There are few things 12-time GRAMMY winner John Legend has not achieved. Six years after achieving EGOT status, Legend has conquered a new goal: releasing an album of sing-alongs and lullabies. 

Legend's debut children's album, My Favorite Dream, is the result of a creative partnership with Sufjan Stevens. Yet the album's true origins can be traced to an Instagram video of Legend singing Fisher Price's "Maybe" to his wife Chrissy Teigen and their youngest daughter, Esti. The video has been viewed 9.3 million times on the platform since Teigen posted it in November 2023. 

"As soon as Chrissy posted me singing that song, all the parents who have had young kids with Fisher Price toys were like, 'Oh, my God, you're doing this song that we have known for years, and we love,'" Legend tells GRAMMY.com. "'Why don't you make more songs like this for parents out there?" 

Teigen then suggested that her husband make a lullaby album. Fisher Price reached out and followed suit, and so did Legend's label. "Everybody was saying, 'John, you got to make a children's album.' And so I started to think about it." 

My Favorite Dream features 15 tracks: nine originals written by Legend, one solo piano track, and five covers (yes, including a full recorded version of "Maybe"). True to form, Legend put a unique touch on childhood favorites such as "You Are My Sunshine."

"When you listen to the lyrics, there's a hint of sadness that goes through, especially the second verse," he says of the reimagined track. "I wanted to capture some of that as well, the idea that you're sad when you miss someone that you love, someone who is your sunshine."

And when it came to crafting the nine originals, his inspiration was simple: "the things me and Chrissy like to talk to our kids about, concepts we like to teach our kids, and messages we like to share with our kids, how we like to inspire them and motivate them."

With that in mind, Legend channels imagination and love throughout the new songs. "Deep In The Ocean Blue" transports kids and parents alike to the wonders beneath the ocean's surface, while "We're A Family" and "When I Feel Sad" explore the undeniable strength of a family bond. "Always Come Back" combines both, interpolating the Willy Wonka classic "Pure Imagination" to soundtrack Legend's heartfelt promise to his kids that he's never too far away: "I may ride the planes and trains and distant highways/ But I know I'll be finding my way home… I'll always come back to you."

There's even a personal touch on the album's rhythmic lead single, "L-O-V-E," which features background vocals from Tiegen and their two oldest children, Luna and Miles.

By expanding his musical repertoire with My Favorite Dream, Legend has put his artistic versatility on full display. The album is an amalgamation of the distinctive features that form Legend's musical calling card — from his enchanting piano playing that listeners were first introduced on his 2004 debut, Get Lifted, to the raw and soulful lyrics of his 2013 smash "All of Me," to the richness of textures he explored on 2020's Big Love. Legend's musical abilities empowered him to create a children's album that is not only timeless, but deeply meaningful in its themes and narratives.

While Legend wrote all of the original songs on his own — a career first — he insists My Favorite Dream wouldn't have been as impactful without Stevens' production. Legend was first introduced to Stevens' work through his critically acclaimed 2005 LP, Illinois. "It's such an iconic album, and it has some of that whimsy music and some of those dreamy soundscapes you would want for a children's album. The more I listened to him, the more I was like, 'You know what? He's the only person I could imagine producing this album the way I want it to sound.'"

Legend and Stevens viewed the album as two halves, each with its own distinct sound. As Legend explains, the duo wanted the tone of the first half of the album to be more uptempo: "we wanted to sound like a Muppet band, just fun, playful sounds that were very musical, but also very fun and adventurous at the same time."

The second half of the album centers on soothing, timeless lullabies. The hypnotic "Go To Sleep" encapsulates the idea of a whimsical and dreamy soundscape; "Safe" is a tranquil tune that explores the comfort and security of the bond between parent and child. The latter's baroque pop background vocals — a characteristic of Stevens' unmistakable sound — complements Legend's rich baritone voice, serving as a testament to their fruitful partnership.

The passion behind My Favorite Dream is undeniable, but it's also a smart business move on Legend's part. In the past decade, some of YouTube's most viewed videos were children's songs, bringing in over a combined total of over 40 billion views. As a father of four, Legend knows firsthand the role that music plays in parenting — and made a conscious effort to ensure that the album's songs appeal to both kids and their parents. 

"For the kids, I wanted it to be lyrically appropriate [and reflect] things that we legitimately would say to them. At the same time, I wanted it musically to be something that everybody would want to listen to, that felt timeless and classic, and that parents would enjoy just as much as their kids would." 

