"Rumour Has It," 21 (2011)

Coming right after "Rolling in the Deep" on 21, "Rumour Has It" arrives with a bang. Co-written and produced by Ryan Tedder, the track is all soul and blues, built on looping vocal harmonies and a funky guitar line.

More than anything, this track showcases Adele's writing range, proving that she can pen an uptempo pop pleaser alongside her slower ballads and heartstring tuggers. The rhythmic clapping, vocal flourishes on the bridge, and piano outro all helped Adele unleash her feisty side that audiences hadn't seen much of at that point.

"Someone Like You," 21 (2011)

The new musical elements introduced on 21 undoubtedly helped Adele reach new levels of success and artistry. Even so, one of its standout tracks is a reminder that she doesn't need a lot of help to shine.

"Someone Like You" is as simple as it comes — nothing else but Adele and a piano. The result is perhaps her most well-known ballad, which laments on the ending of a relationship with intense emotion. Its connection with listeners and massive success — another No. 1 spot on the Hot 100, a GRAMMY, and six-time platinum certification — on the heels of "Rolling in the Deep" were instrumental in propelling Adele's career forward.

"Skyfall" (2012)

Writing a theme song for a James Bond film is a big deal — and means you're a big deal. One of the most storied franchises in film history, the Bond movies have included themes written by stars like Paul McCartney and Madonna. Adele joined that list in 2012 with "Skyfall," the titular theme for Bond's 23rd adventure.

The track allows Adele to lean more into her theatrical side, with dramatic lyrics soundtracked by swelling strings and horns. It's a thrilling listen, and gave Adele an Oscar for Best Original Song — the first Bond theme to ever win the award.

"Hello," 25 (2015)

After the massive success of 21 and "Skyfall," Adele went on hiatus for three years. While rumors swirled about an album in early 2015, she didn't confirm her third record, 25, until a month before its November release. Along with confirmation came "Hello," an earth-shattering return that portended 25's acclaim and success.

The album's opening track, "Hello" finds Adele revisiting an old flame in signature fashion: a soaring chorus that puts her towering vocals on display, amplified by awe-inspiring percussion instrumentals from producer Greg Kurstin. The single remains one of her most successful, hitting the top spot on charts around the world, going seven times platinum, and earning her Record and Song Of The Year at the 59th GRAMMY Awards.

"Water Under the Bridge," 25 (2015)

By this point in Adele's career, it was clear that she could master any song or production you give her. While 21 expanded the number of genres she pulled from, 25 introduced maximalist pop production to embellish her bluesy tone.

"Water Under the Bridge" is a perfect example of one of Adele's sonically densest tracks. Another Adele/Kurstin collaboration — with help from another new collaborator and pop mastermind, Max Martin — the upbeat track features a chorus that fills the senses with piercing drums and layered backing vocals, all of which beg to be played at full volume.

"River Lea," 25 (2015)

Alongside pop delights and powerful ballads, Adele tapped into gospel on 25 with "River Lea.". While Adele dabbled with gospel influences before, it was never as openly as the haunting keys that comprise the main instrumental.

Production is provided by the multi-instrumental Danger Mouse, who sprinkles a hip-hop beat into the otherwise haunting track. The result is one of Adele's most arresting tracks, with a sound that's equal parts old-school dirge and pop hit.

"Easy on Me," 30 (2021)

In the six years between 25 and Adele's fourth album 30, her world fell apart. Besides the impact the pandemic had on the world, she and her longtime partner Simon Konecki divorced. Much of 30 finds Adele coming to terms with life after marriage. This includes lead single "Easy on Me," which sees her asking for grace as she figures out how to move on.

The piano-backed track is full of pain and sadness, with the hurt evident in her voice as sings lyrics like "I changed who I was to put you both first/ But now I give up." It set an early picture of Adele's emotional state, and offered poignant foreshadowing to 30's journey of healing and moving forward.

"My Little Love," 30 (2021)

Adele has never shied away from being vulnerable, but "My Little Love" may be the most open she's ever been on a track — and perhaps that has to do with the song's subject, her son Angelo. A slow burning, jazzy piano tune, "My Little Love" Adele continues to explore her feelings over how the divorce has impacted her child.

What really sets the song apart is the inclusion of voice notes that contain Adele's own musings in the immediate aftermath of her divorce, as well as snippets of conversation between her and Angelo. ("Mummy's been having a lot of big feelings recently," she tells Angelo on the bridge; "I feel a bit frightened that I might feel like this a lot," she admits at the song's close.) It's a stunningly raw look at Adele's personal life unlike anything she had delivered before.

