The name Björk conjures some well-worn images. She's the otherworldly artist whose album rollouts resemble large-scale art projects. She's the avant-garde fashion maven who smiled serenely in the "swan dress" at the 2001 Oscars. And yes, she's the eternal kook selling a box set of 14 handmade bird-call flutes to complement her 2017 album, Utopia. 

But there's a relatable image often missed in all the mythmaking: Björk in her late-20s, a wide-eyed new arrival in London, still at the grimy nightclub when the lights come on. 

Born Björk Guðmundsdóttir, the singer moved from her native Iceland to London in the early '90s. Single in the big city with a young son, Sindri, the musician was eager for new experiences. London's sound clash of electronic music promised endless possibilities. 

Björk went headlong into the nighttime world of the city, sampling jungle, drum & bass, house and techno. Not all of it connected. "Ninety-five percent of the dance music you hear today is crap," she told Rolling Stone in 1993. "It's only that experimental five percent that I'm into — the records that get played in clubs after seven o'clock in the morning, when the DJs are playing stuff for themselves, rather than trying to please people." 

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Gradually, Björk met her people. She found kindred spirits in Graham Massey, founding member of Manchester acid house innovators 808 State, and Nellee Hooper, a sound system veteran known for his work with Soul II Soul. Out of this creative awakening came Björk's Debut, in 1993, and its astonishing follow-up, Post, which turned 25 this June. 

In her formative years, Björk played in rock bands, but she was never a rock loyalist. Growing up in the Icelandic capital of Reykjavík, she learned the country's folk songs from her grandmother. After her parents divorced early in her life, Björk moved between the domains of her straight-laced electrician father and free-spirited activist mother. 

In spite of splitting her time between parents, she was always surrounded by music. Her mother couldn't afford an oboe, so Björk learned the flute instead. On the long walks to and from school, she honed her remarkable singing voice. She released an album at 11 years old and found success in the Icelandic alt-rock group, The Sugarcubes. (Her former husband and father to her son, Sindri, was the band's guitarist.)

But Björk was unfulfilled, and 808 State's Graham Massey represented a new path. On Björk's request, the pair met in London to discuss beats. She liked the uncommercial approach to electronic music he’d honed in Manchester’s acid house scene; he was floored by her spine-tingling voice. Björk had arrangements for two songs, "Army Of Me" and "The Modern Things," that needed some edge. They finished "Army Of Me" in an afternoon, with Björk tinkering on a pocket sequencer while Massey perfected a giant bass riff. (Meanwhile, Björk appeared as a vocalist on 808 State's 1991 album, ex:el, and brought the band to Reykjavík to play the songs live.)

Björk also found a creative groove with Nellee Hooper, a former member of the Bristol DJ collective The Wild Bunch turned GRAMMY-winning superproducer for the likes of U2, Sinead O'Connor and Gwen Stefani, among others. Björk and Hooper shared a vision for a complete concept, which would later become her aptly titled 1993 debut album, Debut. (The Massey-assisted "Army Of Me" and "The Modern Things" were shelved for later use.) Produced by Björk and Hooper alone, Debut cleanly broke ties with the singer's rock past and instead welcomed trip-hop, house and synth-pop into her sound.

In the afterglow of Debut, Björk went deeper into London club culture. She wanted her next album to reflect the restless pulse and possibilities of her newly adopted home. "Most acts were putting out seven-inches with throwaway lyrics like, 'Ooh, baby, baby,'" Massey told Paper Magazine in 1997. "But Björk took that culture and made an album with poetic lyrics. It blew everyone away. She never tried to fit in with any electronic movement, she just took the ideas and got personal with it." 

That "poetic" album was Post. On its cover, Björk looks out from a heightened Piccadilly Circus in London's West End. Her jacket, designed by art world favorite Hussein Chalayan, resembles a U.K. Airmail envelope. (Björk, a frequent shopper at London's acid-house-inspired fashion store Sign Of The Times, already had designer cred.) 

On nights out, Björk had got to know Hooper's friends, including Massive Attack collaborator Tricky and Scottish producer Howie B. With input from her nocturnal cohort, Björk was determined to make Post much more riotous than Debut. 

Björk left the hustle of London to begin work on Post at Compass Point Studios in the Bahamas. The stories from those sessions are pure, uncut Björk excess. She used extra-long leads on her microphone and headphones to record at the ocean's edge. She sang "Cover Me" in a cave full of bats. On a side trip to Iceland, she swam in hot springs and admired glaciers with Tricky. (The pair briefly dated, but as Tricky put it bluntly to self-titled years later, "I wasn't a good boyfriend.") 