Judging by the reactions to "L-O-V-E" alone, Legend succeeded in his mission. As one YouTube commenter wrote, "Us grown ups need this song just as much as the kiddos do!"

Whether or not more children's music is in Legend's future, he hints that he may explore more new genres with forthcoming projects. He attributes his time as a coach on the popular competition series "The Voice" for expanding his musical horizons. "You hear such a cross-section of music," he says of the show. "And I think that really has helped me become a more complete songwriter. It's definitely prepared me well for all the things I've been writing lately." 

After seamlessly producing his debut children's album, Legend has proven that his versatility and talents are boundless — and now, he just might have fans old and young waiting to hear what's next. 

When Jimmy Buffett passed away on Sept. 1, 2023 at age 76, the decorated singer/songwriter, performer, author and entrepreneur left behind a legacy that unified a swath of musical genres and people.

The man behind "Margaritaville" — the song and later the brand — and so many other tunes that bridged folk sensibilities with country and rock touches, sometimes called "Gulf & Western," was much more than the beach-obsessed character he played in song. Although he had plenty of industry successes, notching 13 Billboard Hot 100 hits, a pair of GRAMMY Award nominations, while selling more than 20 million albums, his fans loved him for how he made them feel.

In song, he was a true storyteller that was clever, funny and introspective; in performances, he was the quintessential Parrothead to the core. As the ringleader of the party, he was generous enough to share the spotlight with members of his Coral Reefer Band as well as the fans who dressed up, tailgated outside the venues and spread their joy to others.

Both sides of Buffett were crucial building blocks in the business empire he built around his persona as the laid-back, casually philosophical beach bum. The Margaritaville restaurant and resort chains, his Landshark Lager beer and many other ventures made him a billionaire, while his storytelling prowess made him one of few authors to top both fiction and nonfiction bestsellers' lists. While his legacy may be both musical and merchandisable, the endearing qualities of the Parrothead personality he created is the real reward for his fans.

Below, remember Buffett's illustrious career through 15 classic songs — just a glimpse of his genius that made it okay for country singers to loosen up, for rockers to pick up an acoustic guitar, and for the Parrotheads to while away their days in the sun.

While Buffett's first two albums showed glimpses of the celebrated artist he would become, his songwriting largely hewed close to the earnest observations typical of early-seventies folkies. By his third album, though, he had grown into his winking style of satire and breezy, Nashville-meets-Key West flair.

This cut from A White Sports Coat and a Pink Crustacean combined both, and created the template for hundreds of bleary-eyed sing-alongs to follow. "The Great Filling Station Hold-Up" may have been the proper album single, but "Why Don't We Get Drunk," its controversial B-side, became the bigger tune — and the one featured on his seven-times Platinum compilation, Songs You Know By Heart.

As Buffett pulled away from his folk sensibilities, Nashville-style balladry became a big part of his sound. "Come Monday"  brings orchestral strings into the mix to help express the yearnings he felt while stuck in "a brown L.A. haze," pining for his love back home. The song resonated with new fans, becoming his first Top 40 single, as it peaked at No. 30 on the Billboard Hot 100.

"A Pirate Looks at Forty," 'A1A' (1974)

It probably wasn't a stretch for Buffett to sing so convincingly from the perspective of a seafaring, modern-day pirate. He considered his own later entrepreneurial forays an adventure on the high seas of life. But back in '74, he was so inspired by the real-life stories of a Key West smuggler and rapscallion he befriended that he wrote "A Pirate Looks at Forty" from his perspective. 

A key cut on his second long-player of '74, A1A, "Pirate" is empathetic to the dashed dreams and yearnings of a man looking back at his wins and losses. And despite the eventual billionaire fortunes of Buffett himself, his narrator determines the balance is a draw.

Buffett's next album, Changes in Latitude, Changes in Attitude, launched his music career into the stratosphere — and its success had a lot to do with "Margaritaville," a Top 10 hit and the basis of the global brand he later built.

Essentially, "Margaritaville" established the beach-boho lifestyle as an aspiration for millions. Against a backdrop of tropical instruments like steel drum and marimba, Buffett sang of the quiet pleasures of an unhurried life, unconcerned with the tides and buoyed by his favorite blender drink. In 2016, the tune was voted into the GRAMMY Hall of Fame, while the Library of Congress added it to the National Recording Registry in April 2023. 

"Son Of A Son Of A Sailor," 'Son Of A Son Of A Sailor' (1978)

Whether Buffett's soft and breezy music can be considered "yacht rock" is a subject of debate, but he certainly rocked a yacht or two in his day — and he dressed the part for the cover of his album Son Of A Son Of A Sailor. The title track is a definitive take on his love of the wandering life, untethered from the anchors many cling to and always in search of the next port of call. A master of ballads whimsical and wistful, Buffett manages to be both at once here.

