Photo: Emma McIntyre/Getty Images
BTS at the 2020 GRAMMYs
BTS Cancel 2020 Map Of The Soul World Tour Dates Due To COVID-19 Restrictions
The North American leg of the K-pop superstars' 2020 tour, originally slated to begin in April, was already postponed last month—now all upcoming dates have been put on hold due to the coronavirus crisis
All shows for BTS' Map of the Soul 2020 World Tour have been put on hold due to coronavirus concerns. New dates will be announced at a later time, for whenever it is safe to gather huge crowds again. While no one can currently predict exactly when that date will be, the BTS Army received some good news today, in the form of a trailer and release date for the group's new docuseries, "Break The Silence."
"The decision has been made to completely reschedule the 'Map of the Soul' tour, originally scheduled to begin in April 2020," Big Hit Entertainment, the South Korean label who manages the K-pop powerhouse act said today, April 28, via a statement translated by K-pop news outlet Soompi.
The tour was originally slated to begin in their home country in April with four nights in Seoul. Per Soompi, these dates were canceled back in February due to the emerging danger of coronavirus. The North American leg of the tour was set to begin in late April, but those dates were put on hold in late March, to be "rescheduled at a later date." The summer dates across Europe and Japan, previously set to wrap up in September, were still on the books until today.
"This tour involves the participation of staff and crew from around the world as well as global logistics systems. While there are certain countries, regions, and cities where conditions have improved, including Korea, it is difficult to make the decision to begin the tour based on these recent developments. Due to the nature of BTS concerts involving travel by thousands of international fans no matter where the performances are held, it is also difficult to resume the tour with the current strict restrictions on cross-border movement still in place. Moreover, it is impossible at this time to predict when the first performance marking the start of the tour will be able to begin," the statement continued.
"Therefore, we have made the difficult decision to suspend the previously-announced tour schedule and develop a new schedule. Big Hit Entertainment will completely reschedule the tour and provide a new tour schedule to our fans as soon as it becomes clear when the tour can begin. This may require considerable time as the COVID-19 situation continues to evolve. However, we will work to ensure that BTS and their fans will be able to meet each other as soon as they can. We will also create new ways for our artists to engage with their fans and respond to the 'New normal' while we wait to resume activities halted by COVID-19."
Earlier this month, the band brought their energy and music (virtually) to fans homes with their streaming home concert series, "BANG BANG CON," where they aired past concerts as far back at 2014. Today, they revealed more exclusive concert footage and behind-the-scenes content is on the way in the form of their new docuseries, set to air on Korean app WeVerse on May 12. You can see all seven smiling faces in the trailer below—where you also get a taste of how massive the crowds they draw really are.
BTS' latest album is Map Of The Soul: 7, released on Feb. 21, the project the tour is in support of. Less than a month before that highly anticiapted fourth studio album dropped, the lovable septet brought "Seoul Town Road" to the 2020 GRAMMYs stage with their fiery performance during Lil Nas X's "Old Town Road" spectacular—rewatch it below.
Photo courtesy of the artist
South Korean Rockers The Rose Are Ready To Show The World Their Duality
Known for creating vulnerable, emotional songs in both English and Korean, the Rose continue to expand their sound on 'DUAL.' In an interview, the band details their history as buskers, big year of touring and what's next.
South Korean indie rock band the Rose have reached new heights over the past year. The quartet — which began six years ago as a group of street performers — have toured the world and performed at major music festivals including BST Hyde Park and Lollapalooza, but have never forgotten their busking roots.
During a Lollapalooza midnight aftershow, the Rose went back to basics: They did away with their setlist and instead took requests from the audience testing their improvisation and memorization skills.
Known for creating vulnerable, emotional songs in both English and Korean, the Rose are continuing to expand their sound. Their recently-released second studio album, DUAL, reflects on their past, present and future.
"I think experimenting with music and trying to connect different genres is really fun as a writer, and to showcase our personality,” said the Rose’s leader, vocalist and guitarist Woosung in an interview with GRAMMY.com.
The Rose's busking origin story is unique among Korean groups, many of which are formed by entertainment companies. Keyboardist, guitarist and vocalist Dojoon and bassist Jaehyeong first connected busking in the same neighborhood drummer Hajoon and Jaehyeong were working with the same entertainment company. The trio then formed a band called Windfall — now the name of the Rose’s self-made label — and later recruited Woosung.
The Rose made its official debut in 2017 with the soft-rock ballad "Sorry." The song reached No. 14 on the Billboard World Digital Songs Sales chart, and was named among the best "K-pop songs of 2017." The band's debut album, HEAL, followed in October 2022.
The Rose caught up with GRAMMY.com over Zoom in Seoul to talk about their new album, their musical influences growing up and preparing for their upcoming North American tour, which will see them playing some of the biggest venues of their career thus far.
What is the story you wanted to tell with DUAL after the release of your first album, HEAL?
Woosung: HEAL was definitely us coming back after a hiatus. We really wanted to heal through our music and writing it and the whole process of reminding ourselves why we love music and why we love doing music. In terms of the sound, it was more natural. We wrote what we felt.
DUAL, I think, is a little more intentional, in a way where we are giving two sides of a genre and two sides of a tone that we want to present to the audience as the Rose. There’s a dawn side and a dusk side. It’s really showing the listeners the duality of our music, and why it could be dark but also why it could be bright.
Can you elaborate on those two representations of the Rose?
Woosung: Dawn side has more daytime vibes, happier, easier. Dusk side is a little bit darker in a way.
I think our music always did showcase both sides. "Sorry" would be more of the dusk side. Our song "Red" would be more on the dawn side. Whenever we wrote an album, I feel like we always had a dawn and a dusk side. We wanted to showcase that we are capable of both and this is where our music is headed. I think it really depends on the person hearing it.