"Can I Get It," 30 (2021)

Anyone who has watched an Adele interview or seen her live knows that, despite being known for singing sad tales, she has a charmingly funny personality. As clips of her Vegas show highlight, she loves to tell jokes, and has a bright, lively presence — and "Can I Get It" is a musical depiction of that.

In the middle of a rather heavy album, "Can I Get It" is straight fun, with a groovy production from Martin. It showcases Adele's jovial side, with some of her flirtiest lyrics ("You tease me with your control because I long to live under your spell.") It's one of many ways Adele has shown both her emotional range and musical versatility — a combo that has made her an incomparable pop legend.

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Superstar Ariana Grande has officially announced the release of her next studio album — and per usual, she sent the internet ablaze. Fans of the two-time GRAMMY-winning pop singer can mark their calendars for Grande’s official return with eternal sunshine on March 8.

Grande has been topping charts for more than a decade after first breaking into the top 10 of the Billboard Hot 100 with her debut single, "The Way," featuring Mac Miller, from her debut album, 2013’s Yours Truly. 

Just days before announcing eternal sunshine — her first album since 2020’s Positions — Grande released the lead single "yes, and?" which teased a new disco-inspired sound that has fans and critics alike abuzz for more. 

Ahead of the release, here’s everything GRAMMY.com currently knows about eternal sunshine. 

The Album Will Be Released On March 8

On Jan. 17, Grande unveiled the album’s cover art, title and March 8 release date on social media. The singer’s mom took to her daughter’s Instagram post to share her elation about the upcoming release. "woooohoooo!!! here we f—ing go!!!" she wrote. "you're incredible ... the album is perfection!!! so proud.. Xooxxox". We love a proud mom moment.

The Artwork Reflects A New Direction

In a striking departure from her neutral style, Grande dons red lipstick in the cover art for eternal sunshine. A powerful statement, this deliberate and unapologetic choice stands as a potent symbol of confidence, defiance, and courage.

The album’s cover art, featuring a close-up, partially obscured shot of Grande’s face with a soft motion blur, also reflects the tumultuous swirl of media attention surrounding her personal life. It sets the tone for the album, signaling a new era of boldness and artistic maturity. Grande appears to be reclaiming the narrative, transforming a symbol traditionally associated with stigma into one of strength and resilience.

She’s Working With Max Martin Again

Grande’s back to work with GRAMMY-winning producer and songwriter Max Martin, who has co-written and co-produced songs on five of her seven albums. After not collaborating on 2020's Positions, Martin is seemingly back on board for eternal sunshine, as he co-wrote "yes, and?". ( "yes, and?" was co-written and co-produced by another frequent Grande and Martin collaborator, Ilya Salmanzadeh.)

She’s Ready To Clap Back

As Grande released "yes, and?" on Jan. 12, she also sent a message with the music video; it’s a direct response to fans, critics, and commenters judging Grande’s life and career. 

The video opens with a skit that features naysayers, making watercooler commentary including, "I mean who cares if she’s happy. I don’t want happy, I want art," and "I think I liked her better when her ponytail was a few centimeters higher." After being ushered and sat in a room full of stone statues, the characters watch astonished as the statues crumble and Grande appears to stomp over the rubble before launching into the disco-inspired dance track. 

More pops of red appear throughout the otherwise monochrome video: a red invitation from “Ari” that appears in the first few seconds of the skit and Grande’s own glossy, manicured nails. 

Her Fellow Superstars Are Pumped

Momma Grande isn’t the only one excited for eternal sunshine. When Ari posted photos and video clips from the studio on Instagram in December, she had several celebs screaming with joy. 

"FINALLY," commented Selena Gomez, with Billie Eilish eagerly demanding, "UN MUTE PLS" and SZA adding, "Oh this bout to eat." But Grande’s frequent co-writer Victoria Monét may have put it best: "She’s HOME!"

She’s Already Back To Topping The Charts

Although Billboard charts were unavailable as of press time, "yes, and?" premiered at the top position on the Spotify Global Chart, marking her most significant streaming debut on Spotify ever. The single also secured the No.1 position on Apple Music Top 100 Global Chart and the official music video for the single "yes, and?" grabbed the top spot on YouTube’s Trending For Music category. 

If that success is any indication for what’s to come upon eternal sunshine’s full release in March, Grande’s return may be her most grande yet. 