Before it was a menu item at his Margaritaville-branded restaurants and resorts, "Cheeseburger in Paradise" was a mirage Buffett dreamed about while marooned at sea. As the story goes, a misadventure in the Caribbean left Buffett with only meager rations to survive. And when he finally struck a landing on dry ground, his first meal inspired one of his most enduring songs: an easy-rockin' Top 40 hit about cheeseburgers that somehow isn't a novelty cut — a hat trick only Buffett could pull off.

"Fins," 'Volcano' (1979)

As the lead tune from his 11th album, Volcano, "Fins" entered the pantheon of Buffett concert staples immediately and helped inspire plenty of Parrothead ephemera, as well as the title of the 1990 live album Feeding Frenzy and his Landshark Lager brand. But none of that would be important if not for Buffett's song about a hapless woman who travels to the beach to relax, but instead is encircled by "sharks that can swim on the land." With "fins" to the left and right of her, she's "the only bait in town."

Buffett had a knack for coining phrases — and "Boat Drinks" certainly qualifies among the best. What makes a boat ride better? Boat drinks, of course.

An album cut from Volcano (also featured as a B-side to the single "Survive"), Buffett ironically wrote the song while on a winter sojourn in Boston, exiled from his native habitat and wishing the city's fresh blanket of snow were the sugar-white sands of Florida. Musically, the tune is a quintessential cut from his whirlwind late-seventies period, when Caribbean themes and sonic textures became his calling card.

"It's My Job," 'Coconut Telegraph' (1981)

Long before Mac McAnally joined Buffett as a sideman in the Coral Reefer Band, Buffett sent the young artist a note praising his songwriting. Then, for his 1981 album, Coconut Telegraph, Buffett boosted his new friend's fortunes by recording "It's My Job," a tune McAnally wrote about taking pride in your work — however menial or miserable it may be — while working on a hot Mississippi highway in the summertime. The tune reached No. 57 on the Billboard Hot 100, marking Buffett's last appearance on the chart until 2003 (more on that later).

The 1980s were the beginning of Buffett's transition from chart champion to blockbuster concert draw. But he still had plenty of gas in the songwriting tank, as songs like "One Particular Harbor" proved.

Inspired by his travels in Polynesia, Buffett sings in Tahitian about the "abundance of the sea" after leaving behind the mainland. While the song was a minor hit on Adult Contemporary radio, it became a fan favorite and a mainstay of live shows from the era. 

"Jamaica Mistaica," 'Banana Wind' (1996)

Like on "Cheeseburger in Paradise," Buffett's penchant for seeing the humor in the unfortunate dustups of his real life shines on the Banana Wind cut "Jamaica Mistaica." In this case, Jamaican police opened fire on his plane, believing he was a smuggler or criminal straight out of his own song "A Pirate Looks at Forty." Set to a reggae beat, though, Buffett lets listeners in on the joke — an endearing quality that earned him the love not only of Parrotheads, but also an official apology from the Jamaican government.

By the dawn of the new century, Buffett's beach-bum aesthetic had conquered Nashville, the town he left in the early '70s to find his identity as an artist in Key West. And "It's Five O'Clock Somewhere," recorded with country star Alan Jackson and featured on his Greatest Hits Volume II, was exactly the new Buffett-style anthem Music City needed.

It was also what Buffett's 21st century career needed: "It's Five O'Clock Somewhere" earned the veteran singer his first No. 1 on Billboard's Hot Country Songs chart as well as his first GRAMMY nomination (in the Best Country Collaboration With Vocals Category) and his first Country Music Association Award (for Vocal Event of the Year). Later, the song notched the No. 3 song of the decade on Billboard's Hot Country Songs chart, proving Buffett's staying power amid shifting musical trends.

"Bama Breeze," 'Take the Weather With You' (2006)

After Hurricane Katrina made matchsticks of Buffett's home territory in 2005 — the beachfront bars of Mississippi, Alabama and Florida where he cut his teeth — he responded with the album Take the Weather With You and its leadoff track, "Bama Breeze." The country-rock tune extols the virtues of the so-called "Redneck Riviera" and coming of age as the sun came up outside the dive bars of the Gulf Coast, many of which were now ruined. The song also nods to the fans who have stuck by him since the beginning: "At the Bama Breeze, you're one of our own down there/ You'll never drink alone down there/ Good god, I feel at home down there."

