The blockbuster Flame v. Katy Perry copyright lawsuit over "Dark Horse" has made big-time news recently in the music industry, but lost in the splash of the headlines over GRAMMY nominated artists is the fact that litigating copyright violations is simply infeasible for the average artist, songwriter or creator.

A case in the magnitude of “Dark Horse” would incur hundreds of thousands of dollars in legal fees just to be heard in court, which is only justifiable based on a potentially large settlement. The federal court system is unattainable to a songwriter who is lucky to earn even a few thousand dollars for their song, leaving most in the music industry with rights but no remedies. For music creators and other creative industries this is a problem, and the CASE Act is its solution.

<blockquote class="twitter-tweet"><p lang="en" dir="ltr">The bill that creates small claims process for copyright holders wins one more battle in the fight for creators&#39; rights – here&#39;s how you can help it keep going. <a href="https://twitter.com/hashtag/CASEact?src=hash&amp;ref_src=twsrc%5Etfw">#CASEact</a> <a href="https://t.co/dH0xweUIMF">https://t.co/dH0xweUIMF</a></p>&mdash; GRAMMY Advocacy (@GRAMMYAdvocacy) <a href="https://twitter.com/GRAMMYAdvocacy/status/1152629496064937984?ref_src=twsrc%5Etfw">July 20, 2019</a></blockquote> <script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>

The Copyright Alternative Small Claims Enforcement (CASE) Act, would create a copyright small claims court that would help independent music creators protect their work. By capping damages at $30,000 and allowing claimants to initiate action without a lawyer and without needing to appear in court, the bill will go a long way to help independent music creators fight infringement without going broke in the process.

Because many working music creators can't afford the type of legal fees associated with a major copyright lawsuit such as the “Dark Horse” case, many are left unable to defend their work. The CASE Act addresses this challenge faced by average music creators unable to enforce infringement because the modest recovery potential often cannot justify the high expenses of litigation.

Some argue the “Dark Horse” verdict could throw open the flood gates for what is known as "copyright trolling," where the troll attempts to coerce a legitimate copyright holder or user into court by bringing frivolous claims against them. Such fears are unfounded when it comes to the CASE Act, which contains numerous safeguards against trolling, even more than exist under current federal law.

For starters, the CASE Act makes the small claims process inhospitable to trolling, providing respondents with the opportunity to opt out of any case and imposing severe penalties for bad faith or frivolous claims. The Copyright Claim Board has the authority to award attorney fees up to $5,000 to the respondent, ban the claimant from filing for a year and even dismiss all pending cases filed by the claimant. The message of the CASE Act is clear: It doesn’t pay to troll.

<blockquote class="twitter-tweet"><p lang="en" dir="ltr">Some groups have falsely alleged that the <a href="https://twitter.com/hashtag/CASEAct?src=hash&amp;ref_src=twsrc%5Etfw">#CASEAct</a> would enable so-called &quot;copyright trolls&quot; to abuse the system and get away with it. The truth? This legislation will do more to prevent trolling than any measures previously taken. <a href="https://twitter.com/hashtag/MySkillsPayBills?src=hash&amp;ref_src=twsrc%5Etfw">#MySkillsPayBills</a> <a href="https://t.co/jOXNknf4i2">https://t.co/jOXNknf4i2</a></p>&mdash; Copyright Alliance (@Unite4Copyright) <a href="https://twitter.com/Unite4Copyright/status/1159162671989702657?ref_src=twsrc%5Etfw">August 7, 2019</a></blockquote> <script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script>

With solid protection against nefarious claims and bold empowerment for the working class music creator, the CASE Act implements safe, affordable and accessible court system, not for the Dark Horse-level copyright lawsuits, but for the average creator who deserves the same due process.

Supported by both Democrats and Republicans, the CASE Act was passed without objection by the Senate Judiciary Committee last month and now waits for consideration by the House Judiciary before being voted on by all Members of Congress. You can show your support for the bill by contacting your Members of Congress and urging them to push the CASE Act through for the benefit of music creators and the music industry.

Let Your Members Of Congress Know You Stand In Support Of Music Creators' Rights

The beginning of a new year often results in moments of reflection as well as anticipation about what lies ahead. And with the myriad of feelings that ensue upon New Year's Eve, music serves as a powerful source for both introspection and inspiration.

