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This article introduces and analyzes the rise of New Zealand singer Lorde. Like BIllie, Lorde was only 16 years old when her song Royals took the us charts by storm in 2014, and she was defined as the rebel face of mainstream culture. But unlike Billy, Lorde, who was defined as a genius from a young age, shelved her fame as a flash in the pan and then disappeared. As for BIllie’s future, the more sincere she is, there may be more possibilities.

reference:
Mitchell, T., 2017. Lorde: a mole in the mainstream?. Celebrity Studies, 8(1), pp.51-70.

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Billie Eilish - all the good girls go to hell

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Billie Eilish - you should see me in a crown (Vertical Video)

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Spiders crawling out of his mouth, black tears, greasy wings, all reflect Billie's weird, dark, strange musical style, which is out of step with mainstream pop music.

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The website calculates the net worth of Billie, whose soaring fame is behind her huge wealth.

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Billie Eilish net worth: Billie Eilish is an American singer and songwriter who has a net worth of $8 million. She started to gain a following in 2016 on SoundCloud and eventually singed a contract with Interscope Records. She earned mainstream fame after the success of her 2019 single "Bad Guy" which topped the Billboard Hot 100 chart. On January 26, 2020 Billie swept all four major categories of Grammy Awards; Best Album, Best Record, Best Song and Best New Artist. She's the first person in nearly 40 years to accomplish that feat. The previous person, Christopher Cross, did it back in 1981.

Early Life: Billie Eilish was born Billie Eilish Pirate Baird O'Connell in Los Angeles, California on December 18, 2001. Her parents Maggie and Patrick are both in the entertainment industry. Eilish, who was mostly home-schooled, began singing at a very young age. She joined the LA Children's Choir at 8. She wrote her first song at 11. Her older brother Finneas is also a singer/songwriter/actor and producer.

Success: In October 2015, when she was 13 years old (two months shy of her 14th birthday), Billie recorded the song "Ocean Eyes" which was actually written by Finneas for his own band. Billie sent a recording to her dance teacher who helped choreograph a dance which was eventually incorporated into the music video. Billie uploaded the song to SoundCloud and Spotify. The music video was uploaded to YouTube in March 2016. Ocean Eyes quickly went viral receiving more than 170 million streams on Spotify. It was eventually was certified Platinum by the RIAA and reached #84 on the Billboard Hot 100 chart. Later that year she released a second single, titled "Six Feet Under".

Billie Eilish released her debut extended play "Don't Smile at Me", in 2017. The EP reached #3 on the US Alternative chart as well as #7 in Norway, #8 in Sweden, and #24 on the Billboard 200. She released her EP "Up Next Session: Billie Eilish" in the same year. Her single "Bellyache" was certified Gold. Her single "Lovely" (with Khalid) reached #4 in New Zealand and #5 in Australia and her single "When the Party's Over" reached #3 in New Zealand and #10 in Australia. Eilish has confirmed that she has Tourette's Syndrome.

Billie's debut studio album "When We All Fall Asleep, Where Do We Go?" was released in March 2019. The album hit #1 in several countries including Australia, Canada, the UK and the United States. She is the first artist born in the 21st century to have a #1 song on Billboard's Hot 100 chart. The album also broke the record for most songs simultaneously on the Billboard Hot 100, for a female artist. The album was certified 2X platinum in the US, and was Platinum in a dozen other countries.

Other Ventures: In April 2019 Billie launched a clothing line in collaboration with Japanese artist Takashi Murakami (who directed some of Billie's videos). Around the same time Billie appeared in a series of advertisements for Adobe Creative Cloud.

In May 2019 she appeared in a series of ads for Calvin Klein.

In July 2019 she partnered with clothing brand Freak City on a new clothing line.

In August 2019 Billie partnered with Apple in a campaign the promote the Music Lab app.

Personal Life: Billie has been vocal about her experiences with depression. She also suffers from both Tourette syndrome and synesthesia. She is an advocate of vegetarianism and veganism.

Social Media: As of this writing, Billie has more than 43 million followers on Instagram, 3 million followers on Twitter, 23 million followers on YouTube and 1 million followers on SoundCloud.

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Billie Eilish net worth: Billie Eilish is an American singer and songwriter who has a net worth of $8 million. She started to gain a following in 2016 on SoundCloud and eventually singed a contract with Interscope Records. She earned mainstream fame after the success of her 2019 single "Bad Guy" which topped the Billboard Hot 100 chart.

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Flesh-images, body shame and affective ambiguities in celebrity gossip magazines

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Flesh-images, body shame and affective ambiguities in celebrity gossip magazines

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This article, by analyzing the gossip magazines that are fond of using sensual photos, illustrates the universality, potential and inevitability of body shame on women. On the one hand, women are ashamed of their own bodies. On the other hand, people are keen to discuss other people's bodies and get pleasure from peering into others' imperfect bodies. It provides the academic background for Billie's objections to body shame.

Reference:
Hirdman, A., 2017. Flesh-images, body shame and affective ambiguities in celebrity gossip magazines. Celebrity Studies, 8(3), pp.365-377.

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Flesh-images, body shame and affective ambiguities in celebrity gossip magazines

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As the important man behind Billie’s success, her brother Finneas is also under a lot of pressure from the press. In this music video, for the first time, Billie solemnly tells everyone about her strong relationship with her brother, and her brother plays the leading role in the MV. At the end of the video, Billy and Finneas hold hands and smile into the eternal darkness, further symbolising the eternity of their wonderful relationship. Despite her enormous popularity by this time, Billie was unabashedly telling the world of his love for her brother which is a true expression of affection.

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The article, which reported that Billie had accused a magazine cover of falsely portraying her, showed her tough side in dealing with the media.

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Billie Eilish has complained about a magazine cover that portrayed her as a shirtless, bald cyborg, saying she "did not consent" to the image "in any way".