Back in London, Björk continued to hone Post, reaching for a balance between organic sounds and machine-made elements. In the final stretch, she coaxed Brazilian composer Eumir Deodato from semi-retirement to help fill out the sound. At last, Post was ready for the world. 

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Albums often open with something moody and instrumental to set the tone. Post is not that kind of album. From the first moment, "Army Of Me" is all crunching propulsion, its shoulder-shaking lyrics sparked by Björk's sometimes-wayward younger brother. ("It's sort of a 'big sister telling little brother off' song," she told Stereogum in 2008.) 

From the jump, Post refuses to sit still. No two tracks can be easily grouped. "Hyperballad" is somehow a few songs in one five-minute package: equal parts acid house and Deodato's swelling strings, with a virtuoso vocal performance that combines innocent wonder and furious catharsis. 

There's no greater example of the album's tonal shifts than "It's Oh So Quiet" into "Enjoy." The former became the album’s biggest hit—its visual was nominated for Best Music Video, Short Form at the 1996 GRAMMYs, alongside a Best Alternative Music Performance nod for Post. But awards glory was never in the plan. "It was the last song we did,” Björk told Stereogum of "It's Oh So Quiet." "Just to make absolutely certain the album would be as schizophrenic as possible."

All these years later, "It's Oh So Quiet" remains an uninhibited thrill. While reverent to the 1951 version by Betty Hutton, itself a powerhouse, the song's ecstatic Björk-ness cuts through the throwback big-band sound, building from a whisper to gale-force theatrics. 

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"Enjoy" then switches the setting from wartime revue to Bristol basement club. Created with Tricky—who released his masterful debut album, Maxinquaye, in the same year—"Enjoy" is scuffed and oppressive in the best way. In short: This ain't a show tune. 

On "Isobel," written with Icelandic poet Sjón, Björk reached for, as she later told Stereogum, a "heightened mythical state." The song sounds like scaling a glacier and singing to the stars. But Post never lets you pin Björk as an ethereal, unknowable pixie. She also does "normal people" things, like getting too drunk and staying out until sunrise. (Hungover Björk interviews were a theme of the mid-'90s. "I come from a country where from the age of 15 you drink one liter of vodka every Friday straight from the bottle," she told SPIN in 1997.)

She also knows a messy breakup as well as anyone. So from the astral plane of "Isobel" we go to "Possibly Maybe," a lovelorn, but still wry slowburner. You picture it sung late at night in a London apartment, far from the warmth of the Bahamas. 

"I Miss You," the final single released from Post, is the synthesis of all its wild instincts. There's so much here: horns, relentless percussion, a skittering, curving beat and Björk in blistering form. But the excess works. "Cover Me" and then "Headphones," written as an ode to Graham Massey's mixtapes, provide the album's gentle comedown. By the hushed final moments of Björk singing about sleep, you forget how furiously Post began. 

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It's hard to pinpoint the exact influence of Björk's Post over the past 25 years. Forever on the move, the 15-time GRAMMY nominee has never been defined by one album alone. 

After a nightmarish 1996, which included a scuffle with a journalist and a bomb threat from a stalker, Björk decamped to Spain to record a follow-up to Post. Released in 1997, the brilliant Homogenic was more unified and consciously Icelandic than its predecessors. 

Homogenic set a precedent for an artistic reinvention by the singer every few years. As a result, other artists tend to credit the totality of Björk's output, rather than a single album, as inspirational. Most avoid her name at all: Citing a talent as vast and singular as Björk can only invite unfair comparisons. 

Over the decades since Post, Björk has made a habit of working with artists she's inspired. "That's the good thing with being so obsessed with music," she told the Evening Standard in 2016, "you've always got other nerds who are obsessing, too. It's kind of ageless." 

In recent years, those collaborators have included experimental electronic producers The Haxan Cloak and Arca as well as art-pop original ANOHNI. Throughout her many creative partnerships, Björk has battled sexist notions of authorship. "It's always like I'm this esoteric creature; that I just turn up and sing and go home," she vented to the Evening Standard. 

Contemporary singer-songwriters Jenny Hval and Mitski openly worship Björk, both jumping at the chance to interview their hero for a Dazed feature in 2017. Other parallels can be reductive. Shapeshifting singer FKA twigs, for one, is often cited as Björk-like. While the pair share a collaborator in music video visionary Andrew Thomas Huang, the comparison is a too-easy catch-all for women skirting traditional pop. 