There are countless songs that give listeners a chance to reflect and resonate with the possibilities of what's yet to come. Whether it's the pulsingly hopeful beat of Jamie xx's "I Know There's Gonna Be (Good Times)," the inspiring narrative of The Notorious B.I.G's "Juicy," or Elton John's pumped-up "I'm Still Standing," a good soundtrack is the perfect catalyst for starting a new year on the right note.

As you envision what the coming year has in store, enjoy this playlist from GRAMMY.com — curated not just to celebrate the moment the clock strikes 12, but to infuse the coming year with inspiration and cheer.

79.5 — "B.D.F.Q"

Inspired by singer Kate Mattison's experiences in Detroit, 79,5's "B.D.F.Q." is about perseverance in the face of a music industry marred by misogyny. Short for "B—, Don't F—ing Quit," "B.D.F.Q." amplifies a mood of independence and strength with the declaration, "They! Don't mean a thing/ Don't mean a thing, just do your thing!" While the message is timeless, "B.D.F.Q." will certainly amp you up for any challenges the new year presents.

The Beatles — "Here Comes The Sun"

Whether you spin the 1969 original or the reinvigorated 2019 mix, the Beatles' "Here Comes The Sun,"  remains a classic symbol of continuation and hope. A track from the Fab Four's iconic Abbey Road album, this George Harrison composition is celebrated for its uplifting melody and serene lyrics that playfully describe a new dawn and brighter days ahead.

Elton John — "I'm Still Standing"

Elton John delivered an upbeat ode to durability and the ability to bounce back with "I'm Still Standing," a 1983 track that resonates 40 years on. Between its catchy melody and John's energetic performance (particularly in the beach-set music video), the song conveys a triumphant message about overcoming challenges and emerging stronger.

"Hamilton" — "My Shot"

Of the many dynamic numbers in Lin-Manuel Miranda's renowned musical "Hamilton," "My Shot" is arguably the most inspirational and universal. A powerfully charged manifesto that embodies ambition and determination — delivered with an electrifying blend of hip-hop and theatrical flair — "My Shot" celebrates seizing opportunities and making a mark. It's a welcome New Year's song choice for those compelled to channel their inner strength and embrace new challenges in the year ahead.

J Balvin — "6 AM" feat. Farruko

This vibrant reggaeton track from J Balvin's 2013 album La Familia encapsulates the spirit of spontaneity. Its infectious beat and catchy lyrics manifest as a celebration of lively nights and the adventures that unfold in the early after hours — hence, the 6 a.m. title. This one's for the night owls, who may see the sun rise at the turn of the new year.

Jamie xx — "I Know There's Gonna Be (Good Times)" feat. Young Thug, Popcaan

"I Know There's Gonna Be (Good Times)" by Jamie xx is as upbeat and optimistic as hip-hop tracks come. Featuring Young Thug and Popcaan, the 2015 track melds elements of dance and reggae for an infectious ode to good times ahead — an enduring NYE sentiment.

Jimmy Chamberlin Complex — "Life Begins Again"

The title track of their 2005 album, "Life Begins Again"  is an intricate and evocative composition that blends elements of jazz and rock with a bit of emo sentiment. The track showcases Jimmy Chamberlin's exceptional drumming prowess while promising that life is cyclical — every day can be the first of your life with the right attitude.

John Lennon — "Just Like Starting Over"

With themes of rekindling love and starting anew, John Lennon's "[Just Like] Starting Over" is a fitting tribute to fresh starts and the enduring power of renewal in all aspects of life. And as the final single released while he was alive, it's a bittersweet testament to Lennon's enduring legacy.

Katy Perry — "Roar"

Katy Perry's "Roar," from her 2013 album Prism, is a proud declaration of self-empowerment and finding one's voice. An electrifying track with a booming chorus and spirited lyrics, it embodies the journey from silence to strength. Its message of embracing one's true self and speaking out makes it an inspiring celebration of new beginnings.

Lisa LeBlanc — "Pourquoi faire aujourd'hui"

For those looking to give themselves a little break as the new year begins, Lisa LeBlanc's "Pourquoi faire aujourd'hui" may be the song for you. A single from her 2021 album Chiac Disco, the energetic, disco-inspired French language track features playful lyrics about procrastination, with its titular line asking, "Why do today what you could do tomorrow?" — starting the year off in laid-back fashion. If tu ne parles pas Français, LeBlanc's catchy dance beats are fuel for a joyful New Year's Eve atmosphere.

