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This January, it’s time to live out your “Brat” New Year’s resolutions and party hard as the unexpected powerhouse music releasing this month is already setting a standard for the decade, even catering to the most left-field listener.

Hip-hop heavyweights are taking center stage this month, led by Lil Baby’s explosive “WHAM (Who Hard As Me),” proving once again who hypes the pre-game. Meanwhile, Lil Durk’s “Deep Thoughts” opts for a more raw and introspective look at his chaotic year and a journey toward transformation. Across the Atlantic, UK rising star Central Cee may have guested on every pop star’s signature hit, but it’s time for him to have a solo hit under his belt, and “CAN’T RUSH GREATNESS” may solve that issue.

Fans of indie, pop, and alternative can dive into flipturn’s Burnout Days, Rebecca Black’s hyperpop-infused SALVATION EP, and Ethel Cain’s long-awaited gothic manifestation on PERVERTS EP. Also, Kane Brown’s genre-bending country and Teddy Swims’s raspy soul-pop are undeniable earworms, ready to reach new heights with their respective records and star-studded collaborations.
Iconic boundary-pushers FKA twigs and The Weeknd return with career-defining projects. Twigs sets the dance floor ablaze with her rave-ready EUSEXUA, while the Canadian sensation hints at a farewell to his Grammy-winning moniker with Hurry Up Tomorrow. As a bittersweet finale, fans are treated to the long-awaited release of Mac Miller’s now-posthumous Balloonerism—a 2014 gem finally seeing the light of day.

Looking ahead, January is already shaping into an unforgettable music milestone, packed with hip-hop anthems and licks of pop. From resurfaced projects to fresh eargasmic production, it’s the perfect time to ring in the New Year with your favorite artists and their hot releases.

“WHAM (Who Hard As Me)” by Lil Baby
Releases on January 3

After taking a brief hiatus, the Young Thug protégé returned to the music scene in late 2024 with three singles that won’t be featured on his upcoming album. After unveiling A-list features, including Rod Wave, Glorilla, Travis Scott, and 21 Savage, the Atlanta rapper took to Instagram to warn opps that WHAM will reset culture: “Ain’t It Crazy How They Tryna Play Me Like I Ain’t The One!!! It’s That Time!” Lil Baby also revealed plans for his next album, the more personal and eponymous Dominique, to shortly follow WHAM in February, though nothing is confirmed yet.

“Perverts EP” by Ethel Cain
Releases on January 8

Clocking in at 90 minutes across nine tracks, Hayden Anhedönia, better known as Ethel Cain, redefines the concept of an “extended play.” This release marks her first significant departure from the haunting narrative of Preacher’s Daughter, venturing further into Cain’s signature Southern Gothic universe. With “The 12 Pillars of Simulacrum”—a self-created philosophy inspired partly by Jean Baudrillard’s Simulacra and Simulation—Cain delves deeper into the love and fear of human existence. On the November single “Punish,” she mourns, “Only God would believe that I was an angel, but they made me leave,” her words emphasized by rock-infused electric guitars that haunt the ambient soundscape.

“Balloonerism” by Mac Miller
Releases on January 17

The estate of the late Pittsburgh rapper surprised fans with the announcement of Balloonerism, a highly speculated album recorded during the same time as 2014’s Faces. Ultimately shelved in favor of other projects, the record now resurfaces as Miller’s second posthumous release following 2020’s Circles. While no promotional singles have been released, rumors suggest SZA, Hodgy, and Delusional Thomas are featured.

“SALVATION EP” by Rebecca Black
Releases on January 17

Long gone is the “Friday” teeny bopper. Over a decade later, Rebecca Black commands Boiler Room DJ sets, determined to cement her “Party Girl God” status, a title she boldly proclaimed in her controversial single. SALVATION, her third EP and follow-up to 2023’s Let Her Burn, promises early hyperpop bangers with experimental, industrial stems and pitched-up, distorted vocals, as seen in the Trojan horse single “Sugar Water Cyanide.”

“CAN’T RUSH GREATNESS” by Central Cee
Releases on January 24

Since signing a reported $25 million USD deal with Columbia Records last year, UK’s Central Cee now holds up a heavy gold chain on the artwork for his debut album. Featuring 17 tracks, including the new-age romance anthem “gen z luv,” the album solidifies his ascent from mixtapes and sold-out shows to global stardom.

“Burnout Days” by flipturn
Releases on January 24

Florida indie rockers flipturn channel ethereal melodies and gripping guitar work in their sophomore album, Burnout Days. With their cathartic lead single “Sunlight,” the five-member band reflects on themes of family, addiction, and recovery, featuring Dillon Basse’s most personal lyrics to date: “Like a bonsai tree’s branches needing to be cut in order to grow, human beings also need to be pruned.”

“EUSEXUA” by FKA twigs
Releases on January 24

“EUSEXUA IS A PRACTICE. EUSEXUA IS A STATE OF BEING. EUSEXUA IS THE PINNACLE OF HUMAN EXPERIENCE,” the British singer shared on Discord, describing her self-made term as “momentary transcendence.” Twigs’s third album era transforms underground Eastern European rave production into cataclysmic showdowns, as heard in singles “Eusexua,” “Drums of Death,” and “Perfect Stranger.”

“Hurry Up Tomorrow” by The Weeknd
Releases on January 24

“A new path awaits. When today ends, I’ll discover who I am,” wrote Abel Tesfaye, hinting this may be his final album as The Weeknd. Securing a Top 3 Billboard hit with “Timeless” featuring Playboi Carti, and accompanied by a psychological thriller film of the same name starring Jenna Ortega, Barry Keoghan, and himself, Tesfaye’s swan song promises to leave a lasting legacy.

“Deep Thoughts” by Lil Durk
Releases on January 31

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With most of his legal battles behind him, Lil Durk’s ninth studio album takes a reflective turn, addressing themes of drug use on “Optimist” and chronicling his artistic evolution on “Late Checkout” featuring Huxcho.

“NGL EP” by JoJo
Releases on January 24

After her New York Times best-selling memoir, “Over The Influence,” the platinum Grammy-winning R&B sensation continues her story with an upcoming extended play. Its lead singles, “Too Much To Say” and “Porcelain,” seamlessly blend pop production with lyrical resilience.

“The High Road” by Kane Brown
Releases on January 24

The Chattanooga-born country singer has made headlines with genre-bending collaborations alongside Swae Lee, John Legend, and Blake Shelton. “The High Road” plans on extending that trailblazing notoriety with Brown enlisting DJ Marshmello for his lead single, “Miles On It,” while locking in other high-profile collaborations with Jelly Roll, Brad Paisley, Katelyn Brown, and Khalid for the record’s other 17 tracks.

“I’ve Tried Everything But Therapy (Part 2)” by Teddy Swims
Releases on January 24

Who needs therapy when the “Lose Control” hitmaker can release another project? “Part 2” follows last year’s “Part 1.5,” a deluxe edition with four new bonus tracks from his sophomore album. Now, with heartfelt singles “Bad Dreams” and “Funeral,” his junior effort embraces a more radio-friendly, Adele-esque pop sound while still showcasing his raspy powerhouse vocals.

A flattering, pared-down black blazer. A fitted dress shirt with extra-long cuffs. Clean fragrance with a whisper of confidence. Delineated under a trend coined “Corpcore,” this phenomenon reflects the idea of work and the work dress code evolving over time. From the waist-up subterfuge of Zoom meetings to the hybrid on-and-off-site schedules that followed, the real core of “Corpcore” lies in the life cycles of its ecosystem. With designers like Thom Browne, Peter Do, Miuccia Prada, and Sandy Liang leading the charge in 2023, a refreshing perspective was evident on the runway. Something about the air of professionalism became desirable to a young, trendy generation. Was this a sign of adult life inching closer from the once-far-off horizon, or a playful dress-up session imitating a future so unlikely it was safe to satirize?

