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Tag: miley cyrus

  • Nick Reiner Pleads Not Guilty To Murdering His Parents

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    Nick Reiner Pleads Not Guilty

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  • Grammys 2026: Justin Bieber-Hailey Bieber Go Matching at Red Carpet, Miley Cyrus and Fiancé Maxx Morando, Sabrina Carpenter Rock Power Looks

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    The stars are out for this year’s Grammy Awards, and it looks like everything is blinging! On February 1, 2026, local time, the biggest night in music unfolded at the Crypto.com Arena in Los Angeles, USA. Some of the most famed and highest nominated acts of the night were seen arriving at the Recording Academy’s awards night, and here’s our rundown with them.

    With a night full of big performances and major wins awaiting the fans of music around the world, we bring you some of the best looks seen at the prestigious red carpet of the event. Check out some of our favorites below.

    Justin Bieber and Hailey Bieber

    The power couple made their way onto the red carpet in sleek style with no room for error! Going the matching route in all-black looks, Justin Bieber and wife Hailey Bieber opted for simple silver neck pieces with diamond embellishments.

    Sabrina Carpenter

    The Espresso hitmaker once again made a strong mark with her entrance at the red carpet, shining through in a beautiful cream sheer look. 

    Sabrina Carpenter: courtesy of Getty Images

    Miley, Maxx and Tish

    Miley Cyrus made a family night out of the Grammys evening, arriving with her husband-to-be Maxx Morando in one arm and soon joining her mum, Tish Cyrus, for a quick photo

    Miley, Maxx and Tish: courtesy of Getty images

    Rosé 

    The BLACKPINK member seems to be going back to Rosie days with a similar hair look for her debut nomination at the Grammy Awards.

    Rosé: courtesy of Getty images

    Tyla 

    The feathers were doing the talking for Tyla, who made a powerful entrance at music’s biggest night of the year.

    Tyla: courtesy of Getty images

    Lady Gaga 

    You can rest assured that Stefani Joanne Angelina Germanotta would make a memorable appearance any time she enters a room. Feathers were once again the top choice for the Grammys evening for Lady Gaga, who stunned with her all-black look.

    Lady Gaga: courtesy of Getty images

    Billie Eilish

    This singer knows how to keep the chatter mills running, opting to go for another dashing look at the red carpet.

    Billie Eilish: courtesy of Getty images

    Chappell Roan 

    Chappell Roan’s outing was rather risque and out there, going from a veiled deep burgundy to one hanging on by bare piercings in one of the most bold looks of the night.

    Chappell Roan: courtesy of Getty Images

    Bad Bunny

    The Puerto Rican rapper showed off a rather classic look at the front, going for a laced back on his tuxedo behind.

    Bad Bunny: courtesy of Getty Images

    ALSO READ: 2026 Golden Globes Full Winners List: Timothée Chalamet, The Pitt, Hamnet and One Battle After Another Nab Major Trophies

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  • Dolly Parton Celebrates 80th Birthday By Giving Back—With a Little Help From Some Famous Friends

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    This Monday, January 19, country music icon Dolly Parton will celebrate her 80th birthday. To mark the occasion, the singer released a new version of one of her hits, “Light of a Clear Blue Morning.” Originally released in 1977, this song of hope is now reborn through a collaboration between several major female figures in American music. Parton is joined on the track by Lainey Wilson, Reba McEntire, and Queen Latifah, as well as pop star Miley Cyrus.

    Proceeds from the track and accompanying video will be donated to pediatric cancer research at Monroe Carell Jr. Children’s Hospital at Vanderbilt in Nashville, Tennessee. Parton teased the track, collaborators, and charitable cause on her Instagram earlier this week.

    In a statement, the artist explained the emotional significance of the song: “I wrote ‘Light of a Clear Blue Morning’ during a season when I was searching for hope, and 50 years later that message still feels just as true. As I celebrate my 80th birthday, this new version is my way of using what I’ve been blessed with to shine a little light forward, especially by sharing it with some truly incredible women,” it reads.

    The song originally appeared on the 1977 album New Harvest…First Gathering. It was a hit on its release, reaching #11 on the Billboard Hot Country Songs chart and #87 on the Billboard Hot 100.

    Dolly Parton, the godmother

    Miley Cyrus’ presence on the track is no mere coincidence, as she is Dolly Parton’s goddaughter. When Miley was born, her father Billy Ray Cyrus, a close friend of Parton’s, offered her this role, which she seems to have taken to with gusto. The Disney Channel phenomenon Hannah Montana, in which Cyrus played Miley Stewart in her career breakout, also made a small nod to this family connection, with Parton playing the character’s aunt.

    Now 33, Miley Cyrus has made no secret of her godmother’s influence on her career. Over the years, the two artists have multiplied their collaborations. They notably sang “Rainbowland” together on Cyrus’ album Younger Now in 2017, “Christmas Is” on A Holly Dolly Christmas in 2020, and more recently in 2023, a revisited recording of “Wrecking Ball” for Parton’s album Rockstar. In 2021, Cyrus performed her own cover of “Light of a Clear Blue Morning” on a Saturday Night Live Mother’s Day special, offering a beautiful tribute to her godmother.

    Originally published in Vanity Fair France.

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    Margot Blaise

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  • The Best Fashion Moments From the 2026 Golden Globes Red Carpet

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    Amanda Seyfried. WireImage

    You might still be easing into 2026, but awards season is already out in full force. In a twist from the usual schedule, the calendar kicked off with the Critics’ Choice Awards, and just a week later, it’s time for arguably one of the most fun ceremonies of the season: the Golden Globe Awards.

    The Golden Globes celebrate the best in the film and television industry; this year, Paul Thomas Anderson’s One Battle After Another garnered the most nominations for a film with nine, closely followed by Joachim Trier’s Sentimental Value, which netted eight noms. The White Lotus leads the pack with six television nods, tailed by Adolescence with five.

    Tonight, the Golden Globes return to the Beverly Hilton in Los Angeles, with Nikki Glaser once again taking on hosting duties in a repeat from last year. The 83rd Golden Globe Awards also mark the first time that podcasts will be honored, as this year the show is introducing a Best Podcast category. So far, announced presenters include Amanda Seyfried, Ana de Armas, Ayo Edebiri, Charli XCX, Chris Pine, Colman Domingo, Connor Storrie, Dakota Fanning, Dave Franco, Diane Lane, George Clooney, Hailee Steinfeld, Hudson Williams, Jason Bateman, Jennifer Garner, Joe Keery, Judd Apatow, Julia Roberts, Justin Hartley, Kathryn Hahn, Keegan-Michael Key, Kevin Bacon, Kevin Hart, Kyra Sedgwick, Lalisa Manobal, Luke Grimes, Macaulay Culkin, Marlon Wayans, Melissa McCarthy, Mila Kunis, Miley Cyrus, Minnie Driver, Orlando Bloom, Pamela Anderson, Priyanka Chopra Jonas, Queen Latifah, Regina Hall, Sean Hayes, Snoop Dogg, Wanda Sykes, Will Arnett and Zoë Kravitz.

    The evening always begins with a dazzling red carpet, when A-list guests arrive in their finest fashions. The Golden Globes tend to offer a more exciting spectacle in terms of style; it’s still a black tie event, but it’s not as buttoned-up as, say, the Academy Awards, which is why it’s one of our favorite red carpets of the entire year. Take a look at all the best, most fashionable moments from the 2026 Golden Globes red carpet.

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    Amal Clooney and George Clooney. Getty Images

    Amal Clooney and George Clooney

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    Emma Stone

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    Miley Cyrus. Getty Images

    Miley Cyrus

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    Claire Danes

    in Zac Posen for GapStudio

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    Leslie Mann and Judd Apatow. Kevin Mazur/Getty Images

    Leslie Mann and Judd Apatow

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    Maya Rudolph. Kevin Mazur/Getty Images

    in Chanel

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    Amy Poehler. Getty Images

    Amy Poehler

    in Ami Paris 

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    Rashida Jones

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    Timothée Chalamet

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    Bella Ramsey

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    Jessie Buckley

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    Kirsten Dunst and Jesse Plemons. Kevin Mazur/Getty Images

    Kirsten Dunst and Jesse Plemons

    Dunst in Tom Ford 

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    Ana de Armas. Kevin Mazur/Getty Images

    Ana de Armas

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    Leonardo DiCaprio

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    Chloe Zhao

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    Brenda Song and Macaulay Culkin. Kevin Mazur/Getty Images

    Brenda Song and Macaulay Culkin

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    Damson Idris. Penske Media via Getty Images

    Damson Idris

    in Prada

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    Jennifer Lawrence

    in Givenchy

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    Zoë Kravitz

    in Saint Laurent 

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    Jennifer Lopez. Kevin Mazur/Getty Images

    Jennifer Lopez

    in Jean-Louis Scherrer by Stéphane Rolland

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    Jeremy Allen White

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    Matthew Rhys and Keri Russell

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    Parker Posey. Getty Images

    Parker Posey

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    Britt Lower. Kevin Mazur/Getty Images

    Britt Lower

    in Loewe 

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    Rhea Seehorn

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    Charli xcx

    in Saint Laurent 

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    Ashton Kutcher and Mila Kunis. Kevin Mazur/Getty Images

    Ashton Kutcher and Mila Kunis

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    Hailee Steinfeld

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    Renate Reinsve

    in Louis Vuitton

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    Hannah Einbinder. Getty Images

    Hannah Einbinder

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    Chase Infiniti. Kevin Mazur/Getty Images

    Chase Infiniti

    in Louis Vuitton

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    Sarah Snook

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    Pamela Anderson. Kevin Mazur/Getty Images

    Pamela Anderson

    in Ferragamo 

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    Michael B. Jordan

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    Alex Cooper

    in Gucci

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    Diane Lane

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    Ariana Grande. Kevin Mazur/Getty Images

    Ariana Grande

    in Vivienne Westwood 

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    Julia Roberts. The Hollywood Reporter via Getty

    Julia Roberts

    in Armani Privé

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    Jacob Elordi

    in Bottega Veneta

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    Jenna Ortega

    in Dilara Findikoglu

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    Natasha Lyonne

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    Rose Byrne. Getty Images

    Rose Byrne

    in Chanel 

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    Ryan Michelle Bathe and Sterling K. Brown. Getty Images

    Ryan Michelle Bathe and Sterling K. Brown

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    Emma Hewitt and Jason Isaacs. WireImage

    Emma Hewitt and Jason Isaacs

    in Dolce & Gabbana 

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    Odessa A’zion. WireImage

    Odessa A’zion

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    Paul Mescal. WireImage

    Paul Mescal

    in Gucci

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    Mia Goth. Getty Images

    Mia Goth

    in Christian Dior 

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    Patrick Schwarzenegger. Getty Images

    Patrick Schwarzenegger

    in Dolce & Gabbana 

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    Molly Sims. Kevin Mazur/Getty Images

    Molly Sims

    in Sophie Couture 

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    Amanda Seyfried. Getty Images

    Amanda Seyfried

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    Stacy Martin

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    Jean Smart. Kevin Mazur/Getty Images

    Jean Smart

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    Emily Blunt. Getty Images

    Emily Blunt

    in Louis Vuitton 

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    Dakota Fanning. WireImage

    Dakota Fanning

    in Vivienne Westwood 

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    Joe Keery. Getty Images

    Joe Keery

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    Dax Shepard and Kristen Bell. Getty Images

    Dax Shepard and Kristen Bell

    in Armani 

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    Michelle Rodriguez. The Hollywood Reporter via Getty

    Michelle Rodriguez

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    Erin Doherty. Kevin Mazur/Getty Images

    Erin Doherty

    in Louis Vuitton

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    Alison Brie and Dave Franco. Kevin Mazur/Getty Images

    Alison Brie and Dave Franco

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    Owen Cooper

    in Bottega Veneta

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    Tessa Thompson. The Hollywood Reporter via Getty

    Tessa Thompson

    in Balenciaga

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    Kate Hudson

    in Armani Privé

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    Amanda Anka and Jason Bateman

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    Carolyn Murphy and Will Arnett

    Murphy in Zuhair Murad

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    Zoey Deutch

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    Lori Harvey

    in Roberto Cavalli 

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    Walton Goggins. Kevin Mazur/Getty Images

    Walton Goggins

    in Saint Laurent 

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    Teyana Taylor. Kevin Mazur/Getty Images