The singer was featured in Nylon Germany as one of three "digital prodigies" who are "redefining the future of being a teen superstar".

The cover art, designed by Marcel C Wilkens, depicted her as a "supernatural fembot of the future".

Writing on Instagram, Eilish said she was angry not to have been consulted.

"I was never approached by Nylon about this piece whatsoever," she said. "I did not know it was happening nor did anyone on my team."

Eilish, who has said she wears loose-fitting clothes on stage and in her videos to avoid being sexualised, was particularly aggrieved that the digitally-created image showed her apparently topless.

"You're gonna make a picture of me shirtless?" she wrote. "That's not real?? At 17? And make it the cover????

"Even if the picture was supposed to look like some robot version of me... I did not consent in any way."

Eilish is one of 2019's biggest break-out stars, topping the charts in 19 countries, including the UK and US, with her goth-pop debut album When We All Fall Asleep Where Do We Go.

'Honouring Billie's impact'

The teenager has previously told NME: "There's people out there saying: 'Dress like a girl for once! Wear tight clothes you'd be much prettier and your career would be so much better' No it wouldn't. It literally would not.

"That's why I wear baggy clothes," she said in a separate interview for Calvin Klein. "Nobody can have an opinion because they haven't seen what's underneath."

In a statement, Nylon said it had only meant to celebrate the singer's achievements.

"It was never our intention to create a look that is confusing or insulting to Billie Eilish," it said. "It was only ever our intention to honour Billie's impact and her work by creating this avatar which is part of a cover series highlighting the power of digital prodigy artists.

"This avatar is a piece of 3D artwork created in dedication to her achievements and the positive effect she has had on millions around the globe - including us."

Control over image

Eilish is not the first star to complain about becoming a cover star without permission.

In 2017, Stormzy took the NME to task for putting him on the cover of an issue dedicated to discussing mental health.

Although he had talked openly about his depression in the past, the magazine had not conducted a fresh interview. "I've no issue with sharing my story but, with my permission!" wrote Stormzy on Twitter.

Despite such complaints, the actions of Nylon Germany and NME are not uncommon in the publishing industry. A celebrity doesn't have to give consent to be featured on a magazine cover, and editors frequently commission portraits to illustrate the themes of a profile.

The debate over how the press portrays celebrities has been intensifying for several years, as stars increasingly prefer to curate their own images directly on social media.
Follow us on Facebook, or on Twitter @BBCNewsEnts. If you have a story suggestion email entertainment.news@bbc.co.uk .

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Billie Eilish offended by cyborg magazine cover

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Billie Eilish has complained about a magazine cover that portrayed her as a shirtless, bald cyborg, saying she "did not consent" to the image "in any way". The singer was featured in Nylon Germany as one of three "digital prodigies" who are "redefining the future of being a teen superstar".

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Popular Music, Stars and Stardom: Definitions, Discourses, Interpretations

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Popular Music, Stars and Stardom: Definitions, Discourses, Interpretations

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This essay introduce and explain the definition of pop star and discussed the interpretations between popular music, stars and stardom which provides guidance and academic arguments for the judgment of Billie Eilish's pop star status.

Reference:
Loy, S., Rickwood, J. and Bennett, S. eds., 2018. Popular Music, Stars and Stardom. ANU Press.

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 Popular Music, Stars and Stardom: Definitions, Discourses, Interpretations

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This is how Billie Eilish treats her FANS | I love you guys ❤️

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This is how Billie Eilish treats her FANS | I love you guys ❤️

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This video gathers many of Billie's reactions to her fans, most of which are sincere hugs and thoughtful words, showing Billie's soft and kind side to her fans.

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This is how Billie Eilish treats her FANS | I love you guys ❤️

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Billie Eilish live at Music Midtown 2019 (FULL SHOW)

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Billie Eilish live at Music Midtown 2019 (FULL SHOW)

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The video is a full recording of Billie's performance on the stage. Billie's popularity was evident in the frenzied crowd that accompanied her singing. At the same time, it conveys Billie's strong stage performance and her talent in performing on the stage.

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This is a highlight video of Billie and Finneas’s best fiend moments. The audience can directly feel from the video that Billie has a good relationship with her brother, and she has family and friends just like ordinary people, which makes Billie no longer an independent star figure and enriches her star image.

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9 Minutes of Billie and Finneas's Bestfriend Moments

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Billie Eilish Speaks Her Truth in #MYCALVINS | CALVIN KLEIN

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Billie Eilish Speaks Her Truth in #MYCALVINS | CALVIN KLEIN

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In this commercial Billie explains her dress attitude and explains why she wore baggy clothes. She said:“Nobody can have an opinion because they haven’t seen what’s underneath." This shows Billie's transparent, mature side.Behind her seemingly outlandish dress was her protest against the conventional wisdom.

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Billie Eilish listening to Justin Bibber

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Billie Eilish listening to Justin Bibber

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The video, which has been widely circulated on the Internet, shows Billie Shouting excitedly when she hears Justine bibber's song. This is how girls react when they hear the songs of their favourite idols, removing the star filter, and frankly showing the audience the reality of Billie's fangirl image.

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Billie Eilish 😍❣Mistletoe -Justin Bieber-

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Billie Eilish Rates Being Homeschooled, Goths, and Invisalign | Over/Under

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Billie Eilish Rates Being Homeschooled, Goths, and Invisalign | Over/Under

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In this video Billie shares her interesting and unique opinions about several things. She can outright talk about pooping, show her love to Avril Lavigne without concealing and her experience about being homeschooled. These indicated authentic, unique, upright ideas about Billie Eilish and her authentic image as a star and a teenager.