The early 2000s were saturated with narratives of seamless transformation: co-ords that could go from boardrooms to bars, looks that transitioned effortlessly from “day to night.” Magazines and makeover shows romanticized the professional fantasy—dashing from the office to glittering social engagements, swapping loafers for heels and freshening up with a swipe of lipstick. Today, this fantasy persists, but in a more grounded form. Corpcore has expanded the professional aesthetic to accommodate the realities of hybrid living. Oversized coats, dark-wash jeans paired with tailored blazers, and chunky sneakers that bridge practicality with style have replaced the polished stilettos and compact mirror touch-ups of yesteryear.

From utility to personality, “corporate attire” as a plain canvas speaks to a collective longing for structure in an increasingly formless world. From 2020 onwards, the concept of office wear nearly vanished as workers retreated to their homes, trading loafers for slippers and trousers for pajama bottoms. Video calls became quintessential, and so blazers went over T-shirts, dress shirts were tucked into gym shorts—a fragmented, dual personality between the self we presented to others and the one we inhabited privately emerged. As the world reopened, Corpcore rose like a phoenix to signal a reclamation of the professional aesthetic and a typical, pre-pandemic living cadence. Runway designers leaned into the look, turning traditional office staples into canvases for creativity—Miu Miu’s Spring/Summer 2022 had everyone in a vice grip with pleated mini skirts. Martine Rose elaborated on ultra-tight dress shirts and exaggerated square-toe loafers. Loewe’s Fall 2023 menswear show featured plenty of meditative rebellions against convention to a sleek backdrop.

Both a source of agency and a mirror of societal expectations, we acknowledge the power the aesthetic wields while simultaneously challenging its definition. Crisp white button-downs are made sexy as a shirt dress; structured footwear underwent fusion with sneakers to create Frankenstein babies (like the New Balance 1906Ls). Pointed kitten heels and skinny-framed eyeglasses became absolutely essential. Pieces historically plain evolved into tiles of an aesthetic movement. While originally mundane as a piece of the cubicle uniform, these treatments aimed not to satirize but to reclaim.

For women especially, sex appeal is one of the most potent and complex tools in this cultural arsenal. It’s a double-edged power—both a weapon of self-expression and a reflection of societal constraints. Iconic characters like Gisele Bündchen’s statuesque cameo in The Devil Wears Prada, Bayonetta’s hyper-stylized “dominatrix” design, and Lucy Liu’s leather-clad, bespectacled disguise in Charlie’s Angels illustrate this tension beautifully. These figures wield themselves with precision, and for the consumers using their fictional portrayals as style inspiration, the look might serve as armor while reinforcing the external gaze that defines these styles as desirable in the first place.

In contrast, the masculine professional uniform (namely, the suit) has become an artifact of occasion rather than a daily staple. For many, donning a full suit-and-tie getup now carries a heavy weight of ceremony, akin to the significance of an evening gown for a woman. In a world dominated by casualwear, the suit transports the wearer into intentional participation in formality. Corpcore embraces and plays upon this transformation, reimagining menswear for a varied audience. Wide-legged trousers, relaxed blazers, and unexpected cuts breathe new life into the concept, stripping away its rigidity without sacrificing its symbolism. Take Thom Browne’s signature shorts, for example, and compare their wizened boyish charm with Patrick Bateman’s surgically terrifying yet classic designer wardrobe.

The blazer and dress shirt stand as timeless icons, weathering centuries of cultural and societal shifts with their classic forms largely intact. Fashion documentist Peter Noah sees young designers and thrifting enthusiasts alike continuing to redefine these staples, experimenting with unconventional combinations of tailoring, fabrics, and customizations that “push the idea of what a blazer and shirt combo might be, much faster than what we might have experienced in the last 100 or so years.” This energy suggests that the next epoch of office wear evolution could be far more dynamic than the last.

We find ourselves now in an era where access to information and a hunger for individuality accelerate change like never before. Corpcore captures the momentum of the age. Tradition and the reinvention thereof honor the enduring prose of professionalism while challenging its conventions. Balancing self-expression and societal expectations, the so-called trend has become a symbol of how today’s generation imagines concepts like “professionalism” and “success”—referential, reactionary, and radical.

A siren-like newcomer to the music scene, Genevieve Stokes is making waves in alternative music at just 23. Stokes has weathered years of chasing perfection, only to find herself back in her home state of Maine, standing steadfast beneath the beam of a lone lighthouse—its protection cutting through a lightning storm. In the Tarot world, a recurring divination motif throughout Stokes’ recordings, the storm and the lighthouse form a striking duality: chaos and sanctuary, destruction and rebirth. This duality is the essence of her smoldering debut album, “With a Lightning Strike.”

The record sails through turbulent waters, opening with the brooding “Desert Eagle” before turning toward the euphoric ghost hymn “When Your Heart Opens.” The 13-track project glitters with unbridled honesty, but these two tracks shine brightest in a treasure trove of introspective self-healing. In an interview with Beyond the Pines, Stokes reflected on the uncharted territory of piecing together her first album. She created magic in her hometown with longtime friend and creative director Abbie Pitre, alongside bandmates Fiona Stocks-Lyons and Pete Cararella, while simultaneously emerging from a soul-consuming storm with a sense of serenity.

“With my past projects, everything felt sterile, like I was striving for perfection,” she shared from her childhood home, resting after her largest headline tour to date. “This time, I wanted it to feel real and cathartic.”

The lush landscape of the Pine Tree State breathed life into her sonic metamorphosis, an evolution anchored in dreamy indie pop and experimental elements drawn from her idols. “Fiona Apple was a huge influence [on this record],” Stokes said, pointing to the angsty, percussion-driven opener “Desert Eagle,” which she described as a “stim” song that began on a water-damaged piano in her garage. Besides her desire to write lyrics with Apple someday, Stokes also cites Frank Ocean, FKA Twigs, Caroline Polachek, and Yung Lean as additional inspiration points. “I did a deep dive into my favorite artists—not necessarily to take from them, but to understand what compelled them to create.” These genre-defining trailblazers, combined with her low-lit introspection, took final form in Los Angeles’ legendary Sound City Studios.

“Having people who really support and understand what you’re trying to do is such a game-changer,” Stokes added. “I’ve worked with my high-school friend Abbie for years now—she’s done so much of the cover art and videos. This whole project was so friend-driven. Like the music video for ‘River,’ which she directed and [that we] made with my best friends. It’s how I want to make everything now.”

Unlike much of the album, “River” is a rare thumper conceived outside the walls of Maine. Written as a means of grounding herself while visiting New Orleans, its genesis was spiritually raw, yet its accompanying visual returned to the intimacy of coastal Maine, using black-and-white imagery. This back-and-forth illustrates a recurring thread in Stokes’ artistry—an artist anchored at home but constantly exploring and unearthing new depths of creativity.

Above even Stokes’ love for Maine lies her fascination with Tarot cards, which served as a large inspiration for her 2021 EP, “Chasing Rabbits.” “I just love symbols,” Stokes says. “Tarot made me feel like there was magic in life again, turning the mundane into something whimsical.” Stokes recalls pulling the Tower card early in the recording process of “With a Lightning Strike”—her favorite, she says, due to its polarizing symbolism of transformation.