One of the most rewarding markers of a mature career in music is the respect paid by each successive generation of musicians. Newly minted country star Zac Brown paid homage with "Knee Deep," which was written with Buffett in mind and borrows heavily from his long-established beachbound, escape-by-tropics aesthetic. But it truly takes off when Buffett himself takes the second verse and then harmonizes the choruses with Brown. And the combination proved sweet for both acts: the song was certified triple Platinum and landed at No. 1 on Billboard's Hot Country Songs and Country Airplay charts.

Although the public wasn't aware at the time, Buffett was dealing with the effects of Merkel cell carcinoma — the disease that claimed his life — throughout his final years of touring and recording music. Released two months after he passed, Equal Strain On All Parts, his 32nd and final album, arrived like a comforting voice from beyond to Parrotheads and casual fans alike.

On "Bubbles Up," Buffett was in a particularly reflective mood, facing his own mortality in his most measured, reassuring manner. The title phrase came from his survival training — if he were to find himself submerged in water, either from a boat or plane wreck, his trainers advised him to follow the bubbles up to the surface. "They will always point you toward home," he sings, "no matter how deep or how far you roam." 

For a songwriter and performer who spent his life showing the world how to relax, enjoy life and see the humor in life's challenges, the reassuring sentiment — to quote the title of his 2004 album — underscores that a License to Chill has no expiration date.

After releasing a debut album that went nine-times platinum, spawned a record-equaling 13-week chart-topper, and pioneered a new subgenre (remember hip-hop doo-wop?), Boyz II Men could have been forgiven for resting on their laurels for LP number two. Instead, they made a concerted attempt to go even bigger and better.

Indeed, celebrating its 30th anniversary on Aug. 30, the simplistically titled II was precision-tooled into becoming the ultimate R&B heavyweight of the '90s. "I personally came up with the name because I wanted people to know that this is a continuation of the first record, like a sequel to a movie or something like that," singer Shawn Stockman later revealed to Billboard in 2019.

Bandmate Nathan Morris was just as laser-focused on maintaining a stranglehold on the top of the charts, continually perusing sales figures across the world to work out how they could corner certain markets. Their seminal record label, Motown, meanwhile, even used market research to ensure that fans got what they wanted to hear, resulting in a collection of slick soulful ballads which utilized the vocal quartet's impressive harmonies like never before.

Such meticulousness paid off when II ended up surpassing its predecessor in sales, chart records, and general critical acclaim. And Wanya Morris believes it's more than worthy, recently telling Billboard, "If you want an example of what music is, we want the definition in an encyclopedia or on the internet or in any dictionary to be the II album."

In honor of II's 30th anniversary, here's a look at how the trio (and former memberMichael McCary, of course), lived up to all their blockbuster talk.

It Achieved Three Remarkable Chart Feats

Boyz II Men were such a chart juggernaut in the mid-'90s that they joined an exclusive club populated only by the Beatles! Indeed, the quartet became only the second ever act to replace themselves at the top of the Billboard Hot 100 when "On Bended Knee" dethroned "I'll Make Love To You" in September 1994. This was the first such instance since the Fab Four's "Can't Buy Me Love" toppled "She Loves You" 30 years previously (in the years since, 12 more acts including Taylor Swift and Drake have also achieved the feat).

This wasn't the only time the Philadelphians essentially became their own rivals, either. Their 14-week run atop the Hot 100 of "I'll Make Love To You" surpassed the 13-week stint enjoyed by "End of the Road" two years earlier. As a result, the group not only set the record for longest Hot 100 reign at the time, but they also became the first artist to achieve two consecutive No. 1s with double-figure spells.

It Made GRAMMY History 

Boyz II Men looked like they'd soon run out of space in their trophy cabinet when they won the Best R&B Performance by a Duo or Group with Vocal GRAMMY for the third time in four years. The vocal troupe first picked up the coveted gong in 1992 for Cooleyhighharmony, and then 12 months later for its lead single "End of the Road." And while their winning streak was interrupted by Sade's "No Ordinary Love" in 1994, they soon reclaimed the trophy in 1995 thanks to "I'll Make Love To You."

The four-piece also made GRAMMY history that same ceremony when they became the inaugural victors of the Best R&B Album Category. II triumphed overAnita Baker's Rhythm of Love,Tevin Campbell's I'm Ready,Gladys Knight's Just for You,Me'Shell NdegéOcello's Plantation Lulllabies, andLuther Vandross' Songs. But despite a further eight GRAMMY nods, this remains their last victory.