What can you share about your latest single "You’re Beautiful"?
Woosung: We’re saying that beauty is just a state of mind. We believe anybody should be beautiful in their own way. There isn’t one statement or one face or one thing that makes a person beautiful in this world. There are many things that could be beautiful. And that's why we believe that beauty is just a state of mind. You are all beautiful in this world, no matter what race, what gender.
Dojoon: When you go to an art museum, it’s like somebody thinks something is ugly, but someone [else] thinks it’s very beautiful. That’s what we want to talk about here.
Your other singles sound quite different. And you’ve mentioned before that this project is meant to show a more amusing side to yourselves. Was that why you decided to incorporate some dubstep in the middle of your song "Alive"?
Woosung: Yeah. When we let our team hear that song with that part attached, not all of our team agreed that it was a good rendition of the song. However, the four of us definitely felt like we wanted something like that in there. I know it’s so random, but it also works so well with the song. [Laughs.]
I think we're just influenced by going to a lot of festivals, looking at different artists and enjoying their concerts or DJ sets. We wanted to just try something that was not always on the same line as what you would expect.
"Back to Me" takes me back to the pop-punk songs you’d hear in the early 2000s. The kind of song you’d yell out or release anger or tension with.
Woosung: I think we grew up listening to alternative, pop-punk. We always had it in us to create something like that and sing it ourselves. It’s such a rock band song. We’re just bringing it back.
What were some of the pop punk bands that you’d all listen to?
Woosung: All Time Low, Boys Like Girls, We The Kings. Never Shout Never. All those bands. Panic! At the Disco.
Jaehyeong: I was listening to Green Day, All Time Low.
Hajoon: I used to listen to Bon Jovi or Green Day.
Dojoon: Avril Lavigne, Green Day! Those kinds of legends.
Hajoon: Muse as well!
Woosung: My Chemical Romance.
You have also had a big year as a group, playing at big festivals and completing a world tour. What would you say this year has been like for your group?
Woosung: Going to these different festivals and seeing different people — not just our fans — enjoy our music, has put a lot of perspective in how we do music and how we want to take on the Rose in the future. I think performing in front of these crowds gave us a lot of good lessons.
You celebrated your sixth anniversary the same day that you played Lollapalooza. How would you describe the moment, and being with your fans, known as Black Roses?
Woosung: Words can’t describe it. We said it during the show as well because we started out as a street performing band. If we did a club show, there were like 15 people and five of them were our friends.. So for us to celebrate six years of the Rose with I don’t know how many people, it was very meaningful. It showed how far the Rose brand and the Rose’s music has come. We’re just happy to be on the journey with our fans.
A day later, you performed an aftershow with no setlist and took requests from the crowd. Where did that idea come from?
Woosung: Just busking, street performing. We were just true to how we started.
Dojoon: It was a back-to-back show in the same city. Obviously for Lollapalooza, there was a setlist for that. So maybe instead of doing the same thing over again the next day, why don’t we kind of have a little moment between Black Roses and our fans? We wanted to make something special.
Was there a song that really surprised you during that show?
Dojoon: There was a few fans who actually requested the first song we wrote together, which was "Photographer." We didn’t memorize it all perfectly. So that was all very interesting.
Rock music isn’t something many people in North America would associate with the Korean music industry right now. Do you see the Rose playing a role in getting people to explore different genres from Korea?
Woosung: I think rock has always been there, but not like how K-pop is famous. Right now, the music industry really does like more dance pop, and the culture has shifted a little bit that way. But [rock] bands have always been there.
I don’t know if we’re really sparking anybody to become a rock band or anything. And if we are, we are very,very honored and will be happy that we could be even a little influence to the industry for more instrument-playing musicians. At the end of the day, rock, pop, ballad — it’s all just music. We’re just happy to do music in the way we love doing music.
Dojoon: We really want to talk more about the spirit, like the rock spirit. You know, even rap stars or other pop stars say, "rock and roll" and "we are rockstars." I think now, Korea is more open and they’re starting to open up to the image of a band. Like the structure of a four-piece band.
Woosung, you collaborated with BTS’s Suga on his latest album and featured on the song "Snooze." In his documentary SUGA: Road To D-DAY, he mentioned the song was written with artists in mind, especially when it comes to not giving up on their dreams. I feel like that mirrors a lot of the Rose’s journey. What was that experience of being part of the song like for you?
Woosung: For him to have advice on life was what was beautiful, because it could fit a lot of the general population and what people are going through this day even without music being a part of their life. We’re just happy to share the message of support. That’s what the Rose is, and that’s what the Rose’s music is always. And, that’s why I think Suga maybe felt like I would be a good fit to the song.
When I first received the rapping parts and the lyrics of it all, I definitely had a feeling of warmth with the messaging. I wanted to do my best to write the best chorus that would fit his rapping with the right lyrics that would really portray the initial message better.
You’re heading back to Canada and the U.S. soon. What are you most looking forward to in the coming months?
Woosung: We’re actually practicing for the tour right now. We’re just arranging songs, practicing them and trying to get the right setlist and the right production. Our shows have been great, but this one is definitely a level up.
It’s a whole new set with bigger lighting, bigger screens. We always had this in our head, but we just couldn’t make them come to life in the venues we were doing it at. I think music is just not for listening, but it’s also for seeing and [with] that comes bigger emotions.
Photo: Aaron Marsh
Teddy Swims Is Letting Himself Be Brutally Honest On 'I've Tried Everything But Therapy'
As the world continues to discover the magnitude of Teddy Swims' soulful voice, he realized the power of opening up and letting go with his debut album, 'I've Tried Everything But Therapy.'