“The Tower card always struck me. It’s extreme and scary, but it’s also the card of transformation. That energy is so powerful.” When presented upside down, the Tower card can indicate a resistance to change or personal transformation. But Stokes bet on a different ending for herself, saying, “‘With a Lightning Strike’ feels the same way—chaos at first, like lightning striking the tower [in the album artwork]. But by the end, the pieces fall into place, and there’s a sense of peace.”

Produced by longtime collaborator Tony Berg, known for his work with Phoebe Bridgers and Paul McCartney, “With a Lightning Strike” marks a turning point for Stokes as she peels back layers of whimsy to reveal a darker, more intimate exploration of heartbreak and resilience.

“We started with a lot of energy, experimenting and making fun things,” Stokes says. “But by the end, it was winter, dark and cold, and I felt more recluse.” This duality pulses throughout the collective of songs, which sees the titular torch track, “With a Lightning Strike,” evolve into the album’s ethereal acoustic-folk finale, “How Things End.” Each entry, from the whimsical rock zingers of “Life of a Woman” to the earthy falsettos and thunderous synths of “Old Friend,” weaves Stokes’ tortured love history into behemoths of symphony, balanced by moments of delicate indie balladry.

True to Stokes’ words, the beginning of “With a Lightning Strike” is chaotic, steeped in the darkest textures of alt-rock, haunting piano, and cascading drums. “It’s funny because the first and last tracks are actually about two different people,” she explained of the mirroring lyrics on “Desert Eagle” and “How Things End,” mentioning that the album as a whole centers on various individuals. But the emotional arc of the album reflects more than heartbreak—it mirrors her own mental health journey.

For example, the piano-driven pre-closing track, “God,” depicts Stokes’ ruminating thoughts on the way toward self-acceptance. “I felt disconnected from my intuition for so long, [and] writing helped me reintegrate into myself,” she admits. “I’ve realized that I relive the same phases with people. The tone reflects my growth—it starts with chaos and ends in peace. But I’m always kind of living those phases at the same time.”

Perhaps the most under-championed tracks toggling between chaos and calm are the diary-like “I Can’t Leave” and the less reserved “Mean Guy,” which both wield eclectic production anecdotes via electric basslines and Polachek-esque operatics. Stokes admits seeing her fans’ responses to her new tracks on tour has been simultaneously overwhelming and healing.

“The tour allowed me to confront my past in front of an audience, so hearing fans sing along to songs like ‘Mean Guy’ and ‘Surface Tension’ was beyond surreal,” she said. Touring alongside artists such as a then pre-famous Noah Kahan and rising star Sarah Kinsley helped grow her stage confidence. However, Stokes emphasizes that knowing people paid to see her perform made the experience more wholesome and, in ways, easier.

“I have in-ears, so I don’t always hear the crowd, but my friends told me people were singing along the whole time.”

Similarly, “With a Lightning Strike” leaves Stokes ignited with newfound creative freedom, and now the singer is cautiously exploring the next chapter.

“I have songs that could make a second album,” she teases. “But, right now, I’m focused on a deluxe version of this debut record.” Still, Stokes is in no rush to define the future. “I’m in a phase of listening and absorbing new things. There’s no need to limit myself yet.”

Whether it’s reconnecting with her Maine roots or contemplating dream collaborations—such as one with Alex G, whom she fondly calls “creative and weird”—Stokes is finally allowing her creativity to breathe.

Normally, lightning strikes in a split second, but Stokes effortlessly bottles its raw energy and uses every volt to paint “With a Lightning Strike” in an unforgettable light. Her debut is a healthy rhapsody of contradictions: chaos and calm, heartbreak and healing, intimacy and glamour. Yet through it all, she’s weathered the storm and carved a niche for herself.

Maine may remain Stokes’ anchor, but her music is the vessel, ready to set sail and captivate listeners with its bewitching depth. It’s clear alt-pop needs a new voice like Stokes to steer the genre in 2025, and with an expansive and experimentally delicious debut, “With a Lightning Strike” emerges as a fiery beacon guiding the lost back home. Stokes doesn’t just sing about transformation—she’s survived it. With her sights set on the horizon, one thing is certain for the Maine native: storms may always loom, but with her words, she will weather them all.

As the year draws to a close, December couldn’t be further from holiday get-togethers as horrors, live-action spectaculars, a Bob Dylan biopic, and drama studies frontload the gift-giving season. Leading the charge is Paul Schrader’s “Oh, Canada”, a sobering character study where Richard Gere’s Leonard Fife lifts the lid on his past as a Vietnam draft dodger through bittersweet flashbacks supported by Jacob Elordi. The same weekend, horror flicks “Nightbitch” and “Y2K” give moviegoers opposing takes on horror: the former is an artsy, surrealist dark comedy about a forced-to-be, stay-at-home mom portrayed by Amy Adams; the latter is a campy fight against turn-of-the-millennium technology led by Rachel Zegler.

Sony enters the Marvel universe with “Karven The Hunter” as Aaron Taylor-Johnson bills the R-rated villain origin story alongside Russell Crowe. However, “Sonic Hedgehog 3” is a family-friendly live-action that delivers equal amounts of boom boom pow with new additions Keanu Reeves and Jim Carrey revving up for a world-shattering fight. Also, Disney’s “Mufasa: The Lion King” dazzles as an origin story brimming with star power, from Beyoncé to Donald Glover. Brady Corbet’s “The Brutalist” offers a sprawling, post-war immigrant tale about art, ambition, and pursuing the American Dream.

Capping off the months are highlights, including Robbert Eggers’ vibrant yet gothic remake of “Nosferatu”, headed by Bill Skarsgård and Lily-Rose Depp, and “A Complete Unknown”, where Timothée Chalamet transforms into a pre-fame Bob Dylan for the James Mangold-directed biopic. And for those craving a scandal, Nicole Kidman heats up the screen in “Babygirl”, a steamy office erotica releasing on Christmas Day.

Ahead, explore the 10 year-end films everyone is talking about.

Oh, Canada
December 6

Director Paul Schrader takes another stab at a Russell Banks book-to-film adaptation following 1997’s “Affliction”. Led by Richard Gere and Uma Thurman, “Oh, Canada” dissects the complex and unlikable Lenoard Fife (Gere), one of sixty thousand draft evaders and deserters who fled to Canada to avoid serving in Vietnam, in a sitdown that deconstructs his fabricated life via Jacob Elordi-supported flashbacks.

Y2K
December 6

From the mind of ex-“SNL” member Kyle Mooney, Rachel Zegler stars in this campy horror where high school noobies, including Lachlan Watson and The Kid LAROI, experience millennium meltdown firsthand as they off against the advent of the internet and overpowered Y2K technology after the human race.

Nightbitch
December 6

“Motherhood, it changes you; it connects you to some primal urges” is the unexpectedly perfect explanation for Amy Adams’ new set of shape-shifting powers (and canine teeth) as a frustrated stay-at-home mom, bothered by her husband and former peers’ more free-willed career paths.

Kraven the Hunter
December 13

Aaron Taylor-Johnson is the fearsome, titular Karven in Sony’s first Marvel film. After being released from prison, Karven not only seeks vengeance on his gangster father (Russell Crowe), but the standalone, bloody action-adventure narrates the beginnings of one of Marvel’s most fearsome villains.

Sonic the Hedgehog 3
December 20

In the franchise’s third installment, Keanu Reeves joins the live-action “Sonic” universe as the overpowered arch-rival Shadow, who forces protagonists Sonic (Ben Schwartz), Tails (Colleen O’Shaughnessey), and Knuckles (Idris Elba) to seek out an unlikely alliance in Dr. Robotnik (Jim Carrey) in hopes of saving the planet.

