"I'd lick the grief right off your lips."

Fans rejoiced at the tantalizing thought of new music from Billie Eilish after she captioned a passport-style Polaroid to her Instagram in January with those emotionally charged words. But the lyrics actually come from a hotly tipped singer/songwriter from the U.K. Eilish was referencing Arlo Parks' "Black Dog," a candid look at the realities of trying to help a friend living with depression. A year apart in age, Eilish and Parks represent a new generation of songwriters intent on tackling Gen Z's problems head-on.

It's not just Eilish who's singing the praises of Parks—the vanguard of the creative arts is rooting for the young singer. "Cola," from her 2019 debut EP Super Sad Generation, appeared in Michaela Coel's critically acclaimed HBO series, "I May Destroy You." Phoebe Bridgers and Florence Welch have shown love, too. Although the influencer generation has shifted the capacity to create stars from institutions to individuals, Parks has taken home a host of industry awards, too, landing a spot on the BBC Music Sound Of 2020 long list, which launched the careers of Michael Kiwanuka, Haim and Sam Smith, and NME's Essential New Artists For 2020 list.

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Parks has had a meteoric year, but she's remained undeterred by the pressure; she spent 2020 and early 2021 mostly confined to her childhood bedroom. She's gained and maintained a fan base via a social media presence as sincere and personal as her songs, emphasizing self-love and openness. Her lyrics tackle big subjects—unrequited love, addiction, mental health struggles, sexuality—and her vocals are tender, unflashy and inviting.

Themes like these are the bedrock of her debut album, Collapsed In Sunbeams, a series of vignettes describing friends and their problems tied together by a calm, wistful energy. (The album's title is lifted from British author Zadie Smith's 2005 novel, On Beauty.) Nodding to her influences, like Radiohead and Portishead, Collapsed In Sunbeams easily flits between lo-fi pop, R&B and the indie sounds of her youth. Yet the real beauty is in Parks' smart observations on life, which she tackles directly yet compassionately.

GRAMMY.com chatted with Arlo Parks about Collapsed In Sunbeams, her literature collection and how her heartfelt lyrics entered Eilish's imagination.

This interview has been edited and condensed for clarity.

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What are you reading at the moment? I learned a new Japanese word recently—tsundoku, or the art of leaving a book unread after buying it. Are you like that?
I'm definitely like that! My favorite thing to do is wander around quaint little book shops in SoHo, like Skoob Books, and buying 10 books at once. I've got Shampoo Planet by Douglas Coupland, This Young Monster by Charlie Fox and The Swimming Pool Library by Alan Hollinghurst on my desk, to name a few. There's something so comforting about books as a little physical world to explore, but making the time to read them is a different story.

Aside from your musical influences, which artistic figures inspire you?
I'm obsessed with sensory, muscular writers like Virginia Woolf, Zadie Smith, and Raymond Carver. Some special books to me are Just Kids by Patti Smith, Chelsea Girls by Eileen Myles and Blueberries by Ellena Savage. I'm also interested in [photographers] that capture youth culture and act like super-observant documentarians, like Wolfgang Tillmans, William Eggleston, and Nan Goldin.

In terms of films, I love Xavier Dolan—especially Mommy—[as well as] Wes Anderson's catalog, Vertigo by Hitchcock and quiet, sensitive films like In The Mood For Love by Wong Kar-Wai or Driveways by Andrew Ahn.

Can you remember which came first, writing stories or listening to music?
Listening to music came first. I remember sitting on the carpet in the living room and listening to everything from Françoise Hardy to My Funny Valentine by Chet Baker to Zombie by Fela Kuti. Music permeated the house, and the car rides to Sainsbury's. It's in all my conscious memory.

You're a prolific journal writer. Is that where your ideas for songs germinate?​
Definitely. This album was inspired by poring over old journals and picking out fragments of conversation, dissecting explosions of emotion and important stories [magnified] by adolescence. Journaling also allows me to have those quiet moments of introspection and makes me a more honest, focused, and experimental writer. Everything I write feeds into my songs.