Four years into his career, Teddy Swims made a promise to himself to be more honest. With that in mind, he decided to be unflinchingly real with his debut album title: I've Tried Everything But Therapy.
While the title may be true for now, Swims is incredibly vulnerable. Across 10 tracks, he divulges the raw emotions of heartbreak, from reeling over what could've been in opener "Some Things I'll Never Know" to leaning into new love — while still in repair — on closer "Evergreen."
"It's the most honest I've ever let myself be," Swims, born Jaten Dimsdale, says of the album. "I'm proud of it, and I'm proud of myself. And it's a f—ing relief to just get it off my shoulders."
For someone who bares his soul in his music, both lyrically and vocally, it's rather surprising to think that he wouldn't be the type for therapy. But now that the album is out, his next step is seeking professional help — another promise he made to himself upon choosing the candid title.
In the meantime, Swims is already seeing the impact of being more and more open in his music. "Lose Control," the album's lead single, has earned Swims his first entry on the Billboard Hot 100 and first solo radio hit (in 2022, his Meghan Trainor collab "Bad For Me" reached No. 15 on Billboard's Adult Pop Airplay chart). But perhaps more notably, his powerful vocal runs on the song's dynamic chorus are stopping listeners in their tracks. As one YouTube commenter put it, "Man has a voice that speaks to the core of your soul."
Just before the album's arrival, Swims talked with GRAMMY.com about how I've Tried Everything But Therapy has helped him understand the impact of wearing his insecurities on his sleeve — and how his bewitchingly soulful voice ties it all together.
How does this album feel different from what you've put out before this, whether it's lyrically or sonically, or even how you feel mentally based around the process?
I feel like this is maturity. I can listen to these songs and I feel proud of them.
Everybody kinda doesn't like their own voice, you know? But I feel like I belong on those songs, and nobody could say what I needed to say the way I could say it. I feel like I'm saying something that I need to say and get off my chest in an entirely different way than I ever have.
I'm kind of an emotional toddler. I'm getting more of a grasp on what I want to say and how to say it, how to talk about my feelings more. I feel like the more I do it, the longer I do it, the more honest I become, the more I get out of the way of things. I'm learning to get out of the way and let the creative flow just be what it is now.
Going into writing this album, like, what were you going through? And did you have a goal in mind about what you wanted the album to be?
I really didn't know at the time. In the last four years, I've written maybe four or five hundred songs. I didn't write it knowing that it was an album, or write it knowing that this was going to be the album; but more so, when it started coming together, it just felt like things fell into place.
I realized that I've been circling around the same feelings and emotions for a very long time. It's always about — I was in a very toxic relationship, and I have been a lot in my life. This is me kind of learning that I can be loved, and that I am beautiful, and I deserve love. That's kind of what the struggle is and always has been.
The album title is interesting to me, because so many artists compare songwriting to therapy. But has songwriting always felt like therapy for you?
Songwriting can be therapeutic if you have a feeling that you need to get out, and you write that feeling down, and you get it out. But what I tend to do a lot in my life, I'll write it down into a song, and then I'll write it into another song from a different perspective. And I'll write it down 100 different ways, in 100 different perspectives, to the point that it ends up that that small problem has now turned into the biggest problem in my life, because I've thought about so many different ways.
Instead of being more therapeutic, [songwriting has] been more of a way of highlighting what I'm going through, sometimes way too much.
The title itself was kind of a promise to myself that I would go to therapy when the album comes out. I think it's something that everyone can benefit from, especially me. But there's still something about me — maybe it's a generational mindset, like, I'm not crazy, I don't need that, or maybe there's answers to questions I don't really want to ask that I'm gonna get.
I like my coping mechanisms. I like how I am and who I am when I do cope. So there's a part of me that's afraid that I'll have to change.
But I made a promise to myself, put a deadline on myself where I'll go and I'll seek help, and I'll try. It's also me being honest and open about that, to you and to everyone, that I'm like, "I need help, that's okay." I'm gonna ask for help, and that's a liberating and equally terrifying thing.
The nice thing is, there has been a lot more public acceptance of mental health in recent years. How have you felt that change since you started releasing music, and how has it impacted your songwriting?
I think what's so great about our industry these days is that I'm not held to the same standard as, like, Stevie Wonder or Michael Jackson, where I have to be such a star, and you don't know anything about me. These days, as an artist, I get to be absolutely insecure and absolutely terrified, and it's what makes my artistry beautiful. And people that feel the way I feel can look at me and say, "That guy's so insecure, and he's so scared. But he's doing it, and we want him to win."
I don't want to swallow my insecurities. I don't have to wait until I feel like I'm worthy of love to put myself out there. Every bit of insecurity, and everything that's going on in my life, I'm allowed to just wear it and put it on for everybody to see. That has helped me in more ways than me trying to be anything I'm not.
You've said that for a long time, you worried about giving too much of yourself in your music, but seeing people connect to the music has made you realize it's actually making a difference. When did you start realizing that?
I am very lucky — every show we do, I have a meet and greet where I can talk to 100 people, and they tell me things that have changed their life, ways that I've affected them, and the ways that I've touched their lives.
I also want them to know that I'm just that fat kid from Rockdale County, Georgia, and still feels like that. And they make me be able to be honest and have an outlet to turn my trauma into something positive in me.
I feel like I learn it more and more every day that I am in a safe space, and I've created a safe space for people, and I become safer in that all the time. And I'm becoming more honest with myself, with them, in the safe space. It's just sacred, you know?
Was there a song of yours that kind of opened that up for you, because of the way that people connected to it?
I've had a few like that, but "Simple Things" that I released on one of my EPs is still a song I sing all the time. I thought the verses were only specific to my life and what I was going through — that was the first time I was honest, and I wrote from only what I was going through specifically to my life, and that connected and did more for people than anything I did [previously].