Mufasa: The Lion King
December 20

Already buzzing with the A-list additions of Beyoncé, daughter Blue Ivy Carter, and Donald Glover, Disney’s stunning live-action prequel of “The Lion King” chronicles the rise of Mustafa (Aaron Pierre) from outsider to The King of Pride Rock as he and brother-by-choice Taka (Kelvin Harrison Jr.), later known as The Dark King Scar, chase destiny.

The Brutalist
December 20

Adrien Brody and Felicity Jones star in filmmaker Brady Corbet’s melodramatic post-WWII American epic as visionary architect László Toth and wife Erzsébet. When industrialist Van Buren commissions László to design a grand monument, he unknowingly hands the American Dream to the Toth family on a silver platter, ultimately re-landscaping the immigrants’ newfound home.

Nosferatu
December 25

Bill Skarsgård is the Count Orlok in the latest 1922 German Expressionist film remake, originally an unofficial adaptation of Bram Stoker’s 1897 novel “Dracula”. This time, Robert Eggers decided that gothic horror should be more grandiose this go-around, as Orlock’s human love interest Ellen Hunter, played by Lily-Rose Deep, hints at the film’s A-list cast, featuring Emma Corrin, Aaron Taylor-Johnson, Bill Skarsgård, Nicholas Hoult, and Willem Dafoe.

Babygirl
December 25

The only way for high-powered CEO Romy (Nicole Kidman) to buckle under pressure is if company intern Samuel (Harris Dickinson) is in the room, sexually biting a cookie. As their spicy office hook-up bites into her home life, suspense builds in Romy, and risqué hotel sex nor club escapades cannot simply cure it.

A Complete Unknown
December 25

The long-awaited Bob Dylan biopic stars Timothée Chalamet as the then-young Minnesota singer alongside Monica Barbaro as Joan Baez and Elle Fanning as Silvie Russo. Leading up to Dylan’s name-making 1965 stage at Newport Folk Festival, which forever rewrote standard folk music, filmmaker James Mangold captures the music legend’s growing following throughout 1960s New York City.

December is here, and with it comes a stellar lineup of music icons ending the year on a high note. K-pop fans will find themselves spoiled with treats from Cravity’s hip-hop nostalgia to Twice’s disco-infused “Strategy”, featuring the group’s second bold collaboration with Megan Thee Stallion. However, all eyes are on BLACKPINK’s Rosé this month as her chart-topping hit, APT.”, segways Blinks into her solo debut album era, something that’s more cut from her personal diary than K-pop itself.

Latin pop newcomer Joaquina adds a heartfelt addition to her catalog with “aeropuerto”, an acoustic love letter inspired by family ties and distance, while NBA rolls out his braggadocious “I Just Got A Lot On My Shoulders” record. Still, let’s not forget about cold winter mornings as Aquilo’s “You Should Get Some Sleep” continues the duo’s soothing journey through the ambient alternative space.

For those craving a festive flair, Sabrina Carpenter’s “A Nonsense Christmas” doubles as a Netflix holiday special, singing holiday classics with musical peers Chappell Roan, Tyla, Shania Twain, and more. Hyperpop’s underground king Babymorocco is the new champion of indie sleaze on “Amour”, a new house party anthem, while Snoop Dogg and Dr. Dre return with “Missionary”, a modern-day G-funk odyssey that bridges generations new and old with genre-bending collaborations.

And as the year wraps, more icons refuse to rest: Nicki Minaj extends her Queen of Rap reign with the “Pink Friday 2- The Hiatus” while Stray Kids pushes hip-hop norms on their “SkzHop Hiptape”. Ahead, take a closer look at your favorite artists’ year-end releases coming this December.

“FIND THE ORBIT” by CRAVITY
December 5

The nine-member K-pop boy band continues to build up their catchy hip-hop with their new single album, “FIND YOUR ORBIT”. New visual promotions tease a nostalgic youth cloaked in black-and-white field frolics– a distinct departure from Cravity’s previous energetic performances, which ensured their first terrestrial TV music show win with the euphoric pop-rock track “Love or Die”.

“aeropuerto” by Joaquina
December 5

The Venezuelan-born, Miami-based singer-songwriter is a new voice of Latin pop that will surely take the world by storm with her heartfelt lyrics and new music era– already five songs deep in acoustic pop. “‘Aeropuerto’ is a song I wrote inspired by visiting my great-grandmother around Christmas, at a time when I felt like it would Ahead of his 27-month prison sentence for prescription drug fraud, NBA Youngboy slowly released nearly half of his upcoming album’s track list leading up to its official December release– another rare southern trap experience balancing X-rated sexcapades, dissing competition, and reflective ramblings.
probably be the last time we would see each other,” the Grammy winner said about her upcoming single on Instagram. “I see this song as a love letter to all of your loved ones far away– telling them that no matter where you are, you always carry a piece of them with you everywhere.”

“I Just Got A Lot On My Shoulders” by YoungBoy Never Broke Again
December 8

Ahead of his 27-month prison sentence for prescription drug fraud, NBA Youngboy slowly released nearly half of his upcoming album’s track list leading up to its official December release– another rare southern trap experience balancing X-rated sexcapades, dissing competition, and reflective ramblings.

“rosie” by Rosé
December 6

Hailing from one of the best-selling girl groups of all time, BLACKPINK’s Rosé continues to hype her eponymous solo debut record, using her Bruno Mars-assisted smash hit, “APT.” Now, with over 1 billion global streams since its October release, the New Zealand-born singer ushered in the piano-driven “number one angel”, a more accurate look at her 12-track record, which details her turbulent love life over the past four years.

“STRATEGY” by TWICE
December 6

After a long-deserved break, thanks to subunit MISAMO and solo activities from Nayeon and Tzuyu, K Pop’s Twice is ready for their 14th EP– a post-disco foray that flirts with liquid drum-and-bass– championed by the savvy title track feature from Megan Thee Stallion. The superstar group was featured on Stallion’s remix of “Mamushi” for the rapper’s deluxe album, “Megan: Act II”. After topping the Billboard 200 chart in February with their previous EP, “With YOU-th”, Twice finished their 51-date “Ready To Be” world tour in late July.

When it comes to referencing speed with styling, no event is more fitting than the Formula 1 Grand Prix. This year in Vegas, the excitement in the high-stakes global event was as much on the track as on the carpets. Attendees pulled out all the stops, referencing their passion for the race and embracing the ambience of the high speed atmosphere. The standout theme? Leather. A-listers turned the pit lanes into a fashion runway, outfitted in bold leather ensembles— from sleek moto-inspired jackets to sultry leather jumpsuits, stars like Adele, Nina Dobrev, and Terry Crews channeled high-octane energy. Outerwear of every kind was rightfully front and center in the spotlight, with star-quality varieties worn across the board. Bombers emerged as a fan-favorite, exuding effortless cool with sporty styling and finishes in luxurious materials. Others opted for classic formalwear with flair, or otherwise stuck to their own personal “classics” in their signature styles. It was a masterclass in layering, color selection, pattern recognition, and living the moment to the fullest.

Leather Three Ways: Clean Jacket, As a Suit, and Over Racy

Nothing captures the allure of racing and its speed, sophistication, and airs of rebellion quite like leather does, and many attendees fell under its spell accordingly. Several draped themselves head to toe: Vampire Diaries actress Nina Dobrev with a monochrome 5-piece all black ensemble- tailored tube top, baggy trousers, jacket, bag, and pointed-toe shoes, Vocalist J. Rey Soul with a skin-tight matching co-ord zipped halfway, and car personality Emelia Hartford with her shining red jumpsuit. Adele accented her black turtleneck, leather gloves, pant, and kitten-heeled boots with a simple beige trench while some contrasted their black leather jacket and pants with mesh undershirts, like model Ashley Graham and basketball star Skylar Diggins-Smith.