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Britney Spears recently posted a message on Instagram that asserted she'd never return to the music business. She later deleted it, which could be taken as a sign that she hasn't made this big decision with such finality. But it was certainly an alarming statement to her diehard fans eagerly awaiting new music.

It's fair to hold out hope that Spears will want to be a public entertainer and recording artist again in some ways — after all, she did just release a memoir, The Woman in Me, in October, and the book reveals a healing woman. And, of course, she scored a worldwide hit in 2022 with Elton John in "Hold Me Closer." 

Even if she never releases another piece of music, Spears already has quite the legacy. Between five No. 1 singles on the Billboard Hot 100, six No. 1 albums on the Billboard 200, and a GRAMMY win, her mark on pop music is undeniable. Part of that impact is courtesy of "Toxic," the danceable smash that was released as a single in January 2004 (and won Spears her GRAMMY in 2005).

In honor of the 20th anniversary of "Toxic," GRAMMY.com surveyed the pop superstar's hits and deep cuts from 1998 to the present in order to break down some of the most essential tracks in Spears' catalog. Between beautiful ballads and brazen bops, let the reminiscing commence.

"...Baby, One More Time," ...Baby One More Time (1998)

Written and co-produced by powerhouse Swedish pop producer Max Martin — a frequent collaborator throughout Spears' career — the singer's debut single was rewarded with some of the highest honors of the music industry when she was just 17 years old.

"...Baby, One More Time" topped the Billboard Hot 100 chart and was nominated for Best Female Pop Vocal Performance at the 42nd GRAMMY Awards. It has since sold over 10 million copies, and to this day remains one of her defining hits. (And to think it almost wasn't hers: According to Yahoo! News Australia, the song was reportedly originally offered to the Backstreet Boys.)

The song's instantly meteoric success was undoubtedly catapulted by its memorable video, which sees Spears dance her way through private school halls in a (now iconic) skimpy uniform. Seeing it performed visually cemented her image as a young, belly-baring flirt with girl-next-door looks, approachable style and enviable dancing skills, an archetype that little girls everywhere wanted to emulate.

"Oops!... I Did It Again," Oops!... I Did It Again (2000)

Spears further played with her innocent image on "Oops!... I Did It Again," a sassy song that suggests suitors aren't exactly safe with their heart in her hands. It was nominated for Best Female Pop Vocal Performance at the 43rd GRAMMYs.

"I think I did it again," she sings at the top of the track. "I made you believe we're more than just friends." Spawning another classic video and another trademark look (this time, a red catsuit), "Oops" emphasized Spears' further pivot into naughtiness and had thousands learning her choreography in a pre-YouTube era. 

Another Max Martin and Rami Yacoub production, "Oops" stuck at No. 9 on the Billboard Hot 100, but the album of the same name debuted at No. 1 on the Billboard 200 and set first-week records for sales by a woman artist at the time with 1,319,913 copies sold.

"Lucky," Oops!... I Did It Again (2000)

"Lucky" is a peppy song with a sprinkle of sadness on top. Its titular character is a Hollywood girl who seems to have it all, but there's no one to share her success with, so she is lonely and cries at night. It was a poignant sentiment, given her fame at the time, and was re-examined by fans in recent years as she fought for freedom from her conservatorship overseen by her father, Jamie Spears.

While it didn't manage to break the top 20 of the Hot 100, "Lucky" has always been a fan favorite. The song did break through internationally, though, becoming a No. 1 hit in three European countries as well as on Europe's overall pop chart.

"Dear Diary," Oops!... I Did It Again (2000)

Spears has worked with a global roster of songwriters and producers over the years, but the Oops! ballad "Dear Diary" marked a special moment for the star: it was the first album cut that she co-wrote.

While Oops!... I Did It Again largely showed a maturing Spears, the innocence and sweetness of "Dear Diary" served as a reminder that she was still just a teenager in the beginning of her stardom. The track also seemingly gave her the confidence to co-write more of her songs, as she had a hand in writing almost half of 2001's Britney and almost all of 2003's In the Zone.

"I'm a Slave 4 U," Britney (2001)

Spears went rather gritty on the lead single to her third, self-titled album. While earlier singles may have had a sexy wink within their words, the lyrics of "I'm a Slave 4 U" took a deeper plunge into the erotic zone. "All you people look at me like I'm a little girl," she sings defensively. "Well, did you ever think it'd be okay for me to step into this world?"