In the 25 years since its release, Post has come to represent something wider than Björk's specific viewpoint. It's the best possible outcome of a timeless conceit: the transplant intoxicated by a new city, channeling their experiences and anxieties into art. In an era when cities are siloed and flights are grounded, Post feels impossibly romantic. 

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Long before Dua Lipa reached pop megastardom, she declared the mantra that would soon become the core of her art: "It has to be fun."

Whether in club-hopping evenings or tear-streaked mornings, Lipa has continuously found a way to bring catharsis and movement into every moment — and, subsequently, every song she's released. So when she announced that her new album would be called Radical Optimism, the second word seemed obvious. But what would radical mean for Dua Lipa, and how did she get there?

Considering her time as a model prior to her music career taking off, many found it easy to write off the London-born singer as by-the-books pop, all-image artist. But even before taking a listen to her self-titled debut, Lipa's upbringing reveals far more complex feelings and inspirations.

The daughter of Kosovo Albanian parents living in London, Lipa took notes from her musician father, digging deep on the likes of the Police, David Bowie and Radiohead, while dancing to Ciara and Missy Elliott with her classmates. After a four-year stint in Kosovo when her family relocated, the then 15-year-old Dua moved back to London to stay with a family friend and build towards an inevitable music-oriented life, which began with clubbing incessantly and posting covers of Alicia Keys and Christina Aguilera on YouTube.

Lipa was still working in restaurants when she first made contact with the music industry, burning the candle at both ends — as well as a third end unseen to mortals. "I'd finish work, then go out to whatever nightclub was happening until, like, 3 in the morning," she recently recalled to Elle. "Then I would wake up and go to the studio until I had my shift again at, like, 8 pm."

Warner Bros. Records caught wind of those sessions and signed her in 2014, leading to even more time in the studio (and, likely, less waitressing). Her debut single, 2015's "New Love," showcases everything that would lead to her eventual pop takeover: the resonant, sultry vocals, a propulsive beat, and a video full of effortless cool.

There would be seven more singles to follow from 2017's Dua Lipa, with the budding pop star co-writing a majority of the albums' tracks, alt R&B icon Miguel collaborating on a song, and Coldplay's Chris Martin providing additional vocals on the closer. While there are plenty of hits to take away ("Blow Your Mind (Mwah)" is a particular favorite in its grand and stompy disco sass), the true star here is "New Rules." Detailing the "rules" to avoid a problematic ex, the song could be cloying and twee, but Lipa's chill swagger sells the dance floor intensity and female empowerment in equal doses.

Listeners around the world agreed, as the song marked Lipa's first No. 1 in the UK and several other countries, as well as her first top 10 hit in the U.S. It also earned Lipa spots at festivals, a performance on Later… With Jools Holland, and five nominations at the 2018 Brit Awards — the most of any artist that year. She laid out a pretty clear manifesto after winning British Female Solo Artist: "Here's to more women on these stages, more women winning awards, and more women taking over the world."

As that year went on, Lipa solidified her own role in that mission. She became a hot collaboration commodity, first linking with Calvin Harris for the UK chart-topping "One Kiss"; then teaming with Mark Ronson and Diplo's Silk City for another club hit, "Electricity"; and even being recruited for Andrea Bocelli for "If Only," a track on his 2018 album, Sì. Her breakthrough was cemented in GRAMMY gold at the 2019 ceremony, too, as she won two golden gramophones: Best Dance Recording for "Electricity," and the coveted Best New Artist.

Early word of the Dua Lipa followup, Future Nostalgia, was that Lipa was amping the disco energy. "[The album] feels like a dancercise class," she hinted in July 2019 to the BBC, who also reported that the now full-fledged pop star was working with Pharrell, Nile Rodgers, Tove Lo, and Diplo.

Lead single "Don't Start Now" was co-written with the team behind "New Rules," and the hyper-elastic bass, MIDI strings, and honest-to-goodness cowbell more than lived up to her promise of disco domination. The track went platinum in five countries, a feat that would go on to be topped by multiple tracks on the album, including the smoldering "Physical" and the INXS-interpolating "Break My Heart."

The album's March 2020 release was a thing of anxious beauty. It could've been pure tragedy to release an album designed for sweaty, crowded clubs in the throes of the COVID-19 pandemic. And when the album leaked a full two weeks prior to its release, even Lipa wasn't sure if her timing was right. "I'm not sure if I'm even doing the right thing, but I think the thing we need the most at the moment is music, and we need joy and we need to be trying to see the light," she said in an Instagram Live days before the album's release.