Perfecto, Racing, Collared, Bomber… Leather Jackets, to Be Specific

When it comes to a piece so classic and universally beloved, the personality of every small detail expresses magnitudes in its effect. On the event grounds, some preferred the classic black moto like Guns N Roses lead vocalist Axl Rose while others preferred a more extravagant look, such as powerhouse vocalist John Legend and his sleek alligator moto. J Balvin wore a black leather jacket with exaggerated shoulders and a fur-lined hood while singer Johann Vera and model Matthew Noszka opted for more pared-down, relaxed versions, worn over a soft red knit (Vera) and grey sweatshirt (Noszka). Comedic personality Lele Pons showed off colorful, paint-stroke embroidery and runner Marcell Jacobs- leather jacket was a painted canvas for stylized font.
In addition to the overwhelming popularity of black leather, a warmer brown color palette was also present— internet personality Hannah Stocking layered a knee-length brown leather coat over a black vinyl latex minidress, for example. Actress Julia Schlaepfer looked radiant and cohesive in her brown leather pilot jacket, complete with fur appliques as matching appliques of brown leather rippled their pattern on her blue jeans. Actress Caylee Cowan matched hers with a flowing leather midi skirt and model Kristina Menissov complemented her cropped number with a pleated leather miniskirt. The charm of a racing jacket with white racing stripes was, of course, irresistible. Queen and icon Paris Hilton accessorized hers with her signature sunglasses, and tiktok star Allison Kuch paired hers with wide legged denim in faded grey and mesh black undershirt.
Staying True to the Classics Or— What’s Classic to You
The matching theme continued in a more classic direction with model Shanina Shaik’s fitted black leather pant and jacket over white race logo tee, internet personality Natalie Kuckenburg’s smart buttoned and cropped tweed jacket and miniskirt over tights, Brianna Lapaglia’s black cropped tweed suit, and Lewis hamilton’s chef-button grey suit from Day 2. Lewis’ Day 1 walk-out to qualifying was done in a sequined delight made by Tommy Hilfiger in cream and navy. Incidentally, Flavor Flav also wore a sequin baseball jacket, topped off with a “classic” of his own— a comically large, flooded clock on a chain around his neck. In stark contrast, Alexandre Grimaldi (Son of the Prince of Monaco), wore a white dress shirt and black dress pants, plus an overdyed but understated prada denim jacket. Afterall, what’s classic to Mr. Flav is understandably different from what’s classic to the common (and even uncommon) man. Gordon Ramsey’s “classic” was this same floorplan: white shirt, black jacket, black pants— albeit with black sneakers instead of Grimaldi’s black dress shoes. Paul Mescal’s earthy cargo jacket with upturned collar was similarly styled, with light wash denim and a plain white tee shirt.

Actor Aaron Taylor-Johnson’s understated look was all in the fabric selection: a muted tan suede carried through his collared shirt and his paler shoes. Luka Sabbat was monochrome and understated, layering black denim washes while Jenny Mcarthy opted for subtle texture with her black-on-black LV monogram bomber and pants. The bomber jacket carried almost as much possibility as leather, appearing in an inspiring range of flavors: serenely minimal on Irish actor Patrick Gibson, vintage and chain-stitch embroidered on american actor Brandon Sklenar, and slightly decorated with a leather sleeve on Sylvester Stallone (who has donned a more formal suit, also in a royal blue tone the day prior, accompanied by his family). For more traditional menswear, Jenson Button cheered on his underclassmen with a velvet dinner jacket while George Russel looked smart in a pinstripe, double breasted suit and sunglasses.

Adding Personal Flair In Color: the Sporty, the Streetwear, and the Fur

In a more leisurely fashion, basketball star Chris Brickley and actress Liza Soberano both wore full Puma while Canadian personality Josh Richards was outfitted in full Off-White and one of the Oppenheim brothers (of Netflix’s Selling Sunset) proudly repped Supreme. Ludacris matched his shirt with his shoes in a nostalgic graphic explosion of orange and aquamarine while Snoop Dogg’s color palette of red, yellow, and black was more geometrically color blocked. Jared Leto wore Fur jackets both Day 1 and Day 2, one white and one black, always with his stylish sunglasses. Rapper Hit-Boy’s furry jacket was in a soft, pistachio-foam mint while sculptor Richard Orlinski’s was in an inviting gray.
American songwriter Coco Jones’ simple white tank and miniskirt was punctuated with a pink waistband that echoed in her footwear for a fun touch of color, and pop sensation Lisa (of kpop group BlackPink) accented her oversized black blazer and denim with an eye catching orange, tied at the neck and peeking out from the sleeves. Olympic Athlete Junelle Bromfiled chose to highlight her multi-colored tennis necklace with her painfully chic black monochrome outfit and accompanying her was the other half of this olympic couple, Noah Lyles wearing a silken, retro-patterned pants, top, and scarf— he would don a black-and-white outfit the next day.

For Maximum Effect, A Matching Suit

American fencer Miles Chamley-Watson made a colorful statement with an oversized orange houndstooth zip jacket and drawstring pants. Casual while establishing a strong visual, his style and approach was undeniably cool. Steve Aoki’s jumpsuit, adorned with strips of black patches in punk fashion evoked playful vibes when paired with neon striped shoes. Similarly, TV personality Scott Evans served a full look in head-to-toe denim. Like Britney and Justin in 2001, the presentation was simple and effective, consisting of a two-toned denim trench coat, matching two-toned jeans, denim boots, and a trompe l’oeil mock neck with resplendent blue patterning. Renowned model Winnie Harlow also wore full denim on Day 2— checkered denim jeans and monogrammed Louis Vuitton bomber jacket with abstract patchwork. Day 1 was a strong entry of swirling black linework over tan vest and pants, with strategic cutouts that were outlined with fringe. Over the top was a clean baseball jacket in latte cream.

The 58th CMA Awards already started off on the wrong foot when Beyoncé’s COWBOY CARTER failed to receive nominations in any major categories this September. Even after the Country Music Association seemingly blackballed the “Halo” singer following her 2016 performance with the Dixie Chicks, COWBOY CARTER became an undeniable cultural reset within the genre—worth a second glance and deep consideration. Lauded as one of the best albums of 2024, it amassed over 1 billion streams across Apple Music and Spotify alone, solidifying Beyoncé’s historic domination on Billboard’s Hot 100 and country charts with hits including “TEXAS HOLD ‘EM,” “16 CARRIAGES,” and Miley Cyrus collaboration “II MOST WANTED.” The project even earned validation and praise from Reba McEntire, Kelsea Ballerini, Dolly Parton, and other country greats. Yet, her superstar absence loomed over the three-hour broadcast, a show that purposefully bragged about this year’s crop of 30-something first-time CMA nominees.