Along with the racy lyrics, Spears' visual performances of the song — a music video depiction of a steamy basement club night and a VMA performance that included dancing with an Albino Burmese python around her neck — added more cultural moments to her repertoire. 

"Overprotected," Britney (2001)

Spears' massive fame made her an early paparazzi magnet and led her to be sheltered by her management, record label and family. These topics are addressed head-on over the soaring notes of "Overprotected."

"Say hello to the girl that I am/ You're gonna have to see through my perspective," she declares on the opening verse. "I need to make mistakes just to learn who I am/ And I don't wanna be so damn protected."

The anthem foreshadowed her future hit "Piece of Me" — and the struggle for independence she'd later fight for during her conservatorship — but ultimately showed that she isn't afraid to speak her mind and fight for what's hers.

"I'm Not a Girl, Not Yet a Woman," Britney (2001)

After two bold statements with Britney's first two singles ("I'm a Slave 4 U" and "Overprotected"), Spears pumped the brakes on the notion of her growing up too fast in the ballad "I'm Not a Girl, Not Yet a Woman." The song appeared on her third album, Britney, and in the soundtrack for the road trip dramedy Crossroads.

"There is no need to protect me," she sings powerfully on the track, which appears to mirror her experience in real life at that moment in time. "It's time that I/ Learn to face up to this on my own/ I've seen so much more than you know now/ So don't tell me to shut my eyes." 

"Toxic," In the Zone (2003)

"Toxic" is an uptempo whirlwind of sampled Bollywood strings and Swedish pop drama crafted by the popular dance pop producers Bloodshy & Avant. Another single that took on a life of its own visually, the video served up another set of iconic looks: the deadly assassin, the sparkly nude bodysuit and the perky flight attendant.

"Toxic" remains Spears' biggest hit as of press time, now certified six-times platinum by the RIAA and the only song with more than one billion streams on Spotify. It also won Spears her one GRAMMY, for Best Dance Recording at the 47th GRAMMY Awards.

And 20 years after its release as a single, "Toxic" has had remarkable staying power on the pop charts. As of 2023, the song appeared on the Hot 100 in three different incarnations: the original track and the mash-ups "Toxic Pony" by Altégo and "Toxic Las Vegas" by Jamieson Shaw. 

"Everytime," In the Zone (2003)

By this era of Spears' discography, fans were more than used to autotune and other processed treatments on her singing — but "Everytime" is Spears in a more vulnerable and unplugged state. Co-written by Spears, the slow, melancholic ballad hit even harder because it was released after her public breakup with Justin Timberlake.

Fans hadn't heard anything quite as sad from Spears in her career as the pining lyrics of the chorus on "Everytime": "And every time I try to fly I fall/ Without my wings/ I feel so small/ I guess I need you, baby." The song became a fan favorite for the rawness of her vocal delivery, and was also a personal favorite for Spears during her Las Vegas concert residency.

"Womanizer," Circus (2008)

Spears' father began his role as her conservator in February 2008. Seven months later, she released "Womanizer," the lead single to her sixth album, Circus — which proved that no one was going to hold her down.

"You say I'm crazy," she sneers on the chorus of the engine-roaring uptempo track, which pokes fun at recent troubles with her ex-husband Kevin Federline. "I got your crazy!" she adds, sarcastically.

While the song's message focused on telling off a, well, womanizer, its commercial success showed Spears' new conservatorship meant nothing for her staying power. "Womanizer" was her first No. 1 hit on the Billboard Hot 100 since "...Baby, One More Time" topped the chart in January 1999; it also earned Spears her seventh GRAMMY nomination, for Best Dance Recording at the 2010 GRAMMYs.

"If You Seek Amy," Circus (2008)

If the title to the sing-songy "If You Seek Amy" is said out loud, it sounds like a sexual proposition. And that's exactly what makes this Max Martin-produced track so enjoyable.

Despite everything she was experiencing in her personal life, it offered evidence that Spears still knew how to poke fun at her staying at the center of attention. It's a perfect time capsule to an era when she was most wanted by the paparazzi.

"Hold It Against Me," Femme Fatale (2011)

Spears' "Hold It Against Me" flips an old chauvinistic joke into girl power — another clever piece added to the singer's puzzle. After being objectified so much over the course of her career, this song was her bid to put an end to it.

"Hold It Against Me" continued Spears' late 2000s hot streak into the 2010s. It earned the singer her fourth No. 1 on the Hot 100, following the chart-topping success of "3," her cheeky ode to threesomes, in 2009. 