Lizzo — "Good As Hell"

Like many of Lizzo's songs, "Good as Hell" captures a vibrant, empowering spirit. It celebrates self-care and resilience in the face of adversity, blending a lively rhythm with Lizzo's dynamic vocals. Its uplifting lyrics and infectious energy encourage a sense of confidence and self-appreciation — a powerful anthem of positivity any time of the year.

Nina Simone — "Feeling Good"

A timeless classic first made famous by Nina Simone, "Feeling Good" is a powerful anthem of rejuvenation and hope. Simone's jazz-infused rendition was released in 1965; its resolute delivery captures a spirit of personal transformation and empowerment, offering an enduring sentiment going into the new year: "It's a new dawn/ It's a new day/ It's a new life for me, ooh/ And I'm feeling good."

Notorious B.I.G. — "Juicy"

Although The Notorious B.I.G.'s "Juicy" is a personal account of the late rapper's rise to the top, the song encapsulates a spirit of triumph that can inspire anyone with a dream. From its bouncy beat to the iconic "If you don't know, now you know" hook, "Juicy" will have you reaching for the stars.

Otis Redding & Carla Thomas — "New Year's Resolution"

Memphis legends Otis Redding and Carla Thomas' aptly titled 1967 album King & Queen is notable for being the final studio release before Redding passed away that December. The album also spawned a NYE classic: "New Year's Resolution." With lyrics that explore the concept of ​​making resolutions and embracing change in the new year. While the song lacks Redding's trademark soulful wail, "New Year's Resolution" is temperate and contemplative — a reprieve from the let-it-all-out powerful Stax sound to ease your way into the new year.

Peter Cat Recording Co. — "Portrait of a Time"

Both modern and nostalgic, Peter Cat Recording Co.'s "Portrait of a Time" blends jazz, and indie rock for an eclectic and nostalgic, introspective jam. The song carries a reflective mood of contemplation and transition, with lyrics that encourage leaving "confusion and darkening clouds" in the past and hopping in the Lamborghini of life for a new wild ride.

Taylor Swift — "New Year's Day"

After all of the bold, empowered statements on Taylor Swift's 2017 album reputation, she closes the LP with a tender, piano-driven ballad that captures the quiet intimacy and hopeful sentiments of a new year. Aptly titled "New Year's Day," the song's reflective and heartfelt lyrics contemplate love and loyalty found in life's fleeting moments. Swift's delicate vocal delivery and the track's gentle melody evoke a sense of warmth and enduring connection, making it a poignant choice to embrace the new year with a sense of closeness.

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Before Rihanna, Billy Joel and Jay-Z became some of the biggest names in music, they were students just like the rest of us. Without some particularly special teachers, they might not be the superstars they are today, and they all remember who first encouraged them.

Within the past few years, Rihanna made a special trip to a cricket match in England to reunite with her old P.E. teacher from Barbados, who she calls her "MVP"; Joel traveled back to his New York hometown to honor the teacher who said he should be a professional musician; and Jay-Z told David Letterman that his sixth grade English teacher made him fall in love with words. 

In honor of Music In Our Schools Month — which raises awareness for supporting and cultivating worthwhile music programs in K-12 — GRAMMY.com highlights eight artists who have praised their teachers for making a lifelong impact.

Billy Joel

After watching Joel tackle Tchaikovsky's Piano Concerto No. 1 in B-flat Minor, Op. 23, his high school music appreciation teacher Chuck Arnold suggested that he consider music as a career.

"He said to me, you should be a professional musician," Joel recalled of his Hicksville High School mentor during a 1996 event at C.W. Post College. "Now, for a teacher to say that, it's like condemning someone to a life of poverty, drug taking, alcoholism and failure.

"A teacher is telling me this," he added seriously. "It had a huge influence on me."

In 2022, Joel was on hand to congratulate Arnold during the dedication of the Charles "Chuck" Arnold Theatre at the school. "This is for the coolest teacher there ever was," he praised.