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Billie Eilish Rates Being Homeschooled, Goths, and Invisalign | Over/Under

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Billie Eilish showing her body for the first time live in Miami

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Billie Eilish showing her body for the first time live in Miami

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Billie is famous for her fashion attitude by wearing baggy garments and hiding her body. This video was form Billie’s first concert of her Where Do We Go world tour in Miami. It explained why Billie doesn’t want to show people her boy.

In this video, Billie objected body-shames by taking off her cloth until lifting an underwater and sinked into the black liquid. She narrated during the video and she said: “If what i wear is comfortable, I am not a women. If i shed the layers, I am a slut. Though you’ve never seen my body, you still judge it and judge me for it. Why?” Ironically, while she is trying to appeal people not object body in this video, the audiences under the stage is scramming every time she took off one more cloth, which is what billie disapproved.

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Billie Eilish showing her body for the first time live in Miami

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This is a video of Billie suddenly spraining her ankle during a performance but still holding out in pain. As the whole accident happened suddenly, the video shows Billie's pain and persistence, showing her strong side.

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Billie Eilish MilanoRocks Festival (Sprained her ankle Live)

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Billie Eilish: Same Interview, The Third Year | Vanity Fair

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Billie Eilish: Same Interview, The Third Year | Vanity Fair

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The video can be seen as a cross between a pop star and an authentic Billie. It chronologically documented the grow of a young pop star. Comparing three videos of the same date and year, some are changing, on the one hand, whether it is the simple growth of instagram followers or the change of celebrity's circle of friends, showing showing that Billy is becoming a superstar at a rapid pace. On the other hand, it reflects the growth of Billie, her attitude towards life, her attitude towards herself.  In the face of her fame, Billy experienced not knowing what to do, huge pressure, to take it in stride. But there's also the constant, the real Billie, the Billie who takes the hit of great fame and enjoys it

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Billie Eilish: Same Interview, The Third Year | Vanity Fair

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This video shows Billie in the form of documentary, including her parents' support for her, her love for dance, and what music means to her, showing a more comprehensive Billie image.

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Justin Bieber first time meeting Billie Eilish

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Justin Bieber first time meeting Billie Eilish

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This video captures the moment when Billie first met Justin Bieber at Coachella. If you know a little bit about Billie's love for Justin, you'll know what this encounter means to Billie - a dream come true. In front of Justin, the brash, foul-mouthed Billy is too shy to speak. A girlish bashfulness that happens to pop stars and creates a curious sense of authenticity, as if the fans see themselves from their idols. This authenticity shortens the distance between Billie and her fans. The low quality and shaky shots from the phone make the video more real.

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Justin Bieber first time meeting Billie Eilish dancing with James Corden at Coachella April 14 2019

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In this video, Billie sits casually with the host in the car and talks about how she and Justin first met in Coachella.
She excitingly said:" he's wearing a facemask and all I could see was his eyes b-but it was 𝘩𝘪𝘴 eyes."Billie's emotional tone and expression were enough to make the audience feel her emotion.

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Billie Eilish and Finneas Break Down Her Hit Song 'Bad Guy’

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Billie Eilish and Finneas Break Down Her Hit Song 'Bad Guy’

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Literally, this video is a breaking down of “Bad Guy”, explained each creation part of the song and make audiences understand the interesting and difficult making process about it with the corporation of Billie Eilish and Finneas.

Every time when we talked about Bag Guy, we might just recognised that this is a Music video she made by herself on her MAC and didn’t expect that took so much efforts for her. It shows a hardworking image in music about Bille and Finneas.

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Billie Eilish and Finneas Break Down Her Hit Song 'Bad Guy'

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This article reports that at the 62nd grammy awards, Billie Eilish won five awards for album of the year, best production, best song, best new artist and best pop album, becoming the youngest artist ever to win all four categories. This shows directly and clearly the great success of Billie Eilish.

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Pop star Billie Eilish swept the board at the 2020 Grammys, winning five awards, including best new artist and song of the year.

The 18-year-old also won album of the year for her debut, When We All Fall Asleep, Where Do We Go, which was recorded in her childhood home in LA.

She replaces Taylor Swift as the youngest person ever to win the award.

"I joke around a lot at these things, but I genuinely want to say I'm so grateful," said the singer.

Eilish triumphed in all of the Grammys "big four" marquee categories - song of the year, record of the year, album of the year and best new artist.

She is the first person to achieve the feat since Christopher Cross in 1981.

Her elder brother, Finneas O'Connell, also picked up producer of the year for his work on Eilish's album.

He said the record had been made at home because "I'm the most creative where I'm most comfortable," adding: "It's a huge honour to be given a Grammy for making home-made cookies."

Eilish appeared to be overwhelmed by the extent of her domination of the awards. Accepting the album of the year prize, she turned to fellow nominee Ariana Grande and said: "Can I just say that I think Ariana deserves this?" (Grande waved off the comments, ceding the prize back to the winner).

Earlier, on the red carpet, the singer said she felt like an impostor.

"I feel like I'm not supposed to be here," she joked. "I feel like they accidentally let in a fan."

But the teenager has re-written the rules of pop over the last 12 months, creating ominous, unsettling songs that disrupt typical song structures and lure listeners down dark sonic avenues.

"We didn't make this album to win a Grammy," said Finneas, joining his sister on stage.

"We wrote an album about depression and suicidal thoughts and climate change and being a bad guy, whatever that means.

"And we stand up here confused and grateful."

Kobe Bryant tributes

Other big winners on the night included Lil Nas X, who won video of the year for Old Town Road, and Lizzo, who scooped three prizes including best pop solo performance for her breakout hit, Truth Hurts.

The singer also opened the ceremony and, along with host Alicia Keys, paid tribute to basketball star Kobe Bryant, who died earlier in the day.

"Tonight is for Kobe," Lizzo announced as the show began, before singing the lines, "I'm crying 'cos I love you".

After her performance, Keys, who was hosting the show, walked solemnly to the stage and asked the audience to remember Bryant's family.

