流行天后Ariana Grande于8月22日推出十周年纪念版专辑《My Everything (Tenth Anniversary Edition)》，共收录17首曲目，新增两首额外曲目《Too Close》和《Cadillac Song》。

Asked by Apple Music to name their favorite song from their film adaptation of <i>Wicked</i>, co-stars Ariana Grande and Cynthia Erivo either cannot or will not decide. Eventually Erivo caves and offers “I’m Not That Girl” as a representation of her character, Elphaba, while Grande counters with a pick for her character, Glinda: “No One Mourns the Wicked.” Then they agree on a joint pick: “Dancing Through Life.”

Of course, they shouldn’t have to choose, and anyone who loves the musical—whether old fan or new convert—shouldn’t either. The good news for fans of <i>Wicked</i> is that the movie soundtrack doesn’t mess much with its source material. And if the performances feel especially dynamic for such a blockbuster production, it’s because they were mostly taken from the on-set recordings themselves—something Grande says she and Erivo were adamant about.

“It’s funny because I came home and I made an album and I felt the muscles in my throat singing differently,” she says. “I think of course we can take off one hat and put on another anytime we’d like, but when it comes to giving your voice over, the body creates certain habits.” The result is a soundtrack that feels unusually dynamic for such a high-profile production, and less burdened by studio zhuzh, too.

The story—based on Gregory Maguire’s novel <i>Wicked: The Life and Times of the Wicked Witch of the West</i>—remains both clever and contemporary, an underdog narrative that turns a perceived villain into an object of empathy, an allegory of otherness that makes us see in the differently colored Elphaba someone as deserving of love as we imagine ourselves. Witty (“Popular”), dramatic (“Defying Gravity”), and probingly bittersweet (“I’m Not That Girl”), these are some of the most beloved Broadway songs of the early 21st century, delivered with care.

Ariana Grande 已习惯聚光灯下的生活，随着阅历渐长，她娴熟地和舆论玩起了捉迷藏，甚至可以在《yes, and?》的 MV 中轻轻调侃一番。发行第七张录音室专辑《eternal sunshine》时，正值这位流行巨星陷入绯闻漩涡，Grande 结婚、离婚、主演了好莱坞电影《魔法坏女巫》。她知道粉丝们心中有很多疑问：真相到底是什么？Grande 在专辑里给出了许多线索，却唯独没有给出答案。这也间接提醒我们，其实明星并没有责任公开自己的隐私。

专辑标题旨在致敬 2004 年的经典爱情片《暖暖内含光》（又译《纯洁心灵的永恒阳光》，Eternal Sunshine of the Spotless Mind），喜剧大师 Jim Carrey 少见的忧郁之作。那部电影讲述的是恋人分手后试图删除回忆引发的连锁反应。而 Grande 一直是 Carrey 的影迷，她的专辑本身给人的感觉也和那部电影一样费解，模糊了现实和作品的界限。Grande 告诉 Apple Music：“真实故事，是根据不真实事件创作的不真实故事”。

专辑中唯一的插曲《Saturn Returns Interlude》 以土星回归的星相理论为名，但在被问及土星回归的相关经历时，她耸耸肩说：“就那样吧，什么也没变。没什么大不了的。”《暖暖内含光》让她得到灵感，她将电影形容为“漂亮衣服”，让她得以换上不同的视角来讲故事。“专辑不一定要讲述永恒的爱情故事，”她说，“爱是件复杂的事，我努力展现爱的两面。”

尽管 Grande 的作品文本虚实难辨，但专辑里的歌曲水准可是不打折扣，站在麦克风后面的仍然是那个 Ariana Grande——她还是能唱出惊天高音（《eternal sunshine》），还会在舞池中释放自己（《yes, and?》），以及从 90 年代的 R&B 里提炼精华（《fantasize》的续篇《the boy is mine》，连歌名都在呼应 Brandy 和 Monica 1998 年的对唱名曲）。《imperfect for you》是专辑里她最偏爱的歌，以致敬自己生活小圈子里的友人。“我们很幸运，所爱之人能够接受我们、坦诚以待，不管发生什么。”她表示，“我们生活在一个事事都要精简压缩的时代，但那首歌需要空间去感受微妙之处、人性和复杂性。”

