After the end of The Mickey Mouse Club in 1994, Chasez attempted to pursue a music career in Los Angeles, but decided to return home to Maryland.[13] On his drive back, he stopped at Timberlake's house in Memphis, Tennessee, where the two wrote demos together.[13] Chasez and Timberlake eventually relocated to Nashville while continuously writing songs and demo tracks with Robin Wiley, a songwriter and vocal coach on The Mickey Mouse Club.[13] After Timberlake received a phone call from Kirkpatrick, he decided to join the group, recommending Chasez in the process, who was back home in Maryland saving up to return to Nashville.[13] The trio decided to venture in Orlando, Florida to search for a baritone, where they encountered Joey Fatone, who knew Kirkpatrick from their time working at Universal Studios Florida. The group finally recruited Jason Galasso as their bass singer after several auditions.[13] NSYNC created their name after Timberlake's mother commented on how "in sync" the group's singing voices were.[14][15] The group's name is also a play on the last letter of each of the initial members' names: JustiN, ChriS, JoeY, JasoN, and JC.[15]

On November 10, 1998, the group released a holiday album, Home for Christmas. The album peaked at number 7 and sold 2 million copies.[32] With this, NSYNC achieved the rare feat of having two albums in the Billboard Top 10 at the same time. A week later on November 16, 1998, NSYNC released The Winter Album in Germany. One of the songs on the album "U Drive Me Crazy" was a major hit in Spain peaking at number 4. The group scored its first top 10 on the Hot 100 with their third single, "(God Must Have Spent) A Little More Time on You", which peaked at number 8 in February 1999. Country group Alabama later re-recorded the song and released it as a single that featured vocals from NSYNC. The fourth and final single from the album, "I Drive Myself Crazy", was a modest chart hit, but a mainstay on Total Request Live.[33] NSYNC also recorded their version of the song "Trashin' The Camp" with Phil Collins. The song appears on the soundtrack to the Disney movie Tarzan. They also did "Somewhere, Someday" which appears on the soundtrack to Pokmon: The First Movie. In September 1999, the group collaborated with Gloria Estefan on a song for the soundtrack for her movie Music of the Heart. The track "Music of My Heart" reached number 2 on the Hot 100 and served as a stopgap between album releases.

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On July 29, 2014, a compilation of *NSYNC's hits and unreleased songs titled The Essential *NSYNC, was released. Bass said of the album on his radio show, Dirty Pop: "There's a lot of these songs I don't think I've ever heard, I remember recording them but I've never heard them before, so I'm interested in just hearing them." Chasez tweeted about the album's release, stating: "I had the strangest dream last night that some old friends and I had a top 10 record on iTunes. Crazy right..." Kirkpatrick said of the album; "It's great to release some of the songs that had never made a record before. I'm glad our long time fans get some new music." Fatone also said; "Pretty interesting this album comes out, which I really had no idea, and it's in the top of Amazon and iTunes... we owe it to our fans. Thank you."[79] Fatone and Kirkpatrick starred in Dead 7, a western zombie film written by Backstreet Boys member Nick Carter. The film premiered on April 1, 2016, on the Syfy channel.

12. "Digital Get Down" (No Strings Attached): In the canon of songs written at the advent of the internet age that were obsessed with cyber sex, this one reigns supreme. And it hits even more potently at this particular moment in time, if we're being honest.

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.

"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."

Along with having more eyes on her, Swift also felt pressured to maintain her persona as a perfect young female role model amid a time when her peers like Miley Cyrus and Demi Lovato were attempting to rebrand to be more mature and sexier. During her NYU commencement speech in 2022, she reflected on this era of her life as one of intense fear that she could make a mistake and face lasting consequences, so the songs were masked in metaphors rather than directly addressing adult themes in her music. But that also resulted in some of her most poignant lyrics to date.