"I would like everybody to take a moment and hold them inside of you and share our strength and our support," she said.

Several other performers, including Lil Nas X, DJ Khaled and Run-DMC, paid tribute to the star during the ceremony by holding his jersey aloft.

Stand-out moments came from hip-hop auteur Tyler, The Creator, who performed in the middle of a burning house; and pop singer Demi Lovato, who sang live for the first time since a suspected overdose two years ago.

Ariana Grande, who refused to attend last year's Grammys after a public clash with the show's producer, Ken Ehrlich, made amends with a lavish, risqué and heavily bleeped-out medley of her songs Imagine, Seven Rings, and Thank You, Next, backed by an orchestra.

British artists were thin on the ground, but the Chemical Brothers won two awards, including best dance album for No Geography.

Dua Lipa, who won best new artist last year, was also on hand to pass the baton to Billie Eilish.

She used her speech to champion gender diversity in the music industry, which is still overwhelmingly dominated by men.

"There are so many stellar female producers, artists, songwriters [and] engineers," she said.

"If you're in the business and you're hiring, raise your sights to the amazing, talented women out there because we deserve a seat at every table."
Follow us on Facebook, or on Twitter @BBCNewsEnts. If you have a story suggestion email entertainment.news@bbc.co.uk .

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Billie Eilish is the big winner at the Grammys

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Pop star Billie Eilish swept the board at the 2020 Grammys, winning five awards, including best new artist and song of the year. The 18-year-old also won album of the year for her debut, When We All Fall Asleep, Where Do We Go, which was recorded in her childhood home in LA.

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Billie Eilish Talks About Writing Songs And Fake Pop Stars | For The Record

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Billie Eilish Talks About Writing Songs And Fake Pop Stars | For The Record

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This video talks about the approach Billie Eilish makes her music which is different from people's common sense that great music or art has to be made from big studio with many produces and co-wrriters. She made these amazing records in her small bedroom with her brother and she try to prove that music can be created wherever people want. From the aspect of the method of creating songs, Billie Eilish redefine the way pop stars make music.

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Billie Eilish Talks About Writing Songs And Fake Pop Stars | For The Record

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This is the official video of Ocean Eyes which was already been watched for 234M times, shows Billie's popularity.

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Billie Eilish - ocean eyes (Official Music Video)

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Brit Awards and Performance of Jams Bond theme song 

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Brit Awards and Performance of Jams Bond theme song 

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The video, in which Billie shares her feelings with Finneas about writing a James Bond theme song, is accompanied by a list of her recent accomplishments, proving Billie's popularity. In addition, in this interview, sitting next to Billie is legendary film composer Hans Zimmer, with whom Billie's success is reflected.

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Billie Eilish on working with Hans Zimmer on Bond theme song and her rise to stardom l Nightline

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Billie Eilish Guesses How 4,669 Fans Responded to a Survey About Her

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Billie Eilish Guesses How 4,669 Fans Responded to a Survey About Her

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This video’s about her answers to 4669 fans responded to a survey about her. Like an interview about herself. Make people get more into her, had know the unknown side of her. These questions are almost about personal interests, and show BIllie Elish’ personal aspect and her authenticity, and her love to fans. Furthermore, it’s like her respondsto her fans:“ Yes I really care about what you think about me and I love you too. ”It enriches her persona and makes Billie closer to her fans and the audience not really know about her. In this interview, Billie shows her more vivid and solid, authentic and nicer character, kind of change her routine star image to people.

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Billie Eilish Guesses How 4,669 Fans Responded to a Survey About Her | Teen Vogue

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Billie Eilish Watches Fan Covers on YouTube | Glamour

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Billie Eilish Watches Fan Covers on YouTube | Glamour

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As the title says, in this video, Billie patiently watches her fans sing her cover songs and pays her fans sincere compliments. She is both sincere and thoughtful. The video also shows fans' reactions when they see their cover being watched by Billie, expressing what Billie means to them while expressing their joy and surprise. This reflects Billie's role model value as an idol and shows that Billie's love with fans is double-headed.

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Billie Eilish Watches Fan Covers on YouTube | Glamour

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How Billie Eilish Is Reinventing Pop Stardom

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How Billie Eilish Is Reinventing Pop Stardom

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This VOGUE article shows Billie Elish on the cover of VOGUE and on the inside pages of the magazine. As one of the most influential fashion magazines, appearing on the cover of the march issue of VOGUE America is another affirmation of her success. Meanwhile, Billy's various looks inside show her fashion style: loose and exaggerated. This huge article itself is a comprehensive and detailed account of the growth and fame of bilii, including some unknown stories behind, such as bilii when she was a child in order to earn money to ride a horse to work to brush the horse's mane, showing a true image of Billie.

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THE COACHELLA MUSIC FESTIVAL, not necessarily known for its adorable moments, offered up the pop equivalent of two baby pandas playing when, under the pink arena lights and to the accompaniment of the cheering and frantic uploading of a thousand teenage witnesses, Billie Eilish met her idol, Justin Bieber, for the first time last April.

The scene, touching as it was, begged consideration of its broader culture significance. Here were two pop prodigies, ages 17 and 25, at rather different points in their career arcs. The walls of Eilish's childhood bedroom were once papered with images of Bieber, and when he enfolded her oversize denim bootleg Louis Vuitton-logoed self in a long embrace, a chasm seemed to yawn underneath their adjacent but distinct generations. Eilish, whose full-length album, When We All Fall Asleep, Where Do We Go?, debuted at number one a week before the festival began, is not the first young singer to make hit records out of dark sonic tableaux. But the totality of her effect on the pop landscape-from her whispered anti-anthems to her bloblike anti-fashion to the sense of it's-really-me relatability she provides to her fans-has made her immediate predecessors seem almost passé.