    Teyana Taylor

    in Schiaparelli

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    Nikki Glaser. Getty Images

    Nikki Glaser

    in Zuhair Murad

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    Adam Scott and Naomi Scott

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    Eva Victor. AFP via Getty Images

    Eva Victor

    in Loewe 

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    Aimee Lou Wood. Kevin Mazur/Getty Images

    Aimee Lou Wood

    in Vivienne Westwood 

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    Elle Fanning. Kevin Mazur/Getty Images

    Elle Fanning

    in Gucci

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    Selena Gomez and Benny Blanco

    Gomez in Chanel

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    Colman Domingo

    in Valentino

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    Minnie Driver

    in Sabina Bilenko

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    Joe Alwyn

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    Sara Wells and Noah Wyle

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    Adam Brody and Leighton Meester

    Meester in Miu Miu 

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    Jennifer Garner

    in Cong Tri

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    Glen Powell

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    Connor Storrie. Getty Images

    Connor Storrie

    in Saint Laurent 

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    Sabrina Dhowre Elba. Penske Media via Getty Images

    Sabrina Dhowre Elba

    in Guy Laroche

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    Snoop Dogg

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    Ayo Edebiri

    in Chanel

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    Luke Grimes. Penske Media via Getty Images

    Luke Grimes

    in Giorgio Armani

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    Ginnifer Goodwin. Getty Images

    Ginnifer Goodwin

    in Armani Privé

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    Priyanka Chopra Jonas and Nick Jonas. Getty Images

    Priyanka Chopra Jonas and Nick Jonas

    Chopra Jonas in Christian Dior 

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    Hudson Williams. Getty Images

    Hudson Williams

    in Giorgio Armani

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    Jackie Tohn. Getty Images

    Jackie Tohn

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    Abby Elliott

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    Sara Foster. Penske Media via Getty Images

    Sara Foster

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    Erin Foster. Penske Media via Getty Images

    Erin Foster

    in Galvan 

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    Robin Wright

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    Lisa. Getty Images

    Lisa

    in Jacquemus

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    Chase Sui Wonders. Kevin Mazur/Getty Images

    Chase Sui Wonders

    in Balenciaga

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    Natasha Rothwell. WireImage

    Natasha Rothwell

    in Rhea Costa 

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    Ejae. Getty Images

    Ejae

    in Dior 

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    Alicia Silverstone. Kevin Mazur/Getty Images

    Alicia Silverstone

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    Sheryl Lee Ralph. Getty Images

    Sheryl Lee Ralph

    in Harbison Studio

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    Justine Lupe. WireImage

    Justine Lupe

    in Armani Privé 

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    Brittany Snow. The Hollywood Reporter via Getty

    Brittany Snow

    in Danielle Frankel

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    Laufey. Getty Images

    Laufey

    in Balenciaga

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    Maura Higgins. Kevin Mazur/Getty Images

    Maura Higgins

    in Marmar Halim

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    Amanda Kloots. Penske Media via Getty Images

    Amanda Kloots

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    Dylan Efron. WireImage

    Dylan Efron

    in Valentino

    The Best Fashion Moments From the 2026 Golden Globes Red Carpet

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  • What’s Trending On TikTok This Week: Kesha, Paramore, Madonna, & More!

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    It’s Monday, November 17, 2025, and last week’s trending TikTok audios gave us all the nostalgic feels! Throughout the week, we continued to see a rise in RAYE’s ‘Where The Hell Is My Husband?’ which we definitely used on our own accounts a few times. We’re heading into this new week hoping for some fresh hits from our faves and nostalgic tracks we haven’t heard in forever!

    Here are the viral trending TikTok audios we’ve been obsessed with this week.

    ‘Ain’t It Fun’ By Paramore

    Hayley Williams and Paramore have proved time and time again that their music is simply timeless. While we’re streaming Hayley’s new album, Ego Death at a Bachelorette Party, we’ve been hitting rewind on our favorite Paramore tracks, including ‘Ain’t It Fun.’ We’ve been seeing it being used up and down our FYP, and we couldn’t be happier!

    TO LEARN MORE ABOUT PARAMORE:
    DISCORD | FACEBOOK | INSTAGRAM | TWITTER | WEBSITE

    ‘Just What I Needed’ By The Cars

    Showcasing all our favorite things on TikTok and IG reels is what we live for. Use this popular 70’s song, ‘Just What I Needed,’ on your next video of your favorite thing – it could be your favorite new lip gloss, a new album you’ve been loving, your local Friday night pizza spot, or even just a cute shot of your puppy! We wanna see it all!

    TO LEARN MORE ABOUT THE CARS:
    FACEBOOK | INSTAGRAM | TWITTER | WEBSITE | YOUTUBE

    ‘4 Minutes’ By Madonna (Feat. Justin Timberlake & Timbaland)

    2008 was the birth year for all the best pop songs! Every now and again, ‘4 Minutes’ by Madonna resurfaces on TikTok and all the baddies come out to play. Put on your favorite going-out dress and strut with your friends with this trending audio. Bonus points if you’re also a Justin Timberlake and Timbaland fan (I mean, who isn’t?).

    TO LEARN MORE ABOUT MADONNA:
    FACEBOOK | INSTAGRAM | TIKTOK | WEBSITE | YOUTUBE

    ‘You’ll Always Find Your Way Back Home’ By Miley Cyrus

    Hannah Montana songs trending in 2025? Yes, yes, yes! Whenever we’re feeling nostalgic, we always return to Hannah Montana: The Movie and our favorite tracks from Miley Cyrus‘s iconic career as Hannah. ‘You’ll Always Find Your Way Back Home’ hits home (no pun intended) every time. To see this song on our FYP has warmed our hearts, and we’re definitely making our own video soon!

    TO LEARN MORE ABOUT MILEY CYRUS:
    INSTAGRAM | TIKTOK | TWITTER

    ‘Blow’ By Kesha

    Again, nostalgia is certainly a theme this week on our FYPs. Kesha’s ‘Blow’ has found its way onto our feed, and let’s just say it’s resurfaced our 2010 girl crush. We’ve always been huge Kesha fans here in the hive, and have been supporting her every step of the way since we were in middle school. ‘Blow’ has always been one of our favorite OG Kesha songs – which 2000s Kesha songs do you still listen to?

    TO LEARN MORE ABOUT KESHA:
    FACEBOOK | INSTAGRAM | TIKTOK | TWITTER | WEBSITE | YOUTUBE

    That’s a wrap on this week’s trending TikTok audios! Have you participated in any of these trends? If you do, make sure you tag us on TwitterInstagram, and Facebook.

    Find more trending music news here, honeybee!

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    Alana

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  • From Maitreyi to Hailey: MOST talked-about looks at Vogue World 2025 | Bollywood Life

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    All the fun and glamorus looks from Vogue World 2025, Read further to know all the looks that’s everyone’s been talking about.

    When Hollywood and haute couture collide, the result is pure magic and elegance. At Vogue World 2025: Hollywood, stars swapped their movie scripts for designer masterpieces, turning the Paramount Pictures Studios Lot into a living, breathing fashion film set. The night celebrated the classic old-school glamour with a modern twist, and every look told its own story.

    Maitreyi Ramakrishnan in classic Manish Malhotra

    Maitreyi Ramakrishnan embraced her culutural roots in a stunning Manish Malhotra piece. Her look featured a pearl-studded sculpted bodice and a gold brocade skirt that radiated vintage elegance. A sheer embellished veil added a modern-day that give very elegannt ghungat touch. Rhinestone heels, Cartier ear clips, and a delicate nose ring completed her regal look. With sleek, side-parted hair and soft glam makeup, Maitreyi reestablished cross-cultural couture.

    Dakota Johnson in Valentino

    Dakota Johnson turned heads in a dreamy blush-pink Valentino gown designed by Alessandro Michele. The dress featured crystal floral appliqués and a tulle neckline that shimmered with every move. True to her signature style, Dakota kept it minimal, straight hair, wispy bangs, dewy skin, and simple drop earrings paired with a sleek black clutch.

    Miley Cyrus in Saint Laurent

    Miley Cyrus brought rock ‘n’ roll energy to the carpet in head-to-toe Saint Laurent. Her oversized trench, cinched at the waist over a crisp white shirt, was a bold nod to androgynous power dressing. Leather gloves, a biker cap, sheer tights, and pointed slingbacks added that signature Miley attitude, edgy, fearless, and effortlessly cool.

    Madison Beer in Valentino

    Madison Beer served up 90s nostalgia in a vintage black-and-white Valentino mini dress. The playful piece, complete with a dramatic bow, was paired with strappy sandals and minimal jewellery. Her soft waves and rosy makeup made the look feel fresh and timeless.

    Hailey Bieber in Mugler Magic

    Hailey Bieber brought drama and chaos in a custom Mugler leather dress from the Spring/Summer 2026 runway. The off-shoulder silhouette and bold cut-outs showed off her signature confidence, while a sculpted leather rosette added a touch of artistry and made her look like a dream.
















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  • Miley Cyrus on achieving

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    Miley Cyrus has been in the public eye for most of her life, and while you might know her music, don’t think you really know her.

    Asked what it’s like to go through life and have strangers think they know her, Cyrus replied, “I love my life, so I don’t ever really have – I haven’t made too much of a list of the things that are negative about it, ’cause there’s so many great things. But I would say one of the things that I don’t love and don’t appreciate so much is when you meet somebody and they go, ‘Wow, you’re like, so cool. You’re so smart. You’re nothing like I thought you would be.’ So yeah, that’s a tough one.”

    Miley Cyrus filming the music video for “Secrets,” from her “Something Beautiful” album. 

    CBS News


    Her ninth album might not be what you’d expect, either. In “Something Beautiful,” Cyrus stretches herself artistically. As one critic put it, the album takes her from pop princess to legacy artist. That’s quite a leap, even for someone with music in their blood.

    Miley’s mom, Tish Cyrus Purcell, is a producer. Dad is country star Billy Ray Cyrus. Her godmother? Dolly Parton.

    miley-cyrus-interview-1280.jpg

    Miley Cyrus. 

    CBS News


    Miley Cyrus lived with showbiz royalty, and that raspy voice, all her life: “I’ve sounded like this since I was little. My dad used to have all the country singers come over to the house, and George Jones would, you know, joke that I had smoked cigarettes or been up all night, you know, even when I was four years old.”

    At age 13, she was suddenly famous after being cast as “Hannah Montana,” in the Disney Channel series about a girl who was a typical teen by day and a pop star by night. It’s a role she’s still proud of: “I love her. She’s everything. I would have nothing, none of this – I mean, maybe I could’ve figured it out, maybe I could’ve gotten myself from Nashville, Tennessee, to Los Angeles. I don’t know. But she did it a lot faster, and better, and set me up for the life that I have now. So love her, gratitude, all of that.”

    The years after “Hannah Montana” were a bit less wholesome. Her 2013 MTV Music Video Awards performance was met with shock and outrage, especially among moms of young kids who had grown up watching her as a Disney star.  

    I asked, “There were moms that were trying to, I guess, cancel you?”

    “Yeah. I was the first person to maybe ever be canceled, I guess.”

    “How would you describe that time in your life?”

    “Well, you know, I didn’t know until I was older actually how brutal it really was,” Cyrus said. “It was very, I guess, you know, challenging for other people. But for me it was a good time. It looked fun, and it was fun.”

    Eventually it was all a little too much fun. Cyrus says she’s been sober for a few years now.  

    “How has sobriety affected you?” I asked.

    “Well, I like showing up 100%, 100% of the time,” Cyrus replied. “The hardest part about balancing, you know, any sort of substance use or drinking when you want to do what I do is you’re going, ‘Okay, well, now I have to get sober for this thing, ’cause I wanna show up my best.’ And now, I get to trim out so much of the preparation of getting yourself into the right place mentally and physically. I’m just always ready.”

    Something she was ready for: “Flowers,” the biggest pop single of 2023, and her biggest record to date.


    Miley Cyrus – Flowers (Official Video) by
    MileyCyrusVEVO on
    YouTube

    She was also ready for this: Her first two Grammys, for best pop solo performance and record of the year, for “Flowers.” Accepting the Grammy she said, “This award is amazing, but I hope it doesn’t change anything, because my life was beautiful yesterday.”

    For Miley Cyrus, today is looking good as well.