Lizzo

.@CBSSunday surprised Lizzo with her high school band director, who encouraged her to apply herself when she was learning to play the flute — and her reaction was priceless: “Wow, I did it, didn't I?” https://t.co/dwffNvYzpb pic.twitter.com/xp5kDK5pWB

— CBS News (@CBSNews) October 6, 2019

In 2019, CBS Sunday arranged a surprise visit with the singer and Manny Gonzales, the former band director at her alma mater, Elsik High School in Houston. She told the network that Gonzales helped her get a scholarship to study classical flute at University of Houston.

"You told my ass!" Lizzo exclaimed as she squeezed him. "You were like, 'Get it together, girl, 'cause you are special. Apply yourself!' Those moments meant so much to me."

Lil Jon

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A post shared by LIL JON (@liljon)

The Atlanta DJ/producer and king of crunk has done more than take parties to the next level — he has invested in the educational future of children in Africa by building two schools in Ghana with the non-profit organization Pencils of Promise. He credits a mentor at Frederick Douglass High School in Atlanta for sparking his brain when he was a teenager.

"It was my music teacher [who inspired me to dream bigger]," he said in a 2019 interview with Yahoo! "I wanted to play drums, and if I didn't play drums, I wouldn't make music, and drums are the foundation for what I do."

Rihanna

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Roddy Estwick was Rihanna's P.E. teacher in Barbados and is now the assistant coach of the West Indies cricket team. The two had an emotional reunion at the 2019 Cricket World Cup in England.

"He made a lasting impact on my life and he really offered great advice to me and many others when we were at school at Combermere," she told Barbados Today amid their reunion. "I just wanted to let everyone know what he meant to me in my development and what he did for us back at school in Barbados." Essence reported that Rihanna described him as, "My mentor, my champ, my MVP" on her Instagram stories.

John Legend

The Ohio native credits his English teacher Mrs. Bodey at North High School in Springfield for setting him on the path that culminated in his music career.

"Until her class, I hadn't believed in my ability as a writer," Legend shared in a 2017 op-ed for Huffington Post. "She recognized my potential and showed me that I could write with creativity, with clarity, with passion."

He continued, "Mrs. Bodey, along with a few other teachers, helped me gain confidence in my skills and pushed me to challenge myself. They pushed me to graduate second in my class. They pushed me to deliver the speech at our graduation. They pushed me to earn a scholarship to the University of Pennsylvania, to hone my writing as an English Major and, ultimately, toward a successful career as a songwriter."

Adele

The singer was reunited with the most pivotal teacher in her life during her "An Audience with Adele" concert special in 2021. While the singer took questions from the crowd, actress Emma Thompson asked Adele if she had a supporter or protector in the past.

"I had a teacher at [south London high school] Chestnut Grove, who taught me English. That was Miss McDonald," Adele said. "She got me really into English literature. Like, I've always been obsessed with English and obviously now I write lyrics… She really made us care, and we knew that she cared about us."

Miss McDonald then surprised Adele on stage, and the singer was brought to tears — a touching highlight of the special. She even told her former teacher that she still has the books from her class!

Katy Perry

While Perry has admitted that she wishes she had a better overall education, her former music school teacher gave her confidence to pursue singing seriously.

"I'm kind of bummed at this stage that I didn't have a great education because I could really use that these days," she said in a 2014 interview with Yahoo! "There was a teacher named Agatha Danoff who was my vocal teacher and music teacher at the Music Academy of the West. It was very fancy and I didn't come from any money… and she always used to give me a break on my lessons. I owe her a lot of credit and I appreciate that she looked out for me when I didn't have enough money to pay."

Jay-Z

Picture a young Shawn Carter — now better known as Jay-Z —  with his head stuck in a dictionary.

"I had a sixth grade teacher, her name was Ms. Lowden and I just loved the class so much," Jay-Z said during his appearance on My Next Guest Needs No Introduction with David Letterman in 2018. 

He later realized how much Renee Rosenblum-Lowden, who taught him at Intermediate School 318 in the Williamsburg neighborhood of Brooklyn, had an influence on his passion for language. "Like, reading the dictionary and just my love of words," he explained. "I just connected with her."

"I knew he was extremely bright, but he was quiet," Rosenblum-Lowden told Brut in 2019, sharing that he scored at the 12th-grade level on a sixth-grade reading test.