It Boasts The Avengers Of '90s R&B Producers 

Boyz II Men initially planned to give Tim Kelley and Bob Robinson — the Illinois duo who'd later helm Top 10 smashes for Jon B, Sisqo and Tamia — the creative reins for II. But concerned the relative unknowns might not have the experience, Motown insisted on bringing in the big guns, too.

Tim and Bob did contribute to five tracks, including fifth single "Vibin'" and the tribute to late manager Roderick Rountree, "Khalil (Interlude)." But it was the more recognizable names that provided the monster hits, whether Janet Jackson cohorts Jimmy Jam and Terry Lewis on "On Bended Knee," one-man hit factory Dallas Austin on "Thank You," or the four-time Producer Of The Year, Non-Classical GRAMMY winner Babyface on "I'll Make Love To You."

There was even room for mogulL.A. Reid ("I Sit Away"), Cooleyhighharmony contributors the Characters ("Jezzebel"), and croonerBrian McKnight (bonus track "Fallin'") to make their mark on a record whose credits read like a who's who of '90s R&B.

It Spawned A String Of Star-Studded Videos 

It wasn't just behind the scenes where Boyz II Men assembled a wealth of talent. The group also bagged a whole host of stars from both the small and big screen to give their music videos that extra bit of pizazz.

In "I'll Make Love to You," White Men Can't Jump actor Duane Martin plays the security installation engineer who essentially becomes amorous pen pals with his latest customer. Saved by the Bell's Lark Voorhies, Living Single's Kim Fields, and daytime soap opera stalwarts Victoria Rowell and Renée Jones all break up and then make up with their respective Boyz in "On Bended Knee." And the supermodel holding the band inside a crystal ball in "Water Runs Dry"? Well, that's none other than Tyra Banks.

The latter promo, which Morris once told GRAMMY.com was a personal favorite, also picked up Best Cinematography and Best R&B Video nods at the MTV VMAs.

Read More: Boyz II Men Celebrate 25 Years Of Their Masterstroke Second Album, 'II'  

It Was Also A Sales Behemoth 

II instantly became Boyz II Men's second No. 1 on the Billboard 200, and by Christmas of 1994, the album was posting weekly sales of nearly 300,000 copies. Little wonder, therefore, that it became the third biggest seller of 1994 (behind The Lion King soundtrack and Ace of Base's The Sign). In fact, it even ended up in the Top 10 best-sellers of the following year, too.  

By the end of its campaign, II had been awarded diamond status, making it one of the biggest selling R&B albums of all time. (Depending on how you categorizeMichael Jackson's Thriller and Bad andWhitney Houston's two eponymous LPs, it could even lay claim to being the biggest.) Its lead single, "I'll Make Love To You," also racked up impressive numbers, selling over 1.6 million copies during and after its lengthy residency at the top of the Hot 100.

It Spawned Two Spinoffs 

Boyz II Men were so determined to conquer the world with II that they even re-recorded several tracks in a completely different language. Yes, in an effort to reel in the Latin market, the vocal quartet gave their Beatles cover, "On Bended Knee" ("Me Rindo Ante Ti"), "I'll Make Love to You" ("Yo Te Voy A Amar") and "Water Runs Dry" ("No Dejemos Que Muera El Amor") the Spanish treatment for a bilingual special edition released a year after the original. The latter track even made No. 1 on Billboard's Latin Top 10 airplay chart.

Keen to strike while the iron was hot, Motown also issued a compilation featuring remixes of tracks from their first two albums, including a version of "Vibin'" featuring Busta Rhymes and Method Man. The Remix Collection, however, reportedly didn't receive the blessing of the band themselves, and their relationship with the iconic label was never the same again.

It Paved The Way For The Modern Boy Band Ballad  

While predecessor Cooleyhighharmony contained its fair share of air-grabbing, silky smooth, close harmony ballads (see "End of the Road"), it was II where Boyz II Men truly mastered the art. Alongside its first two singles, "50 Candles," "Fallin'" and "Trying Times" all crooned and swooned about love in a manner that had certain fans ready and willing to throw their undergarments on stage in appreciation.

And the new generation of boy bands who valued vocal ability as much as pin-up appeal were undoubtedly taking note. Listen to Backstreet Boys ("I'll Never Break Your Heart," "Show Me the Meaning of Being Lonely"), NSYNC ("Drive Myself Crazy," "This I Promise You"), and 98 Degrees ("(I Do) Cherish You," "My Everything") in full-on serenade mode, and it's clear that II set the template.