You've said that you're insecure, but would you consider yourself an introvert?
I think the more that I do this, the more I become one. I used to be the biggest extrovert in the world, but the more I do this job, the more I have to be social, I feel myself becoming more of an introvert.
Well, I brought that up because so many artists consider themselves introverts, when you are pouring your heart out in music that is then heard by thousands, if not millions, of people. Has that dichotomy ever crossed your mind?
Yeah, but that's kind of why I think I've become more introverted, because I gotta figure out what's still mine or if there should be anything that I should hold to myself. That is the question: What is still for me, or should there still be anything just for me?
That's so interesting to think about — I've never really thought about the battle that an artist can have when they share so much. Because it's like, at that point, you're so exposed, how are you even supposed to function as a private person in any regard?
Yeah. You figure it out, you let me know. [Laughs.]
It's cool that you're feeling so proud of this album, though, because I'd say that means that you haven't gone too far.
It's the most honest I've ever let myself be. And I don't feel exposed — I just feel like I said what I needed to say.
I've heard that I've Tried Everything But Therapy is coming in multiple parts and this is just part one. Is that true?
Yeah, we're planning on part two, but I don't know what that looks like yet. But I want to put out more music. And I think I want to come from a different place of what I've learned from how I've healed. I just don't feel like this story's done yet.
But you said you're going to start therapy after this album releases — so you're going to release a part two of I've Tried Everything But Therapy after you've been in therapy?
Yeah, I guess that doesn't make sense. But it will!
It would be kind of interesting to have part two be the response to therapy after you have done it.
Yeah, exactly. That's the vibe. Maybe we just go straight to part three and skip part two altogether.
Before you even released part one, people were going crazy over "Lose Control" because of how soulful you sound on it. When did you realize you had such a captivating voice?
It wasn't really a realization — I was bad for a long time. But I love this, and I wanted this, so I worked hard to become good at it. I wanted to be the best I could at it, because using my voice means everything to me, and I want to know how to do everything I can with it.
Well, you're doing something right, because people are exclaiming about it left and right. I saw a comment on one of your Instagram posts that said, "I just threw my shoe across my damn office, you better sing!" Do you feel the power of your own music?
I know, technically and dynamically, I am a good singer. When I listen to myself, I can't say I can't sing, because it's all there. Any singer or vocal coach could tell "That kid knows what he's doing. He can sing his ass off."
But also, there's part of me that still doesn't like my voice, too, just like anyone else. And I think that might be why I became so good at it. Because I want to hear it and be like, "Well, you can't tell yourself you ain't good, 'cause that was f—ing — that takes skill." I've learned enough to know that I can't tell myself I'm bad. [Laughs.]
And I have to say, I've been impressed with all of the people you've posted singing their own versions of "Lose Control."
People can sing! And people have been writing verses to it too. The love on it has been so rewarding.
I feel very justified [that the music] is connecting. I feel like it's already helping. I feel very humbled, appreciated and loved.
Photo: Matt Winkelmeyer/Getty Images for Children's Hospital Los Angeles
Justin Timberlake's Biggest Songs, From His Best *NSYNC Moments To The Solo Smashes
As rumors swirl about a new Justin Timberlake album and *NSYNC fans pray for a reunion tour, revisit the defining songs that have made JT one of pop's greats.
From the moment Justin Timberlake first stepped into the spotlight at just 11 years old, his star power was strikingly apparent. Initially dabbling in country music on Star Search, he further displayed his knack for performing on The Mickey Mouse Club in 1993 and 1994 before being recruited for the boy band *NSYNC in 1995 — and soon, he was on his way to pop domination.
As the group's popularity soared and they sold over 70 million records worldwide, so did Timberlake's solo appeal. With his curly blond hair and falsetto that would make Michael Jackson proud, he became a defining figure in the late '90s/early 2000s zeitgeist. He took the lead in several *NSYNC songs and progressively developed his songwriting skills, hinting to the world that he was a star of his own right.
By the time <em>NSYNC halted in early 2002, Timberlake's solo career was not a mere possibility, but an undeniable next step. A few months later, he released his debut album, Justified*, which set the stage for one of the most innovative, defining artists of his time. In the two decades since, Timberlake has released five studio albums (with a sixth reportedly on the way), sold more than 88 million records, collaborated with the likes of Jay-Z and Madonna, and won 10 GRAMMYs. It's hard to imagine pop music today without his contributions.
Although Timberlake has periodically taken some time off music to focus on his family, acting and producing, a comeback was always around the corner. Last week, for example, he reunited with *NSYNC at the 2023 MTV Video Music Awards and confirmed the release of their first new song in 20 years, "Better Place," out Sept. 29.
He also recently reunited with Nelly Furtado and Timbaland for "Keep Going Up," the long-awaited follow-up to their 2007 smash "Give It To Me." Timbaland — a longtime collaborator of Timberlake's — further teased what's to come for JT, telling Variety that Timberlake's next album is "finished up" and sounds like "FutureSex/LoveSounds part two."
To celebrate these upcoming chapters, as well as Timberlake's boundless creativity, GRAMMY.com looks back at the most defining songs in his trailblazing career.
"Pop," Celebrity (2001)
A response to all the animosity surrounding the success of late 90s' boy bands, "Pop" gave us *NSYNC at their most "no strings attached." Composed by Timberlake in partnership with choreographer, director, and songwriter Wade Robson, it blended electropop, metal riffs and Timberlake's signature beatboxing into a thrilling, limitless portrait of what being a pop star really means.
