Hey, looks like the New York Times was onto something after all: On the heels of "Anaconda," Nicki Minaj’s jungle-shaking ode to the female posterior, our newest morsel of big-butt-themed entertainment is the video for Jennifer Lopez’s "Booty" remix featuring Iggy Azalea, who took over the original Pitbull rap part. (Example: "They're begging me to drop down on 'em / But right now Iggy on the top / The last time the world seen a booty this good / It was on Jenny from the block.") J.Lo and Iggy know what the people want, so naturally, the video is a veritable cornucopia of slapping, twerking, crawling, bouncing, girl-on-girl-grinding, and asses being slathered with oil. Your move, Nicki.
Karen O has always seemed a little shy. This might be a strange thing to say about a performer who is known for gargling like a demon, wearing things that Vegas-era Elvis would have considered too spangly, and spitting so much beer at her audience that at those early Yeah Yeah Yeah shows there ought to have been some kind of Sea World–esque SPLASH ZONE signs warning the first couple of rows. But even then it was true. What’s always made Karen O such a thrilling front person to watch is this sense that you are witnessing right before your eyes some kind of Linda Blair–style transformation from girl to beast; she blurts out lines wickedly, gleefully (“You look like SHIT!”), as though she herself can hardly believe she is saying them.
Here's who Jack White is mad at now: At a concert in Fenway Park Wednesday night, White mocked the Foo Fighters for having "a second guitar player playing the same parts," before joking that his "Kanye-esque rant" was giving fresh #content to RollingStone.com. Also, I guess, to us. Thank you for the #content, Jack White!
Not by giving away its album for free. Something else. As the band explains in a new Time International cover story, they're partnering once more with Apple on a new kind of digital music they maintain will make it easier for bands at all levels of fame to get paid for their work. Bono describes it as "an audiovisual interactive format for music that can’t be pirated and will bring back album artwork in the most powerful way." We'll find out more details in a few months, when this project suddenly appears on our computers.
Kendrick Lamar’s long-awaited album follow-up to 2012’s good kid, m.A.A.d city is rumored to be dropping on September 23, and now we have a look at the cover art for the new single, reportedly called “i,” which Kendrick shared on Twitter earlier today. Thankfully, he still has a few days left to fix his capitalization.
According to an interview with Liam Neeson in The Independent, he and fellow Irishman Bono — you know, that guy whose album you just deleted from your iPhone — have teamed up for a new film project: “[Bono and I] chat, or with him a lot of the time I just listen. He’s a wonderful man. He’s got an idea for a script which we’ve been working on for the past six years,” said Neeson, explaining that the story is inspired by the phenomenon of the ‘70s Irish show bands that toured the country doing covers of international hits. It's not clear yet whether Neeson would star in the movie, but if he does, we assume he will play a man with a very particular set of skills (musical skills).
First, on the album side: A Christian rapper named Lecrae had the No. 1 album on the Billboard "200" charts last week — with 88,000 albums sold. If you're thinking that 88,000 albums is an awfully low number of records for the No. 1 spot: Yes, you are correct. Meanwhile, Meghan Trainor's "All About That Bass" is still No. 1 on the "Hot 100" chart (with Taylor Swift still right behind), confirming that right now is a very weird time for music. See: U2.
From divorce talk to baby talk, the Mr. and Mrs. Carter rumor mill churns on. Today’s newest bit of hearsay comes courtesy of DJ Skee — via his brand-new radio station Dash Radio — who claims multiple sources have confirmed that the pair are working on a joint album that they plan to drop in late 2014 or early 2015. No word on what adjective of “in love” they will be this time. How about “Laughing All the Way to the Bank (in Love)?” Yeah, that sounds right.
My Father Was James Brown. I Watched Him Beat My Mother. And Then I Found Myself With Someone Like Dad.By Yamma Brown
It's no secret that James Brown had a dark side. This summer's biopic Get On Up left out many of the weird, uncomfortable, and simply violent incidents that Brown instituted or participated in. But it wasn't until now that we've been able to get a look at just how frightening the singer could be. Earlier this month, his daughter Yamma Brown published a memoir titled Cold Sweat: My Father James Brown and Me (co-written with Robin Gaby Fisher) that details her life growing up with her often volatile dad. In the excerpt below, Yamma flashes back to a moment when Brown beat her mother in front of her and her sister, then writes about how that violent legacy stayed with her into adulthood.
"It is an honor to introduce the future of R&B ... his name is Chris Brown!"