    “Sunday Morning” joined her this summer at L.A.’s Million Dollar Theatre, where she was shooting a music video for the deluxe version of “Something Beautiful.” The song is “Secrets,” and if you think it sounds a bit like Fleetwood Mac, you’re right: you can hear drummer Mick Fleetwood and guitarist Lindsey Buckingham on the track.  

    Miley sings about a white flag of surrender, and her outfit is basically a white flag in itself. She told us the song is meant as a peace offering to her dad, Billy Ray Cyrus. They’d been estranged since her parents’ divorce in 2022.


    Miley Cyrus – Secrets (Official Video) ft. Lindsey Buckingham, Mick Fleetwood by
    MileyCyrusVEVO on
    YouTube

    Asked how he reacted when she gave him the song, Miley replied, “My dad cried. You know, you don’t see your dad cry a lot. But with me and my dad, we just have always communicated better through music with each other.”

    “And you’re at peace now with each other?”

    “Yeah.”

    And at 32, it seems Miley Cyrus is at peace with herself.  

    “I think the authentic joy of doing what I want to do has always eclipsed the negatives for me,” she said. “I feel really good. And I really like who I am, and I like what I’m doing with my life. And I think if I was outside of myself, I would want to be a part of what I’m doing in any way that I could be. ‘Cause I think what I’m doing is cool. So, that actually feels good. I like what I do. I like who I am.”

    WEB EXCLUSIVE: Extended interview – Miley Cyrus (Video)



    Extended interview: Miley Cyrus

    35:18


    You can stream the Miley Cyrus album “Something Beautiful” by clicking on the embed below (Free Spotify registration required to hear the tracks in full):

    For more info:

          
    Story produced by John D’Amelio. Editor: Steven Tyler. 

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  • Miley Cyrus’ Something Beautiful Deluxe Likely Only Has Two Additional Songs On It Because One of Them Is Thirteen Minutes

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    Move over Taylor Swift and Lana Del Rey, there’s a new pop star in town with a track that’s somehow even longer than “All Too Well (Taylor’s Version)” and “Venice Bitch.” And it’s none other than Miley Cyrus with “Lockdown.” Even more clout-laden still is the fact that David Byrne has joined her on the song, which clocks in at thirteen minutes and thirty-one seconds. This now bumps up the length of the original (a.k.a. non-deluxe) version of Something Beautiful from fifty-two minutes and five seconds to sixty-nine minutes and twenty-five seconds. That makes a seventeen-minute, twenty-second difference. In other words, approximately the length of what Ariana Grande’s Eternal Sunshine went from (35:26) after becoming Eternal Sunshine Deluxe: Brighter Days Ahead (55:21). The latter featuring five new songs (because also counting the “extended” version of “intro [end of the world]” as six new songs feels inaccurate). Meaning that Miley achieved a “deluxe length” with just two tracks thanks to the robust duration of “Lockdown.”

    While some speculated that the track might be about the so-called lockdown that occurred during the pandemic (though it was hardly a “lockdown” in the U.S. compared to the more intense restrictions that other countries imposed), Cyrus’ lyrical motif is instead centered on the notion of a “secret” love. And, since “secrets” are a running theme of the two tracks that appear on the deluxe edition of Something Beautiful, it’s only right that she should mention that word again on “Lockdown,” singing, “I won’t lie, baby, you’re my secret/Oh, your love stays on lockdown.” A phrase not to be confused with what Kanye once said on 2008’s “Love Lockdown,” “So keep your love locked down/Your love locked down.” A.k.a. guard your heart and don’t open it to anyone. Cyrus, in contrast, is trying to keep her relationship both locked down and on lockdown—away from the prying eyes and opinions of others. So it is that she commences the song with the lyrics, “Oh, your love stays on lockdown/Can’t tell my friends, ‘cause they all talk now.” And what they’re likely to talk about is whether or not they “approve” of Cyrus’ romance.

    However, it doesn’t take David Byrne (who has been having quite a moment in terms of being embraced by female pop stars [/rockers, depending on who you ask] of a younger generation this year) long to weigh in on the matter from a supportive standpoint. A view that comes from a place of understanding for Cyrus’ situation—her desire to exist in a “love bubble,” as it were. Hence, “I don’t know if it’s day, I don’t know if it’s night/I don’t need to go out, I wanna stay inside/Come on over, love, and we’ll be lost and found/Come on over, love, and we can lock it down/Lock it down, down, down, down, down, down.” After Cyrus then delivers another round of the chorus, the song returns to its more experimental instrumental form. The one hinted at in the beginning, but that wasn’t quite “processed” by the listener due to how quickly Cyrus materialized with her vocals. But by the two-minute mark, the production comes into full focus.

    Amid the trippy horns and generally psychedelic aura (to that point, there is definitely something very Miley Cyrus & Her Dead Petz about “Lockdown”), Cyrus occasionally interjects with some minimal repetition of the same phrases. To create this transportive portion of the track—the part that takes up most of the thirteen minutes and thirty-one seconds—Cyrus clearly needed some co-production assistance. And she got it from Jonathan Rado, Maxx Morando (her still-current boyfriend), Max Taylor-Sheppard and Shawn Everett (with both Everett and Rado in particular working on most of the songs from Something Beautiful).

    The musical meandering of “Lockdown” changes tones and tinctures as the track goes on, eventually brought back to where it started around the ten-minute, forty-six-second mark, with Cyrus returning to the kind of vocal delivery that could actually be played on the radio (at least on an “indie” station) as she sings, “You bring out an animal feeling/Why’d you leave me waiting so long?/I’ve been drowning in your love beneath me/Drink my breath away ‘til it’s gone/Put me on your carousel, chandelier/Fairy tale, atmosphere/Marigold, fields of gold/Icon, centerfold/You’re the only one I chose/No one has to know, you know.” And so it is that Cyrus brings back the notion of “secrecy” into it, of keeping her “special relationship” away from anybody else to see, therefore judge (which is probably what would have made it a good song to play during Sex and the City’s “Secret Sex” episode, if only this single had existed at the time).

    Byrne then rejoins her to repeat his verse about not knowing if it’s day or night—this being a phrase that captures what it feels like to be caught in a kind of “sex haze” (a.k.a. honeymoon phase) with someone. Locked inside at all hours of the day because you’re still not sick of the other person (or the various orifices they have to offer). Of course, Byrne isn’t exactly referring to this, instead inviting his would-be lover over to join him in feeling lost together so they can, thus, be found (this echoing Addison Rae’s “Lost & Found” interlude on Addison, during which she repeats, “I lost myself and found myself again”).

    The length, “unwieldiness” and “incohesiveness” of the song all further point to what Cyrus suggested throughout interviews about Something Beautiful, which is that this might very well be her last attempt at bothering to write an album for the mainstream. Indeed, it’s clear she’s been gagging to go more full-tilt experimental for years (and yes, it all goes back to Miley Cyrus & Her Dead Petz). Even so, it’s also apparent that Cyrus continues to have a knack for creating “easily accessible” singles like “Secrets” (not to be confused with Madonna’s “Secret”), the first additional track on the deluxe version of Something Beautiful that helps listeners “ease in” more gently to the complexity of “Lockdown.”

    Or rather, “complexity” by the current standards of an “average” pop song (which scarcely clocks in at two minutes anymore). Luckily, Cyrus is still toeing the line between both “guises”: “experimental” and mainstream pop icon. Thereby making those who know and prefer her in the latter incarnation more amenable not just to her in the former incarnation, but also to the former genre itself.

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    Genna Rivieccio

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  • Miley Cyrus Will Keep Your “Secrets” (So Long as She Can Do It in Haute Couture)

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    In a bid to remind people of what a still-underlooked masterpiece Something Beautiful is (in truth, among her best albums to date), Miley Cyrus has returned with a new single, “Secrets,” from the deluxe edition of the record. Perhaps unfortunately timing the release to coincide with the advent of Cardi B’s Am I the Drama? and Lola Young’s I’m Only F**king Myself, it’s possible that her new iteration of the album might get lost in the proverbial shuffle, but, hopefully, listeners will at least pay attention to the fact that “Secrets” exists, if not the fact that a deluxe album does. And that, more importantly, it’s Cyrus’ “peace offering” to her father, Billy Ray Cyrus (as in, the man that made her a nepo baby).

    That said, in captioning a clip of the video on her Instagram account, Cyrus was sure to say, “This song was written as a peace offering for someone I had lost for a time but always loved. In my experience, forgiveness and freedom are one and the same… This song is for my dad” (though, as alluded to, it’s as much for her as it is for him, because it means being free of the toxic emotions that come with resentment). Accordingly, the single, co-produced by Cyrus, Jonathan Rado, Shawn Everett and Michael Pollack, bears an extremely nostalgic sound—one that’s drenched in the vibe of 1980s-era Fleetwood Mac.

    So, naturally, why shouldn’t Cyrus have Lindsey Buckingham and Mick Fleetwood accompany her on the track (though, noticeably missing is Stevie Nicks—even if she seems to have reconciled her differences with Buckingham earlier this year)? Indeed, it’s their contributions that help make the song sound more distinctive and unique despite lyrics that are frequently ripe with banalities that have already been well-played. Namely, Cyrus’ assurance, “Anywhere you go, you know I’ll follow/I’ll follow anywhere you go.”

    This, of course, smacks of Peggy March’s “I Will Follow Him,” when she sings, “I will follow him/Follow him, wherever he may go.” Worse than that, it mimics The Calling’s only hit, “Wherever You Will Go,” when Alex Band promises, “I’ll go wherever you will go/Way up high or down low.” Regardless of Cyrus reemploying this cliché, she makes it all her own, especially with the haute couture-drenched visual that accompanies her earnest pledge. Fittingly dramatic in its presentation—while also embodying the aesthetic of one of Cyrus’ many high-fashion brand commercials/print ads of the moment (e.g., Gucci and Maison Margiela)—the newly “matured” singer roams an empty space while outfitted in an all-white getup (complete with the kind of headpiece Madonna was rocking at the 2021 VMAs afterparty), presumably Maison Margiela. And yes, she even has the audacity to insert a Katy Perry-coined phrase when she announces, “We’re chained to the rhythm.”

    But whatever baggage she was previously chained to when it came to her relationship with her father, Cyrus has decided to not only let it go, but to rebuild with this song. One that Billy Ray was so touched by that he even felt compelled to write of it on his Instagram account, “For my birthday, Miley gave me the gift of music and wrote me a song called ‘Secrets’ and got my favorite musicians Fleetwood Mac to play on it! I love you Mile.” And yes, it’s not lost on anyone that Cyrus has further layered the song’s weight and meaning by including these two heavy-hitting musicians from a previous generation. The intent being to “bridge the divide” by joining forces. Of course, that doesn’t mean that Lindsey or Mick were about to appear in the video with her.

    Instead, Cyrus carries the song all on her own in this regard, walking through an empty theater at the midpoint of the video in a perhaps even more dramatic ensemble, this one featuring a bejeweled black mask she wears while sitting down in one of the red fabric-upholstered seats. Slowly, she pulls the mask off, as though to symbolically mirror that she’s now decided to let down all her defenses when it comes to dealings with her father (would that Lana Del Rey could say the same about her mother). This echoing her surrender to vulnerability in the very first verse of the song (the verse that happens to contain the most original-sounding lyrics), “Secrets, I wanna keep your secrets/Like sunlight in the shadows/Like footsteps in the grass/I won’t ever break my promise/Like a songbird in the silence/Like stones against the glass.”

    This urging on Cyrus’ part for her father to fully grasp that he can trust her with things/information he might have previously been afraid to share (especially based on the reactions that Miley set a precedent with) is meant to be a sign of her growth. A show of newfound strength and resilience when it comes to handling family matters she previously couldn’t. In other words, the family matter pertaining her parents’ divorce in 2022. At the time, Cyrus heavily took sides with her mother, Tish, but, in the present, she’s learned to accept both parents’ choices and the individual lives they’re currently leading (with both having moved on to new partners).

    After lying down on the floor of the theater to sing, “Can I be your hero?/Call off all your forces/A white flag in the war” (an image and vocal timbre that recalls “End of the World,” itself a song written for her mother), Cyrus seems to purge something from within herself.