"Work B—," Britney Jean (2013)

Spears assumes a faux British accent for "Work B—," a bossy cut made for gyms or the club. "You want a hot body? You want a Bugatti? You want a Maserati?" she asks over an insistent beat. "You better work, b—… now get to work, b—!"

Shortly after the track was released in 2013, Spears told English talk show host Alan Carr that the song is a tribute to her gay male friends, with whom she uses the word b— playfully and affectionately as a term of endearment. It became both a gay club anthem and a top 20 hit on the Hot 100 chart, and the video revived interest in Spears' dancing chops.

"Slumber Party (feat. Tinashe), Glory (2016)

A slightly different sound for Spears compared to her pop and dance productions, "Slumber Party" features Tinashe with a lyrical cadence that is more in the R&B singer's realm. It's perhaps the Spears song with the most urban radio feel since "I'm a Slave 4 U."

Fans may also remember "Slumber Party" fondly for what was once a romantic reason: Spears' now ex-husband Sam Asghari was cast as the leading man in the lingerie-heavy music video; it's how they first met each other.

"Hold Me Closer" with Elton John, The Lockdown Sessions (2022)

What better way to celebrate a big feat than with a massive collaboration? Nine months after Spears' long-fought conservatorship was terminated, she dropped a team-up with none other than Sir Elton John.

The unexpected duo released "Hold Me Closer," a soaring duet that interpolates parts of John's beloved hits "Tiny Dancer," "Don't Go Breaking My Heart" and "The One" into a singular modern mix. And though Spears is more of a background vocalist, her first release in six years marked quite the comeback: "Hold Me Closer" topped the Billboard Adult Top 40 and the Hot Dance/Electronic Songs charts, and reached No. 6 on the Hot 100.

As of press time, "Hold Me Closer" is the last song that Spears has released to date. While it's possible that there may not be any more recordings to follow, it's also safe to say she has surprised the world more than once before.

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When Taylor Swift released "Shake It Off" — the lead single from her fifth studio album, 1989 — in August 2014, she couldn't have known just how apt the lyrics "I never miss a beat/ I'm lightning on my feet" would be to her career nine years later.

Since then, Swift has never missed a chance to shake up the industry, whether she's redefining artist and fan relationships or fighting for her masters. And Oct. 27 marks a special day in the Swift world, as it's not only the day her groundbreaking, genre-defying, and two-time GRAMMY-award-winning album arrived in 2014 — it also marks the day Swift takes it back with the release of 1989 (Taylor's Version).

At the time of the original's release, its name was inspired by the singer's birth year to mark a symbolic shift as she transitioned from a country singer to a pop star. She was tired of speculation around her love life, finding creative inspiration in other things, like a move from Nashville to New York and her friend's romances.

1989 sold over 1.2 million copies in its first week, making Swift the first artist ever to have three albums sell over one million copies in their first week. The album also helped Swift make history at the 2016 GRAMMYs, as its Album Of The Year win made Swift the first female solo artist to win the accolade twice. (She's since furthered her record with a third AOTY win for folklore in 2021.)

In the original liner notes, Swift touched on 1989 being an album about "coming into your own, and as a result... coming alive." In a way, she was prophesying everything she'd do in the subsequent nine years — from surprise albums to a larger-than-life tour to everything in between — by consistently reimagining and redefining what it means to be a pop artist today.

Now, the 1989 rerecording represents a different type of rebirth — one that, through the rerecording process, has given Swift a new perspective that has allowed her to come into her own all over again. "I was born in 1989, reinvented for the first time in 2014," Swift wrote in a note to fans on Instagram upon the (Taylor's Version) release, "and a part of me was reclaimed in 2023 with the re-release of this album I love so dearly."

As you blast 1989 (Taylor's Version), dig into seven ways the original recording helped pave the way for Swift to become a global superstar. 

It Proved Swift A Successful Genre Shapeshifter

After Swift's Red saw pushback from the country community for blurring the lines between country and pop, 1989 would see the singer take a hairpin turn and go full-on pop. The catalyst for a full-length pop album was Red's loss for Album Of The Year at the 2014 GRAMMYs — something that Swift admitted caused her to cry "a little bit" and then decide it was time to make the leap.

Like Shania Twain before her, Swift's move from country to pop caused controversy both within the music industry and in her own team. Her record label at the time were skeptical of the change — even prompting to suggest she still record some country songs — and required a "dozen sit-downs" to better understand why she wanted to leave country music behind.