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How did you go about recording Collapsed In Sunbeams?
It was recorded between my bedroom, a few Airbnbs, and two studios. I wrote the demos for "Portra 400" and "Bluish" in my bedroom and recorded the Bluish vocals at 3 a.m. at home. Most of the songs were written and recorded in Airbnbs in East London—Dalston and Hoxton.

It was a very organic and instinctive process. We approached this album on a song-by-song basis to make sure everything felt fresh, and the sonic palette was broad.

Your songs' emotional maturity is surprising given your age. Have you always been that emotionally in touch?

I've always been somebody who felt a lot all the time. That sensitivity and empathy is a big part of who I am, and I've always had a sense of self-awareness when it comes to my inner landscape. I learned a lot about emotion and communication just from being around very open people—from helping friends and understanding myself.

You've spoken elsewhere about being blessed with a supportive family, who helped with that emotional intelligence. What do they make of your new stardom? And what has it been like living with them while your career has skyrocketed?

They always say how proud they are of me, but there have been adjustments to be made. Being on TV or being recognized in the park, or being in the paper has taken some getting used to. It has felt so grounding to be surrounded by the people who know me and love me best during the chaos of this year, so I'm grateful for that. It's refreshing to watch some Hitchcock films with my mom or just chat with my brother between interviews. It centers me.

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"Black Dog" is particularly devastating, but elsewhere on the album, there's a more uplifting message. How can we maintain hope during this bleak period?
I think this album is an exercise in balance. Being a human being involves spikes of elation and dejection, and I wanted to explore both sides. Honestly, I would say try and make space for your own joy every day, whether it's going for a quick walk, getting a posh coffee, having a solo dance party or a bath with candles. Doing little things for yourself consistently and being aware that what is meant for you will not pass you by.

How do you feel about flaunting your influences? I can hear bits of Radiohead and Portishead.
It's super important to me. I'm a music lover before a music maker, and I love the idea of picking little elements of records I enjoy. Maybe a kick drum from [A Tribe Called Quest's] The Low End Theory, some guitar reverb from a Beach House song, a melodic approach from [Elliott Smith's] Either/Or, creating a unique collage.

I like paying homage to and basking in the songs that made me fall in love with music and allow me to fall more deeply in love every day.

Speaking of influences, Billie Eilish says she's a fan. So is Michaela Coel and Phoebe Bridgers. How do you cope knowing the cool kids are watching?
It's surreal to know that such powerful, unique human beings are a fan of my work. It's validating in a specific way because these are people I look up to.

You're very in touch with your fan base, particularly through your candid social media presence. What's been the most impactful fan reaction to your work?
I feel connected to my fans, there's a familial quality to [my] community, and I find that lovely. Someone said that "Eugene" helped them come out to their older sister and feel a sense of comfort in themselves and their sexuality. I also remember someone saying the only way their baby boy would sleep was listening to "Cola", which I thought was very wholesome.

Your natural lyricism and interest in words of all kinds lend themselves to rap. Can we expect that on future albums, or will you keep it centered around spoken-word for now?
Maybe so. Who knows? I'm a big fan of hip-hop. Artists like Navy Blue, MF Doom, and Earl Sweatshirt are so playful with language. The sky's the limit, and that's so exciting to me.

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In her latest track "Off Switch," Australian dance-pop artist VASSY captures the exhilarating intensity of a budding romance. She loves the rush but, at the same time, wishes she could fight the feeling, even if only for a few seconds.

"There's something electric between you and I/ The way we connected I can't describe/ We're right on the edge of blurring the lines/ Don't know why I'm scared of this rush inside," she sings in the intro. "I wish my heart, it had an off switch/ 'Cause, boy, I don't know how to stop this."

In this episode of Global Spin, watch VASSY deliver an acoustic performance of her track, playing guitar and using a pair of castanets for added rhythm.

VASSY released "Off Switch" on Jan. 5 with an electrifying music video swirling with vibrant neon lights. 

Recently she wrapped a string of appearances supporting Aqua's United States leg of their world tour and earlier this month, performed a headlining show in San Diego. On May 18, she will take the stage at the BASSINTHEGRASS music festival in Darwin, Australia.

Press play on the video above to watch VASSY's lively performance of "Off Switch," and remember to check back to GRAMMY.com for more new episodes of Global Spin.