    So it is that she emerges from the theater bearing an aura that suggests she’s been “transformed,” with the marquee outside displaying the lyrics, “Anywhere You Go Know I’ll Follow” as though they’re a movie title. And, in the movie that’s been Cyrus’ life thus far, that little platitude hasn’t always been the case (except when it came to Liam Hemsworth—and we all saw how that turned out). If it is now, it’s only because Cyrus has gone through the emotional work to make it so. At least for select people in her orbit.

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    Genna Rivieccio

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  • Billy Ray Cyrus Shares Unreleased Song Miley Wrote for Him

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    Billy Ray Cyrus
    ‘Secrets’ Out
    … Shares Birthday Song From Miley!!!

    Published


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    TMZ Staff

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  • Mondo Ironico #8: Britney’s Formerly “Too Sexy For Children” Looks Suddenly Being Distilled Into Toy Form

    Mondo Ironico #8: Britney’s Formerly “Too Sexy For Children” Looks Suddenly Being Distilled Into Toy Form

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    In a series called Mondo Ironico, let us discuss how fucking antithetical something in pop culture is.

    For anyone who witnessed the rise of Britney Spears that truly began in 1999 (though her illustrious debut single, “…Baby One More Time,” was released in 1998), it’s impossible to forget that the number one criticism lobbed against her was being “too sexy” for the demographic she was theoretically “geared toward”: little girls, tweens and teenagers. As many pop stars after her would learn (including the likes of Miley Cyrus and Olivia Rodrigo), the pressure to remain “Disneyfied” was constant, even after Spears herself was no longer in her teenage years.

    The condemnation surrounding what she wore as her success amplified got so out of hand that, after the 2000 VMAs—during which she wore one of her then most scandalous outfits to date (a sheer bejeweled bra top with matching low-rise pants that made for a shimmering nude effect [with help from a coordinating nude thong, naturally] which presaged her literally nude look in the “Toxic” video)—MTV thought it would be a cute idea to make her sit down and watch some of the hot takes from people on the street about the way she dressed.

    Some of the comments included, “If I had a little girl, I wouldn’t want her to emulate Britney Spears, you know, if she’s like twelve, thirteen, anything like that,” “Think about those twelve-year-olds that listen to your music and think about the twelve-year-olds who saw you on the VMAs. Think what they’re thinking. They’re probably thinking that it’s okay to dress like that, which it’s not.” To this particular criticism, Spears responded to the screen, “I’m not their parent, man.” Another commenter added, “She’s a role model to little kids and she doesn’t need to dress like that.” The furor surrounding Spears’ body and how much of it she chose to reveal as the 00s went on reached another crescendo when, during her now infamous 2003 interview with Diane Sawyer, the latter knife-diggingly mentioned how Kendel Ehrlich (the wife of then Maryland governor Robert Ehrlich) said, in reference to the way she dressed/was a “bad” role model for her young fans (not the male ones, mind you), “You know, really, if I had an opportunity to shoot Britney Spears, I think I would.” Naturally, it came as no surprise that Ehrlich would later serve in the Trump administration.

    Conversations around Spears’ body and being “too sexy” gradually began to taper off after 2008’s Circus, when, conveniently, a new batch of pop stars began rising to prominence—including Miley Cyrus, Taylor Swift (even if then still in “country” form) and Katy Perry (who didn’t know her peak would cease with Teenage Dream). This wasn’t just because the media was trying to be “nicer” to her after contributing to her very public breakdown in 2007 through early 2008, but because, by pop star standards, she was finally considered day-old bread (she turned twenty-seven the year Circus came out). In the time since then, it has also become less acceptable to make comments about a woman’s body or how she dresses—and now, perhaps even unacceptable to be anywhere near the realm of what Eminem would call a “stan.”

    By the same token, female pop stars have seemingly decided to “cover up” in general (with Billie Eilish being one of the first to set this trend during the teenage years of her initial stardom). This phenomenon was crystallized in a 2021 Salon article titled, “From Britney to Lorde: Young women shift from embracing body positivity to body neutrality as teens.” Which, of course, only adds further insult to Spears’ injury—as she seems to be positioned as some “relic” of what pop stardom used to mean when, in fact, she was arguably the last great show(wo)man.

    All of this is to say that, after everything Spears endured in terms of the venomous rhetoric about what she chose to wear (or not wear) during the first eight-ish years of her career, some of those formerly salacious looks are now being deemed perfectly suitable to be turned into Fisher-Price Little People. Specifically, Britney Spears is becoming part of the Little People Collector editions that have also extended to the likes of The Beatles and E.T. Obviously, compared to those two, Spears’ Little People renderings are patently more “controversial.” Except that we’ve now entered an epoch where there is really no such thing. In fact, it’s more controversial to be conservative in the present climate than it is to be “liberal” (mind you, if you tear the mask off a liberal, you’re likely to find a conservative). Thus, the ease with which Fisher-Price opted to make miniature versions of Spears in some of her most “notorious” looks is but par for the blasé-about-sexuality course.

    Among the looks selected to immortalize in “Little People” renderings is a version of Spears in her “…Baby One More Time” schoolgirl outfit, her “Oops!…I Did It Again” catsuit, her 2001 VMAs “I’m A Slave 4 U” costume and the flight attendant getup from “Toxic” (apparently, they had to stop short at choosing her naked-save-for-some-glued-on-diamonds look from that video)—and yes, these variations of Spears have already been rendered in Funko Pop! form. Her “toy-ification” knowing no limits, which of course has plenty of symbolic implications.

    Another irony about the whole thing is that it is precisely because of the decreased interest in sex (all in keeping with George Orwell’s 1984 predictions) that Spears’ formerly “overly provocative” looks are no longer a source of such frenzied “hullabaloo.” In short, no one is really “that interested” in the voyeuristic sensibilities Spears once stoked at a time when the internet’s sexual scope was far more limited. Thus, the sudden “no big deal” aura surrounding Fisher-Price’s decision (or rather, the millennial in charge of said department who likely made it) to turn these erstwhile “scandalous” instances in Spears’ career into toys suitable for “children ages three and up” (a very big range, obviously) is not just a sign o’ the times, but yet another slap in the face to Spears.

    Though, hopefully, at the very least, she 1) sanctioned the use of her image for this product and 2) will receive the majority of the money it rakes in. Though that still feels like a small token of “justice” for all the suffering she underwent for her “too sexed-up” persona before it was deemed suitable for distilling into a collectible toy.

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    Genna Rivieccio

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  • I Miss The Old VMA’s

    I Miss The Old VMA’s

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    MTV’s Video Music Awards used to
    mean something. They’d be riddled with scandal, big performances, and newsworthy moments throughout. Last year, they even gave me a glimmer of hope that maybe the VMA’s would once again become iconic. Last night, they proved otherwise.


    Riddled with random performances, there were hardly any awards handed out on-stage last night. We only got a few words from Sabrina Carpenter, Chappell Roan, and Taylor Swift while the rest were quietly awarded off-camera. Lip-syncing left and right, an extra-long performance from Katy Perry, who was the recipient of the Vanguard Award, and random quips from host Megan Thee Stallion fell flat.

    @thesun What did you think of the performance? #sabrinacarpenter #vmas #mtv ♬ original sound – The Sun

    The VMA’s used to mean something. There once was drama, huge career-defining performances, and huge attendance from every artist in the industry. It was less formal than The Grammy’s, a little more MTV…raunchy, scandalous, and
    great television.

    @only_angel.a taylor mouthing “stfu” when one direction was accepting their award, harry eating an orange behind rihanna, miley’s whole performance (which harry later went on to dress as for halloween)… I remember it all too well #taylorswift #harrystyles #vmas #harrystylestitkok #taylorswifttikok ♬ I Knew You Were Trouble (Taylor’s Version) – Taylor Swift

    What happened to Taylor Swift doing a British accent in front of ex-boyfriend Harry Styles while singing “We Are Never (Ever) Getting Back Together?” Or Kanye West interrupting Swift as she accepted the award for Best Video? Or Miley Cyrus twerking with teddy bears and Robin Thicke?

    @tanaslaughter Kanye West interrupts Taylor Swift’s acceptance speech at the 2009 VMAs #kanyewest #taylorswift #popculture #2000s ♬ som original – tana

    Performances used to take our breath away: Lady Gaga’s “Paparazzi” changed lives, Britney Spears, Michael Jackson, and more have had massive moments at the VMA’s. This year, we saw terrific performances from the aforementioned Carpenter and Roan…but the rest I will soon forget.

    @lilly.hailey.lee Talent👏👏 #ladygaga #hollywood #vmas #preformance #talent #fame #thefame #american #fyp #viral #paparazzi #2000s #hollywoodmusic #music ♬ original sound – Lady Gaga is your queen

    What we wanted, however, was a jaw-dropping moment. And yes, I saw Sabrina Carpenter make out with the alien. I’m talking about a headline worthy moment, like Miley stripping her Disney princess status for edgy popstar or Kanye completely stealing Taylor’s moment.

    Either way, I’m left yearning for drama. The VMA’s were never supposed to be taken seriously- they were meant to show which celebs hated each other, which wanted to ruin their careers, and which were just bystanders.

    This year was an hours-long concert medley including the Sabrina-Shawn Mendes-Camila Cabello love triangle…and yet, the cameramen gave us no dramatic cuts to Shawn or Camila while Sabrina sang a song about them. See what I mean? Where’s the
    drama???

    What made the VMA’s truly great was the fact that they weren’t trying to be serious. They let the artists get drunk and talk shit on one another, and that was okay. Now, we’ve lost the plot and it sadly shows.

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    Jai Phillips

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  • Celebrity Photographer Vijat Mohindra On Shooting Plastic Girls in Plastic Worlds

    Celebrity Photographer Vijat Mohindra On Shooting Plastic Girls in Plastic Worlds

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    Tinashe for Gay Times Magazine. Copyright © Vijat M Photography, 2024. All Rights Reserved.

    Hollywood’s favorite photographer, Vijat Mohindra, is living the dream. He’s shot Kim Kardashian multiple times since 2009, to market Skims and her scent and just because. You’ve probably seen his photos of Doja Cat, Miley Cyrus, Dolly Parton, Cardi B… the list of his subjects is long and populated by luminaries from across the spectrum of celebrity. He’s shot Pamela Anderson for Paper. Nicki Minaj for Complex.

    How can you spot a photo taken by Mohindra? There’s the signature colorful, Pop-ish aesthetic possibly best described as Barbie-esque. But despite the candy pink and blue and yellow plastic fantastic backdrops, Vijat’s subjects are always vibrant, dynamic and very much portraying themselves. Perhaps that’s not surprising, as he learned the ropes from famed celebrity photographer David LaChapelle. In the years since, he’s shot music videos, magazine spreads, album covers and more for some of the world’s top talent.

    Machine Gun Kelly for Billboard. Copyright © Vijat M Photography, 2024. All Rights Reserved.

    Mohindra is still shooting, but he’s been branching out. Earlier this year, he opened his first studio space in downtown Los Angeles, Powder Room Studio LA, which has a dozen uniquely Mohindra-esque sets in which to shoot everything from stills to reels. The 4500-square-foot space looks like Barbie’s 1990s-era dream house, and Paris Hilton and Christina Aguilera were early fans.

    We chatted with Mohindra on a busy weekday morning about the new studio, why he loves polished portraits and his advice for young photographers.

    Observer: What’s the story behind the Powder Room?

    Vijat Mohindra: I’ve been a photographer—a celebrity photographer—in Los Angeles for the last 15 years, and in those years, I designed and created a lot of different environments for my shoots. Over time, I started collecting all these amazing set pieces that were left over from my shoots. They were just too gorgeous to throw away. I had them in storage at one point and I looked through it all, and I said, oh my gosh, all this stuff looks so great together. Maybe I can put it together in a format that could bring it all to life. And then I realized that could also be a place where creatives, photographers, directors, filmmakers, etc., could come and see all these amazing pieces.

    The Living Room in Vijat Mohindra’s Powder Room Studio LA. Courtesy Vijat Mohindra

    It looks like a Barbie house to me. Why?

    It has that Barbie aesthetic because a lot of my work is very synthetic—very plastic, with a kind of glossy sheen to it. And then it all just sort of happened to have these different elements that coincided with the Barbie aesthetic but with a very ‘80s take on it. Pink is the color I use a lot. In a way, it made sense to create this surrealistic Barbie dream house experience.