Going into the night, audiences were guided—loosely—by an A-list hosting trio that ultimately lacked synergy: Luke Bryan, Lainey Wilson, and American ex-footballer Peyton Manning. All eyes were on co-host Wilson, who was widely speculated to sweep the awards with her six nominations, including “Entertainer of the Year,” “Female Vocalist of the Year,” and “Single of the Year,” but only won one category. However, it was CMA favorite Chris Stapleton who was the night’s champion, winning three out of his five nominations, which left newcomer Shaboozey empty-handed despite his “A Bar Song (Tipsy)” topping the Billboard Hot 100 for its record-breaking 18th week. He even lost out on the “Best New Artist” category to country It girl Megan Moroney. Meanwhile, the night’s most anticipated showdown was between country powerhouses Jelly Roll and Morgan Wallen—who was notably absent from the event—as both artists earned four nominations, with two head-to-head in the same categories. In a drawn-out evening of lackluster performances and measly pyrotechnics, Wallen narrowly claimed the coveted “Entertainer of the Year” award over Wilson, Stapleton, Luke Combs, and Jelly Roll, the latter leaving without any wins.

“Now we’re a threesome,” Bryan awkwardly joked during one of their rare onstage appearances with his two other co-hosts. Although Bryan and Manning delivered some comedic bromance, the Bronco alum’s tongue-in-cheek plea for Human Resources intervention momentarily offset the immediate cringe. It even prompted hearty laughter from the crowd, giving Wilson—making her hosting debut—a chance to lighten up and join the joke, quipping that HR meant “Head Redneck” in her book. Sure, the trio’s unpolished chemistry culminated in them donning matching T-shirts by the night’s end, a quirky memento of their early-on red Solo cup-filled banter fail.

Hosting may be a tough gig, but the performance overload made the night drag even more, giving country attendees enough time to polish their shoes and hats before a speaker returned again. Out of the two hours’ worth of performances, there were a few bright spots: “Best New Artist” nominee Bailey Zimmerman was the designated hype boy of the night with “New to Country”; Kacey Musgraves shone in a simple white ensemble during her heartfelt performance of The Architect; Ella Langley and Riley Green’s viral honky-tonk duet of “You Look Like You Love Me” charmed the audience all over again; and Keith Urban’s wicked guitar solo alongside Jelly Roll on the explosive “Liar” was one of the evening’s few standout moments. Unfortunately, that meant by the time it came to country legend George Strait’s tribute performance for the CMA Willie Nelson Lifetime Achievement Award, its lukewarm reception was signaling the show’s slow march toward its end.

During award announcements, CMA presenters often touted themselves as a “family,” but the night’s results of a too-familiar winner’s circle suggested otherwise. Old Dominion secured their seventh consecutive win for “Group of the Year,” Brooks & Dunn extended their record with a 15th “Vocal Duo of the Year” win, and Chris Stapleton took home “Male Vocalist of the Year” for the fourth time in a row. Clearly, the CMA’s notion of southern hospitality remains exclusive. And while Beyoncé offered the awards a cultural Rosetta Stone with COWBOY CARTER, they instead acknowledged Post Malone with three nominations for his equally impactful F-1 Trillion project, filibustered by his Morgan Wallen collaboration “I Had Some Help.”

Ahead, here is the complete list of winners, in bold in their respective categories:

Entertainer of the Year: Morgan Wallen

Single of the Year: “White Horse” by Chris Stapleton (Producers: Dave Cobb, Chris Stapleton, Morgane Stapleton) (Mix Engineers: Vance Powell)

Album of the Year: “Leather” by Cody Johnson (Producer: Trent Willmon) (Mix Engineer: Jack Clarke)

Song of the Year: “White Horse” by Chris Stapleton (Songwriters: Chris Stapleton, Dan Wilson)

Female Vocalist of the Year: Lainey Wilson

Male Vocalist of the Year: Chris Stapleton

Vocal Group of the Year: Old Dominion

Vocal Duo of the Year: Brooks & Dunn

Musical Event of the Year: “You Look Like You Love Me” by Ella Langley (feat. Riley Green) (Producer: Will Bundy)

Musician of the Year: Charlie Worsham

Music Video of the Year: “Wildflowers and Wild Horses” by Lainey Wilson (Director: Patrick Tracy)

New Artist of the Year: Megan Moroney

“Yes, the Wicked Witch is dead,” Glinda regrettably professes in the opening of Wicked, the official first installment of the highly anticipated Broadway-to-film adaptation. The project has been in the works for over a decade and passed through several directors until it finally landed in Jon M. Chu’s lap (Crazy Rich Asians, In the Heights) after the COVID-19 pandemic halted its progress under Stephen Daldry (The Crown, The Reader). Being a musical enthusiast from a young age, Chu reworked the new-age Broadway classic—based on Gregory Maguire’s novel that reimagines The Wizard of Oz through the untold and complex friendship of Elphaba (the Wicked Witch of the West) and Glinda (the Good Witch of the South) in a pre-Dorothy Oz—unapologetically in his own way. Many A-list talents, including Anne Hathaway, Amanda Seyfried, Dove Cameron, Ariana DeBose, Jessie J, and Anna Kendrick, auditioned for the chance of a lifetime.

Ultimately, Chu chose pop diva Ariana Grande, who originally auditioned for Elphaba, as his Glinda, leaving Broadway powerhouse Cynthia Erivo as the titular Elphaba. Later, it was revealed by Grande’s vocal teacher that the “Problem” singer trained five days a week for several months to make her voice more “operatic” ahead of auditions. Erivo, an almost-EGOT-status Broadway star, was a natural selection given her award-winning performance as Celie Harris in the stage adaptation of The Color Purple and her underappreciated contributions to the film industry, including Black Panther: Wakanda Forever and honoring Julie Andrews. Like Grande upgrading her “stage” name to read Ariana Grande-Butera on the silver screen, Wicked is ushering in a new era of Hollywood musicals—one that positions Erivo and Grande as its founding mothers.

Grande centralizes the story of Elphaba’s transformation into the Wicked Witch of the West with one memorable line: “Are people born wicked, or do they have wickedness thrust upon them?” Set against a politically turbulent Oz, the film documents Elphaba’s journey from an outcast with extraordinary powers to a pivotal figure challenging the forces around her. As her friendship with Glinda is tested and truths unravel, the story hurtles toward a skyborne defiance, a crossroads that could alter the fate of Oz forever—leaving the stage set for an even greater reckoning in the next chapter.

From the handful of teary-eyed press interviews flooding social media, you’d wonder if the co-stars had a cataclysmic event on set. The answer is yes: Wicked not only blends the musical’s iconic storytelling with unbelievable on-set chemistry, but the film brims with innovative visuals, rich costuming, and standout performances—including eargasmic moments like “What Is This Feeling?”, “Popular,” and “Defying Gravity”—that reimagine the tale for all ages and the big screen.

From the opening sequence, the camera zooms in on a lone black witch hat surrounded by embers and ruin, one of many cinematic “aha” moments Chu excels at throughout the nearly three-hour feature. Although a rare occasion without music, the foreshadowing introduces the political unrest taking over Oz, especially in the vibrant Munchkinland as they celebrate the Wicked Witch’s “death” with a gigantic wooden statue of Elphaba set ablaze. Glinda, tasked with doing the honors, isn’t her cherry comedic self but rather a shell of guilt as she looks up at her former friend. Glinda’s brief present-day internal conflict gains clarity in Part One’s significant backstory, which leads up to this moment (and will resume in 2025’s Part Two).

For any naysayers questioning Grande’s vocal chops, they forget she started on Broadway alongside Victorious co-star Elizabeth Gillies in the musical 13. Even with her heavenly arias signaling her “pink bubble” appearance, audiences were simply unprepared for her “No One Mourns the Wicked” rendition, which features incredible finale whistle-tone operatics.