"It doesn't matter/ 'Bout the clothes I wear, and where I go, and why/ All that matters/ Is that you get hyped, and we'll do it to you every time," Timberlake sings in the pre-chorus. As the first single off <em>NSYNC's last album, 2001's Celebrity*, "Pop" foreshadowed key elements of Timberlake's burgeoning success — setting sights on his impending, hit-filled solo career.
"Gone," Celebrity (2001)
Another collaboration between Timberlake and Robson for Celebrity, "Gone" remains one of the most stirring ballads of the new millennium. Originally written for Michael Jackson, who passed on the offer — but later regretted it, as Timberlake told Oprah's Master Class Podcast in 2014 — "Gone" was the first and only *NSYNC single where Timberlake sings all the lead vocals and plays the music video protagonist.
Although its success led to a nomination for Best Pop Performance by a Duo or Group with Vocals at the 2002's GRAMMY Awards, the song unveiled uncomfortable feelings about the future of the group. If *NSYNC were to halt activities, it laid bare the fact that Timberlake could survive — and thrive — as a soloist just as well.
"Like I Love You," Justified (2002)
As many suspected, <em>NSYNC did go into a hiatus after the release of Celebrity, and Timberlake's much-anticipated solo debut came shortly after. In November 2002, he released the studio album Justified*, spearheaded by lead single "Like I Love You."
Pairing his penmanship with producer duo the Neptunes, Timberlake found an exquisite recipe to express himself. "Like I Love You" posed a sleek introduction to a fully-developed star, mixing funk drums, pop beats, Spanish guitars, sultry falsettos, and a participation by hip-hop duo Clipse. Coincidentally landing the same spot on the Billboard Hot 100 as "Gone" at No. 11, "Like I Love You" showed that Timberlake was able — and ready — to hold his own.
"Cry Me a River," Justified (2002)
If "Like I Love You" was an introduction to Justin Timberlake the soloist, follow-up single "Cry Me a River" cemented him as 2002's main character. A vengeful opera inspired by his former (and very high-profile) relationship with Britney Spears, Timberlake showed his spiteful side — one that would later resurface on his second album, FutureSex/LoveSounds.
The poignancy of his feelings is aided by producers Timbaland and Scott Storch, who crafted a haunting synthscape filled with wails and warnings. In the music video, Timberlake finally sheds his good-boy image, breaking into a Spears look-alike's mansion to film steamy moments of himself with another woman.
On top of giving the audience much to think about, "Cry Me a River" gave Timberlake one his first two solo GRAMMY Awards in 2003: the song won Best Male Pop Vocal Performance, and Justified won Best Pop Vocal Album.
"Señorita," Justified (2002)
Justified offered hit after hit, and although "Señorita" wasn't the biggest (it peaked at No. 27 on the Hot 100), it's still a Timberlake staple. The song highlighted Timberlake's commitment to go beyond expectations, as he created his own deconstructed salsa, pushing and pulling vocals around the Neptunes' unmistakable drum beats and Stevie Wonder influences.
While singles like "Rock Your Body" may have found more popularity, "Señorita" and its odd little strutting intro is instantly recognizable — and remains one of Timberlake's best displays of the fun he has in the studio . The call-and-response section at the end, where Timberlake directs "the fellas and the ladies" to sing in different vocal tones, is the cherry on top of it all.
"SexyBack," FutureSex/LoveSounds (2006)
Four years after Justified, Timberlake returned raunchier than ever: "I'm bringing sexy back," he sings in the opening line of "SexyBack," unknowingly birthing 2006's ultimate catchphrase. The first single off his highly-acclaimed sophomore album, FutureSex/LoveSounds, "SexyBack" became Timberlake's first No.1 song on the Billboard Hot 100, and further solidified the finesse of his collaborations with Timbaland.
Scurrying through a suffocating dance floor, "SexyBack" distorts everything it touches, creating a cybernetic atmosphere where Timberlake will both "let you whip me, if I misbehave" and make you "watch how I attack." Timbaland's low vocals bounce off Timberlake's high-pitched lines and make for a breathless, sweaty run.
"My Love," FutureSex/LoveSounds (2006)
Timberlake achieved his second consecutive Hot 100 No.1 with "My Love," a song that has been defined by many as the sequel to "Cry Me a River." Although borrowing from the same insistent staccato beats, "My Love" is rather a happier, snappier version of it. Gone is the desire for retaliation — Timberlake is now focused on the sweet highs of a promising relationship.
"All I want you to do is be my love," he sings over masterful production by Nate "Danja" Hills and Timbaland, who infuse the track with quirky distortions, beatboxing and a slow beat juxtaposed to Timberlake's frenzy. Atlanta rapper T.I. also adds contrast to the track, delivering a stack of verses that contrast Timberlake's lyrics and add to the multifaceted perceptions of love. If Timberlake's lines represent one's heart soaring with possibility, the other elements of the song keep it grounded, reminding us that true love runs steady.
"What Goes Around... Comes Around," FutureSex/LoveSounds (2006)
The true "Cry Me a River" sequel lays on the grandiose "What Goes Around... Comes Around." Despite the single's lofty arrangements and a cinematic music video starring Scarlett Johansson, Timberlake is still heartbroken.
However, instead of seeking revenge by his own hands, he now trusts karma to take care of his lover's wrongdoings. The circular, haunting motifs of the lyrics are repeated through synth loops and Turkish strings.
"What Goes Around... Comes Around" is one of FutureSex/LoveSounds' standouts, bridging the catchy sounds of Justified with more experimental nuances. It also seemed to resonate with listeners, as it landed the singer his third consecutive chart-topper.
"LoveStoned," FutureSex/LoveSounds (2006)
While violins surely can provide a sultry mood, it's not often that they will be paired with beatboxing and funky bass — which makes "LoveStoned" a peculiar feat.