    Selfie museums are still on the rise—can just anyone come in and take some snaps with the sets?

    Honestly, the space is for everybody. I have a lot of people from Instagram and TikTok coming in who just book the space for a few hours to create their own videos.

    How common is this type of space in L.A.?

    I’ve heard from some other people who have studios with a similar type of setup, with standing sets. They started back maybe around like 2018 or 2019, when there were maybe a thousand or so listings online of places like this throughout the Los Angeles area that could be rented for shoots. Now in 2024, it is up to around 8,000 spaces like this. It’s something that exploded in a way. Not all the spaces listed are aesthetic and design-focused the way mine is. I feel like the Powder Room is a very special category.

    Let’s talk about your work. How do you feel about Photoshop?

    I’m a big fan of Photoshop. I went to school for photography at the Art Center in Pasadena around 2003—right when film was switching over to digital—and I graduated around 2007. That was when this big debate was going on as to whether film was the future or digital. But when I took a digital photography class toward the beginning of my education, I realized that it was the way of the future.

    It was amazing to be able to get all these different pictures and put them on the computer right away. You didn’t have to scan or retouch negatives. Photoshop opened a whole other dimension of creativity that wasn’t there for me with film. So, I’m a huge fan. I think it is beautiful, and it enhances pictures in an amazing way. That said, I still have respect for and really love certain film photography. I think there’s value in it, and I do see a lot of people going back to that nowadays as a trend because so much digital photography is over-saturated.

    Paris Hilton for Gay Times Magazine. Copyright © Vijat M Photography, 2024. All Rights Reserved.

    How do you feel about representing celebrities in a flawless way?

    In a flawless way?

    Glossy. That very L.A. aesthetic.

    I really love a polished celebrity photograph that is very well-lit and has that glossy, punchy aesthetic to it. I’ve always been inspired by that type of celebrity photography going back to the ‘70s and ‘80s with Andy Warhol and the Interview Magazine covers. I think that it brings that glamor and special sort of sparkle that we kind of associate with celebrities. I like photographing them that way because I think that’s the way I see them in my head. And so that’s the way I want to put them on paper—to show people how I see them. I feel like it’s very powerful and it’s kind of show-stopping.

    What’s it like behind the scenes once you actually get to know these celebrities?

    For most of my celebrity photographs, there have been a lot of collaborative experiences where I will work with the artist to figure out what their aesthetic is or what drives them. And we build a concept around that and bring it to life from there. I really like finding out more about a celebrity’s personality and their background and what they’re interested in and then pulling that into what we create together.

    Shannon and Shannade Clermont. Copyright © Vijat M Photography, 2024. All Rights Reserved.

    Who are some of your favorite celebrity photographers and why?

    My absolute favorite is David LaChapelle; he’s just one of my icons. I have been very lucky to have been able to assist him at one point during my career, which was a huge highlight. I just love his take on celebrity photography. It’s so different from anything that I’ve seen and is so imaginative and creative. I really look up to the creativity that he brings to the celebrity photography world. He takes celebrities out of their worlds and puts them in this hyper-creative, colorful, aesthetically driven space that I just find so beautiful. I also love the work of Annie Leibovitz, as well as Pierre and Gilles, a French photography duo who shoot creative portraiture that’s aesthetically driven. I love Miles Aldridge, who’s more of a fashion photographer but shoots celebrities in ways that are highly creative and very colorful.

    Miley Cyrus. Copyright © Vijat M Photography, 2024. All Rights Reserved.

    What is next for you now that the space is open?

    I’ve been working a lot on Powder Room Studio LA—trying to get it up and running. It only launched this past January, but I’m happy to say that we are pretty booked up at this point. We’ve been getting quite a few bookings from brands as well as individuals, and we’ve gotten some great celebrities into the studio, too, like Paris Hilton and Cardi B. The space has been getting some great recognition, and that’s still my focus.

    Last question. What advice do you have for young photographers entering the industry?

    I’d give them the same advice I was given when I was in photography school, which I still think about to this day. One of my professors told me that you should always shoot what you love, and that really left a lasting impression on me. I feel like if you’re not shooting what you love, you don’t really put the same passion behind it. Passion is what really shows in your overall body of work—it’s the thing that people connect with the most.

    Check out Vijat on Instagram at @vijatm.   

    The unassuming exterior of Powder Room Studio LA. Courtesy Vijat Mohindra

    Celebrity Photographer Vijat Mohindra On Shooting Plastic Girls in Plastic Worlds

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  • Will Sabrina Carpenter and Olivia Rodrigo Work It Out on the Remix?

    Will Sabrina Carpenter and Olivia Rodrigo Work It Out on the Remix?

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    We’re in the best of times (brat summer), but we’re also in the worst of times (constantly fielding articles by Some Guy about how brat summer is dead). But how could brat summer be over if I feel it in my heart? If they’re still playing “Guess ft. Billie Eilish” at Tenants of the Trees in LA (where Charli XCX herself had her birthday party for some reason)? And if the impact of brat summer is still causing ripples through the culture it cannot be over.


    No, I’m not talking about Kamala’s brat green rebrand. I’m talking about something more substantial — the very same thing that had last summer in the same chokehold: the infectious and irresistible power of girlhood.

    Last summer caused a vibe shift. Culture started catering to women. Let’s be real: Women have been the drivers of pop culture for a long time. I, for one, will never forget that artists like The Beatles and Elvis, who are still taken seriously as iconic musical artists today, caused fanatical frenzies, not unlike artists like Justin Bieber and One Direction. Yet, despite our clear good taste, women have historically been written off as fickle while culture catered to men.

    Just think of how the 2000s were defined by blockbuster summer movies. Usually, an action movie would dominate, followed by a “chick flick” that was relegated to date nights or the whims of teenage girls. Yet, when
    Barbenheimer resurrected this dynamic, one had a clear chokehold on the internet and the world. And since I haven’t seen Oppenheimener-flavored Olipops, no prizes for guessing which one it was.

    This summer isn’t defined by movies (Twisters and It Ends With Us aren’t the Barbenheimer redux we wanted) it’s characterized by music. And while the guys gave it the old college try — Kendrick did release the ultimate hater anthem with Not Like Us in the Spring — the girls take it yet again.

    And despite seasonal albums from established pop stars like
    Dua Lipa and Ariana Grande, queer (or queer-coded) female artists have blown up this summer. All of them have also been grafting behind the scenes for years before finally getting their flowers. But now the world is listening. We’re learning. And we’re obsessed.

    Of course, there’s the princess of the summer,
    Sabrina Carpenter, who is the latest Disney veteran to make it big. We’ll get to her Disney drama later, but this summer, it’s all about our Short n Sweet queen’s infectious earworms. We called it earlier this year: she is the moment. Her rise to fame has been inevitable.

    Then there’s the surprise star of the year,
    Chappell Roan. So glad bisexual women decided not to gatekeep this absolute star. The fact that I’ve been listening to Chappell since 2020 and I’m still not tired of “Pink Pony Club” says a lot.

    But
    Charli XCX’s mainstream moment is arguably the most surprising. Charli is a giant to music lovers and, of course, the queer community. A real dyed-in-the-wool party girl, she grew up in the clubs and doesn’t just talk the talk, she throws the parties. Despite her collaborations with literally everyone, her Grammys, and her hits, Charli XCX is only now becoming a household name. Why? Because we’re finally ready for her.

    Girlhood is brat. Brat is girlhood. Girl, it’s so confusing, but it’s about being a girl

    Girlhood is the name of the game and Charli writes for the girls and the gays. Her album speaks to the desire to hold on to the feeling of youth juxtaposed with the realities of growing up. Who can’t relate? She talks about themes integral to girlhood: going on vacation and thinking it will change your life, going to a party and thinking it will change your life, and having dinner with a girl and thinking she hates you.

    @thepopupdates The best duo everrrr #charlixcx #lorde #girlsoconfusing #brat #popmusic #music #foryou #foryoupage #fyp #viral ♬ original sound – Pop Throwbacks & Updates

    The latter was the impetus for the internet-breaking track “The girl, so confusing version with lorde.” After Charli released the original version of “girl, so confusing,” the internet rightly assumed it was about her years-long pseudo-beef with
    Lorde. Lyrics like: “I’m all about throwing parties / You’re all about writing poems,” and “People say we’re alike, they say we’ve got the same hair,” added fuel to the fire of their reported feud. So imagine our surprise when Charli released a version with Lorde herself. Like Miss Ella, honestly, we were speechless.

    Lorde knew what she was doing when she said: “When we put this to bed, the internet will go crazy.” Sure enough, the internet erupted. And it did the same once again when footage was released of the two scream-singing their instant classic of a collab at Charli’s birthday party. What a way to put the feud rumors to bed.

    Will Sabrina Carpenter and Olivia Rodrigo work it out on the remix?

    @ce__1l girl girl 💚 // #ce__1l #fyp #foryoupage #lyricsvideo #music #sabrinacarpenter #oliviarodrigo #brat ♬ Girl, so confusing featuring lorde – Charli xcx & Lorde

    After Lorde and Charli worked out their decade of competition over a Jack Antonoff beat, the internet speculated: who would be next to quell their beef with the power of song? If it seems like the plot of a Disney movie, get in for the ride — the Disney of it all has just begun.

    A few weeks ago, sources reported that former Disney stars turned stadium-selling pop stars Olivia Rodrigo and Sabrina Carpenter might be collaborating on a song. With the upcoming release of Carpenter’s highly anticipated album sneaking up on us, fans speculate that this could be a surprise track waiting on the record.

    If you don’t understand how earth-shattering this is, let me take you back to 2021, when
    Olivia Rodrigo first took the world by storm with her song “drivers license.” The song, and subsequent album, chronicled her heartbreak about how her costar and ex-boyfriend Joshua Bassett left her for “that blonde girl.” The blonde in question? Sabrina Carpenter.

    That’s right. Our very own me espresso was the villain in
    the “drivers license” saga. And you mean to tell me the two of them have put their boy drama aside to collaborate? Please, please, please tell me if this is true. If it is, I’ll be sat watching it unfold. As if I needed another reason to eagerly await the release of Short N Sweet.

    In the meantime, I’m making a list and checking it twice about all the other celebs I want to see quell their beef. And yes, the list gets more and more unhinged as you go down, tis the summer of collabs. And our favorite artists are proving that magic can be made if they do it together. Billie and Charli did it. Kendrick and the entire rap community did it. Who is next?

    @kittywaless their lore😍 (pls keep the comments respectful) #catherineprincessofwales #princessofwales #princesscatherine #princesskate #catherinemiddleton #katemiddleton #duchessofcambridge #brat #girlsoconfusing #britishroyalfamily ♬ Girl, so confusing featuring lorde – Charli xcx & Lorde

    People we want to see work it out on the remix:

    One Direction

    This is my ultimate dream. The
    Paris Olympics may have made you fantasize about what life would be like if you hadn’t quit JV basketball, but it made me dream about seeing my beloved One Direction again. After all, I can’t watch an opening ceremony without thinking about their performance at the 2012 London Games. Stranger things have happened than a boyband reuniting. The second they announce a tour, I’m quitting my job and dedicating my life to following them around on tour. Hold me to that.

    Hilary Duff and Lindsay Lohan

    The Sabrina Carpenter and Olivia Rodrigo feud is the closest our generation will ever get to experiencing the magnitude of drama caused by Lindsay Lohan and Hilary Duff. As the two defining Disney sensations turned movie stars of their time, Duff and Lohan were pitted against each other by the media. Everybody knew it: the two were rivals in their careers and in their relationships. We’ll never experience that kind of TMZ-stoked animosity again. But we’re older now. Duff and Lohan are both in new phases of their careers. If they worked it, the (millennial side of the) internet really would go crazy.

    Shawn Mendes and Justin Bieber

    These two divas have been competing to be the prince of pop for years. And their silent feud runs deep. In a radio interview at the beginning of Shawn’s career, Justin responded to a question about the other Canadian crooner with the dismissive and deadly, “who’s Shawn Mendes?” Then, after Mendes appeared with Hailey Baldwin at the Met Gala in 2018, Bieber quickly reignited his relationship with our favorite nepo baby and married her. Talk about winning the battle. The two already have a song together, “
    Monster,” but no one is buying that they’ve really worked it out. I want to see Shawn at Justin and Hailey’s baby shower or bust.

