I can sing because I heard a lot of music when I was growing up, mostly classical and jazz. I'm not a really good singer, but I have a feeling for where musical phrases are going to go because I have heard the patterns before, so that's what makes people think that my nonexceptional voice is of a higher quality than it is. I also haven't abused my voice with smoking or other things that would have damaged it. If I'm not mistaken, marathon concert tours are not optimal for the health and longevity of a voice.
Probably, I could write lyrics. That's how I could contribute to music. However, I don't want to think about that right now. The entertainment industry has done terrible things, to me and to the unsuspecting public, and I have to consider that before my financial situation.
I also don't want to tell musicians and other performers what their interests ought to be. What I have noticed in almost half a century of life is that there are always what are known as sweet, young things being turned into stars. It is a formula for making money. It is not a formula for creating music of lasting value or fostering the social, emotional, intellectual or artistic growth of said young "things."
The industry likes to excuse the formula and the inevitable results of hypersexualizing its stars by making the industry terrain seem like an obstacle course where some people can thrive and others can't. That is how the industry avoids responsibility and continues to convince people for whom puberty is not a distant memory, and their parents, that being displayed like movable dolls and fed as fantasy to a naive and/or predatory audience is a good idea.
What do you do if you have already run the gauntlet and are fortunate enough to have money in the bank? Don't throw it away on chasing the image of yourself that was sold to you to guarantee your marketability by an industry that, despite its excesses, is as mundane as it is possible to be. Money translates directly into the freedom to do what you want to do, to try things, to spend weeks or months practicing (which financially struggling artists can't do), to travel, to have conversations with people whose lives are like yours or sort've like yours or nothing like yours, to earn a (2nd) college degree in a subject that isn't music, to study money management and business management so that you can gain control over your career; this is a partial list of things that you can do when you have money.
All of the above will help you to have a good career because everything that expands your knowledge of the world also helps you to understand other people. It prevents isolation. An artist should be of the world. This is not necessarily a lofty idea; the world is what buys your music, or doesn't. If the artist and the audience don't have a connection, the artist will be obsolete. The more that you know about the world, the more connections you will have, the less isolated you will be, the happier you will feel, and the less your audience will be prone to disillusionment or resentment.
How much time do you really want to spend hearing about someone's sex life? Even teenagers can think of other things to be fascinated by; if they couldn't, nobody would go to college or work at jobs other than prostitution.
Having observed the entertainment industry, and the media, and some corporations, and some cultural institutions, and other powerful and/or influential people and groups since 2010, my conclusion is that a hyperfocus on sexuality ends up making people perverted and sadistic or, at the blandest end of the spectrum, all of these adjectives:
Despite the conglomerate's obsession with sex, nothing that it says about sex is informative. The conglomerate has made everything in the world a dirty joke, instead of having boundaries for sex and treating it as part, rather than the sum total, of life experience.
This is not just about bad art, nor is it a prissy rant about morality without practical applications. Sex has a broad range of consequences, for individuals, for populations, for the structure of society and society's institutions.