One of Timberlake's most provocative tracks off FutureSex/LoveSounds, it could also be defined as a bolder cousin to 2002's "Rock Your Body" due to its rushing, disco-esque energy. Along an easygoing progression, it carries Timbaland's trademark vibes and fiery lyrics about what the internet would call a "baddie" nowadays ("She's bad, and she knows," Timberlake sings).
Originally named "LoveStoned/I Think She Knows (Interlude)," the track swiftly slows down in the last two minutes, where an Interpol-inspired guitar solo flourishes, offering a hazy conclusion to an innovative pop expedition.
"Suit & Tie (feat. Jay-Z)" The 20/20 Experience, (2013)
After wrapping up his highly successful FutureSex/LoveShow world tour in 2007, Timberlake took some time off to focus on acting and producing for other musicians. Following a six-year musical hiatus, he released his third studio album in 2013, The 20/20 Experience, led by the steamy "Suit & Tie," featuring rapper Jay-Z.
The single is anchored by samples of Sly, Slick and Wicked's 1972 song "Sho' Nuff" and swirls around a matured, glistening R&B production by Timberlake, Timbaland and J-Roc. It's the most sophisticated that Timberlake has sounded, accompanied by a fittingly classy, black-and-white music video — which won a GRAMMY for Best Music Video in 2014.
"Mirrors," The 20/20 Experience, (2013)
The second single off The 20/20 Experience, "Mirrors" was written back in 2009 and inspired by Timberlake's relationship with wife Jessica Biel, as well as his grandparents' six-decade marriage. Although the sounds harken back to "Cry Me a River" at times, the lyrics reveal that Timberlake is no longer bitter, but instead very much in love: "Now, you're the inspiration of this precious song/ And I just wanna see your face light up since you put me on/ So now I say goodbye to the old me, it's already gone."
Paired with an emotional music video, "Mirrors" is a defining landmark in Timberlake's discography, showing how personal growth impacted his music for the better. Alongside trusty producers Timbaland and J-Roc, he proved that it's possible to turn an eight-minute prog-soul aria into a timeless, effortlessly catchy love song.
"Drink You Away," The 20/20 Experience – 2 of 2 (2013)
Six months after the release of The 20/20 Experience, in September 2013, Timberlake dropped the second half of the album, The 20/20 Experience – 2 of 2. Out of its four singles (which also included "Take Back the Night," "TKO," and "Not a Bad Thing"), "Drink You Away" stands out for its adventurous streak.
Here, Timberlake recalls his Southern roots, spinning a pop twist on Memphis soul and country rock riffs. "I've tried Jack, I've tried Jim/ I've tried all of their friends/ But I can't drink you away," he sings, matching love pains to alcoholism. Once again working with producers Timbaland and J-Roc, he daringly explores new scenarios, ultimately proving that his talents can't be restrained. (The track also teased Timberlake's later collab with country crooner Chris Stapleton, as the pair mashed "Drink You Away" with Stapleton's "Tennessee Whiskey" at the 2015 CMA Awards.)
"CAN'T STOP THE FEELING!," Trolls (2016)
Timberlake's career may have firm pillars in experimentation, but 2016's "CAN'T STOP THE FEELING!" showed that he is also a master in well-rounded bubblegum pop. In 2016, after voicing the character Branch and serving as the executive music producer for the movie Trolls, Timberlake worked with Max Martin and Shellback for the soundtrack's lead single.
The result was a simple, yet contagiously happy disco track that quickly hit No. 1 on Billboard's Hot 100, followed by several other countries' charts. "CAN'T STOP THE FEELING!" was also the top-selling song in the U.S. that year according to Nielsen Music's Year-End Report, and quickly achieved an omnipresent status; the song remains a global staple today.
"Young Man," Man of the Woods (2018)
After another long break between albums, Timberlake released his fifth LP, Man of the Woods, in 2018. The title references the meaning behind his firstborn son's name, Silas, and features some of his most experimental trials to date, despite enlisting the same longtime producers like the Neptunes and Timbaland.
As Timberlake's personal life changed with marriage and parenthood, so did his music. He plunged even deeper into his Tennessee origins and the country music of his childhood, as evidenced in singles "Filthy," "Supplies," and the Stapleton-featuring "Say Something."
However, the most essential song to understand Timberlake's current moment is the sweet, deeply personal "Young Man." It closes the album on a vulnerable note, showing the singer not as a superstar, but as a devoted father passing on his teachings. Vocal snippets from both Silas and Jessica Biel make it even more special, framing a fleeting moment into eternity.
After seeing Timberlake grow from a teenager himself to raising his own family, there's a full-circle element coloring his next steps with much expectation. What will be his next reinvention? If Timbaland's words are true, luckily we won't have to wait too long to find out.
Photos: JTBC PLUS/ImaZinS Editorial; RB/Bauer-Griffin/GC Images; Emma McIntyre/Getty Images for Coachella; JTBC PLUS/ImaZinS Editorial
K-Pop's Hip-Hop Roots: A History Of Cultural Connection On The Dancefloor
Although they might seem like disparate genres today, K-pop and hip-hop go way back. In honor of hip-hop's golden anniversary and K-pop's ever-growing popularity, GRAMMY.com explores the links between the sounds.
Although they might seem like disparate genres today, K-pop and hip-hop go way back. Their link can be traced to a single nightclub in Korea: Moon Night.
Located in Seoul's Itaewon neighborhood, Moon Night wasn't particularly remarkable among the many other bars catering to tourists and American servicemen at the nearby military base. However, in the late '80s and early '90s, the club was ground zero for the genesis of the nation’s first K-pop group and the founding of the country’s "Big 3" music entertainment labels.