"This whole time I've been getting this one sentence," Eilish says, "like, I'm a rule-breaker. Or I'm anti-pop, or whatever. I'm flattered that people think that, but it's like, where, though? What rule did I break? The rule about making classic pop music and dressing like a girly girl? I never said I'm not going to do that. I just didn't do it."

ON A COLD DECEMBER MORNING, Eilish is at home in the two-bedroom house she grew up in and still shares with her parents in Highland Park, an East Los Angeles neighborhood where gentrification seems to have stopped short of this particular block. If you have been following her ascent, then you probably already know that this is where Eilish prefers to do her interviews. You may even be aware that she does much of her self-disclosure from a perch on the window bench in the kitchen, in earshot of her mother, Maggie Baird, who pops in every so often to slice a banana or, more likely, to assure herself that things are under control. Her daughter responds to her presence with the occasional, peevish "Okay, Mom!" that seems not to ruffle Maggie in the least.

Eilish, whose full name is Billie Eilish Pirate Baird O'Connell (Billie for her maternal grandfather, William, who died a few months before she was born; Eilish, the name of an Irish conjoined twin whom her parents discovered in a television documentary; Pirate, which her older brother, Finneas O'Connell, began calling her before she was born; followed by her parents' surnames), tugs at her white gym socks. She wears white basketball shorts and a white hoodie, and the roots of her hair are her favored hue of slime green. Though her clothing's proportions accentuate the smallness of her stature, Eilish's presence feels outsize, even in the corner of the kitchen, where she has claimed a slant of sunlight, catlike. Her speaking voice is loud and assured and laced with profanity, and she never appears to be holding back, unless she tells you that she is holding back, which she understands is her prerogative.

Her ears prick to the shimmery sound of the doorbell-security system, and she winces; lately there are so many visitors, and Maggie has hung a towel over the four long glass panes of the front door for a bit of privacy. It's clear that the O'Connells have outgrown their family home: Eilish's father, Patrick O'Connell, sleeps-but also keeps vigil-in a bed in the corner of the living room beside a forlorn-looking baby grand piano, partly because Eilish has stopped feeling entirely safe here. The floors are barely navigable from all the suitcases. (Eilish's parents, actors who have supported themselves over the years with a mix of jobs, now work the crew on their daughter's tours.) In the dining room, evidence of the approaching Christmas holiday peeks out from piles of Billie Eilish merchandise (so much slime green!). The night before, Eilish garlanded the dark millwork with her old gold chains, and beside a set of Billie Eilish matryoshka dolls-a particularly excellent example of the fan art she regularly receives-a crèche is taking shape. The O'Connells are not religious, but Eilish and her father have been setting up this little Nativity scene together since she was a girl.

"Maybe people see me as a rule-breaker because they themselves feel like they have to follow rules, and here I am not doing it," she goes on. "That's great, if I can make someone feel more free to do what they actually want to do instead of what they are expected to do. But for me, I never realized that I was expected to do anything. I guess that's what is actually going on-that I never knew there was a thing I had to follow. Nobody told me that shit, so I did what I wanted."

"This whole time I've been getting this one sentence, like, I'm a rule-breaker. Or I'm anti-pop, or whatever. It's like, where, though? What rule did I break?"

Eilish has no squad like Taylor Swift, no Tiffany rings like Ariana Grande, no va-va-voom curves like Katy Perry. Last month, when she became the first woman in history to take home all four big prizes at the Grammys, she came dressed for a rave while most everyone else had dressed for a prom. Though she is playful in person, the mood of her art has thus far been pretty unrelentingly dark: Eilish rose to fame, after all, at age 13 singing of burning cities under napalm skies in her breakout single, "Ocean Eyes," written by her brother. Her videos brim with the macabre: black tears sliding from her heavy-lidded eyes, tarantulas creeping out of her mouth, needles shot into her back, and cigarettes being extinguished, one after another, on her cheeks. (Lana Del Rey, a major influence, may have created a similarly plaintive sonic ambience, but she did so while hewing to a familiar bombshell archetype.) But then Eilish's generation was born to a surfeit of grim realities. The 9/11 attacks occurred three months before she was born, and the threat of climate change and school shootings-giving rise to the Gen Z activists Greta Thunberg and the Parkland survivors, respectively-has only been amplified by the particle collider of the internet.

Many of her contemporaries not called to action have opted to hide out in their bedrooms, living virtually at best and numbing themselves with opioids or benzodiazepines at worst (example: the late Gen Z emo-rapper Lil Peep). Eilish speaks to these folks, too, in her giant I-won't-grow-up pajamas. She sees into their loneliness in "When the Party's Over"; she warns them in songs like "Xanny," a cabaret ballad-cum-public service announcement about the inanity, if not the dangers, of Xanax abuse. (Eilish insists that she has never tried a single drug and has no interest in them, though she loves the smell of marijuana.) It's probably not surprising that her fervent fans, who last year made her the first artist born in the new millennium to achieve a number-one song ("Bad Guy"), as well as the first to achieve a number-one album, see a teenager whom they resemble rather than one whom they wish they resembled, in the old manner. This audience has neither the time nor the appetite for boyfriend songs-conventional ones, anyway. When she broaches love, Eilish often does so with precocious cynicism, as in "Wish You Were Gay," in which she telegraphs her ambivalence about a boy's lack of interest in her in a dithering double-negative: "I can't tell you how much I wish I didn't wanna stay."

For all the encroaching gloom, Eilish's childhood was a happy and loving place in which all manner of artistic expression was encouraged. Her brother, a songwriting prodigy and Eilish's best friend and constant collaborator, certainly paved the way. "Music was always underlying," she explains. "I always sang. It was like wearing underwear: It was just always underneath whatever else you were doing."