Luckily, the group responsible were happy to pass the mantle on. As Stockman toldABC News at the peak of TRL, "As far as we're concerned, this is their era and this is their time."

It's Stood The Test Of Time 

The 2021 Netflix original series This Is Pop argued that Boyz II Men's impact on pop culture has been unfairly overlooked since their imperial phase came to an end. Yet, numerous artists — many of whom were still in diapers when they were regularly topping the charts — have borrowed from their sophomore set in recent years.

In 2018, for example, Drake sampled "Khalil (Interlude)" on Scorpion cut "March 14," while Swedish house maestro DJ Seinfeld's "With My Love" lifts vocal snatches from "Water Runs Dry." The latter has also been treated to full reinterpretations from singer/songwriter Jens Lekman in 2008 and cover version extraordinaire Kelly Clarkson in 2021. Meanwhile, Justin Bieber — who recruited the group for his festive 2011 album, Under the Mistletoe — put his spin on "I'll Make Love to You" during a 2015 gig at the W Hollywood Hotel.

And with its first two singles racking up 277 million and 163 million Spotify plays, respectively, II appears to be connecting, and reconnecting, in the streaming age, too.

When organizers of the inaugural Fool In Love festival first announced the event's lineup this spring, soul and R&B heads across the internet went nuts.

The reaction was to be expected: There hadn't been such an ambitious mix of GRAMMY-winning legends and young, popular soul acts on a shared bill in recent memory. And certainly not in a single-day event.

The Aug. 31 event will highlight six decades of soul, R&B and funk — proof that those sounds are anything but oldies. The sounds of the 1960s through the '80s and beyond will be well represented by headliners Diana Ross and Lionel Richie, as well as Smokey Robinson and a recently reunited Nile Rodgers and Chic. Sets by Dionne Warwick, 2024 Special Merit Award honoree Gladys Knight, and sweet soul legend Brenton Wood promise to turn up the heat, sweet and memories. 

A cadre of up-and-coming soul acts — many of whom call Southern California home — also appear high up on the lineup, highlighting a younger generation's decade-long revival of interest in soul sounds. 

"I never want people to hear my records and wonder if it's new or not," GRAMMY nominee Mayer Hawthorne told GRAMMY.com in 2023. "I’ll never do classic '70s Philly soul better than the Delfonics. Plenty of artists do regurgitation of something old, but I’m all about putting my new spin on it."

In addition to Hawthorne, Fool In Love's lineup includes L.A.-based singer Trish Toledo, San Diego sweet soul phenoms Thee Sacred Souls, singer/drummer Aaron Frazer and singer Durand Jones, who will appear solo and together as Durand Jones and the Indications. 

While some of the older acts may be missing original members (Kool and the Gang's George Brown, for example, passed in 2023; Henry Fambrough, the last original Spinner died in early 2024; Ruth Pointer is the only living Pointer Sister) or have feuding families, the legendary acts playing across Fool In Love's four stages are not to be missed.

Ahead of the Labor Day weekend show, cruise over to your favorite streaming service and enjoy this playlist of Fool In Love performers.

Sabrina Carpenter is the first to admit that it's taken her a bit of time to find her way to the top of the music industry. She even likens herself to the tortoise in the fable "The Tortoise and the Hare" — even if she didn't want to believe the metaphor growing up.

"Something that my mom always said to me as a little girl that really annoyed me was that I am the tortoise… throughout my life, [I was] being told, 'Sabrina, you're the tortoise, just chill,'" Carpenter recalled while accepting the Variety Hitmakers Rising Artist Award in December 2023. "In moments of frustration and confusion it can feel like a letdown, but it turns out it's actually a very good thing."

It's been a very good thing for Carpenter, indeed. A decade since the release of her debut single, the singer/songwriter isn't just breaking through — she's one of pop's new reigning queens. Over the last year, Carpenter has nabbed her first No. 1 song on the Billboard Hot 100, made a stellar debut at Coachella, and performed on "Saturday Night Live," all the while racking up billions of streams on her music new and old. It's all built excitement for one of the most anticipated pop albums of the summer: Short n' Sweet.

As Carpenter unveils her new album, take a deep dive into her decade-long journey to pop stardom.

Growing up, Carpenter filled the sounds of her family home in Pennsylvania with covers of songs like Adele's "Set Fire To The Rain" and "Picture to Burn" by future Eras Tour companion Taylor Swift (more on that later). After submitting videos for a singing contest spearheaded by Miley Cyrus, Carpenter would get her first taste of success. Placing third, she caught the eye of Hollywood Records, who signed her following the competition.