Moon Night is so crucial to the development of K-pop as we know it today because the club played music beloved by its target clientele: Americans. And in the midst of hip-hop's golden age, hip Korean audiences got hooked.
Over decades, that connection to hip-hop has developed and evolved to create the juggernaut that is contemporary K-pop. Today, the influence of hip-hop can be seen in K-pop dance, dress and even instrumentation.
Pioneering K-Pop On The Dancefloor
Where nightlife in Korea was long separated by nationality — Korean citizens had their own establishments, as did U.S. military personnel — a new kind of integrated club scene blossomed in the 1990s. For the first time, Koreans could legally patronize the same bars as American G.I.s.
Around 1 a.m., clubs like Moon Night would transition from a "normal Korean club" to a foreigner haven, recalls Dr. Michael Hurt, an Assistant Professor at the University of Suwon's International College.
That Moon Night became the Ur of K-pop as we know it was chiefly because Black American soldiers patronized the club, which played hip-hop. As Koreans and Black soldiers socialized, a new culture of hip-hop dance, or "rap dance," and music grew. Dr. Hurt experienced the eagerness with which young Koreans learned hip-hop moves while visiting Moon Night in the '90s.
Dr. Hurt — who is Black and Korean and has been living in country for various periods since the mid-'90s — recalls clubgoers asking to dance with him. They would follow along with every step. While hip-hop music was important to the progenitors of K-pop, Koreans at the time were most fascinated by dance moves, and the emphasis on dance remains an important aspect of K-pop today.
By the early '90s, hip-hop had begun to egress its original audience and evolve into a new form. The cross-cultural connection happening at Moon Night was replicated across Seoul; Dr. Hurt notes that Koreans and Black Americans also found common musical interest at Blue Monkey in Sincheon and Golden Helmet in Hongdae.
Future K-pop heavy hitters like Yang Hyun-suk of YG Entertainment, Park Jin-young of JYP Entertainment, and Lee Soo-man of SM Entertainment were rumored to have patronized Moon Night. However, Dr. Hurt theorizes that if they were in the club scene they also visited other places too.
K-Pop's First Generation Of Stars: Born At Moon Night, Shared Online
While hip-hop was largely inaccessible to Koreans in the 1990s, there were always dedicated Korean listeners. This young, niche community consisted of members like Seo Taiji, who brought rap dance to the public and became K-pop's first stars.
Seo Taiji and Boys reportedly learned how to dance from Black American soldiers at Moon Night. (Yang Hyun-suk, who later on became the founder of YGE, and Lee Juno were the "and Boys" component of the trio.) Their example laid the groundwork for the second generation of K-pop stars.
"[Seo Taiji and Boys] were like gods on earth," recalls Dr. Hurt.
The members became the undisputed purveyors of hip-hop in Korea, utilizing American hip-hop, metal and punk to create a unique musical fusion. The practice of mixing and melding genres is the standard in K-pop to this day.
Seo Taiji and Boys' 1992 performance of "난 알아요 (I Know)" on a competitive TV show struck a chord with the nation's youth, effectively introducing hip-hop to the general public. The performance also filled a capacious hole left in the Korean music industry after the roll back of Emergency Measure No. 9 (which only allowed patriotic or "healthy" songs to be broadcast), which banned hundreds of songs from the likes of Bob Dylan, Johnny Cash and Eric Clapton. Therein, Seo and company brought a new sound to the previously restricted airwaves.
Still, a lesser-known idol predates Seo Taiji and Boys' rise by a couple of years. Once again, Moon Night remains in the backdrop.
If Seo Taiji and Boys is K-pop’s first idol group then Hyun Jin-Young is K-pop’s first solo artist. Though his career was brief, Hyun Jin-Young "is generally credited with bringing hip-hop to the mainstream in Korea," says Dr. Crystal Anderson, Associate Director of Engaged Learning and African and African American Studies at George Mason University. On hits like, "슬픈 마네킹 (Sad Mannequin)," Jin-young sang, rapped, and performed dance moves, such as the Roger Rabbit, over a hip-hop beat. "Without him, you wouldn't have [K-pop] idols, but at the same time, Seo Taiji showed that it could be lucrative and popular."
Artists like Hyun Jin-Young, Seo Taiji, and, later, H.O.T were at the forefront of Korea's "rap dance" scene in the mid-to-late '90s. At the turn of the century, hip-hop culture began to circulate even further via the internet.
"The young hip-hop community [in Korea] has always been pretty hardcore because they had to be to even get enough information to maintain community," Dr. Hurt notes. "[Things] like what are the new fashions, you had to be deep into it."
Youth were largely responsible for disseminating the burgeoning sound of K-pop. "Music is not becoming popular at church. It starts from some kid pirating a CD," says Kirsten Keels, a 2021 Fulbright Korea scholar.
Online, Koreans could explore hip-hop even further. In BTS’ book, Beyond The Story, RM recounted learning about hip-hop through interviews and documentaries about rappers posted on YouTube as a teen. His interest in hip-hop would later cause a ripple effect that would lead him to his current position in BTS.
"Legitimizing" Hip-Hop In K-Pop's Second Generation
By the second generation of K-pop, which roughly begins in 2003, the days of "rap dance" had fizzled out in favor of a distinct K-pop sound. However, hip-hop’s presence in the genre remains in the form of creating a designated rapper in each idol group.
Korean Americans also played a significant role in the "legitimization" of hip-hop and K-pop. "In the early days of K-pop, particularly with the idol groups, you would have one or more members who were Korean American. The idea was they were closer to the source material and therefore it was more authentic," says Dr. Anderson.
This rings true for K-pop groups like H.O.T — Lee Soo-man of SM Entertainment's first massively successful group — and 1TYM, which had Korean American members. Both groups have been cited as inspiration for groups like BTS and 2PM. H.O.T's successful formula became the blueprint for many K-pop groups. They industrialized the K-pop system, much as Motown developed its artists and hit-making processes.