True to that spirit, Lipa's openhearted enthusiasm and unadulterated fun made the album a staple of lockdown dance parties and wistful dancefloor daydreams. In a bit of chicken-and-egg magic, the album's runaway hit is the inescapable "Levitating." The song's buoyant synth pulse, clap-along disco groove, drippy strings and punchy hook add to something far greater than the sum of its parts. And DaBaby's in-the-cut remix verse helps fulfill Lipa's rap-meets-pop dreams. But it definitely didn't hurt to have the track basically overrun TikTok — and a video produced in partnership with the platform — at a time when we were all stuck at home, looking at our phones as a way to connect with the world.

That was only the beginning of the pop star's effort to make the most of the pandemic era; Lipa continued to find innovative ways to bring fans into her disco-fueled sonic universe for some joy and connection. For one, she evolved Future Nostalgia into a remix album: Club Future Nostalgia, featuring electronic minds like Moodymann and Yaeji, as well as high-profile guests like BLACKPINK, Madonna, and Missy Elliott. And while fans who had grown connected to the album were hungry for an event to attend, she developed Studio 2054. The technicolor, gleeful live-streamed event saw millions of viewers virtually join Lipa in an immaculately choreographed, star-studded dance party — one that further displayed her magnetic personality and in-the-moment attitude.

Through the entire Future Nostalgia era, Lipa's purpose further proved to be more than the music. Yet again, it was about the amount of fun and energy it was able to provide to fans, something that proved to resonate in an even bigger way than her first project.

"[Future Nostalgia] took on its own life. And that in itself showed me that everything is in its own way for its own specific purpose, for its own reason," she told Variety earlier this year. "As long as I'm being of service and the music is there and it's a soundtrack for a moment in time, or in someone's life, then I've done what I was supposed to do."

Before getting to work on her third LP, Lipa kept the dance party going with new and old collaborators. First, she scored another UK No. 1 and U.S. top 10 hit alongside Elton John with "Cold Heart (Pnau remix)"; later, she was enlisted for feel-good singles from Megan Thee Stallion and Calvin Harris' 2022 albums. Then, a reunion with Mark Ronson led to a summer 2023 detour in Barbie land, resulting in another disco-tinged smash, "Dance the Night," for the blockbuster film's soundtrack (as well as her acting debut!).

With the good vibes clearly not fading, Lipa was primed for her next musical venture. In November, she unveiled the lead single to her next project, "Houdini," a swirling track that features a trio of new collaborators — and a brilliant, if seemingly dissimilar, set of co-writers at that: former PC Music electronic experimentalist Danny Harle, Tame Impala frontman (and retro psychedelia mastermind) Kevin Parker, and breezy Canadian singer/songwriter Tobias Jesso Jr. But with her trusty songwriter pal Caroline Ailin also in tow, Lipa retained the same trademark dance pop pulse amid crunchy bass and stomping percussion — putting the Radical into the Optimism.

She kept the same team (and energy) for the album's subsequent singles, "Training Season" and "Illusion." The former thumps and jitters underneath Lipa opting for a willowy falsetto in the chorus, a song that can unite Tame Impala psych addicts and more traditional poptimists at the club. And where earlier Lipa tracks might have been more eager to get to a bright punch, "Illusion" smolders patiently, trusting that the vocalist's charisma can buoy even the subtler moments.

While the album's first three singles carry echoes of the propulsive, dance floor energy of Future Nostalgia, Lipa took more notes from a more modern pop era than the disco days on Radical Optimism. "I think the Britpop element that really came to me was the influences of Oasis and Massive Attack and Portishead and Primal Scream, and the freedom and the energy those records had," she told Variety. "I love the experimentation behind it."

But, she insists, that's not to say that she's produced the next "Wonderwall." This isn't Dua Lipa's Britpop turn, but rather her latest experiment in finding freedom and embracing the moment.

"When I hear 'Teardrop' by Massive Attack and I'm like, 'how did this song even come to be? It feels like it just happened in a moment of real freedom and writing and emotion," she continued in the Variety interview. "And I think that was just the feeling I was trying to convey more than anything."

And in her mind, that freedom needs to remain at the core of everything — whether working through a global pandemic or working on a new project. "I think it's important that we just learn to walk through the fire and not hide away from it, or shy away from it," she added. "That's just optimism. It's probably the most daring thing we can do."