Simultaneously, Carpenter also began pursuing acting, landing guest spots on series like "Law & Order: Special Victims Unit" in 2011 and joining "The Goodwin Games" in 2012. In 2014, she landed a lead role in the Disney Channel series "Girl Meets World," a spin-off of the beloved '90s series "Boy Meets World," which served as a breakthrough moment for the burgeoning star — and a catalyst for her music career.

Just before the show debuted, Carpenter released her debut single, "Can't Blame A Girl for Trying," the title track to her debut EP that arrived a month later. While the four-track EP was the typical output of a teenage Disney star — bubblegum pop sounds with digestible, family-friendly lyricism — it showed off her youthful timbre and offered themes that would become prevalent later in Carpenter's songwriting: love, heartache, and navigating life.

A year later, she released her debut album, Eyes Wide Open. A mix of pop with folk and country influences — a soundscape that remains on Short n' Sweet — Carpenter's debut showed maturity and growth following Can't Blame A Girl For Trying; songs like "Eyes Wide Open" and "We'll Be the Stars" showed a more introspective side, reflecting on the pressures of being in the spotlight and the journey of finding her identity. Eyes Wide Open also hinted that Carpenter was beginning to hone her songwriting skills, penning four of the 12 tracks.

It would be on her 2016 sophomore album, EVOLution, where Carpenter would find confidence as a songwriter, co-writing all but one song on the 10-track project. In turn, the lyrics reflected her growing sense of self and a new perspective on past themes, like embracing non-romantic forms of love in "All We Have is Love," being there for a struggling friend in "Shadows," and learning to assert boundaries in "Space."

EVOLution transitioned Carpenter out of the teen pop aesthetic into a more sophisticated sound, experimenting with dance-pop and techno sonics. Genre versatility would become a throughline of sorts for Carpenter, and EVOLution foreshadowed the multifaceted musicality that was to come.

After "Girl Meets World" came to an end at the beginning of 2017, Carpenter was ready for reinvention. Much like Britney Spears' Britney and Cyrus' Can't Be Tamed before her, as Carpenter grew into an adult, she felt like she needed to shed the Disney-fied image that has become a rite of passage for teen stars. Thus began the Singular era.

Released in 2018 and 2019, respectively, Singular: Act I and Singular: Act II featured songs that were more risqué and mature in nature. A far cry from her tamer work of the past, the R&B track "Hold Tight" is equal parts sultry and evocative with Carpenter singing, "Wanna keep you in, wanna keep you in right/ Wanna feel your skin, wanna feel it on mine."

As she noted in an interview with Billboard, Singular: Act I  was a natural progression for a girl now in her late teens — even if it was against the squeaky-clean image of her beginnings.

"I was known as a fictional character on television with lines that were written for her with an attitude that was portrayed in a way by other people. So for a lot of people, their first impression of me was as a 13-year-old girl [singing] the kinds of songs that she should be singing," she said. "Then, flash forward to 19, and people are asking why I am not singing about the same things that I did when I was 13, as if that's normal."

One of the more notable Singular tracks is from Act I, "Sue Me." Sneakily disguised as a story about a romantic relationship, the song is Carpenter's response to being sued by her ex music managers: "That's my shape, I made the shadow/ That's my name, don't wear it out though/ Feelin' myself can't be illegal." Its tongue-in-cheek and snarky nature would inevitably embolden Carpenter to continue writing more confessional songs with attitude, whether she's responding to media scrutiny in "because i liked a boy" from 2022's emails i can't send, or warning a suitor to be careful in Short n' Sweet's "Please, Please, Please."

Singular: Act I and Act II further helped demonstrate different facets of Carpenter's musicality, with the former leaning into pop tendencies and the latter embracing an R&B flair. And as her final albums with Hollywood Records, she used Singular: Act I and Act II to indicate that she wasn't going to let any sort of previous perceptions hold her back. Their coming-of-age themes showcased Carpenter as an artist coming into her own — regardless of whether listeners wanted to keep her in the Disney box or not.

While the world was going through a period of change amid the COVID-19 pandemic, so was Carpenter. She signed with Universal Music Group's Island Records in 2021, and soon she would be able to fully introduce the world to who Sabrina Carpenter is as an artist.

As she noted herself to Variety earlier this year, her 2022 LP, emails i can't send, "marked the beginning of a really freeing and artistic time for me." Once again, she co-wrote every song on the album; this time, though, she only had one co-writer for each track, and even wrote two songs solo ("emails i can't send" and "how many things") — proving that she was more assured as a songwriter than ever.