She wrote her first song on the ukulele at age seven, and she soon taught herself how to play piano and guitar from watching YouTube videos. She was willfully independent, never pushed to the stage. "You know how there's always that singer kid who's like, 'I can sing!' and then would sing in front of you? I remember hating that person. The kid who does it for the applause and thinks they're amazing, and their mom is like, 'Yeah, she's gonna be da-da-da.' I never put myself in that category, so for a long time I didn't realize that I was a singer, too."

EILISH AND HER BROTHER were homeschooled for a variety of reasons. Patrick had read an article about the Oklahoma sibling band Hanson and was drawn to the idea that homeschooling had given them the freedom to focus on their artistic interests. Maggie is from Colorado, where the Columbine massacre had taken place two years after Finneas was born, and they were both older parents who liked the idea of spending as much time as they could with their kids. Finneas was an eccentric child who slept in cowboy boots for two years. Billie has an auditory-processing disorder that affects her ability to retain information aurally, and she also has Tourette's syndrome, with especially severe motor tics connected to the stress of mathematics. (Despite YouTube catalogs of her tics, which consist in part of involuntary eye movements that have sometimes been mistaken for eye rolls, she says that she now has the illness under good control without medication.) "I'm so glad I didn't go to school, because if I had, I would never have the life I have now," Eilish says. "The only times I ever wished I could go were so I could fuck around. At times I just wanted to have, like, a locker, and have a school dance that was at my own school, and get to not listen to the teacher and laugh in class. Those were the only things that were interesting to me. And once I realized that, I was like, Oh, I actually don't want to do the school part of school at all."

Eilish had enormous amounts of energy, which her parents sought to dissipate through dance class, gymnastics, and horseback riding. There were countless activities, and Eilish had scores of friends. But because the O'Connells had little money, her parents would barter their time: Patrick did handiwork in the gymnastics center, Maggie taught Music Together class, and Billie brushed and bridled horses at the San Pascual Stables in South Pasadena. She remembers the looks that the rich girls gave her-not mean but strange-a lesson in the ruthlessness of class that her own outsider identity began to form around. "I was never bullied," she says. "It's just a vibe you get. You can tell somebody doesn't like you; of course you can. I had an entire childhood of that, and now it's interesting, because I'll meet fans where I'm like, if I was in class with you when I was 11, you would have hated me."

Eilish's participation in the Los Angeles Children's Chorus was the true formative musical experience of her childhood. It was strict and serious: Choristers could not touch their faces or look at their phones. She learned music theory, and she learned to stand still. Like every other girl, she wore a red sweater vest and tights and a skirt and flats and had her hair pulled back and tied in a black bow. "Holy fuck, I hated that shit," she says. "But I can't lie. Chorus was my favorite thing in the world." Eilish didn't make the chorus's prestigious chamber singers when she was 13, which effectively ended her tenure there just as her professional career was beginning. "It was really emotional for me. I knew that if I left, everybody would form new friendships without me. When I think back to me crying about it then, I was crying about the future and what I thought would be, and you know what? I was totally right. You can't stop people from moving on when they have to. When you go on a trip, you can't expect people to sit still until you get back."

While Eilish has been open about her depression, which first struck at around this time, she insists that her penchant for dark material preceded and has generally been independent of her mood. For years she liked to say that "Fingers Crossed"-inspired by an episode of The Walking Dead -was the first song she ever wrote, as part of a songwriting class that her mother taught for a group of homeschoolers. But recently she came across a cache of songs she wrote at 11, including one called "Why Not," a melody built from the only five chords she knew. The lyrics of the song had a simple, morbid premise: If she killed herself, everything would be the same; the stars would still shine, the sun would still come out, the seasons would still change. So why not? Her friends loved it. "That was the song, at 11," she says, scarcely believing it now. "And I was totally happy. I had never felt suicidal, and I didn't want to feel that way, but I liked the idea of writing a song about something I didn't know about."

"You can tell somebody doesn't like you; of course you can. I had an entire childhood of that"

It would be an error to regard as contradictory Billie the grounded girl with a happy family and Billie the artist with a head full of demons, when these may simply be the poles of modern teenagerdom. In any case, her songs are never strictly autobiographical. She and Finneas enjoy developing characters and writing from the perspective of those characters: the monster under the bed in "Bury a Friend"; a girl who has just killed her friends and is grappling with guilt in "Bellyache." Eilish notes that many artists she admires-Lana Del Rey; Tyler, the Creator; Marina and the Diamonds; Aurora-have created dark alter egos in their songwriting. "Just because the story isn't real doesn't mean it can't be important," she explains. "There's a difference between lying in a song and writing a story. There are tons of songs where people are just lying. There's a lot of that in rap right now, from people that I know who rap. It's like, 'I got my AK-47, and I'm fuckin' . . .' and I'm like, what? You don't have a gun. 'And all my bitches. . . .' I'm like, which bitches? That's posturing, and that's not what I'm doing."

Although she insists that her songs have never glorified death, fans who are suffering connect to these grim lullabies, which for a young artist can be a burden and an almost overwhelming responsibility. "People tell me at meet and greets, 'My daughter was hospitalized five times this year, and your daughter's music has been the only thing that kept her going,' " Maggie explains. A young Finnish fan once sent a letter to the house explaining that she had a ticket to an upcoming concert but wasn't sure she would survive to see it. Maggie was able to connect with her through social media and ensure that she got help. "These are girls for whom Billie is their lifeline. It's very intense."

For her part, Maggie has rarely taken the necromancy of Eilish's songwriting (or Finneas's songwriting for her-Eilish says that her brother can almost read her mind with his lyrics) as an urgent expression of suffering, though there are exceptions. "Listen Before I Go," off last year's album, alarmed her: "If you need me, wanna see me, you better hurry, I'm leaving soon," Eilish sings. "I needed to understand that this was essentially creative writing," her mother explains. "Parenting a teenager can be harder than parenting a toddler. You have to be there at 2 a.m. to talk them down, then they roll their eyes at you and tell you they hate you. There were things Billie did that totally worried me in terms of her behavior. The stuff she used to write on her bedroom walls scared me: 'Why am I alive?' The things she did on social media-DM'ing with a stranger purporting to be a boy in Florida. It's a scary time for kids online. But not the lyrics. The really dark stuff is fiction."