Grande also revealed throughout the Wicked press tour that she wanted to pause her music career to pursue musical theater, which she described as her “heart.” After witnessing Grande’s Glinda, there’s no turning back: there was simply life before Kristin Chenoweth (Broadway’s original Glinda); now, there is life after Ariana Grande—two must-see performances that will inspire a new generation. Grande was born to play Glinda, right down to the flamboyant hair flips, hostile positivity, passive-aggressive smiles, and strictly pink wardrobe.

Similarly, Erivo adds an undeniable weight to Elphaba as the British-Nigerian actress imbues her own history into this role in ways that previous, often white portrayals could never capture—and it’s more than having microbraids, though it’s a nice touch. Elphaba’s dilemma is a race issue: being judged and excluded for having green skin mirrors the too-often prejudicial experiences that people of color face in everyday society. Erivo uses Elphaba, her twin flame, as a sounding board to amplify her underrepresented voice throughout Oz with the grandiose ending of “The Wizard and I” and the battle cry of “Defying Gravity.” Similarly, Elphaba and Glinda are unironically yin and yang: where Elphaba is reserved and defensive, Glinda is bubbly and carefree. Although the sisters-by-choice share their own individual struggles, together they reach a conclusion that rewrites Oz forever.

Part of Grande and Erivo’s on-set chemistry is due to Chu’s distaste for CGI, which led production designer Nathan Crowley (The Dark Knight, Interstellar, The Greatest Showman) to build all its sets from scratch to help “immerse the audience”—similar to 2023’s Barbie. Few filmmakers have ever so cinematically grounded Oz. Although “The Wizard and I” revealed a secluded waterfall atrium hidden in the University of Shiz, the toe-to-toe pop of “What Is This Feeling?” visually reflected the gothic and drab institution, its educational pressures, and the characters’ emotional struggles. The Emerald City sparkled as a bustling, green-hued metropolis blending futuristic sheen with lush natural textures, anchored by a 16-ton train. Meanwhile, Munchkinland came alive with nine million hand-planted tulips, making the location a vibrant celebration of life and color, underlining Crowley’s tactile approach to creating an authentic and fantastical Oz. This meticulous attention to detail breathes new life into Grande and Erivo’s name-making performances.

In concert with Crowley’s handmade set designs, Chu enlisted Broadway costume designer extraordinaire Paul Tazewell (Hamilton, West Side Story) to stitch every bit of Oz into Elphaba and Glinda’s distinct personalities, individual arcs, and, most importantly, wardrobes. Mushroom-inspired pleats, fiddle fern embroidery, and a striking black ombre-accented dress connect Elphaba to her love for nature, embodying her journey toward self-discovery. Glinda’s attire is perhaps the most stunning, as Tazewell captured whimsical elegance through roses and bubbles, with a nod to 1950s Dior romanticism. In the newly choreographed “Popular,” Grande prances around Elphaba during an unwarranted makeover, subtly hinting at Glinda’s canonically unserious pink extravaganza. To forever iconize Glinda in a new signature, look no further than her Ozdust Ballroom gown, which features a Fibonacci spiral structure and custom-dyed silk organza that immortalizes the Good Witch as an ethereal sunset.

Wicked alone is a one-stop shop of what musical excellence can be in Hollywood. The secret? Singing live on set. Chu told Vanity Fair in March, “When we were shooting it, those girls were like, ‘F*** the pre-records. We’re going live.’” Besides poor casting, relying too heavily on pre-recorded tracks has been a hallmark mistake of past Broadway-to-film adaptations, like Cats. But as Erivo flawlessly belts in one behind-the-scenes featurette, the choice to sing live deepened their connection to the material: “We chose to sing live because it meant that we would be further connected to the words we were saying and to each other,” says Erivo.

Alongside vocal prodigies Grande and Erivo, Wicked boasts A-list talent: Jonathan Bailey (Bridgerton) as love interest Fiyero, Michelle Yeoh (Everything Everywhere All At Once) as University of Shiz’s dean Madame Morrible, and Jeff Goldblum (Jurassic Park, The Grand Budapest Hotel) as the Wizard of Oz. While Bailey, Yeoh, and Goldblum shine in limited capacities, their contributions are mere teasers for Part Two, where their arcs will take center stage.

In every way, Wicked mastered everything missing from Hollywood musicals. Chu not only reimagined a Broadway classic for the big screen, but he also employed a crew familiar with perfection to set a new Broadway-to-film standard. With a cast seamlessly bridging powerhouse vocalists and nuanced actors, led by Erivo and Grande at career-defining highs, the film is an electrifying tribute that also stands on its own ahead of awards season. From its mesmerizing set design to its spine-tingling performances, Wicked is both a love letter to its Gershwin Theatre birthplace and a bold step forward toward a cinematic future.

As the curtain closes on Part One, with its embers still glowing and the music lingering in the air, it’s clear the chaos is just the beginning. The yellow brick road is paved with promises of more heartache, revelation, and triumph in Part Two, coming November 2025. For now, audiences are left spellbound and caught somewhere between defying gravity and wanting more.

Chrissy Chlapecka is a theater kid at heart. Just a few weeks ago, the queer pop sensation sang Lady Gaga’s “Judas” in a higher key during her New York City concert just because she felt like it. Ahead of her November shows, the singer-songwriter put on her bubbly personality and glittery black newsboy cap to chat about her deluxe EP “Girlie Pop: Encore,” where her Broadway pipes now take center stage on three new powerhouse pop ballads. “No tea, no shade, but I can sing live, like, I’m not going to sit here and deny it,” Chlapecka tells Beyond The Pines. “I’m not sure how many divas can, but I have a multi-faceted range.”

As a founding member of the “Bimbo Tok” movement, the blue-eyed glamazon is making great strides in moving away from the diamond-studded island of blonde stereotypes, an insult-turned-persona that the rising star curated for her five million TikTok followers via satirical, goofy skits. “I think people sometimes lose the plot [of my TikTok videos]: I was doing a bit, and [they would] come with harsh critiques,” explains Chlapecka. “People feel extremely threatened by femininity in itself, regardless of gender or sexuality. I just simply chose to celebrate mine. No matter what you wear, how you dress, or how you present yourself, everybody deserves respect. Period.” Now, she primarily uses the video platform to chip away at her music career, offering an intimate inside glimpse into rare live performances and the making of a gay pop star until she strikes gold.

And her six-track debut, “Girlie Pop”—a sound reminiscent of the early pop days of unsanitized (read: electronic) masterpieces from Britney Spears, Paris Hilton, and Heidi Montag—is pretty much that. Chlapecka admits that “Girlie Pop” is purposefully unserious and pumped with “pretty is a variable” gimmicks like cheerleader-coded sexual innuendo, amazing gaydar, and whiny pleas for more boyfriends.

Despite having millions of followers and opening for drag superstar Trixie Mattel in a body-painted “solid pink disco” look, Chlapecka still felt incomplete: “I find so much joy in the wit of what I do—the jokes, creating characters. But, you know, throughout my time on social media and making music, I’ve really craved more understanding from my audience.” The curation for “Encore” started with rifling through roughly 70 songs that didn’t make it onto the original EP, most with the singer’s trademark satirical wink. That was the case until the Illinois native rediscovered “probably the best song she’s ever written,” aka “My Only Dream Is To Be Loved”—the first of three times she struck something more precious than gold. Ultimately, the track’s sheer vulnerability shifted the direction of “Encore” from repeating the sapphic bimbo-nese of “I’m Really Pretty” to a darker, more serious affair, coined by her black leather “road dog” attire and matching metallic star-shaped eye art in the “My Only Dream” music video.