That's the prophecy producer Bryan-Michael Cox laid out almost a decade ago now, in his spoken intro to a smooth, Baby-Casanova joint called "Winner" off Brown's 2005 self-titled debut. On a very literal level, it came true: It is now 2014 and Brown is still making records; his sixth, X, is out today. But throughout the past decade — an occasionally wildly innovative one in pop, hip-hop, and R&B — Brown's music has stayed so stubbornly risk-averse that to think someone once considered Chris Brown "the future" of anything now seems as laughable as a Y2K shelter. At best, Brown has been an accurate barometer of the genre's present — his discography provides a clean arc from its poppy, Usher-reigned Jive Records era to its post-808s Auto-Tune experimentation to its current obsession with trap-inflected, minimalist beats in the style of DJ Mustard. More often, though, Brown has proven himself to be a serviceable mimic, dancing breezily over ground freshly broken by braver and more interesting artists — not R&B's future so much as a defanged, smoothed-over reflection of its hyper-recent past.
In what marks her first appearance as a late-night guest in over 50 years, Barbra Streisand appeared on The Tonight Show Monday to promote her new album Partners, which features the legendary diva performing duets with a number of high-profile male vocalists. She performed a medley of three of those tracks tonight, with Jimmy Fallon standing in for duet partners Elvis Presley ("Love Me Tender"), Blake Shelton ("I'd Want It to be You") and Michael Bublé ("It Had to Be You"). We all know Jimmy never avoids the opportunity to do bad musical impressions in a goofy Elvis wig and a cowboy hat, but even his hamming couldn't detract from the majesty that is Babs live.
Alongside a photo of Taylor Swift standing on a New York City sidewalk holding a bunch of red balloons, Us Weekly included the caption, "Taylor Swift carried 12 red balloons for some reason while walking through NYC." For some reason? Well, we're sure she had a good one. Maybe it was one of these?
Marvin Gaye's family is threatening legal action against Robin Thicke and Pharrell, saying "Blurred Lines" plagiarizes the late soul singer's "Got to Give It Up." Chief among the Gaye estate's evidence is a series of interviews Thicke gave in 2013, in which he recalled writing "Blurred Lines" after being inspired by "Got to Give It Up," which he told GQ was one of his "favorite songs of all time."
In a deposition obtained by The Hollywood Reporter for his own preemptive lawsuit, Thicke introduces what we might call the Afroman Defense: Nothing he said during the era of "Blurred Lines" should count because he was high.
After getting their Spring Breakers phase out of their system, millionaire film students Jay Z and Beyoncé are exploring more classical influences. Part one of "Bang Bang," the short film that played during the couple's On the Run tour, borrows equally from Quentin Tarantino, Sergio Leone, and the French New Wave, and it's very charming in a junior-year sort of way. You can practically hear the 16mm projector.
To be clear, we are aware that your dad is too busy doing dad stuff — like hammering nails and not wearing pants, even when your friends come over — to comment on Miley Cyrus's Soundcloud. We are speaking to the dad inside all of us. This weekend, Miley put up a cover of Led Zeppelin's "Babe I'm Gonna Leave You" (which itself was a cover of a traditional folk song). It is definitely faithful, if not arguably good. Yet the people who you'd expect weren't pleased. One guy commented, "Congratulations, you just butchered a great song. Were you on drugs when you decided to record this or when you actually recorded it? I can look past the quality but the guitar parts are not even right in places." When reached for follow-up, he added, "Get off my lawn!"
Today, a life-size bronze statue of Amy Winehouse was unveiled in the London neighborhood of Camden, on what would have been her 31st birthday (Winehouse passed away three years ago due to alcohol poisoning). Hundreds of fans gathered on site to witness the unveiling of the statue, which depicts Winehouse wearing a star of David necklace, with a real red rose crowning her iconic beehive hairdo. Her parents were on hand for the unveiling, with her father Mitch Winehouse — who started the Amy Winehouse Foundation to help those struggling with substance abuse issues — calling the day one of "incredibly mixed emotions."
Beyoncé chose a special occasion to bring Nicki Minaj out for the first public performance of their fantastic "Flawless" remix: the Paris stop of the On the Run tour, which is being filmed for an HBO special next week. So if you're disappointed in the quality of these Instagram videos from the nosebleeds, you get a better view in eight days.
Back in 2012, Grimes told Vulture that she wanted her next album to sound "like industrial meets Jigglypuff." Apparently, that did not turn out so well. “It sucked,” Grimes says of her follow-up to Visions, “so I threw it out and started again.” According to the New York Times, she's since abandoned the reclusive atmosphere that produced her previous albums and is now "hanging out with people and bouncing ideas" in Los Angeles, which has led to her writing more songs than ever before. It is unclear if any of them are about Pokémon.