    Justin Bieber and Harry Styles

    Speaking of pop feuds, Bieber and Styles have been toeing a tension-laden line since 2012. Rumors swirled that One Direction was supposed to open for Bieber on his
    Believe tour but the plans were canceled — and dreams died. Reasons abound as to why but I suppose we’ll never know. As someone who attended that Believe tour, I have been waiting for them to work it out on the remix ever since.

    Selena Gomez and Demi Lovato and Miley Cyrus and The Jonas Brothers

    Other feuds from my childhood I want fixed: the Disney Channel stars involved in the seminal sustainability single, “Send It On.” That was our Fleetwood Mac
    Rumors. With loyalties crossed, relationships breaking friendships, and a whole lot of teen angst going on, the Disney Channel producers had one song and one song only to change lives. While we were watching “Send It On” play during Disney breaks, we had no clue about the drama simmering beneath the surface. But imagine if they put that to bed? The internet would go crazy.

    Joe Jonas and Taylor Swift

    Of all of Taylor’s exes, she’s clearly already worked it out with Taylor Lautner — who was backflipping across her Eras tour stages for a brief stint last summer. But the reconciliation I really want is between Taylor and Joe. Sure, she’s written some scathing songs about him. And she told the world on
    Ellen that he broke up with her in 17 seconds. And she’s befriended Sophie Turner. But for a brief moment, Taylor made up with Kanye West, so stranger things have happened. Can you imagine a mashup between “SOS” by The Jonas Brothers and “The Story of US” by Taylor Swift? My Spotify Wrapped would become unshareable.

    Katy Perry and Taylor Swift

    Though allegedly this feud started due to the backup dancers, Perry has become one of
    Swift’s famed list of enemies. And as the queen of “Karma,” Swifties know that all of Taylor’s adversaries never fare well — just look at Ye or Scooter Braun. Katy Perry’s comeback might be another one of these casualties. Ouch. If the two managed to reconcile their “Bad Blood,” imagine the album Katy Perry would create.

    Nelly Furtado and Fergie

    Remember the song “
    Give It To Me” by Timbaland, Nelly Furtado, and Justin Timberlake? Thanks to TikTok, the song experienced a recent resurgence. But did you know the entire song is a diss track? Justin Timberlake’s verse is about Prince (more insane than “what tour? The world tour”), Timbaland’s verse is about Scott Storch, and Nelly Furtado’s verse is about Fergie. But what if we stopped pitting two pop icons against each other and instead begged them both to have a comeback … together?

    The Don’t Worry Darling Cast

    The
    Don’t Worry Darling press tour pitted all our favorite stars against each other in the public arena: Harry Styles, Florence Pugh, Olivia Wilde, Chris Pine, and Gemma Chan. And while that trainwreck of a movie doesn’t need a sequel, I would animatedly watch one just to keep keen eyes on the press tour.

    The It Ends With Us Cast

    If we thought there would never be another press tour as dramatic as
    Don’t Worry Darling, Justin Baldoni of the It Ends With Us cast just hired Johnny Depp’s lawyer — so it’s inarguably surpassed its dramatic predecessor. With Blake Lively and Baldoni both waging a press war, some are hoping It Ends With Us will just … end. But I need a little entertainment to tide me over into fall. And if the movie itself won’t provide it, the hope of a last-gasp reconciliation might.

    Kendrick Lamar and Drake

    I know this will never happen. In fact, if it did, I’d
    lose some respect for Kendrick, honestly. But sometimes I like to imagine that all of this was just marketing for a joint album a la “Watch the Throne.”

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  • These Can’t All Be The Songs of the Summer: Summer Hit Showdown

    These Can’t All Be The Songs of the Summer: Summer Hit Showdown

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    Each new song is claiming to be
    the song of the summer. This is not random TikTok singers doing their obligatory self-promo with the tried-and-true hook: “Did I just write the song of the summer?” But don’t blame them. Blame the labels that are vying for a number-one hit. Blame TikTok for making songs viral overnight. Or blame each and every one of us who exclaims “song of the summer!” whenever our favorite songs come on the radio. There’s even a Spotify playlist power ranking all of this years contenders.


    Everyone’s seeking the perfect summer soundtrack. I make a new playlist once time April hits (overeager, I know) with all the songs I have on repeat for the season. It ranges from UK Drill to Alt-Pop bangers. If you don’t have Central Cee and Clairo playing back-to-back this summer, what are you even doing?

    But yet, come summer one song stands out as
    the song of the season. It’s the song that’s on everyone’s mind and everyone’s playlist. It’s the song everyone requests at parties, that plays every hour on the hour at the club, and the song we find ourselves humming mindlessly at the pool and on the beach.

    Some years, it’s obvious. But this year, we’re spoiled for choice.

    Dare I say it: we’re having a Summer 2016 Replay. For Gen Z and younger Millennials, Summer 2016 has taken a mythical quality online. Fall and Winter were when everything started to go wrong — some even say the killing of Harambe that May was the catalyst to all the ceaseless tragedy that’s happened since. If you’d told us then what the world would look like now, I would
    not have believed you. It was the rise before the fall. It was a summer of possibility, incredulity. And it was a summer of really good music.

    Leading up to Summer 2016, we had new albums from Beyonce (
    Lemonade), Rihanna (ANTI, her last project), Drake (Views), Justin Bieber (Purpose), and Ariana Grande (Dangerous Woman). Those albums gave us summer hits like “Sorry,” “Work,” “One Dance,” “Controlla,” “Love Yourself,” “Into You,” and so. Much. More. Not to mention, right at the end of summer, Frank Ocean finally dropped “Blonde” and changed music forever. He ushered in the genre-less, experimental sound to mainstream music and is on the inspo board of everyone you love, I promise.

    The radio was also blasting singles that still get regular play at clubs. Mike Posner’s “I Took a Pill In Ibiza,” “This is What You Came For” by Calvin Harris, Dua Lipa’s first hit “Hotter than Hell,” “Cheap Thrills” by Sia, and “Panda” by Desiigner. Doesn’t that take you back?

    Since then, no other summer has matched the vibes and the soundtrack of Summer 16. Last summer was the summer of cinema — with
    OppenBarbie taking over the box office and the planet. It was the summer of the girl, too. But summer 2024 is promising to have it all.

    The summer festival circuit is in full swing with lineups that people are actually excited about and performances that are making and reigniting stars. Chappell Roan at
    Coachella blasted her way to success, going from a niche, “gay famous” singer to a mainstream hitmaker. Lana Del Rey is so back in a big way after headlining Coachella with a special appearance from Billie Eilish. Billie released her best album yet, full of summer bangers and ballads alike.

    But we can’t talk about Summer 16 without talking about Sabrina Carpenter. “Espresso” has been sitting pretty at the top of the charts since spring. It’s everyone’s hyperfixation song. It’s been played and played and I’m not even close to tired of it. While Sabrina has been writing music for years, her 2023 album
    emails I can’t send has been a gamechanger for her career. Her mainstream success was slowly climbing with hits like “Nonsense” and “Feather” but nothing can compare to the level of fame she’s seeing in the wake of “Espresso.”

    Out of nowhere, the lead single from her upcoming album became the unexpected song of pre-summer. But as we head into the season’s later months, can it keep up its momentum? Only time will tell. We’re spoiled for choice this summer with a bevy of hits from artists of every genre. Of course there are expected summer stars like Dua Lipa, Billie Eilish, and Post Malone, but other more surprising contenders are vying for the Song of the Summer Title.

    Here’s what we think of all of summer’s most infectious songs:

    Espresso — Sabrina Carpenter


    The perfect summer anthem. “Espresso” is a feel-good bop that I can listen to on repeat. I doubt I’ll ever get tired of it — no wonder it won’t exit the Billboard chart. The only thing keeping it from being the definite song of the summer is that it came out in early Spring. But don’t worry, Miss Sabrina has more than one card up her sleeve.

    Please, Please, Please — Sabrina Carpenter

    After announcing her next album, Sabrina released her latest single, “Please, Please, Please,” alongside the video with her boyfriend, Barry Keoghan. “Don’t embarrass me, motherf*cker,” she croons in the song — talk about relatable. Taking a different tone than “Espresso” but no less infectious, Sabrina’s close-to-Country crooning displays that she’s a versatile star who won’t be banging out versions of the same song forever.

    I Had Some Help — Post Malone ft Morgan Wallen

    Speaking of Country Music, Post Malone’s country era is going swimmingly for the former-rapper with his new song, “I Had Some Help,” featuring Country star Morgan Wallen. Post Malone is no stranger to songs of the summer with hits like 2017’s “Congratulations,” 2019’s “Circles,” and his
    Spider-Man: Into the Spiderverse song “Sunflower” in 2019. This summer, he’s switching up genres but still racking up streams. Be prepared to hear this at every barbecue, beach house, or lake house or this summer.

    II Most Wanted — Beyonce and Miley Cyrus

    When Beyonce released her own Country album, it came with the infectious hit, “TEXAS HOLD EM.” The song’s opening line, “This ain’t Texas,” was on the tip of my tongue for months. Now that the album’s finally out, the surprising hit is her unexpected collaboration with Miley Cyrus, “II Most Wanted.” Miley had the song of the summer last year with “Flowers” and teaming up with Beyonce on this emotional ballad is pure magic.

    Nasty — Tinashe

    Tinashe has been toiling for years aiming for a hit, and now she finally has one. A true TikTok song, this summer anthem went viral in a hilarious video of TikTok user Nate Di Winer when he posted a video of himself dancing to Hey Choppi’s “Blind.” Tinashe took the video’s success, overlaid her own video and audio over it, and it went crazy-crazy-viral. The rest is history. Now it’s a sneaky, sleeper hit of the summer. And the TikTok sound “I’ve been a nasty girl” is sure to outlive it and head into the golden days of Autumn — at least.

    Million Dollar Baby — Tommy Richman

    We can’t talk about TikTok songs without mentioning Tommy Richman’s “Million Dollar Baby”. No, not the 2004 brutal boxing film starring Clint Eastwood, Hilary Swank, and Morgan Freeman. It’s a viral hit that instantly became an earworm. Who is Tommy Richman, you might ask? The 24-year-old singer and rapper is brand new to the scene — and what a debut. I wish it
    really was 2016 so everyone’s Instagram captions could be “Million Dollar Baby.” Simpler times.

    Too Sweet — Hozier

    TikTok is also responsible for Hozier’s first #1 hit in the US. Hozier’s been bringing his Irish accent-tinged voice to the charts since his massive debut single, “Take Me to Church.” But it took a post-album EP to skyrocket him to #1. After releasing
    Unreal, Unearth in late 2023, Hozier dropped a 4-song EP this April with some extras that didn’t make the album. And thank goodness he didn’t let these songs languish because “Too Sweet” is the folksy summer anthem we need.

    Good Luck Babe! — Chappell Roan

    The gays won with this song. Chappell Roan has been belting out her ballads and bops of yearning since her extended album promotion in 2020. Finally,
    The Rise and Fall of a Midwest Princess, her debut album came out in late 2023 but it took until her 2024 single “Good Luck Babe!” to get people to tune in. But now that the masses are listening, they cannot stop. This unapologetically queer hit has transcended the gay pop genre and is a chart-topping summer anthem for all of us entering our eras of yearning.

    LUNCH — Billie Eilish

    Speaking of unapologetically queer, this new Billie Eilish era is unmatched. Billie’s brand-new album,
    HIT ME HARD AND SOFT, is a masterpiece and already gaining Grammy buzz. Album of the Year? Probably. And she deserves it. She traverses genres and moods with this album, managing to create a sound that’s refreshingly unique and a album that feels cohesive despite its leaps and bounds. “LUNCH” is the sapphic song of my dreams, and “BIRDS OF A FEATHER” is a pop ballad that shows her range and her ability to create pop songs that last forever. [Read our full review of HIT ME HARD AND SOFThere.]

    Cinderella — Remi Wolf

    Remi will always be on my summer playlist so it’s exciting to hear her getting mainstream play. “Me and the boys in the hotel lobby,” is an infectious hook. And paired with her belting the chorus, it’s a textured song that I want to scream along to in my car with the windows down. [Read out interview with Remi Wolf at Spotify’s Lorem party
    here.]