Writing the entire album herself, Swift used Speak Now to prove her songwriting prowess to those who questioned her capabilities. Much like her previous two albums, Swift included songs that were both inspired by her own life and being a fly on the wall. The album's title track pulled from the saying, "Speak now or forever hold your peace," inspired by a friend's ex-boyfriend getting engaged; meanwhile, "Mean" was everything Swift wanted to say to a critic who was continuously harsh about her vocals.

The slight change of direction became polarizing for critics and fans alike. Following the more country-influenced Speak Now, some critics and fans found the pop songs on Red were too pop and the lyrics were too repetitive, possibly indicating that she might be selling out. If that wasn't enough, Red became an era where Swift's personal life went from speculation to tabloid fodder, with misogynistic headlines and diluting her work to just "writing about her exes." It's an era that would eventually inspire many tracks on Red's successor, 1989, like "Blank Space" and "Shake It Off."

After exploring pop-leaning sonics she first found with Red, Swift worked with Martin and Shellback again on most of 1989. This reinvention brought new (and very important) collaborators as well. Swift's now-frequent collaborator Jack Antonoff credits her as the first person to take a chance on him as a producer with "I Wish You Would" and "Out Of The Woods"; both tracks exemplified how future Antonoff-produced songs would sound on albums like reputation, Lover and Midnights.

Swift also found a new sense of creativity within this new mindset, one where she aimed to still embed playful themes in her songwriting but with less snark than that of "Blank Space" and "Look What You Made Me Do." Leaning into Lover being a "love letter to love," Swift explored every aspect of it. Tracks like "Paper Rings" and "London Boy" exude a whimsical energy, even if they center on more serious themes like marriage and commitment. Other songs, including "Death By A Thousand Cuts" and "Cornelia Street," are Swift at her most vulnerable, reflecting on a love lost and grappling with the extreme worry that comes when you could potentially lose someone.

folklore's impact on the zeitgeist at a time where everyone was stuck at home helped shape people's quarantine experience. Fans rejoiced at having songs to comfort them during difficult times, and artists like Maya Hawke, Gracie Abrams, and Sabrina Carpenter credit folklore for inspiring them to create and be even more emotionally honest in their songwriting. After its release, folklore became the best-selling album of 2020 after selling 1.2 million records. At the 2021 GRAMMYs, folklore took home Album Of The Year, making her the fourth artist in history to win three times in the Category.

Her most conceptual album to date, Midnights charts 13 sleepless nights and explores five themes, from self-hatred and revenge to "what if" fantasies, falling in love, and falling apart. They are the things that keep her up at night, like the self-critiquing in "Anti-Hero," her rise to fame in "You're on Your Own, Kid," and the anxiety of falling in love again in "Labyrinth." Similarly to Swift's cheeky songwriting style that sees her create caricatures of herself in songs like "Blank Space" and "Look What You Made Me Do," she doubles down on claims she's "calculated" on "Mastermind," a song about devising a plan for her and her lover.

To say that Swift's celebrity has become otherworldly since the release of Midnights would be an understatement. Celebrating her genre-defying and varied discography through The Eras Tour has resulted in old songs having a resurgence, new inside jokes and Easter eggs within the fandom, and a plethora of new listeners being exposed to Swift's work.

When the king of parody songs selects one to skewer, you know it's an iconic song. Weird Al Yankovic paid tribute to the largeness of the Backstreet Boys classic when he used "I Want It That Way" as the basis of a song called "eBay" in 2003.

During Timberlake's free show at The Wiltern -- one of several he's done across the country in advance of the release of the album, out Friday -- he brought out Joey Fatone, Lance Bass, JC Chasez and Chris Kirkpatrick to join him for several songs, including their hits \"Bye Bye Bye\" and \"It's Gonna Be Me.\"

Elsewhere the show, Timberlake was also joined by R&B singer Coco Jones and sang songs from throughout his career, including hits like \"SexyBack\" and \"Summer Love,\" as well as songs from his new album.

"We were excited, but it was Ariana's show," Fatone recalled. "So we were just like, 'Hey, we're coming in, having a great time.' And that's what we did. We had a blast doing it 'cause it was, like, two songs, let's have fun, no stress on us." 0852c4b9a8

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