The chorus of “The One Who Gets To Cry,” the second bonus track, shows that Chlapecka means business: she bites into the fifth octave with a healthy vibrato that seemingly shies away from bigger leaps until the bridge requires multiple beyond sky-high belts. “I’ve wanted to let people in more because, while I’m goofy and fun, there are many layers to why I present myself that way. I’ve felt it was time to bring my audience, and others I want to reach, into my world, which is much deeper than it might seem,” Chlapecka explains. The deluxe EP’s new closing track, “I Only Want You,” trades the ballad territory for a thunderous, dance dark-pop edge but still requires the vocal acrobatics seen on the two previous tracks. “I love to present myself as sunshine, but it took a long time to get there, and it hasn’t been an easy journey.”

Switching from “10 Boyfriends” to “My Only Dream” is like starting another record, but the mic has always been on at Chlapecka’s shows and will continue being that way as she embraces her roots as a “theater girl” in future projects. “I’m really excited to share this side of my music with my audience because it’s so different from what the original EP sounds like. I think it introduces me to a new world of pop music and new sounds; everything really showcases my voice and the theatrics of everything I love,” Chlapecka says, who credits Lady Gaga as a “major blueprint” for her career, especially as little Chrissy mimicked her voice alongside Broadway icon Bernadette Peters in her childhood bedroom. “When I first started making pop music, I think for me, there was a bit of a disconnect, or understanding maybe, where I lived in the pop music space, just because I come from such a musical theater background.” Chlapecka went on to say that the three additional tracks “really complete” this era but would still want to give Gaga a full bimbo-tastic “Girlie Pop” makeover.

“Encore” is the going-off point of Chlapecka’s career, according to the LA-based singer-songwriter herself, but don’t worry: she’s still rocking pink stars in the leather-loving “My Only Dream” music video. “My fear was that if a song from ‘Girlie Pop’ blew up, I’m not sure I would’ve felt ready for all the attention and critique. I want to feel prepared [for my career to blow up],” said Chlapecka, who emphasizes that it feels great to explore “who Chrissy is” while she still can as a developing artist. “Before, I think I was a little bit swimming through, just trying to figure it out. Now, I feel very solid in my art, and I’m honored to have fans that are here for the change.”

PHOTO CREDIT: Mat Abad / Beyond The Pines

Thug Club, South Korea’s hottest counter-culture fashion label, first captured global awe in 2021 with their viral “SUCK MY DICK” boxers. The brand name catapulted into the fashionverse thanks to the provocative now-brand signature, leading to highly-coveted collaborations with household names like Gentle Monster, MCM, and, most recently, Dickies. Known for their rebellious spirit and hip-hop-inspired aesthetic, Thug Club’s edgy designs have attracted a devoted following, including stars like SZA, A$AP Rocky, K-pop girl group ITZY, and 2NE1’s CL wearing the brand’s baroque, road dog-influenced designs. Celebrating the brand’s first anniversary of its first flagship store, located in Seoul, founder Young Min Cho reflects Thug Club’s bold and free-spirited ethos through its music-inspired interior and a community park project.

Speaking with Cho about the company’s creative journey, it’s clear Thug Club is more than a streetwear brand — it’s a movement. With the brand’s new Fall-Winter 2024 collection, titled “Bio Soldier,” Cho doubles down on his subversive taste, merging the raw energy of South Korea’s underground fashion scene with his personal history, which involves South Korea’s historical ties and stitches a collection of resilience and evolution. “Bio Soldier” reimagines everyday essentials, upgrading a quilted puffer jacket with enough ruched details that reinterprets utilitarian outerwear into urban streetwear while subtly incorporating other symbols of readiness and adaptability via heavy-layered, distressed denim and chunky boots. Down to a staple black bomber jacket and fur coat, Cho reinforces that the collection isn’t about external trends but rather a reflection of thoughts long-held and shaped by life under constant transformation.

Ahead, Cho candidly discusses the challenges of creating a collection rooted in both history and modernity, the mishaps that shaped the direction of “Bio Soldier,” and his take on today’s trendless, hyper-diverse landscape. He also offers a glimpse into the hidden details and self-expressive cultural touches embedded within each design, revealing how Thug Club captures his rightful devotees while challenging conventional fashion norms in an age of overabundant information.

BEYOND THE PINES: What was the main source of inspiration for the 2024 Fall/Winter collection, and how did it shape your creative process?

Young Min Cho: 2024 가을/겨울 컬렉션의 주요 영감의 원천은 무엇이며, 그것이 당신의 창작 과정을 어떻게 형성했나요? -우리는 남북전쟁으로인해 예전부터 군사관련과 밀집해있습니다 북한에서 보내오는 공격 그로인해 다가오는 불안감과 따른 준비태세 오래된 휴전상태 등등에서 자연스럽게 솔저라는 테마가 삶에 지내져왔었고 어느정도 느낌만 정해두고 옷을 만들고나서 전체적인 룩을보고 바이오솔저라고 이름을 정했습니다

Young Min Cho (Translated English): We have long been closely associated with military themes due to the Korean War. The attacks from North Korea, the ensuing sense of unease, the state of readiness, and the prolonged armistice have naturally ingrained the ‘soldier’ theme into our lives. After setting a general concept, we created the garments and, upon reviewing the overall look, decided to name it ‘Bio Soldier’.

BTP: Did you draw any ideas from specific moments, art movements, or personal experiences for this collection?

Cho: 이번 컬렉션에 대한 특정 순간, 미술 운동, 개인적인 경험에서 아이디어를 얻었나요?

개인적인 경험입니다

It stems from personal experiences.

BTP: How did travel or new cultural experiences influence the designs in this collection?

Cho: 여행이나 새로운 문화적 경험이 이번 컬렉션의 디자인에 어떤 영향을 미쳤나요?
-새로운것보단 기존에 삶에서 나온것들 머리에서 생각하던것들이 나온것입니다 오히려 우리가 새로운 영감을 불러일으키기위해 열심히 하고있는것같스빈다

Rather than new experiences, the designs emerged from existing aspects of life and thoughts. It seems we are diligently working to evoke new inspirations.

BTP: Are there any historical references or themes that played a role in shaping the aesthetics or designs for Fall/Winter 2024?

Cho: 2024년 가을/겨울의 미학이나 디자인을 형성하는 데 역할을 한 역사적 참고 자료나 주제가 있나요? -기본적인 의복의 변형과 다양한 세대의 믹스

Basic modifications of clothing and a mix of various generations.

BTP: What challenges or breakthroughs did you encounter while developing this particular collection?

Cho: 이 특별한 컬렉션을 개발하는 동안 어떤 어려움이나 돌파구를 만났나요?많은 생각들과 고통이 같이 있었습니다

There were many thoughts and accompanying pains.

BTP: Can you share any hidden details, symbols, or nods to pop culture or history embedded in the collection’s designs?

Cho: 컬렉션 디자인에 포함된 대중 문화나 역사에 대한 숨겨진 세부 사항, 상징 또는 고개를 끄덕이는 부분을 공유할 수 있습니까? 지금의 세대는 인터넷 정보 과잉으로인해 트렌드라는게 없고 다양성이 많아지고있습니다
앞으로도 그럴것으로보이며 더욱더 각자 좋아하는것에 몰두할것으로 보입니다우리 떠그클럽을 따라오는 친구들에게 감사하며 좋은퀄리티와 특별함을 만들어주기위해 노력할것입니다 감사합니다

The current generation, due to information overload from the internet, lacks a unified trend and is embracing diversity. This is expected to continue, with individuals delving deeper into their personal preferences. We are grateful to those who follow Thug Club and will strive to provide exceptional quality and uniqueness. Thank you.

*Note: This interview has been translated and edited for clarity.
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