Realizing that if she "chased two rabbits" by pursuing both country and pop she would end up losing them both, Swift opted to fully embrace the new chapter of her life that came with moving to New York, cutting her hair, and shaking off the media by leaning into where her music was taking her.

With racing production and synthesized saxophones, 1989's lead single, "Shake It Off," was a reintroduction to Swift's artistry — and hinted at the true mainstream pop star she'd soon become.

She Took A Stand Against Naysayers

As part of the campaign for 1989, Swift spoke about the critiques she's received as a female singer/songwriter that her male counterparts don't often face. In particular, she touched on artists like Ed Sheeran and Bruno Mars, who also write songs about their love lives, but don't get similar pushback. Due to the autobiographical nature of her songwriting, love is a constant theme in Swift's work. But on 1989 she looked at it differently — and did so by taking aim at the media.

Where Red's "Mean" was written for the critics who never have anything nice to say, the tongue-in-cheek "Blank Space" is pointed directly at all those who suggest she's a maneater. Almost like a B-side to "Shake It Off" — which reminds that "the haters gonna hate, hate, hate, hate, hate" — "Blank Space" serves as a satirical version of herself that gives a slight nod to how warped the media's perception is of her, singing "Got a long list of ex-lovers/ They'll tell you I'm insane/ 'Cause you know I love the players/ And you love the game."

She Enlisted Powerful Pop Producers

After working with Max Martin and Shellback on two of Red's biggest hits, "We Are Never Ever Getting Back Together" and "I Knew You Were Trouble," Swift recruited them again to bring their expertise and pop flair for her new era. (Martin co-wrote and co-produced seven of the 13 tracks, while Shellback worked on six of those seven; both were involved on two of the three deluxe tracks.) As a songwriter, Swift liked just how much writing with a pop mindset helped push her out of her own comfort zone, something she explored with Martin on Red.

Swift further expanded her list of pop-superproducer collaborators by teaming with Ryan Tedder on two tracks, "I Know Places" and "Welcome To New York." While it's the only time the two have worked together, it checked another dream collab off of Swift's bucket list.

1989 was also the first album Swift worked on with Jack Antonoff, who has since become one of her biggest collaborators. Though he only co-wrote/co-produced three songs ("Out of the Woods," "I Wish You Would" and deluxe track "You Are In Love"), Antonoff's work soon proved majorly successful for Swift and several other pop stars, including Lorde and Lana Del Rey. Antonoff even credits Swift as the "first person who recognized" his talent as a producer.

It Expanded On Her Narrative-Driven Storytelling

As Swift was growing up and becoming reflective, her music was mirroring that maturity. This led her to explore themes and moments in her life that would weave their way through the album and become part of a larger story. The secret messages she placed throughout 1989 detail how different songs work together as a larger picture.

After the release of "Shake It Off" and the announcement that 1989 would be a pop-centric album, some fans and critics were fearful that Swift's storytelling would weaken when placed in a typical pop format. Instead, the ethos of 1989 is entirely shaped by Swift's love of autobiographical writing. After becoming irritated by the media's obsession with her love life and calling her promiscuous, she pulled from larger creative artistic inspiration.

On the synth-heavy "Welcome To New York," the album's opening track, she sings about finding freedom after moving to the place that once intimidated her, whereas "New Romantics" is a call-to-arms that references the very synth-pop cultural movement in music in the '80s — something that inspired 1989 as a whole (more on that soon).

Songs like "You Are In Love," which was inspired by Jack Antonoff's relationship with then-girlfriend Lena Dunham, exhibits her ability to write about her friends' relationships. Even if she found inspiration in her own romantic life, she looked at it from a changed perspective — like on "Out of the Woods" which sound mirrored the anxiety she felt due to a fragile relationship. By using pop music as her own personal playground, she took what she learned as a songwriter in country music and created a place where pop music could be both catchy and emotional.

It Incorporated '80s Synth-Pop Production

At the time of release, 1989 was lauded as the most cohesive out of all of Swift's albums, due in part to the fact that she, Shellback, and Martin used 1980s synth-pop as inspiration. Citing the '80s decade being a defining era for experimentation in pop music, Swift saw how it mimicked her own journey as a redefined pop artist.

Despite 1989's exploration of heartbreak and pain, Swift and her producers juxtaposed the heavier themes with sounds that are similar to the larger-than-life tracks of the '80s, yet still resonated with listeners. It's a pairing and influence that Swift has incorporated throughout the albums that followed, like on "Paper Rings" from Lover, "Getaway Car" from reputation, and "Long Story Short" from evermore.