"He's been very kind," she added. "Every famous person has a teacher who probably influenced them, and I wish they would all shout out the way Jay-Z did."

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"Girls like girls like boys do/nothing new," Hayley Kiyoko, affectionately known as "Lesbian Jesus" by her fans, sings on her second EP, This Side of Paradise.  

The accompanying music video for "Girls Like Girls," released in June 2015, features two gal pals falling in love while a violent boyfriend looms in the background. The reception was so encouraging that Kiyoko herself came out as bisexual. Two days later, the Supreme Court legalized gay marriage in all 50 states.

While the timing of the Supreme Court announcement was apt for Lesbian Jesus, Kiyoko is one of many queer pop artists to receive mainstream shine in recent years. The 2010s in particular were a liminal era where pop dipped its toes into queerness, testing the waters when artists and society at large weren’t entirely sure if it felt "wrong or right."

The second decade of the new millennium saw a shift away from the tepid engagement with queer identity in pop. Lyrics became less thematically subtle, instead favoring direct and prideful exclamations, as well as nuanced songs of heartbreak. The rise of self-publishing platforms such as Instagram, YouTube and TikTok further enabled artists to better control their narratives around sexuality, such as Troye Sivan coming out in a viral video in 2013, a year before his debut EP. 

Although queer imagery and lyrical leanings aren't new, displays of queer sentiment in pop culture have historically been viewed as provocational, rather than a necessary means of engaging with queer identity. Yet as queerness has become more "acceptable" in mainstream entertainment and American politics, it’s not surprising that pop stars may refocus on their identity as a means of negotiating the constant demand for reinvention inherent to pop music.

Born That Way: Queer Pop's Early Aughts Origins

When Lady Gaga burst onto the scene in early 2008, the media zeroed in on her eccentric costumes and zany ear-worms. Yet her bisexuality and support for the LGBTQ+ community through song — most notably, 2011's "Born This Way" — was often criticized and allyship largely considered an eccentricity. Even still, her fame skyrocketed in an incredible show of progress. Gaga became a global sensation at a time where any political sentiment was rarely rewarded.

In a 2018 video interview with Vogue, Gaga commented that these formative pop songs were a career defining moment. "I want to be remembered for the message behind 'Born This Way.' I would like to be remembered for believing that people are equal," Gaga said. "I would like to be remembered for being courageous and different."

As Brian O’Flynn wrote in the Guardian: "Gaga did for my generation what Bowie did 20 years earlier. She re-queered a mainstream that had fallen back into heteronormative mundanity."

Did It Feel Wrong Or Right?

Gaga's queer-friendly pop would be emulated and iterated on for years to come. But the dawn of the 2010s brought with it a new age of queer pop, one where authenticity seemed to reign supreme and identity was placed under a microscope.

Released in 2008, Katy Perry's "I Kissed A Girl'' saw phenomenal success but was deliberately marketed as a cheeky, bi-curious "phase." Perry, who is bisexual, admitted that the marketing was problematic, later saying she would have rewritten the song to confront this stereotype.

Queerness as a so-called marketing plot is commonplace, though it can also result in an artist's sexual orientation being dismissed or diminished. Halsey, Kiyoko and Miley Cyrus have all had to defend their status as LGBTQ+,  reflecting the ways  bisexuality is often criticized in queer circles. When Billie Eilish posted a behind the scenes picture from her of a music video featuring all girls, with the caption "I love girls," she was bombarded with invasive questions about her sexuality. The constant demand for reinvention demanded by pop music, as well as the increase in fandom throughout the 2010s, means that a pop star’s real life and marketing often exist in tandem.

This often leads to accusations of queerbaiting (where a creator hints at LGBTQ representation, but doesn’t confirm openly), which became a more common occurrence in the 2010s. Rita Ora’s "Girls" featuring Cardi B and Charli XCX attracted criticism in 2018 after its lyrics "Red wine/ I just wanna kiss girls, girls, girls" implied that Ora only wanted to kiss girls when intoxicated. This forced Ora to come out via Twitter.

The following year, Ariana Grande's "Monopoly" featured lyrics about liking "women and men" and resulted in a flurry of accusations of queerbaiting, as well as speculation that Grande might be bisexual. The song claimed the No. 1 spot on the iTunes chart 24 hours after release and has over 52 million views on YouTube, hinting that the appetite for queer representation in pop music is not dying down.