    Houdini — Dua Lipa

    Queen of Vacationing. Queen of Red Carpets. Formerly, Queen of Summer. After 2017’s “New Rules” made her a certified pop girl, and “Levitating” was the post-covid anthem, we all expected Dua to have the Song of the Summer with hits from her latest album,
    Radical Optimism. Although hits like “Houdini” and “Training Season” have charted moderately well, they didn’t seem to stick. The vibes are good though, earning them a spot on my summer playlist despite everyone falling asleep on the job.

    Houdini — Eminem

    While Dua’s “Houdini” remains in the middle of the charts, Eminem’s return to music with his song, “Houdini” is climbing up the charts. It debuted at number #2 and is reaching for #1. This is his best showing on the charts in over a decade and bodes well for his upcoming album,
    The Death of Slim Shady (Coup de Grâce). The song is classic Slim Shady controversy bait. If cancel culture were actually real, Shady would be canceled for this one for sure — there’s a line about Megan Thee Stallion being shot (can rappers leave her alone?) and calling everything “gay.” But it’s catchy so it’s definitely going to stay in the charts for a while.

    Not Like Us — Kendrick Lamar

    By far, the most buzz-worthy rap hit is Kenrick Lamar’s diss track, “Not Like Us.” One of the final songs in the weeks-long saga that was his beef with Drake, it’s the final nail in the Drizzy coffin. You know you lost a rap war when one of the diss tracks becomes the song of the summer. Ouch!

    BAND4BAND — Central Cee, Lil Baby

    Wanna know who else is beefing? The US and UK rap scenes. The collaboration from Central Cee and Lil Baby isn’t bringing the two countries together, but tearing them apart. Each side is claiming their country carried the song. The British claim Lil Baby doesn’t sound as tough or “hard” as Cench, while Americans are making TikToks dancing to Cench’s verse in Bridgerton-like garb. I just want everyone to have fun. After Central Cee teamed up with Dave for my personal favorite song of
    last summer, “Sprinter,” they could never make me hate him.

    places to be — Fred Again.. Ft Anderson .Paak and CHIKA

    I wanna hear this at the club. I wanna hear this on a rooftop. I wanna hear this while sprinting through a field or rolling down a hill or doing something else to fix my inner child. “places to be” is fun, refreshing, and sounds like the endless possibilities of summer. [Read our review of Fred Again..’s Stanford show here.]

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    Langa Chinyoka

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  • Courtney Stodden Flushes Engagement Ring Down Toilet

    Courtney Stodden Flushes Engagement Ring Down Toilet

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    TMZ Staff

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  • Dua Lipa Accused of Copying Miley Cyrus’ ‘Endless Summer Vacation’ Aesthetic in ‘Illusion’ Music Video – 247 News Around The World

    Dua Lipa Accused of Copying Miley Cyrus’ ‘Endless Summer Vacation’ Aesthetic in ‘Illusion’ Music Video – 247 News Around The World

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    • Dua Lipa’s “Illusion” music video scene has been compared to Miley Cyrus’ “Endless Summer Vacation” album cover art, leading to accusations of copying.
    • The comparison focuses on the use of a blue sky background, a circular silver pipe, and the artist’s body positioning.
    • The incident has sparked debates on social media about the nature of inspiration and the influence of one artist on another.
    • Some users have criticized the perceived copying, while others suggest it might be an unintentional similarity.

    Dua Lipa Accused of Copying Miley Cyrus’ ‘Endless Summer Vacation’ – The accusation that Dua Lipa copied Miley Cyrus’ “Endless Summer Vacation” aesthetic in her “Illusion” music video is a complex issue that touches on the nuances of copyright law, particularly in the context of music and visual content. While the provided sources do not directly address the specific case between Dua Lipa and Miley Cyrus, they offer insights into copyright infringement cases involving music and visual content, which can be applied to understand the broader implications of such accusations.

    Copyright infringement cases often revolve around the copying of musical compositions, lyrics, or visual elements without permission from the original creator. In the music industry, copyright infringement can be based on the melody, lyrics, or both. For example, Miley Cyrus faced a copyright infringement lawsuit over her song “We Can’t Stop,” where the dispute centered on a specific phrase used in the song. This case highlights the importance of distinguishing between copyrightable elements, such as melody or lyrics, and non-copyrightable elements, such as themes or ideas.

    Dua Lipa Accused of Copying Miley Cyrus’ ‘Endless Summer Vacation’ Aesthetic in ‘Illusion’ Music Video

    In the context of visual content, such as music videos, copyright infringement can involve the unauthorized use of photographs, visual effects, or other visual elements. Photographer Robert Barbera filed a copyright infringement lawsuit against Miley Cyrus for sharing an image of herself on Instagram without permission. This case underscores the importance of obtaining permission or licensing from photographers when using their images, especially in a public or commercial context.

    Applying these principles to the accusation against Dua Lipa, it’s crucial to consider whether the “Endless Summer Vacation” aesthetic in her “Illusion” music video involves copyrightable elements such as specific visual effects, photographs, or other visual elements. If Dua Lipa used copyrighted visual elements without permission, she could be liable for copyright infringement. However, if the aesthetic is based on themes or ideas that are not copyrightable, the case might be more complex and could potentially involve fair use arguments.

    Fair use is a legal doctrine that allows limited use of copyrighted material without requiring permission from the rights holders. It is typically applied in cases where the use of copyrighted material is deemed to be for purposes such as criticism, comment, news reporting, teaching, scholarship, or research. Whether Dua Lipa’s use of the “Endless Summer Vacation” aesthetic in her music video qualifies as fair use would depend on the specifics of the case, including the nature of the use and the impact on the market for the original work.

    The accusation against Dua Lipa for copying Miley Cyrus’ “Endless Summer Vacation” aesthetic in her “Illusion” music video involves complex legal considerations related to copyright infringement and fair use. The outcome of such a case would depend on the specifics of the copyrighted elements involved and the nature of Dua Lipa’s use of those elements.

    Don’t Miss | Charlie Sheen’s Daughter Sami Unveils Unexpected Style at Coachella

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    247 News Around The World

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  • Barcelona Baby: Dua Lipa Channels Numerous Pop Girls in Video for “Illusion”

    Barcelona Baby: Dua Lipa Channels Numerous Pop Girls in Video for “Illusion”

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    As Dua Lipa continues to build the anticipation for her long-awaited third album, Radical Optimism, she’s already brought us a third single in the wake of “Houdini” and “Training Season.” The theme of “Illusion,” as it’s called (and in keeping with a title like “Houdini”), is more closely aligned to the one in “Training Season,” with Lipa telling off any man trying to spin some false yarn. In order to help convey that message in visual form is the always impressive Tanu Muino, who has increasingly branched out into collaborating with American musicians in lieu of the Ukrainian ones she started out working for. In fact, it was, of all things, a Katy Perry video (2019’s “Small Talk”) that signaled her transition to working with some of the biggest names in American pop and hip hop/R&B music (including Cardi B [“Up”], Normani [“Wild Side”], Lil Nas X [“Montero”] and Doja Cat [“Attention”]). 

    Dua Lipa only adds to that growing list and, together, her and Muino bring one of their most elaborate music video concepts yet—one that relies on the sumptuous, intoxicating backdrop of Barcelona. Indeed, it’s as though Lipa is beckoning us to join her in “summer mode” despite many locations still being hopelessly trapped in winter mode (spring season or not). And yes, it’s apparent that Radical Optimism is vying for “album of the summer” status, not just with its release date (May 3rd), but its water-filled album cover (featuring Lipa casually swimming near/toward a shark, presented in the Jaws manner of protruding fin only). “Illusion,” too, is water-filled, thanks to being filmed at the Piscina Municipal de Montjuïc. Known for hosting major sporting events, including the 1992 Olympics, the pool’s location on the Montjuïc hill is what affords it such a glorious panoramic view of the city, complete with Gaudí’s Sagrada Família in the background. A feature that Kylie Minogue opted to exclude from her 2003 “Slow” video, during which she also relished the cinematic potential of the location, albeit solely with overhead shots of her writhing seductively around in an orgiastic heap with all the other poolside loungers on towels. Lipa, in this way, makes her first homage to a pop girl—except that she chooses to maximize the location much more than Minogue did. 

    This commences with Muino’s establishing shot of Lipa perched on the network of uniquely structured diving boards amid a sea of muscular men in matching attire (short blue shorts and white tank tops). As the men do various exercise-y poses, Lipa ascends one of the ladders while informing us, “I’ve been known to miss a red flag/I’ve been known to put my lover on a pedestal/In the end, those things just don’t last/And it’s time I take my rose-colored glasses off.” And yet, even if she’s taken them off with regard to her perception of her lover, the city of Barcelona can still be seen through rose-colored glasses even without any on. Drenched in that indelible Spanish sunlight, the cityscape steals the show almost as much as Lipa’s seemingly “Express Yourself”-inspired backup dancers. That’s right, it appears Lipa gives a stylistic nod to Madonna yet again (as she did in the “Houdini” video) with a setup that very much reminds of what M did in her David Fincher-directed masterpiece from 1989. Not to mention the scaffolding-style backdrop of Paula Abdul’s “Cold Hearted,” itself a recent inspiration for Ariana Grande’s “yes, and?” video. The aesthetic relationship between “Express Yourself” (which came out a month before Abdul’s single) isn’t a coincidence, what with Fincher having directed both. 

    Accordingly, each of those videos has plenty of mounting of/gyrating on industrial-looking “rigs” to help highlight the choreo. Of a nature that channels the exuberance Lipa is going for with the record as a whole, stating that she wanted to “capture the essence of youth and freedom and having fun.” The video does achieve that, even if the lyrics are indicative of someone who has been jaded by enough experience with relationships past. In fact, there is even an aura of the “Express Yourself” mantra in Lipa’s coming-of-age tone as she sings the defiant chorus, “Ooh, what you doin’?/Don’t know who you think that you’re confusin’/I be like, ooh, it’s amusin’/You think I’m gonna fall for an illusion.” This leads into her talking about how, at this juncture, she knows exactly what she wants, declaring, “Was a time when that shit might’ve worked/Was a time when I just threw a match and let it burn/Now I’m grown, I know what I deserve/I still like dancin’ with the lessons I already learned.” In other words, “Don’t go for second best, baby/Put your love to the test/You know, you know you’ve got to…” 

    But M isn’t the only pop girl Lipa conjures in “Illusion.” There’s also a clear-cut Britney Spears moment when Muino gives us an overhead shot of Lipa in the pool while lying on a floating circular object as she moves her arms up and down—in clear “Oops!…I Did It Again” fashion. For never was there a more iconic overhead shot of a pop princess lying on a circular ditty and moving her arms around than that. Spears might not have had a slew of synchronized swimmers around her while doing it, but the connection is still there. Plus, Muino is no stranger to orbiting Spears’ world, for she directed 2022’s “Hold Me Closer” (which shares many qualities with “Illusion” in that it wields a city’s—Mexico City’s—backdrop as a key character). Maybe that’s why there’s also echoes of the pool scenes from “Work Bitch,” wherein Britney stands on a circular platform in the center of the water as hammerhead sharks swim around her (this, too, perhaps some unwitting inspo for the Radical Optimism cover). 

    Talking of connections, there’s even one to Miley Cyrus when Lipa is lifted out of the water by the very “O” ring that previously encircled her, giving an immediate flash to the cover of Cyrus’ Endless Summer Vacation album. As the video starts to wrap up, a choreography breakdown in the 00s spirit of what someone like Lindsay Lohan did on the rooftop in the “Rumors” video occurs, with Lipa repeating, “I’d rather dance with the illusion”—than actually invest time in a full-blown, off-the-dancefloor relationship with the real, unvarnished version. Which always turns out to be so disappointing. 

    For one of her big finishes, Lipa mounts a “tower of men” (with some women peppered in between), making her way to the top for another overhead shot where she’s “chillin’ on a circle.” Obviously, it’s a metaphor for how she’s overcome all the necessary emotional obstacles to become secure and confident in knowing exactly what she wants—and what she doesn’t. As for the former, it definitely includes taking dips in Barcelona and repeating the mantra, “Dance all night, dance all night” (not so different from what she said in “Dance the Night”).