The 2025 reworking of Ariana Grande’s lightly conceptual seventh album appends six tracks to its predecessor—and, perhaps crucially, a notable do-over. “intro (end of the world) [extended],” the first of the new cuts, starts simply enough as a reprise of the existential lullaby that opens the original album. But its longing is cut off at the knees when Grande begins describing her desire to “jump into your skin and change your eyes” so she can provide a kind of turbo-charged empathy that reveals the relationship’s darker side. While its pillow-soft sonics and Grande’s resolute singing are gentle, it’s still a jarring lyric to hear right after the album proper’s closer, “ordinary things,” on which Grande's nonna Marjorie tells her granddaughter in no uncertain terms about the signals that a relationship is over. Nonna spoke, Grande listened, that book is closed.

The 2025 reworking of Ariana Grande’s lightly conceptual seventh album appends six tracks to its predecessor—and, perhaps crucially, a notable do-over. “intro (end of the world) [extended],” the first of the new cuts, starts simply enough as a reprise of the existential lullaby that opens the original album. But its longing is cut off at the knees when Grande begins describing her desire to “jump into your skin and change your eyes” so she can provide a kind of turbo-charged empathy that reveals the relationship’s darker side. While its pillow-soft sonics and Grande’s resolute singing are gentle, it’s still a jarring lyric to hear right after the album proper’s closer, “ordinary things,” on which Grande's nonna Marjorie tells her granddaughter in no uncertain terms about the signals that a relationship is over. Nonna spoke, Grande listened, that book is closed.

Or is there even a book in the first place? When discussing the beat-forward, hit-packed <i>eternal sunshine</i> with Apple Music’s Zane Lowe around its initial release in 2024, Grande said, “Finding a home in <i>eternal sunshine</i> was a lovely costume to wear,” noting that the “freedom within art” was present because of the endless possibilities for sources—personal truths, films (like <i>Eternal Sunshine of the Spotless Mind</i>, the surrealistic love story that provides the album’s title), high concepts. With the release of <i>Wicked</i>, Ariana's big-screen coming-out party in late 2024, Grande had reached new heights of celebrity—and with that newfound status, her personal life was under further scrutiny.

Over the rest of <i>brighter days ahead</i>, Grande is playfully opaque, making a reference to “holding space” on the simmering “warm,” which turns Grande’s vocals into a neon-lit cloud settling over glossy synth skyscrapers, and declaring “I’m still the same but only entirely different” on “Hampstead,” a reimagining of the barroom-piano-led last-call lament. That’s only one spot where Grande’s voice pushes into exciting new territory: “dandelion,” a lusty expression of desire, spins out of a drowsy trumpet line, its looped horn and sampled trap drums adding heat.

“Might fuck around and elevate my expectations,” Ariana muses on the chorus of “past life,” a low-lit synth-R&B cut. As with her other releases, <i>brighter days ahead</i> shows how her attention to detail and desire to evolve have resulted in a singular body of work that, even if it’s playing coy about where the public Grande ends and the private Ari begins, is utterly her own.

亞莉安娜·格蘭德-布特拉，是一名美國歌手、詞曲作家及演員。她以寬闊的音域聞名。 亞莉安娜出道於出演2008年的百老匯音樂劇《13》，之後在尼克國際兒童頻道播出的電視連續劇《勝利之歌》及其衍生劇《薩姆和卡特》中飾演角色凱特·瓦倫廷，她還參演過其他戲劇和電視角色，並為一些動畫片和電影配音。

亞莉安娜·格蘭德-布特拉，是一名美國歌手、詞曲作家及演員。她以寬闊的音域聞名。 亞莉安娜出道於出演2008年的百老匯音樂劇《13》，之後在尼克國際兒童頻道播出的電視連續劇《勝利之歌》及其衍生劇《薩姆和卡特》中飾演角色凱特·瓦倫廷，她還參演過其他戲劇和電視角色，並為一些動畫片和電影配音。

DISK(CD) 1. 01. Problem 02. Problem (Dawin Remix) 03. Problem (Noodles & Devastator Remix) 04. Problem (Kassiano Remix)