While some artists are accused of queerbaiting, others must deal with intersectional issues of identity. After coming out in 2019, Lil Nas X has become one of the best-known Black queer male artists — an especially significant fact as his has experienced success in both country and hip-hop — and boldy embraces his sexuality across platforms. The rapper has reveled in turning homophobic rhetoric on its head with outspoken lyrics, and explicitly devilish videos and performances.

Yet Black queer pop stars such as Lil Nas X face an extreme level of backlash around sexual performances that their straight, white counterparts often don’t get. When he openly kissed a dancer at the BET Awards — an unexpected, but authentic act of self-expression as a gay man — Nas X was demonized (so much that he commented that, next time, he would have sex onstage). None of the vitriol stopped Nas from achieving his second No. 1 of the year or winning Best Music Video at the 2020 GRAMMY Awards.

It appears that artists such as Lil Nas X are starting the 2020s off with pride — and more unabashed, explicitly queer music.

Shade Never Made Anyone Less Gay

This emphasis on authenticity that grew from the 2010s is, perhaps, both to the detriment and aid of LGBTQ+ pop and identity.

Emboldened by vocal online fans, queer musicians are able to reach huge audiences and raise awareness around LGBTQ+ identities. Yet criticism and backlash can still derail careers. Hayley Kiyoko was the only openly queer artist to break the top 40 on the US Billboard Hot 100 chart in 2018; meanwhile, Sam Smith’s album sales fell when they publicly came out as non-binary in 2019.

However, successes are still common: Demi Lovato came out as non-binary in 2021and Miley Cyrus openly declared her pansexuality to mostly praise; Ben Platt came out in the emotive music video for "Ease My Mind" in 2019.  In 2021, listening to Norwegian singer/songwriter Girl in Red, is almost synonymous with identifying with queer labels. As Spotify streams and YouTube videos can now translate into the charts, homegrown LGBTQ+ stars have even more ability to change pop music into a more inclusive space.

LGBTQ + allies have also emerged left, right and center. Taylor Swift used her 2019 single "You Need To Calm Down" to campaign for the Equality Act, breaking her long held silence on political issues, and even namechecking GLAAD in one of her lyrics. Beyoncé was honored by GLAAD in the same year for her allyship.

It is a sign of progress that we are beginning to dissect and examine these issues of queerness rather than ignore them. Yet the obsession with "true" identity and "correct" ways of expression can hamper queer creativity, especially for those with other intersecting identities. As LGBTQ+ stories are embraced in the 2020s, acceptance of queer pop artists can't be contingent upon the public's comfort with specific presentations of queerness.

We shouldn’t have to force pop stars to come out, or publicly present their sexuality, for us to appreciate their queer work — but if they choose to do so, we shouldn’t be trying to shove them back into that respectable, comfortable queer box. Long live the queer pop star, in any way they wish to exist.  

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It always seemed inevitable that Katy Perry would land in Vegas someday. All the biggest pop stars do these days, with casinos and venues offering lucrative residencies to everyone from Celine Dion to Britney Spears. But Perry has always had a Liberace level of camp running through her work, and it's easy to see how Vegas' taste for excess could lend itself to her sensibilities.

And boy, have they ever. Play, Perry's new residency at the Resorts World Theatre, is one of the most mind-expanding productions in recent memory. A sort of blend between "Pee-Wee's Playhouse" and Toy Story, Play finds Perry cast as a doll struggling to find her place in the human world. Play is strange, childlike and over-the-top — and everything is very, very Perry. We are talking about the woman who once wore a bra that doubled as a whipped cream cannon, after all. 

With Perry's Play now extended through mid-August, thousands more people will be funneling through the show every week. Perry and her team have certainly made sure that audiences won't walk away from Play thinking they've seen it all before, so whether you're heading to Vegas yourself or just want to catch a glimpse at the show that's sure to push the touring and live industry forward, here are some of the takeaways from Perry's Las Vegas residency.

Expect the unexpected

It's always been true that you never quite know what you're going to get with Perry. Her imaginative music videos have always been appointment viewing, and her 2015 Super Bowl halftime show is still talked about as one of the most entertaining ever. Play pushes that notion even further.