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    Genna Rivieccio

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  • Miley Cyrus’ “Flowers” Is A Direct Assault on the “Purpose” of Men

    Miley Cyrus’ “Flowers” Is A Direct Assault on the “Purpose” of Men

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    As Miley Cyrus’ “Flowers” continues to dominate charts and shatter records in 2024, it bears reflecting on the why of its enduring success. And the longevity it will likely have even decades from now (depending on whether or not humanity can still access streaming services at that point). Over one year on from its initial release—January 13, 2023 (a.k.a. Liam Hemsworth’s thirty-third birthday)—“Flowers” remains not only resonant, but eerily evergreen…in terms of men being, well, rather useless to women. Particularly when it comes to seeking validation and particularly when it comes to representing them as elected officials.

    If 2022 was “the year men flopped” (as if they haven’t been doing just that since time immemorial), 2023, the year that kicked off the Reign of “Flowers,” commenced as the year men were proven totally unnecessary. Granted, this might have already occurred on a more scientific level with the advent of artificial insemination. But, increasingly, the “need” for a man for “emotional support” (or much of anything else) is being called into question by women…well into 2024. Cyrus’ sologamist anthem provides no better example of that. To heighten the sentiment behind the lead single from Endless Summer Vacation, during the same week, there was also Shakira totally eviscerating her ex, Gerard Piqué, via her collaboration with DJ Bizarrap (unofficially called “Pa’ Tipos Como Tú”). It’s a track that addresses not only how he cheated on her with a much younger woman, but his many shortcomings as part of the male species.

    That both singles were released in the same week is telling of a generally “hostile” climate among the collective female psyche that keeps asking: what “purpose” does a man actually serve in my life? Or perhaps more politically correct clarification is required in the present: what “purpose” does a “straight” man serve in my life? But it’s crystal clear to anyone who observes pop culture that the hetero male has been on the shit list for quite some time—no further sexuality exegesis needed. Just say “man” to a woman and it’s enough to evoke all manner of rancor. To a degree that is rarely on par with a man’s reaction to women. Possibly because men are “allowed” to exhibit venomous attitudes in systemic and passive aggressive ways all the time thanks to patriarchy, therefore they’ve channeled their unrepressed rage and chauvinism rather regularly. Regularly enough not to shudder at the mention of the opposite sex, only quiver and cower when that sex puts them in their place. As has been happening with more celebratory frequency (see: the Greta Thunberg-Andrew Tate exchange of 2022). 

    Talking of jubilations, that’s precisely what Cyrus engages in on “Flowers,” which is an unabashed celebration of the self. And all the ways in which it can both survive and thrive without a man around to make a woman wilt rather than grow. To the point of surviving, “Flowers” also adds to the burgeoning list of post-breakup anthems, and goes one step well beyond the mainstay sonic trope for thumbing one’s nose at male callousness: Gloria Gaynor’s “I Will Survive.” Unlike this classic in the canon of songs that champions female empowerment and the resiliency to be able to move on after a man arbitrarily decides to abandon a relationship (as was the case in Shakira’s situation), “Flowers” doesn’t necessarily suggest any intention of wanting (or needing) to pursue another romance after recovering from the last. This marks it as a very singular contribution to the post-breakup song arsenal in that it defies the convention of suggesting that not only will she move on, but she’ll move on to a new and theoretically “improved” dude. In “Flowers,” Cyrus inherently suggests that she is the only person she needs to simultaneously “get by” and thrive, and that no one (read: no man) will ever be able to love her as well or as caringly and sincerely as herself. 

    While some would counter that the song is targeted primarily at her enduring muse (/ex-husband) of the past few years, Liam Hemsworth, there’s no denying her intent in rendering the lyrics as universally applicable as possible. Catering to the masses of women in this world that Cyrus knows have had or are having or will have the very same revelations after yet another botched attempt at seeking intimacy with a penis-packing human. For even Cyrus has fallen prey to the trap (more than a few times) of believing that she “needed” a man to validate her worth (whereas, at present, she merely wants one [Maxx Morando] for the presumable thrill). And she’s supposed to be pansexual, so what does that say about the “full-on” straight women who give far more credence to straight men than they deserve?

    What’s worse still is that men could easily “keep” a woman if they just made a few slight improvements to their behavior. But a general unwillingness to budge on even the most basic things accumulates into one big pile of bullshit, eventually forcing a woman to put an end to her masochism. Among such basic acts is the occasional ability to express care through a token gesture. Like, say, something as cliche as giving flowers. A trope that Cyrus wields within the chorus, “I can buy myself flowers/Write my name in the sand/Talk to myself for hours/Say things you don’t understand/I can take myself dancin’/I can hold my own hand/Yeah, I can love me better than you can.” Yet she also seeks to decimate the notion that a man is “required” at all to receive flowers. This by declaring that not only is she capable of buying her own bouquet, but that she can also do the other things a man is “supposed to do” (per the established norms of societal, literary and filmic indoctrination)—especially since there’s so few other purposes they can serve in the present apart from at least providing the every-so-often romantic display. 

    Cyrus is not the only one of late in the pop arena to use flowers as a larger metaphor for male inutility. In 2021, Billie Eilish was equally as scandalized by the fuckboy behavior implicated in not even bothering to offer up some goddamn flowers. This being evident on the Happier Than Ever single, “Lost Cause,” during which she laments, “Gave me no flowers/Wish I didn’t care/You’d be gone for hours/Could be anywhere.” This comes after Eilish highlighting the fact that she had to be the one to give him flowers, stating at the beginning of the song, “I sent you flowers/Did you even care?/You ran the shower/And left them by the stairs.” In other words, while she exhibited care for him and their relationship with this thoughtful expression, he, in turn, displayed his total lack of care by not even tending to the flowers—choosing to “water himself” instead. This being a grander allegory for the intrinsic selfishness of the male gender. With the latter lyric, Eilish also seemed to be loosely referencing the 1999 hit from Blink-182, “All The Small Things.” A track from a man that specifically calls out his own appreciation of “little gestures” (so why can’t he understand hers?). Among the few non-repetitive lines in that single being, “​​She left me roses by the stairs/Surprises let me know she cares.” And the least a man can do to return that care is put the fucking roses on display right away. 

    In a more pronounced form of repurposing a male song from the female response perspective, Miley’s “Flowers” overtly reworks the chorus from Bruno Mars’ “When I Was Your Man,” in which he sings, ​​“I should have bought you flowers/And held your hand/Should have gave you all my hours/When I had the chance/Take you to every party ‘cause all you wanted to do was dance.” Of course, these “insights” tend to come when it’s already too late, and a girl like Cyrus is explaining, “I didn’t wanna leave you/I didn’t wanna fight.” But, in the end, she had to leave for her own sense of self-worth. Which Cyrus can only truly find without the man she ephemerally thought would “complete” her. Thus, her braggadocious flex, “Yeah, I can love me better than/Yeah, I can love me better than you can.” 

    Apart from Eilish realizing this before Cyrus via a flowers analogy, so did MARINA that same summer of 2021, with a song also entitled “Flowers” from her Ancient Dreams in a  Modern Land record. Referring to her five-year long relationship with Clean Bandit member Jack Patterson, MARINA comes to the conclusion, “I would rather not/Betray myself just to keep/Your love at any cost.” The cost so frequently being ignoring the “little things” that add up to one big revelation: he ain’t the one (a similar epiphany had by Drew Barrymore as Julia Sullivan in The Wedding Singer). 

    MARINA expounds, “With every careless action, you let me slip away/If you just bought me flowers, maybe I would’ve stayed.” The flowers, as usual, are emblematic of something more telling: care. Consideration. Or rather, the absence of it. So, instead, she left Patterson and bought flowers for her damn self, posting a photo with a bouquet in April of 2020 on her Instagram account and captioning it, “I ordered flowers to: myself from: myself And let me tell you, it felt surprisingly great.” Cyrus, it appears, would tend to agree. 

    MARINA was, in fact, so determined to stay true to herself and her standards for how she should be treated that she even broke up with Patterson at arguably the most vulnerable time to do so: during the lockdown phase of the pandemic. Thus, at one point in the promotion cycle of the record, she declared, “I’m not seeing anyone at the moment, but I’ve always enjoyed my own company. I’m pretty good, fortunately, on my own.” As are many women (more and more) at this juncture—for it’s just so much less disappointing than trying to make it work with a man. More often than not, a toxic presence in a woman’s potential for “blooming.” As MARINA phrased it, “The seeds we planted grew/But not like roses do/We had the thorns and leaves/But the buds, they never bloomed/And now my future gleams/With colors bold and bright/In a home that’s filled with love and hope/And a life that just feels right.” “Just right” because, as Miley has pointed out more bluntly, “I can love me better than you can.” 

    To be sure, not every woman—far from it—will be so eager to jump on the anthemic single’s message in practice as opposed to theory (part of that theory translating to dancing one’s ass off alone in their room to it). Most especially the women who are not in the same income tax bracket as the likes of Miley, Billie and MARINA. For the feeling of “radical independence,” in this society, is inextricably linked to having money, and mounds of it. This being the obvious reason for why men have been so determined for so long to keep women out of the game as “exceptional earners” (to use a Britney phrase). As that glass ceiling persists in being shattered, the question of a man’s relevance to a woman’s existence will continue to have an easy answer: he’s not. 

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    Genna Rivieccio

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  • “Cowboy Carter,” Beyoncé’s first country album, has arrived

    “Cowboy Carter,” Beyoncé’s first country album, has arrived

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    Beyoncé Knowles-Carter has officially gone country with the release Friday of her new album, “Cowboy Carter.”

    The Houston native’s eighth album features 27 song tracks and guest appearances from some of country music’s biggest stars, including Willie Nelson, Miley Cyrus and Dolly Parton, whose 1973 hit “Jolene” is one of two covers featured. 

    “I think people are going to be surprised because I don’t think this music is what everyone expects,” Beyoncé said in a statement Friday. “But it’s the best music I’ve ever made,” said the 42-year-old, considered the one of the top-grossing music artists of all time.

    Upon its release, “Cowboy Carter” jumped to the No. 2 spot on Apple Music. Excitement over the much-anticipated release led some celebrities to post Western-themed pics of themselves on social media.

    The lead single on the album “Texas Hold ‘Em,” also grabbed first place in the country music category on Billboard’s Hot 100, making Beyoncé the first Black woman to top the country music charts.  

    Both Nancy Sinatra and Dolly Parton signaled their approval of Beyoncé’s use of their songs in a pair of social media posts late Friday.

    “To have a little piece of one of my records in a Beyonce song is very meaningful to me because I love her,” Sinatra said of the sample used in “Ya Ya.” “She represents what is great about today’s music and I’m delighted to be a tiny part of it. This may be the best sample of “Boots” yet! And the beat goes on.”

    And in maybe one of the more anticipated songs on the album, Beyoncé’s remake of Dolly Parton’s “Jolene” got the Queen of Country’s love.

    “Wow, I just heard Jolene. Beyoncé is giving that girl some trouble and she deserves it!” Parton said on social media.

    Heavy buzz around the new album began last month with the debut of “Texas Hold ‘Em” during Super Bowl LVIII. Soon after, the country single hit No. 1 in both the U.S. and U.K., marking the first time since 2003 that Beyoncé had a chart-topper in both countries at the same time.

    beyonce.jpg
    Cover art for “Cowboy Carter” which jumped to the No. 2 spot on Apple Music. The lead single on the album “Texas Hold ‘Em,” grabbed first place in the country music category on Billboard’s Hot 100.

    Blair Caldwell


    Beyoncé said she drew inspiration for the album, in part, from growing up in Texas and watching performances at the Houston Rodeo. She said it took five years to finish Cowboy Carter and she wanted songs throughout the album to sound more down-home, given that a lot of music produced these days is heavily computer-aided.

    “With artificial intelligence and digital filters and programming, I wanted to go back to real instruments, and I used very old ones,” Beyoncé said. “All the sounds were so organic and human, everyday things like the wind, snaps and even the sound of birds and chickens, the sounds of nature.”

    It will take weeks before record labels Parkwood Entertainment and Columbia Records can generate album sales figures. Beyoncé’s previous album, “Renaissance,” has sold more than one million copies, including downloads and streams, according to the Recording Industry Association of America.

    “Texas Hold ‘Em” was at the center of an uproar last month when a country music station in Oklahoma refused to play the song, leading some Beyoncé fans to accuse the station of racism.

    After being flooded by emails, calls and more requests for the song, the station agreed to add the single to its playlist. Roger Harris, the stations’ general manager, said his staff listened to the song and agreed that it sounded “country.” 

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