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Over two decades ago, Kurt Cobain famously declared his unapologetic stance — from supporting gay rights to his skepticism about reality — in Nirvana's 1993 GRAMMY-nominated single "All Apologies."

Cobain probed in the opening verse, "What else should I be?/ All apologies," Cobain questioned in the opening verse. "What else could I say?/ Everyone is gay/ What else could I write/ I don't have the right."

In this episode of ReImagined, alternative newcomer Siiickbrain delivers her rendition of the In Utero track, channeling the '90s aesthetic with a vintage camera. Like Cobain, Siiickbrain uses her songwriting to confront and address her mental health.

"[My struggles with mental health] made me want to speak on it within my music, and it kind of gave me a foundation for what I'm doing," Siiickbrain said in an interview with Kerrang! "It gave me a purpose to write about certain things and bring awareness to how common these feelings are."

On March 29, Siiickbrain released "when i fall," featuring Shiloh Dynasty and No Love For The Middle Child, which she describes to Alternative Press as based on "true events that were written and performed as [No Love For The Middle Child and I] were recovering from the challenges of a relationship while simultaneously creating music together." 

Press play on the video above to hear Siiickbrain's cover of Nirvana's "All Apologies," and remember to check back to GRAMMY.com for more new episodes of ReImagined.

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

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

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

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

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

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

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"...and you're watching Disney Channel!" For anyone who grew up in the 2000s, those five words likely trigger some pretty vivid imagery: a glowing neon wand, an outline of Mickey Mouse's ears, and every Disney star from Hilary Duff to the Jonas Brothers. 

Nearly 20 years later, many of those child stars remain instantly recognizable — and often mononymous — to the millions of fans who grew up with them: Miley Cyrus, Selena Gomez and Demi Lovato. Nick, Kevin and Joe. 

Each of those names has equally memorable music attached to it — tunes that often wrap any given millennial in a blanket of nostalgia for a time that was, for better or for worse, "So Yesterday." And all of those hits, and the careers that go with them, have the same starting point in Hollywood Records, Disney Music Group's pop-oriented record label.

This time in Disney's history — the core of which can be traced from roughly 2003 to 2010 — was impactful on multiple fronts. With its music-oriented programming and multi-platform marketing strategies, the network launched a procession of teen idols whose music would come to define the soundtrack to millennials' lives, simultaneously breaking records with its Disney Channel Original Movies, TV shows and soundtracks.

Now, two decades later, Disney Music Group launched the Disney 2000s campaign, honoring the pivotal, star-making era that gave fans a generation of unforgettable pop music. The campaign will last through August and lead directly into D23 2024: The Ultimate Fan Event with special vinyl releases of landmark LPs and nostalgic social media activations occurring all summer long. April's campaign activation was Disney 2000s Weekend at the El Capitan Theatre in Hollywood, which featured special screenings of 2008's Hannah Montana & Miley Cyrus: Best of Both Worlds Concert and 2009's Hannah Montana: The Movie and Jonas Brothers: The 3D Concert Experience.

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But before Miley and the JoBros, Hollywood Records' formula for creating relatable (and bankable) teen pop stars began with just one name: Hilary Duff. At the time, the bubbly blonde girl next door was essentially the face of the network thanks to her starring role in "Lizzie McGuire," and she'd just made the leap to the big screen in the summer of 2003 with The Lizzie McGuire Movie. In her years with Disney, Duff had dabbled in recording songs for Radio Disney, and even released a Christmas album under Buena Vista Records. However, her first album with Hollywood Records had the potential to catapult her from charming tween ingénue to bonafide teen pop star — and that's exactly what it did.

Released on August 26, 2003, Duff's Metamorphosis sold more than 200,000 copies in its first week and debuted at No. 2 on the Billboard 200. The following week, the bubblegum studio set performed the rare feat of rising from No. 2 to No. 1, making the then-16-year-old Duff the first solo artist under 18 to earn a No. 1 album since Britney Spears.

The album's immediate success was no fluke: Within a matter of months, Metamorphosis had sold 2.6 million copies. Music videos for its radio-friendly singles "So Yesterday" and "Come Clean" received constant airplay between programming on the Disney Channel. (The latter was eventually licensed as the theme song for MTV's pioneering teen reality series "Laguna Beach: The Real Orange County," giving it an additional boost as a cultural touchstone of the early '00s.) A 33-date North American tour soon followed, and Hollywood Records officially had a sensation on their hands. 