It Marks The Beginning Of Swift's More Mature Songwriting

Since most of Swift's songs were, at that point, mostly autobiographical and focused on her own love life, many cynics claimed that Swift should reflect and figure out why all of her relationships end in heartbreak. On 1989, she looks back on the experiences that shaped her — like losing a friend as heard on "Bad Blood" or predicting just how badly a relationship will haunt you on "Wildest Dreams."

"Clean," the final song on 1989, demonstrates Swift's prowess at using bigger concepts to both touch on her own personal experiences and still make it universally relatable. On the final track of the standard edition, she explores a broken relationship by using vices as a metaphor for being addicted to someone. It's a track that, since its release, has become a fan-favorite because of its relatable topics, like grief and healing.

Although songs across 1989 are tied together by love and heartbreak, Swift approaches the themes in a more introspective and independent way. Where earlier tracks like Taylor Swift's "Should've Said No" and Speak Now's "Better Than Revenge" are bathed in anger, on 1989 Swift views love with more experience, understanding that not everything is black and white — as heard on "Style" ("He says, 'What you heard is true, but I/ Can't stop thinkin' 'bout you and I'/ I said, 'I've been there too a few times'") and "This Love" ("When you're young, you just run/ But you come back to what you need.")

She Took Artist-To-Fan Engagement To A New Level

What has always set Swift apart from other artists is her level of fan engagement, whether on social media or in person. With 1989, she doubled down on her relationship with fans, introducing the Secret Sessions. 

In the lead-up to release week, Swift hand-selected 89 fans from across the US and invited them into her home. Swift personally entertained the crowd by playing them music from the album ahead of its release date and gave them bigger insight into the album-making process. She continued the Secret Sessions with 2017's reputation and 2019's Lover.

As she continues on the Eras Tour and releases 1989 (Taylor's Version), Swift also continues to redefine what it means to be a pop artist. Her era of pop stardom officially began with the release of 1989, and with its re-recorded counterpart, we get to relive that era all over again. 

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The song announces itself with a now-iconic two note keyboard riff. Then, the track's introductory words, so simple yet sultry: "Oh, baby baby." An electronic drumbeat clicks in and once the groove gets going, we're well on your way to music infamy.

Released 25 years ago on Sept. 29, 1998, Britney Spears' debut single, "...Baby One More Time," was a perfect pop confection. The title track of Spears' 1999 debut album,  "...Baby" made an instant superstar out of the Louisiana native and earned her a GRAMMY nomination for Best Female Pop Vocal Performance. 

The momentous track also helped usher in a new era of pop music culture, sound and production. Aside from making a household name out Spears and inspiring countless pop songstresses in her wake, it kicked off a historic streak of smashes for its enigmatic producer Max Martin, became one of the MTV generation's most iconic music videos and, for a time, shifted the center of pop from Los Angeles to Stockholm, Sweden.

In honor of its milestone anniversary, from its earworm sound, infamous video and commercial success, read on for 10 ways "...Baby One More Time" changed pop music and American culture forever.

It Marked Britney Spears' Big Break

Long before Spears turned into one of music's most recognizable stars, she was just another fledgling young singer searching for her way in the ruthless industry. 

After stints as part of "The New Mickey Mouse Club" and a turn on "Star Search," the young singer dodged two life paths that could have changed everything. First thinking that she'd develop a sound similar to Sheryl Crow, Spears then nearly joined the R&B girl group Innocence. But once the Kentwood, Louisiana native signed with Jive Records — which  had a working relationship with a group of buzzy producers in Sweden — the teen singer's future was sealed. 

The Song's Success Recentered Pop Production In Sweden

Jive executives had early success with the visionary Swedish producer Denniz Pop, who had a dream that his Nordic country would become the center of popular music. First producing hits for Ace of Base such as "All That She Wants," the mastermind subsequently crafted the Backstreet Boys' iconic sound (including "As Long as You Love Me"). His Cheiron Studios in Stockholm was named after the wise centaur who played a Lyre in Greek mythology. 

Just as his dream was coming true however, the producer was diagnosed with stomach cancer and died one month before the release of "...Baby One More Time" in August 1998. But while sick, he passed on his techniques and vision to a range of mentees including Max Martin, a former rocker turned pop-producer. "(The Cheiron sound is) direct, effective, (and) we don't show off," Martin said in 2001. 