Each of the show's five acts are set in a different tableau, with Perry's diminutive doll character dropped into oversized versions of a child's bedroom, bathroom and backyard, as well as a trash-strewn garbage can and a glamorized Vegas-style Busby Berkeley extravaganza. The set pieces are incredible, and Perry and her team play with them to great effect. (Perry created the show with Baz Halpin and Silent House Productions, who also did the singer's Super Bowl performance.) There's an enormous functional rocking horse, an overturned cereal box that becomes a stage, and even a 16-foot-tall toilet that actually comes to life. 

And yes, there are puppets

Speaking of that toilet: The rumors are true. There is an enormous, talking and singing "poo-pet" that pops out of the bowl for a duet during "California Gurls." (It even has a corn kernel tooth.) 

There's also a huge talking mask dubbed Mr. Maskie, and a cavalcade of dancing rubber ducks, plungers, toilet brushes, fashion dolls, phallic mushrooms, army men with comb guns, and a lengthy yellow extension cord that operates a little like a Lunar New Year dragon. 

During the "Trashun" act, Perry sports a dress that's seemingly made from soda can pull tabs, and even taps one of her crushed beer can bra cups to pour herself a cold one.

Katy plays the hits…

Play's 95-minute runtime might not seem incredibly long, but Perry packs a lot of punch into that limited run. The set list is the same every night, and it's packed with all the hits, like "Dark Horse," "I Kissed A Girl" (in which Perry bumps and grinds on a sexy frog), "Swish Swish," "Teenage Dream," and "Roar." She closes with "Firework," complete with heart-shaped confetti, because of course she does. She also gets a few semi-deep cuts in, like 2008's "Hot N Cold" and "Lost," as well as her latest single, "When I'm Gone" and a cover of "The Greatest Love Of All."

…and she sounds fantastic

Lest anyone think Perry's occasionally cartoonish affect means she isn't a serious artist, Play is here to remind you that it's possible to have fun and still sing your goddamn heart out. 

Perry's voice has never sounded better, thanks in part to the incredible L-Acoustics sound system installed in the Resorts World Theatre. It's something Perry could never really take with her on an arena tour where she'd have to worry about rigging and rafters, and it allows for an immersive 360-degree sound design that's not dissimilar from what you might hear in a movie theater or on an amusement park ride. The sound seemingly comes from everywhere, including below your seat, and Perry's voice is as clear and lovely as a bell. 

Perry understands the Vegas mentality

There's a part of the show where Perry stops to tell the audience a story about how the Resorts World Theatre was built where the Stardust hotel and casino used to be. It was there, she said, that her grandmother and aunt worked decades ago, as a seamstress and showgirl, respectively. How wild, she muses, that she's come back to work on the same plot of land, blending and manifesting the work that they had sought to do. 

It's a very sweet moment, but it also reminds us that Perry straight up understands Vegas. Just like her grandma, she knows that Sin City is about hard work, and that travelers come expecting a show. She's enlisted the very best dancers, directors, musicians, and crew to help her make all of that a reality, including three fashion designers — Zaldy, Johnny Wujek, and Heather Picchiottino — who are experienced in both the ballroom and drag worlds. These are people that understand what Perry's going for with Play, which is not just entertainment but whimsical fanaticism. She's there to put on a show with a capital S, and she was clearly willing to do the work to make it a reality. 

Perry's hive has assembled

If you go to the show, get there early, because Perry's audience is perfect for people watching. There are decked out superfans in Perry-inspired red mushroom hats who have clearly seen the show more than a few times, and there are older people who are clearly just there because they wanted to see a show, no matter what it was. There are kids and there are bachelorette parties. There are drag queens, and there are dudes on dates. Perry's audience encapsulates a wide swath of society, but in the Play space, everyone lives and sings together in harmony. 

Play is the future

While Perry has certain advantages with Play — a stationary space to build the show around, for instance — it's hard to see how the show won't affect the live music world at large. As ticket prices rise, audiences want to see more and more of a show. They want lights and video and once-in-a-lifetime experiences that feel spur of the moment. 

Perry's show delivers all of that, and it sets the bar high not just for future Vegas residencies, but also for future arena tours. The way Perry plays with video to create depth of stage is inspiring, as is the creative way she's staged her band in stacked boxes to the side of the stage. Perry is playing outside the box here — no pun intended — and the industry would be wise to learn from her example.

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