Naturally, the label went to work replicating Duff's recipe for success, and even looked outside the pool of Disney Channel stars to develop new talent. Another early signee was Jesse McCartney. With a soulful croon and blonde mop, the former Dream Street member notched the label another big win with his 2004 breakout hit "Beautiful Soul."

"When 'Beautiful Soul' became the label's first No. 1 hit at radio, I think that's when they really knew they had something," McCartney tells GRAMMY.com. "Miley [Cyrus] and the Jonas Brothers were signed shortly after that success and the rest is history.

"The thing that Disney really excelled at was using the synergy of the channel with promoting songs at pop," he continues. "I did appearances on 'Hannah Montana' and 'The Suite Life of Zack & Cody' and my music videos were pushed to Disney Channel. The marketing was incredibly brilliant and I don't think there has been anything as connected with an entire generation like that since then."

By 2006, Disney had nearly perfected its synergistic formula, continually launching wildly popular tentpole franchises like High School Musical and The Cheetah Girls, and then giving stars like Vanessa Hudgens and Corbin Bleu recording contracts of their own. (Curiously, the pair's HSM co-star Ashley Tisdale was never signed to Hollywood Records, instead releasing her first two solo albums with Warner.) 

Aly Michalka showed off her vocal chops as sunny girl next door Keely Teslow on "Phil of the Future," and fans could find her off-screen as one half of sibling duo Aly & AJ. In between their 2005 debut album Into the Rush and its electro-pop-charged follow-up, 2007's Insomniatic, Aly and her equally talented younger sister, AJ, also headlined their own Disney Channel Original Movie, Cow Belles. (Duff also helped trailblaze this strategy with her own early DCOM, the ever-charming Cadet Kelly, in 2002, while she was simultaneously starring in "Lizzie McGuire.")

Even after years of proven success, the next class of stars became Disney's biggest and brightest, with Miley Cyrus, Selena Gomez, Demi Lovato and the Jonas Brothers all joining the network — and record label — around the same time. "Hannah Montana" found Cyrus playing a spunky middle schooler by day and world-famous pop star by night, and the network leveraged the sitcom's conceit to give the Tennessee native (and daughter of '90s country heartthrob Billy Ray Cyrus) the best of both worlds. 

After establishing Hannah as a persona, the series' sophomore soundtrack introduced Miley as a pop star in her own right thanks to a clever double album that was one-half Hannah's music and one-half Miley's. It's literally there in the title: Hannah Montana 2: Meet Miley Cyrus.

From there, Cyrus' stardom took off like a rocket as she scored back-to-back No.1 albums and a parade of Top 10 hits like "See You Again," "7 Things," "The Climb," "Can't Be Tamed," and the ever-so-timeless anthem "Party in the U.S.A."

At the same time, Gomez had top billing on her own Disney Channel series, the magical (but less musical) "Wizards of Waverly Place." That hardly stopped her from launching her own music career, though, first by fronting Selena Gomez & the Scene from 2008 to 2012, then eventually going solo with the release of 2013's Stars Dance after the "Wizards" finale aired.

For her part, Lovato — Gomez's childhood bestie and "Barney & Friends" costar — got her big break playing Mitchie Torres in Camp Rock alongside the Jonas Brothers as fictional boy band Connect 3, led by Joe Jonas as the swaggering and floppy-haired Shane Gray. Much like Duff had five years prior in the wake of The Lizzie McGuire Movie, Lovato released her debut solo album, 2008's Don't Forget, just three months after her DCOM broke records for the Disney Channel. 

Building off their chemistry from the movie musical, nearly the entirety of Don't Forget was co-written with the Jonas Brothers, who released two of their own albums on Hollywood Records — 2007's Jonas Brothers and 2008's A Little Bit Longer — before getting their own short-lived, goofily meta Disney series, "Jonas," which wrapped weeks after the inevitable Camp Rock sequel arrived in September 2010.

As the 2000s gave way to the 2010s, the Disney machine began slowing down as its cavalcade of stars graduated to more grown-up acting roles, music and careers. But from Duff's Metamorphosis through Lovato's 2017 LP, Tell Me You Love Me, Hollywood Records caught lightning in a bottle again and again and again, giving millennials an entire generation of talent that has carried them through adulthood and into the 2020s.

To commemorate the Disney 2000s campaign, GRAMMY.com crafted a playlist to look back on Disney's golden age of pop with favorite tracks from Hilary Duff, Vanessa Hudgens, the Jonas Brothers, Miley Cyrus and more. Listen and reminisce below.