Eilish connects her own depression to a concatenation of events in her early adolescence, including a dance injury, a toxic friend group, and a romantic relationship with someone who treated her poorly. But above all, she was pained by her appearance. "I just hated my body. I would have done anything to be in a different one," she explains. "I really wanted to be a model, really bad, and I was chubby and short. I developed really early. I had boobs at nine. I got my period at 11. So my body was going faster than my brain. It's funny, because when you're a little kid, you don't think of your body at all. And all of a sudden, you look down and you're, like, whoa. What can I do to make this go away?" She engaged in some self-injurious behavior that she does not elaborate on. She thought of suicide. But by June of last year, after some changes in her life that she prefers to keep private, the fog began to lift. "When people ask me what I'd say to somebody looking for advice on mental health, the only thing I can say is patience. I had patience with myself. I didn't take that last step. I waited. Things fade."

Though her repertoire of capacious leisurewear began simply as a strategy to obscure or distract herself from the body in which she felt uncomfortable, Eilish always loved fashion. A highly particular little girl, at age four she chose to wear a onesie with her underwear outside it. At 13 she started thrifting and picking through the racks at Target, cutting up her purchases and sewing them together in new and strange shapes. She recalls a shirt she made out of some yellow fishnet fabric she found in the garment district and a cool-looking and very uncomfortable shirt she fashioned from an Ikea shopping bag. She disassembled sneakers and wrapped the tongues around the soles. To this day, she would love to take the green dragon-print curtains in her brother's bedroom-where the two of them wrote and recorded her entire album-and turn them into a dress. Except that she doesn't wear dresses. "I just wanted to invent shit, so I did," she explains. "When I look back at myself at 9 or 10, my style was unbelievably terrible. But it was exactly what I wanted to wear. I was committed to it, I wore it, and I was happy."

WITH AN ARSENAL OF TOXIC COLORS, chaotic prints, and ersatz European luxury-brand emblems (to which luxury brands, sensing her visual power, have responded by sending her the genuine articles), Eilish seems always to be flouting the proprietary or predatory gaze. In a Calvin Klein campaign video last year, addressing her style, she said, "Nobody can have an opinion because they haven't seen what's underneath. Nobody can be like, 'she's slim-thick,' 'she's not slim-thick,' 'she's got a flat ass,' 'she's got a fat ass.' " In a defiant Instagram post to her 46 million followers last September, Eilish stands in the doorway of a trailer wearing a graffiti-printed T-shirt and sweatpants, a collaboration between her and the streetwear brand Freak City. The caption reads, "if only i dressed normal id be so much hotter yea yea come up with a better comment im tired of that one." But while we might wish to politicize it as post-#MeToo dressing that has wrested skater style from the dominion of men and boys, Eilish makes clear that her look is not a protest against anyone. In a V Magazine interview with Pharrell Williams last summer, she told him, "The positive comments about how I dress have this slut-shaming element. Like, 'I am so glad that you're dressing like a boy, so other girls can dress like boys, so that they aren't sluts.' That's basically what it sounds like to me. And I can't overstate how strongly I do not appreciate that, at all."

For all her no-fucks nonchalance, it would be impossible to cast Eilish as a cool girl according to the old but evolving paradigm that canonized cool girls from Clara Bow to Kate Moss. Self-possessed, transgressive without trying too hard, unimpressed by the traditional hallmarks of mass culture or conventional glamour, she does not appear to be making choices that serve to maintain an aura. She is not a rebel-that sine qua non of cool-unless she's rebelling from the chorus or the stables. Finneas, who has recently moved out to have more space with his girlfriend, the beauty and fashion YouTuber Claudia Sulewski, explains that there was no need for rebellion in the O'Connell household. "I don't know what a conventional childhood is," he explains. "I have friends who reacted to one, I guess, who have wanted to move out their whole lives. Truth be told, we never had that feeling. I think our parents never trivialized our questions and our interests. So many friends of mine would ask their parents, 'Hey, can I have a sleepover?' 'No, you can't.' 'Why?' 'Because.' Whereas our whole childhood was a conversation. You ended up feeling that decisions made sense."

Eilish and O'Connell's relatively simple musical formula-setting off her airy vocals against spare, spacey beats-suits their preference for writing, recording, and editing their music at home. "We don't like studios," she says. "I hate not seeing daylight. I hate that they smell weird. I hate recording booths. I hate being far away and singing alone in a room. In the beginning, all we would hear was, 'Let's put you in the studio with this person and that person.' So we did go into the studio and work with this producer or writer or artist or whatever, and it was fine, but nothing ever did what me and Finneas alone do. And I think it's how we'll keep doing it: He came over a week ago and he just set up his computer and we recorded something right here."

"In my dark places I've worried that I was going to become the stereotype that everybody thinks every young artist becomes, because how can they not?"