Hip-Hop Artists And K-Pop Idols: Past And Present
Decades after its inception, K-pop and hip-hop acts continue to work together. In 2004, Snoop Dogg and Warren G hopped on Jinusean’s track, "2 All My People." The song's infectiously funky beat made the two rappers' appearance feel seamless.
In 2010, Kanye West was featured on JYJ’s "Ayy Girl" (West also appeared in the music video). And two years later, Psy, who has been a lifelong fan of M.C. Hammer, performed the rapper’s signature dance move next to him at the 2012 American Music Awards.
K-pop and hip-hop royalty came together in 2013 when BIGBANG’s G-Dragon and Missy Elliott gave a mesmerizing performance of "Niliria" on "M-countdown", a weekly music program broadcasted by M-net. It was a legendary moment in K-pop history because it brought together two highly respected rappers from different countries.
One group in particular has a slew of hip-hop collaborations – BTS. It doesn’t come with much surprise, since the septet’s CEO has openly stated "Black music is the base" of their musical identity. BTS and its members have collaborated with the likes of Nicki Minaj, J.Cole, Wale, Desiigner, Juice WRLD, and Lil Nas X (with whom they performed at the 2020 GRAMMYs). Recently, Jungkook, the youngest member of the group, made his solo debut with the song "Seven" featuring Southern rapper, Latto. The song hit No. 1 on the Billboard Hot 100.
In 2017, Jay-Z signed former 2PM leader Jay Park (who takes his name from the multi-GRAMMY winner) to Roc Nation. The following year, Park was seen at Roc Nation’s annual brunch where he snapped pictures with the likes of Beyoncé and Big Sean. His debut EP, Ask Bout Me, featured rappers such as 2 Chainz, Rich The Kid, and Vic Mensa.
Hip-hop’s influence on K-pop runs through the genre’s past, present and future. K-pop and hip-hop artists have always had moments of mutual respect. Even at the most unsuspecting times, the two genres have always found ways to collaborate.
However, the earnestness with which K-pop takes inspiration from hip-hop has understandably been questioned. The topic of cultural appropriation continues to be divisive, and unanimous consensus a rarity. "One person's appropriation isn't necessarily another person's appropriation," says Dr. Anderson.
Lately, the conversation around cultural appropriation in K-pop is commonly in relation to visual signifiers. Instances where K-pop idols have been in the hot seat include but are not limited to: ATEEZ’s Hongjoong wearing cornrows in promo images, BLACKPINK’s Lisa sporting box braids on multiple occasions, and MAMAMOO’s Hwasa donning a durag. While there's often swift backlash from fans, response from record labels is typically delayed — if they acknowledge the uproars at all.
In 2019 and 2020, respectively, former CLC member Sorn posted a picture of someone dressed in a mask that resembled a racist caricature, while Stray Kids' Hyunjin imitated a Korean cartoon character that was reportedly based on Black racial stereotypes. The latter eventually issued an official apology, while Sorn continued to get into hot water — most recently for a photoshoot where she flaunted an afro.
These recent cases are just repeat offenses of longstanding practices. In the '90s, JYPE Founder Park Jin-young put backup dancers in blackface and afros. The Bubble Sisters infamously wore blackface for their debut cover art and corresponding promo pictures in 2003.
BTS' J-Hope raised eyebrows with his remake of Webstar and Young B’s 2006 track "Chicken Noodle Soup." The 2019 track featured Becky G, while J-Hope appeared with a gelled hairstyle that resembled dreadlocks. While the look bordered on appropriation, Young B praised the song in an interview with Billboard.
"People of all cultures know the song," Young B said."[J-Hope and Becky G] made it even bigger for this day and age. I’m very open-minded and I feel like [the remake] is good for the culture. It was created in Harlem, and now it’s a worldwide thing."
"There’s a legit reason for people to be angry because aspects of African American culture have been and continue to be appropriated… the problem with Black popular culture is [it’s] so damn successful," Dr. Hurt says."[It’s] so hyper-successful that in a way you can't make restraining claims on it. I don't think it's at all realistic anymore."
Cases of appropriation can get harder to identify when there seems to be no clear signs of foul
play. RAIN and J.Y. Park’s 2020 duet, "Switch To Me," is redolent of Bobby Brown’s 1988 tune, "Every Little Step." The beat, clothing, and dance moves show that Park Jin-young was inspired by Brown.
"My baseline for a negative appropriation and misappropriation is a racial performance that mocks or demeans," Dr. Anderson adds. "We need to recognize that there's another perspective, not necessarily to excuse some of the more egregious cases of negative appropriation,. We can't use our American racial lens and just put it over this thing and have it make sense because there are other factors at play."
Sometimes the boundaries are pushed too far and are met with legal contention. In 2004, first-generation K-pop group Baby V.O.X released "Xcstasy," utilizing a freestyle Tupac made while incarcerated. The group’s label founder, Yoon Deung Ryong, vehemently denied the rumors that they illegally used the late rapper’s voice and likeness. However, reports from that time failed to corroborate their label’s defenses. In 2020, "Cupid Shuffle" singer Bryson Bernard accused and threatened to sue K-pop group Seventeen for their song "Left & Right" which sounded comparable to his 2007 hit.
Over the past three decades, hip-hop has become part of Korea’s public consciousness resulting in the K-pop we see and hear today. The spark that Black American GIs, Seo Taiji, and hip-hop-loving Korean youth lit has exploded into a billion dollar industry. Although it can come at the cost of misappropriation and well-meaning appreciation, it ultimately shows the influence of hip-hop and Black popular music around the world.