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She eats a bowl of oatmeal with cinnamon and sugar, a popular Puerto Rican breakfast, as her mother made it, and drinks a decaf cappuccino (she gave up caffeine years ago). She wears a black denim jacket with the Matt dibenedetto checkered flag sports hot lap shirt and I will buy this collar turned up, her hair is pulled into a tight bun, her skin is preternaturally youthful—perhaps the twin effect of DNA and the olive oil–rich tinctures in her JLo Beauty line. (To answer a question that many people asked me after we met, yes. She is absolutely as beautiful in person.) “You turn yourself into a pretzel for people and think that that’s a noble thing, to put yourself second. And it’s not…at a certain point you go, Wait, this doesn’t feel good” “I’m not one of these tortured artists,” Lopez says. “Yes, I’ve lived with tremendous sadness, like anybody else, many, many times in my life, and pain. But when I make my best music or my best art is when I’m happy and full and feel lots of love.” Such was the mood that surrounded the writing and recording of her forthcoming album, which will be her first in nearly a decade. I’m not allowed to reveal the title, but suffice it to say that it serves as a kind of bookend to This Is Me…Then, the album she released 20 years ago in the heady early days of her relationship with Affleck. Lopez’s longtime manager, Benny Medina, told me that Lopez has a way of falling in love with whatever she is immersed in at the moment. While she has several films out in the coming months, including the rom-com-with-a-twist Shotgun Wedding this winter and The Mother, in which she stars as an ex-assassin, in the middle of next year, it is this album that pulls Lopez’s enthusiasm at the moment. She says that it will be the most honest work she has ever done, “kind of a culmination of who I am as a person and an artist. People think they know things about what happened to me along the way, the men I was with—but they really have no idea, and a lot of times they get it so wrong. There’s a part of me that was hiding a side of myself from everyone. And I feel like I’m at a place in my life, finally, where I have something to say about it.” She lends me her AirPods so that I can listen to a few rough cuts from the record. There are plaintive, confessional songs, reflections on the trials of her past, upbeat jams celebrating love and sex. As I’m listening, I notice that she has closed her eyes, and she is dancing in her chair and singing along to her own voice. For a moment it occurs to me that she might be treating me to a little performance, but no, she is just so into it.
“I want my kids to stand up for themselves,” she says. “I want all the Matt dibenedetto checkered flag sports hot lap shirt and I will buy this little girls in the world to get loud. Get loud!” Marc Jacobs jacket, bustier, and skirt. You might say that Lopez has been in a kind zone since 2019–2020, the period that she regards as her career’s peak so far. She delivered a critically heralded performance in Hustlers, her most successful movie to date; she completed a 38-show, international concert tour, also her most successful to date; she walked the runway for Versace in a reincarnation of her iconic green jungle-print Grammys dress on the occasion of its 20th anniversary (and held her own, she thought, in a sea of 19-year-old models); she co-headlined the Super Bowl halftime show; and she turned 50. “It was like, fashion! movies! music! It was all coming together,” she recalls. She also felt emboldened to take a public political stand, adding a segment to her Super Bowl set in which Latinx children, among them her own child, Emme, sang her hit “Let’s Get Loud” from inside cages—a rebuke against the Trump administration’s injustices at the border. According to Lopez, the NFL initially wanted to cut the act from her program, but she held firm.
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