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In April 1993, journalist Stuart Maconie coined the term Britpop for a Select magazine article celebrating the UK's fight back against the dominance of American rock. Remarkably, London four-piece Blur weren't even mentioned in the story. And yet, frontman Damon Albarn, guitarist Graham Coxon, bassist Alex James, and drummer Dave Rowntree would provide the catalyst for the scene's mainstream breakthrough.

Just a year later, Blur released what many consider to be Britpop's defining statement. Parklife served as a colorful, vibrant, and incredibly infectious love letter to all things Anglocentric, drawing upon the nation's great cultural heritage while also foreshadowing what was to come. And it instantly struck a chord with homegrown audiences desperate for guitar music that wasn't drowning in abject misery, and better reflected their day-to-day lives.

Remarkably, Albarn had predicted Parklife's success four years earlier. As he declared to music writer David Cavanagh in 1990, "When our third album comes out, our place as the quintessential English band of the '90s will be assured. That is a simple statement of fact."

Three decades after its game-changing release, here's a look at how Parklife forever changed both Blur's career trajectory and the history of British rock.

It Kickstarted Britpop's Greatest Rivalry

In one of those great rock coincidences, Blur's third LP hit the shelves just 24 hours after "Supersonic" gave a then-relative unknown Manchester outfit named Oasis their first ever UK Top 40 single. And the two bands would remain intertwined (perhaps begrudgingly so) from then on, culminating in the most high-profile chart battle in British music history.

You could argue that Oasis' Noel Gallagher threw the first stone, describing Parklife as "Southern England personified" in a manner that suggested it wasn't exactly complimentary. And according to his manager Alan McGee, Definitely Maybe cut "Digsy's Dinner" was written as a deliberate "piss-take of Blur."

An increasingly bitter war of words then broke out in the summer of 1995 as the "Country House" versus "Roll With It" war swept the nation. Blur emerged victorious, although Oasis had the last laugh when (What's The Story) Morning Glory spent 10 weeks atop the UK album chart.

It Brought Storytelling Back To Indie Pop

Heavily inspired by Martin Amis novel London Fields, Parklife was inhabited by a cast of intriguing fictional characters, essentially doubling up as a series of short stories. "Tracy Jacks," for example, is about a golf-obsessed civil servant who ends up getting arrested for public indecency before bulldozing his own house.

"Magic America" is the tale of Bill Barret, a Brit who commits to a life of excess during a Stateside holiday ("Took a cab to the shopping malls/ Bought and ate until he could do neither anymore"), while "Clover Over Dover" explores the mindset of a manipulative boyfriend threatening to jumping off the titular white cliffs.

Over the following 18 months, everything from Pulp's "Common People" and Space's "Neighbourhood" to Supergrass' "Caught by the Fuzz" and The Boo Radleys' "It's Lulu" were combining classic British guitar pop with witty Mike Leigh-esque vignettes of modern life.

It Originated The Big Indie Ballad

Dramatic ballads aren't necessarily the first thing that come to mind with Parklife, a record famed for its jaunty, "knees-up Mother Brown" ditties. But it boasts two examples: "To The End," an alternate Bond theme featuring a burst of Gallic flair from Stereolab's Laetitia Sadler, and the swoonsome "This Is A Low." Turns out the "mystical lager-eater" the record was designed to embody could also get a little vulnerable from time to time.

This appeared to give all of their laddish peers some pause for thought. Oasis, the most fervent advocates of the "cigarettes and alcohol" lifestyle, later scored their biggest hit with acoustic ballad "Wonderwall." And bands including Cast ("Walkaway"), Shed Seven ("Chasing Rainbows") and Menswear ("Being Brave") all enjoyed UK hits revealing their softer sides. No doubt Coldplay, Travis, and every other sensitive post-Britpop outfit that emerged in the late 1990s were taking notes, too.

It Paid Respect To The Greats

The Britpop scene was renowned for its slavish devotion to the first time British guitar bands ruled the airwaves, the Swinging Sixties. Oasis freely admitted they modeled themselves on the Beatles, while the likes of Ocean Colour Scene, Kula Shaker and The Paul Weller all released albums that sounded like they'd been discovered in a vintage record shop.

