(Interactive Instructions: Scroll over the graphic to reveal interactive media) 

"...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.

View this post on Instagram

A post shared by The El Capitan Theatre (@elcapitanthtre)

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.

Ludwig Göransson's captivating composition for Oppenheimer has triumphed in the Best Original Score category at the 2024 Oscars.

Göransson's victory represents his exceptional talent and innovative approach to film scoring, as one of the youngest composers to ever receive the Best Original Score Oscar. It marks his second win in the category — he took home his first Oscar in 2019 for Black Panther. Göransson's work on Oppenheimer also won at the 2024 GRAMMYs for Best Score Soundtrack For Visual Media (Includes Film And Television).

Göransson's work stood out among the competition, going up against the scores of American Fiction, Indiana Jones and the Dial of Destiny, Killers of the Flower Moon, and Poor Things. His ability to convey deep emotional narratives and complex historical contexts through his scores has established him as one of the most innovative and sought-after composers in Hollywood.

Göransson's composition for Oppenheimer serves as the heartbeat of the movie, underpinning the film's exploration of the moral complexities and monumental impact of J. Robert Oppenheimer's work on the atomic bomb. Through his music, Göransson invites audiences into the internal and external conflicts faced by the "father of the atomic bomb," providing a sonic backdrop that is as thought-provoking as it is visceral.

Read more: Watch: Ludwig Göransson Discusses His GRAMMY Win For 'Oppenheimer' At The 2024 GRAMMYs 

The award was presented by fellow GRAMMY winners, Ariana Grande and Cynthia Erivo, who will star together in the Wizard of Oz big screen adaptation of the musical Wicked as Glinda and Elphaba respectively, premiering on the silver screen later this year. Speaking to the power of music to leave an indelible mark on the viewer through film, Grande said, "a great film score can leave a handprint on our hearts forever. It can ignite wonder and astonishment, make us feel sadness and longing and even transport us to new worlds." 

Göransson achieved just that. In his acceptance speech, Göransson thanked his colleagues,  and stars of the film for contributions to his distinctive vision. "Christopher Nolan, it was your idea to use a violin in the score and it allowed me to work and collaborate with my wonderful wife and acclaimed violinist, Serena Göransson," he said.

Göransson ended his speech by acknowledging his parents, "Thank you for giving me guitars and drum machines and not buying me video games." 

2024 Oscars: Billie Eilish And FINNEAS Perform A Heartrending Version Of "What Was I Made For?" From The 'Barbie' Soundtrack

Sibling duo Billie Eilish and FINNEAS are taking home more awards "What Was I Made For" [From The Motion Picture *Barbie*], this time at the 2024 Oscars, winning the prestigious Best Original Song award for their heartfelt ballad.

Once again, they've proven their unparalleled talent crosses effortlessly between the realms of music and film. Billie Eilish and Finneas won their first Oscar in 2022 for Best Original Song with "No Time to Die," the theme for the James Bond film of the same name.

Fittingly, the award was presented by two GRAMMY-winning musical performers, Ariana Grande and Cynthia Erivo, who star as Glinda and Elphaba in the Wizard of Oz big screen adaptation of the musical Wicked, premiering on the silver screen later this year. 

Eilish, who admitted to having a nightmare the night before receiving the award, burst into laughs before thanking the Academy and Barbie director Greta Gerwig, "Thank you to Greta, where did you go? I love you. Thank you for this. I'm so grateful for this song and this movie and the way that it made me feel."

The pair contended for the award against a diverse group of nominees: Diane Warren with "The Fire Inside" from "Flamin' Hot," Mark Ronson and Andrew Wyatt for "I'm Just Ken" also from Barbie, Jon Batiste and Dan Wilson with "It Never Went Away" from American Symphony, and Scott George for "Wahzhazhe (A Song for My People)" from Killers of the Flower Moon.

Ahead of the win, Eilish and O'Connell gave a stirring paired back performance that highlighted their power as a pair.

Read more: 2024 Oscars: Billie Eilish And FINNEAS Perform A Heartrending Version Of "What Was I Made For?" From The 'Barbie' Soundtrack

"What Was I Made For?" captivated audiences and critics alike with its poignant lyrics and emotive composition, underscoring the siblings' ability to tap into universal feelings of identity and purpose.

This Oscar win is a significant milestone for both artists, reinforcing their status as multifaceted talents capable of storytelling that resonates across different mediums. At the 2024 GRAMMYs, they had already made waves with the same song, winning Song Of The Year and Best Song Written For Visual Media.

Eilish and Finneas's journey from the music studios to the glitz of the Oscar stage is a testament to their hard work, creativity, and the deep connection they share as siblings. Their ability to collaborate and push the boundaries of music, now recognized by both the Recording Academy and the Academy of Motion Picture Arts and Sciences, sets a high bar for artists striving to make their mark across multiple industries.

Eilish and FINNEAS are not just a powerful duo in music but also formidable talents in film music composition. Their Oscar victory tonight is not just a win for them but a win for the incredible synergy between music and storytelling in cinema.

2024 Oscars: Watch Ryan Gosling And Mark Ronson Perform A Soaring, Hilarious Version Of "I'm Just Ken" From The 'Barbie' Soundtrack

Ariana Grande's seventh album, eternal sunshine, begins with a single question: "How can I tell if I'm in the right relationship?"

The superstar has always been known for wearing her heart on her sleeve in her music — just look to 2018's Sweetener and especially 2019's thank you, next for a catalog of examples — and eternal sunshine is a mature evolution of that same level of transparency.