While Eilish has broken away from pop's recent sights and sounds, she is also playing the game according to the rules of the streaming era. She had already hit the one-billion-streams mark before her first full-length album debuted, and the singles she released leading up to it came out of good, old-fashioned artist development: naturally heterogeneous, they were coordinated by her team to hit multiple playlists at once, gathering a bigger and more varied fan base. Eilish is not embarrassed to admit that she yearned for pop stardom-"I realize now that it's everything I ever wanted," she says. And of her surprise Grammys sweep, she tells me, "That shit was fucking crazy. If anything it's an exciting thing for the kids who make music in their bedroom. We're making progress, I think, in that place-kids who don't have enough money to use studios." For all of her alt cred, she is increasingly at ease in the mainstream. This month, she will perform at the Oscars. She has also written (with her brother) and performed the theme song to the latest film in the James Bond franchise, No Time to Die, which comes to theaters in April. Eilish's concert tours have been staggering successes without the highly produced dance numbers that characterize the millennial pop era; instead, fans with Eilish-inspired hair go wild as she bounces gleefully around the stage against the backdrop of a gothic video montage. Her 49-date Where Do We Go? world tour, which opens in March, sold 500,000 tickets across North America, South America, and Europe within an hour of its announcement last fall. (Eilish has sold out every tour over the last four years.)

In some ways, Eilish is the consummate fan girl, and at a time when audiences are trying to separate social media's false promise of authenticity from the real deal, her diverse and unfiltered enthusiasms have a welcome ring of truth. She will sit down with Rainn Wilson and do trivia from The Office (a show she has essentially memorized). She told me that she believes Rihanna is God ("literally fucking God"). My favorite item from Blohsh, Eilish's extremely successful collection of streetwear, accessories, and memorabilia, is a T-shirt printed with a photograph of Eilish, age 11 or so, in a mortifyingly bad sequined rainbow party dress, standing in her bedroom surrounded by her Bieber posters. Whereas cool has traditionally purveyed insouciance and ironic detachment, Eilish's sort of cool celebrates the attachments and the soucis, too.

Though her mood is improved, and though touring, once arduous for her, has become an increasing pleasure, as her fame grows it gets easier and easier for Eilish to imagine herself as a casualty of the pop machine-or in any case to identify with those whom fame has disfigured. "As a fan growing up, I was always like, What the fuck is wrong with them?" she recalls. "All the scandals. The Britney moment. You grow up thinking they're pretty and they're skinny; why would they fuck it up? But the bigger I get, the more I'm like, Oh, my God, of course they had to do that. In my dark places I've worried that I was going to become the stereotype that everybody thinks every young artist becomes, because how can they not? Last year, when I was at my lowest point during the tour in Europe, I was worried I was going to have a breakdown and shave my head."

Eilish turned 18 in December. She had a small birthday party, with ski ball and foosball, a bouncy house, a piñata, and-baked by her mother at Eilish's request-a vegan chocolate cake with vegan cream cheese frosting and peppermint candies. By pop-star standards, she has exited childhood with relatively little tarnish. Last fall she did create a minor media kerfuffle when she revealed that she and Drake, 15 years her senior, had been texting. The situation still rankles her. "The internet is such a stupid-ass mess right now," says Eilish, who quit Twitter in 2018. "Everybody's so sensitive. A grown man can't be a fan of an artist? There are so many people that the internet should be more worried about. Like, you're really going to say that Drake is creepy because he's a fan of mine, and then you're going to go vote for Trump? What the fuck is that shit?"

Eilish will be voting for the first time this fall, and she has made a habit of engaging her fan base around the causes that are meaningful to her. She partnered with Los Angeles mayor Eric Garcetti on an initiative to register high school students in advance of the 2018 midterms (the school with the most newly registered or preregistered voters got its own concert), and since seeing David Attenborough's BBC documentary Climate Change-The Facts last spring, Eilish has become a champion of environmental causes. She has used her Instagram Stories to alert followers to the perils of global warming, and in the video to her single "All the Good Girls Go to Hell," she appears as a winged creature stuck in an oil spill, as fires rage around her.

The doorbell rings, Maggie answers it, and she can be seen through the kitchen doorway setting something down on the dining room table. "What is that?" Eilish shouts. "Somebody sent you some fruit," her mother calls back. It's an edible arrangement fastened with a Mylar happy-face balloon. Maggie opens up the card and reads it aloud: "Sorry you're bored at home." A few hours earlier, on Instagram, Eilish posted a photograph of herself singing in a vast arena illuminated by thousands of cell-phone flashlights whose effect suggested a densely starry sky. She captioned it, "missing you tour . . . being home is boring."

"Ugh, that is so fucking creepy," she says of the unwelcome gift. "They're being nice, but there's a line they just don't see. Sometimes they're like, 'I know this is wrong, but I just wanted to leave this letter.' And I'm like, If you know it's wrong, then why do it?" The erosion of Eilish's privacy has been weighing heavily on her. The previous weekend, she and her father drove into the woods with their dog, Pepper, past Mount Wilson and off the trail, to take a walk in the first California snow of the season. They passed a few people at most, and no one seemed to recognize her. But by morning, photographs of her in the woods with her father had posted to the internet. "Luckily I dress fly all the time, so it's not like they're getting a picture of me where I look fucking crazy," she jokes. "But literally? It feels like if you were to walk into an empty room, and then you looked at your phone and you got a text of a picture of you in that empty room from inside the room." For now, she has no intention of leaving her parents' home, even though this has meant dealing with the occasional unwanted visitor and more often an unwanted pizza delivery. "Luckily I love my parents. I love this house. My brother comes here all the time because he wants to, and he likes us, too. So at this moment there's a pretty good balance of. . . ."

She pauses to consider her circumstances, which are not so different from those of any teenager, craving independence but still in need of a parent's watchful eye. "No, there isn't a balance; forget it. I'm fine here. Whatever. I have a car. A car is enough."

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How Billie Eilish Is Reinventing Pop Stardom

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Billie Eilish's irresistible brand of dreamy, macabre anti-pop has made her into a new kind of hit maker.

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In this video, Bille shared about her options and attitudes about sneakers. Doesn't like girls' shoes, hate Vans etc, showing her rebelling attitude towards the mainstream and stereotype fashion. It expressed her unique attitude in fashion and showed her  the characteristics of his personality: authenticity, directness, ambiguity of gender definitions

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Billie Eilish Goes Sneaker Shopping With Complex