As a result, Carpenter's knack for confessional songwriting is on full display. emails i can't send represents a reflective time capsule of sorts; one that brings the curiosity of her earlier work with the perspective and wisdom of a young adult. Her growing fame meant there was more attention on her personal life, and emails i can't send allowed her to reclaim her narrative and express her side of the story.

Carpenter's candidness struck a chord with listeners, and upon the release of emails i can't send in July 2022, it was clear Carpenter was on a new trajectory. The album debuted at No. 23 on the Billboard 200, which marked her highest entry on the chart to date (as of press time); the 2022 stretch of her Emails I Can't Send Tour sold out in less than a day. And once  "Nonsense" was released as a single that November, her place as a rapidly rising star was solidified.

"Nonsense" was initially written as a means to an end after Carpenter was writing a sad song and had writer's block. Now, the track is the epitome of Carpenter's lyricism, weaving together her wit and humor with an infectious hook. First gaining traction on TikTok because of its catchiness, it's become a beloved part of Carpenter's canon thanks to her inventive and bespoke outros during her live shows. It's since become a tradition for fans to check to see what outro she created for each performance, adding to the fan fervor.

Carpenter further satiated fans' taste for her cheeky lyricism in March 2023, when she released emails i can't send fwd:, the deluxe version of her album, which featured a new track called "Feather." She took the playful, flirting energy of "Nonsense" and infused "Feather" with buoyant, airy production that mimics the feeling of self-liberation after moving on from a relationship. Earning Carpenter her first pop radio No. 1, "Feather" proved that the singer's audacious style was taking hold — and it set the stage for an even bigger 2024.

After her own extensive — and very sold out — tour in support of Emails I Can't Send, Carpenter's rising star status was further confirmed by pop's current queen, Taylor Swift. The singer earned a coveted opening slot on Swift's monumental Eras Tour in Mexico, South America, Australia, and Asia.

Just after her last Eras Tour show in March 2024, Carpenter hinted that her own new era was beginning. "I'm starting to feel like I've outgrown the songs I'm singing," she admitted to Cosmopolitan, "which is always an exciting feeling because I think that means the next chapter is right around the corner."

That chapter began with "Espresso," which dropped a day before her debut Coachella performance. Doubling down on the playful, self-assured vibe of "Nonsense," the song immediately hinted that big things were coming for Carpenter, debuting at No. 7 on the Billboard Hot 100, where it peaked at No. 3.

Upon announcing her sixth album, Short n' Sweet, Carpenter released "Please Please Please." Combining her now-signature playful, carefree lyricism with an airy, disco-tinged sound, "Please Please Please" didn't just present Carpenter as a confident superstar —  it became her first Hot 100-topping smash.

Carpenter has referred to Short n' Sweet as the "hot older sister" of emails i can't send. "It's my second 'big girl' album; it's a companion but it's not the same," she explained to Variety, to whom she also admitted she feels a "sense of separation" from her work prior to emails. "When it comes to having full creative control and being a full-fledged adult, I would consider this a sophomore album."

It's apt, then, that her Short n' Sweet collaborators — including songwriters Julia Michaels, Amy Allen and Steph Jones — are largely the same as the team from emails i can't send. "I've really honed in on the people that I love making music with," she told Rolling Stone in June.

Even more telling of the direction she's heading is her work with one of pop's hottest producers — and Swift's right-hand man — Jack Antonoff, for the first time. At a GRAMMY Museum event with Antonoff himself, Carpenter debuted the country-infused "Slim Pickins," presenting yet another pop style from Short n' Sweet. And as "Slim Pickins," "Espresso" and "Please Please Please" indicate, Carpenter's knack for infectious and edgy lyrics isn't just the throughline across Short n' Sweet — it's become the epitome of both her artistry and her stardom.

Just like her metaphorical friend the tortoise, Carpenter's long but steady journey has clearly paid off. As she's figured out who she is on her own terms, she's manifested the bonafide superstardom she's always imagined.

"I never had the plan B, and it wasn't even a thought in my mind that it wouldn't work out," she told Rolling Stone. "I just always knew it was about not if it would happen but when it would happen."

For Carpenter, every chapter of her artistry has built on the last; she's refused to rest on her laurels and continuously pursued new directions. She's creating work that wholeheartedly reflects her, and growing a loyal fan base because of it. Her next album might be named Short n' Sweet, but her time as a pop superstar will be anything but.