And while Blur would later distance themselves from the past with a sense of invention (which Albarn would also parlay into his various side projects, including the virtual band Gorillaz), they were more than happy to get all nostalgic on Parklife. See "Far Out," their only track to feature James on lead vocal, which resembled the trippy psychedelia of Pink Floyd in their Syd Barrett era, and the Sgt. Pepper-esque brassy instrumental "The Debt Collector," while there are also echoes of the Walker Brothers, The Kinks, and Small Faces. Suddenly, retro was the new cool.

It Turned Blur Into Britain's Biggest Guitar Band

The UK Top 10 success of 1991's "There's No Other Way" proved to be something of a false start for Blur, with the band soon falling by the wayside like every other baggy pop outfit that emerged at the turn of the decade. "Popscene," the 1992 single intended to revolutionize both their career and British guitar music in general, stalled at No. 32, while 1993 sophomore Modern Life is Rubbish sold just 40,000 copies.

But Parklife single-handedly turned Blur into Britain's biggest guitar band, reaching No. 1 in their homeland, spending 82 weeks in the Top 40, and eventually becoming a million-seller. It went on to pick up four BRITs, a Mercury Prize nomination, and has been recognized as an all-time great by Spin, Pitchfork, and Rolling Stone. Further proof of its glowing reputation came in 2009 when Royal Mail selected it as one of 10 albums worthy of commemorating on a postage stamp.

It Spawned A String Of Classic Singles

Parklife's campaign was kicked off in March 1994 with "Girls and Boys," a glorious dissection of British vacationers — which, surprisingly in the days when genre-hopping was frowned upon — evoked the '80s synth-pop of Duran Duran and Pet Shop Boys. Rowntree was even replaced by a drum machine, not that he particularly minded, luckily.

This indie floorfiller was followed up by the hugely underrated "To The End" and then the much-quoted title track. Everything about "Parklife" the song is larger than life: the Cockney geezer narration from Quadrophenia's Phil Daniels, the festival-friendly sing-along chorus, and the brightly colored video in which James — perhaps tipping his hat to Queen's "I Want to Break Free" -– donned soap opera drag. But fourth release "End of a Century," a melancholic tale of domestic drudgery complete with mournful trombone solo, once again proved there was a depth beyond their cheeky chappy personas.

It Made Brits Proud To Be British Again

Unable to connect with the oppressive angst and flannel shirts of the grunge movement that had plagued their first major North American tour in 1992, Blur first started to embrace their inherent Englishness on the following year's Modern Life is Rubbish. Unfortunately, this throwback to the original British Invasion was met with a resounding shrug of the shoulders on both sides of the Atlantic.

Undeterred, however, the band doubled down on all things Anglocentric on its follow-up, from its original title of London, to its greyhound racing cover art, to its celebrations of bank holidays, Club 18-30 holidays, and shipping forecasts. This time around, they managed to capture the zeitgeist (at home, at least), as the rise of New Labour and the forthcoming hosting of Euro '96 made everyone proud to be British again. Within 12 months, the UK charts were littered with homegrown guitar bands selling the idea of the English dream — and it all started with Parklife.

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"...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.

With "Hunger," rising indie star Abby Sage takes autonomy of her body. It’s a story of shameless self-discovery as she submits to her natural desires while simultaneously breaking down the toxic ideas she learned about sex in her adolescence.

"Feed my hunger/ No shame, I'm just a beginner," she croons in the chorus. "It's my own wonder/ Don't press, I'm just a beginner."

In this episode of Press Play, watch Sage deliver an acoustic performance of the single from her debut album, The Rot, which she released on March 1. According to a statement, the project is largely about "the decomposition and reconstruction of everything I was taught," including sex, anxiety, and more.

Sage said "Hunger" is "the most important song to me on the album" adding, "I wish I heard a song like this when I was first exploring my sexuality and my sexual journey, and for that reason, I hope it reaches people."

This May, Sage will embark on an international tour that begins in Los Angeles and concludes in London, with support from gglum, spiderblush, and Jayla Kai.

Watch the video above to hear Abby Sage's empowering performance of "Hunger," and remember to check back to GRAMMY.com for more new episodes of Press Play.

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