Grande's life has turned upside down since she released 2020's woozy, lovestruck Positions. She divorced husband Dalton Gomez after two years of marriage, and seemed to quickly move on to a new relationship with her Wicked co-star Ethan Slater. The huge changes created a firestorm of drama in the tabloids and across social media with fans left confused about timelines and even accusations of downright infidelity leveled against the singer.

Though she stayed largely quiet at the time, when Grande released "yes, and?" as her first new single in three years, the pop star was standing in her truth. "Now I'm so done with caring/ What you think, no, I won't hide/ Underneath your own projections/ Or change my most authentic life," she sings on the second verse.

While cleverly positioning the project as a concept album inspired by the 2004 drama Eternal Sunshine of the Spotless Mind, Grande uses the rest of eternal sunshine to add to the unapologetic statements of "yes, and?", affirming through the music that there's much more to her story than tabloid headlines and internet rumors. 

In a multitude of ways, eternal sunshine showcases immense growth on Grande's part as a pop star, musician, and songwriter — but most of all, as a human being. Below, take a look at five takeaways from Ari's most self-actualized album to date.

She's Learned That Ignorance Isn't Bliss

Grande chose not to release a second single ahead of the album's March 8 unveiling, telling fans she wanted them to experience eternal sunshine in its entirety as a full body of work. Instead, she dropped second single "we can't be friends (wait for your love)" and its accompanying music video in tandem with the LP's release, and the ethereal banger perfectly encapsulates the themes of love lost — and the pain of moving on — that tie eternal sunshine to its cinematic source material starring Jim Carrey and Kate Winslet.

In the "we can't be friends" video, Grande elects to have her memories of a past relationship erased, much like Joel and Clementine in the beloved Oscar winner. "I don't wanna tiptoe, but I don't want to hide/ But I don't wanna feed this monstrous fire/ Just wanna let this story die/ And I'll be alright," she intones on the opening verse. 

However, by video's end, she, too, learns that it's better to live with the memories (and boundaries!) than to forget the love ever existed. 

Grande explores the same theme even more acutely on the album's title track, directly referencing the plot of the film as she tries "to wipe my mind/ Just so I feel less insane." (Though unlike Joel and Clementine's story, the pop star and her ex have both clearly moved on, as evidenced by the eyebrow-raising refrain: "Hope you feel alright when you're in her/ I found a good boy and he's on my side/ You're just my eternal sunshine, sunshine.")

Glinda The Good Witch Has Transformed Her

In numerous interviews ahead of the album's release, Grande spoke at length about the ways playing Glinda in the upcoming Wicked movies impacted her internally, recentered her priorities and healed her relationship with music. She had been adamant about not releasing new music while spending all her energy in the Good Witch of the North's magic bubble, but the impact the character's assured and confident nature had on her is evident throughout the entire body of work.

"Something that Glinda has is this very sure sense of self," Grande said in late February on The Zach Sang Show. "And she's not very apologetic. She's very good, she's very kind, but she's very certain. She takes up a lot of space unapologetically. And I think I, maybe before knowing Glinda and spending a lot of time with her, would cram myself into tiny little spaces and be kind of apologetic about what I come with and who I am." 

That same unapologetic kindness runs through virtually every song on the album, from the self-assured confidence of "yes, and?" to the disco-tinged heartbreak fantasia of "bye."

She's Just Fine Being Labeled The Villain

Being a concept album, eternal sunshine allows Grande to inhabit new roles and toy with perceptions of her pop star persona, and nowhere is that more evident than on "true story" and "the boy is mine," a one-two punch filled with '90s-inflected R&B and lyrical sass.

"I'll play the bad girl if you need me to…and I'll be good in it too," she pronounces on the former, clapping back at the media narrative swirling around the timeline of her split and new relationship with Wicked costar Ethan Slater. On the latter, as its title suggests, Grande taps into the feisty vibe of Brandy and Monica's 1998 smash while making it crystal clear she isn't competing with anyone for her new love's affections. 

Taken together, the two tracks affirm that Ari really is feeling more resolute in her truth than ever — regardless of what the masses have to say or what other narratives may be running rampant. 

She Remains A Master Of Vocal Production

Whether she's layering harmonies over a melody line or vocal arranging an entire bridge on the fly, the superstar's mastery over her instrument only continues to grow with each new album — evolving from a singer with a once-in-a-generation voice into a powerhouse who can ably execute her own vision from behind the mic.

eternal sunshine proves that point again and again, from the sumptuous extended whistle tone intro on "yes, and?" and the transcendence of the floating harmonies on "don't wanna break up again" to the ways she punctuates her dreamy, staccato vocal delivery on "i wish i hated you."

She Knows Love Is "Imperfect"

After making peace with the end of her marriage, Grande spends the tail end of eternal sunshine giving listeners valuable insight into where her head is at these days, relationship with Slater included. She addresses the unexpected start to this new love story head-on in the off-kilter melody of "imperfect for you" as she coos, "My love, they don't understand/ But I'll hold your heart in the box here beside me/ How could we know we'd arrange all the cosmos?/ We crashed and we burned/ Now I just can't go where you don't go."

And by the album's end, she finally finds the answer she's been searching for since the first track — in a nugget of wisdom from her beloved Nonna, who serves as the only guest credited on the album's 13-song tracklist. "Never go to bed without kissin' goodnight, it's the worst thing to do, don't ever, ever do that," the Italian matriarch advises. "And if you can't and if you don't feel comfortable doing it, you're in the wrong place, get out."

Not only does Nonna's advice wrap eternal sunshine up in a bow, it also speaks to the hard-earned lessons Ari has learned over the past few years — but also that she's come out on the other side stronger, wiser and more unapologetic than ever.

Ariana Grande's Musical Growth In 15 Tracks, From "The Way" To "Positions"