It Launched Max Martin's Historic Career…

The melody of "...Baby" came to Martin as he was falling asleep. Not wanting it to escape him, he recorded it. "I remember listening back to (the tape) after (the song) blew up and you can hear me sort of go: 'Hit me baby one more time,' he recalled in a 1998 interview of the song he'd later write and producer. "Then I hear myself say, 'Yeah, it's pretty good.'" 

"...Baby" later became his first No. 1 Billboard Hot 100 hit of his ongoing career, a feat he reached a whopping 25 times with songs ranging from Taylor Swift's "Shake it Off" and "Blank Space" and The Weeknd's "Can't Feel My Face" to name a few. In fact, Martin is second-only to Paul McCartney and John Lennon as the songwriter with the most No. 1 hits in the history of the charts. 

…And Changed The Trajectory Of TLC's

TLC almost recorded the future smash. However, the R&B group were turned off by its lyrics, thinking that "Hit me" was meant to be taken literally. 

Said TLC member T-Boz of the decision: "I was like: 'I like the song but do I think it's a hit? Do I think it's TLC?' … Was I going to say 'Hit me baby one more time'? Hell no!" TLC would go onto record "No Scrubs" and "Cool" and "Unpretty," both of which marked the end of their hit-making era. 

It Established Spears' Signature Sound

Spears understood the melodic power of "... Baby One More Time" immediately. 

"The whole song is about that stress that we all go through as teens," Spears told the Guardian in 2018. "I knew it was a great song. It was different and I loved it, (but) I don't think you can anticipate how a song is going to be received." 

Martin was a big part of that. "I think Max is a genius. It all just came together and felt right. In my opinion Max is the greatest songwriter of all time." For their efforts, Rolling Stone later called "...Baby One More Time" the greatest debut single of all time. 

It Ushered In A New Pop Era

The first time Spears heard her song, she just hopped off an airplane. "It was so weird because we'd just got in the car, I'd just shut the door, and it came on," she recalled to Variety. "It was so overwhelming, I just started screaming. It was really cool, though." 

In the fall of 1998, it debuted at No. 17 and hit No. 1 on the Billboard Hot 100 for two consecutive weeks, later spending 32 weeks on the Hot 100 and earned platinum status. Speaking to its influence, the radio programmer Clark Ingraham later told the Guardian, "We'd been through an alternative cycle in the early to mid-'90s, and something of an R&B cycle after that. Britney was among the first big artists in a pop cycle that began in the late 1990s and continued into the early 2000s." 

The Music Video Is Iconic

One month before the song was released, Spears and director Nigel Dick descended on Venice High School in Los Angeles. Originally conceived as a cartoon, it was Spears who pushed for the now-infamous schoolgirl concept that exploded onto television screens. 

"The beauty of the video on some level is there's nothing fancy about it," Dick told Billboard in 2018. "It's very… ho-hum isn't quite the word, but it's very ordinary on some level, which is, I think, one of the reasons (why) Britney shines is because it's all about Britney." 

Nominated for four MTV Video Music Awards, the channel's "Total Request Live" called the video the Most Iconic of All Time.

The Video Turned Britney Spears Into A Sex Symbol

For better or worse, Spears's image was solidified with the video, which showed her scantily clad and landed her on magazine covers the world over.  

When it comes to her schoolgirl look in the video, Dick told Billboard: "My producer and the executive producer from the label — who are both women — go, 'No, I think that's a really good idea,'" he says of dressing the young star. "Music magazines said this artist was conceived by a bunch of dirty old men in a conference room wearing raincoats. Which, in my experience, was not how it occurred at all."

It Earned Spears Her First GRAMMY Nomination

Aside from its immense commercial success, "...Baby One More Time" helped Spears earn nominations for Best New Artist and Best Female Pop Vocal Performance at the 42nd GRAMMY Awards. She'd later win Best Dance Recording for "Toxic," among eight career nominations. 

"...Baby One More Time" Influenced Future Pop Songstresses

Britney Spears's debut and subsequent success influenced generations of young performers who were inspired by her voice, talent and image, altering an industry in her wake. 

Contemporaries including Christina Aguilera, later superstars including Miley Cyrus and Katy Perry, and modern names ranging from Dua Lipa to Billie Eilish have all pointed to Spears as major influences. "I have loved Britney Spears her whole career," Lady Gaga wrote in 2021. "I looked up to her and admired her strength. She empowered so many people, and still does."  

It's a stunning legacy, and it all started with a certain, unmistakable keyboard riff. "Oh, baby baby!"

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