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Tag: mtv vmas

  • MTV Makes Its Lack of Music Official

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    Although MTV’s “content” focus has been reality TV and other adjacent schlock for many years now, those who remember it as the place to go for new music and groundbreaking videos by artists who once invested the time, effort and money into making them have been saddened to learn of the official loss of the “M” in MTV (formerly Music Television, but now, one supposes, just “Television”). That is to say, the music has been booted in an authoritative capacity, with Paramount, MTV’s parent company (and itself presently “A Skydance Corporation”), opting to jettison five of MTV’s “offshoot” channels—the ones that actually play videos—in the UK: MTV Music, MTV 80s, MTV 90s, Club MTV and MTV Live. While this doesn’t include the “plain” version of the channel in the US, where MTV was birthed, it still signals a larger indication of just how far the channel has fallen from its proverbial heyday.

    When it hit the airwaves for the first time on August 1, 1981 (at 12:01 a.m.), the inaugural video was The Buggles’ “Video Killed the Radio Star.” A pointed statement to make as the world was on the brink of an entirely new kind of “modernism” when it came to pop culture. The music video was beyond radio, TV and film—mixing all of those elements to form an entirely new—and ultimately far more powerful and influential—entity. An entity that would shape the next few generations. Not just their style and taste, but the way in which they “absorbed” media. Because if parents thought attention spans of the youth were “short” then, they could never have imagined what was coming with the likes of TikTok, ultimate mind flayer. But before that total bastardization of what it would mean to “consume content,” MTV laid the groundwork. Seeing a void to be filled for a generation that was clearly hankering for something like this (but didn’t yet know how to put it into words), there were already one hundred and sixteen music videos to be broadcast in the first day of the channel’s airing.

    And that was just the beginning. Because two years later, in 1983, a veritable dam had opened, unleashing the music video prowess that seemed innate to both Madonna and Michael Jackson. For both 1958-born pop music icons (still billed, to this day, as the Queen and King of Pop) would have some dominating videos on MTV in ‘83. Of course, it was Jackson’s year for churning out the “blockbuster” videos of the Thriller album: “Billie Jean,” “Beat It” and, the biggest of all, “Thriller.”

    Even so, Madonna’s output in ‘83 was not to be discounted, with “Everybody” (filmed in December of ‘82) and “Burning Up” in rotation frequently enough to dispel the average listener’s initial belief that Madonna was a Black artist. A misconception that was probably a compliment to her, but, at the same time, M was aware that being white would better serve her money-making/commercial possibilities. By 1984, Madonna’s self-titled debut, released the year prior, was really starting to gain traction thanks to the next duo of music videos from Madonna released that year: “Lucky Star” and “Borderline.”

    However, it was during the final months of 1984 that Madonna would truly become a household name thanks to the part MTV played in promoting the eponymous lead single from her sophomore record, Like A Virgin. Even before the video was out or the song was an official single release, Madonna decided to debut “Like A Virgin” in a big way during the First Annual MTV Video Music Awards. It was on that night of September 14, 1984 that the long-bubbling symbiosis between Madonna and MTV was crystallized. And forever etched into the public consciousness thanks to Madonna descending from the top of a giant, three-tiered wedding cake all dressed in white as she ironically sang about how she was made to feel “shiny and new” and “like a virgin, touched for the very first time” thanks to her new love. And her new love, ultimately, was MTV. Though it wasn’t always a love that cut both ways. Something Madonna addressed in honor of the network’s tenth anniversary in 1991, when she made a special tribute video during which she said the following (while dressed in her Greta Garbo-chic hair, makeup and attire and filmed in black and white), shot in a manner that makes abrupt cuts to her next “non sequitur” (but ultimately all related) train of thought:

    “I’m here because I wanted to talk to you about…us. And all that we’ve been through. I wanted to talk about me and you. I remember when we first met. You didn’t know who you were yet. I didn’t know who I was. We grew up together. So ten years, what’s the big deal, huh? I’m not one of those people that wears clothes just because somebody gave it to me for free. Although I do like this diamond. Are diamonds really a ten-year anniversary present? You think you can make me forget everything just by giving me this? You expect me to come running back to you every time you give me a present? When will you understand that I am a person and not a thing? That I deserve to be treated like a person and not a thing! I turn my back—for one minute—and you find somebody else. You’ve been hanging out with tramps with cheap clothes and bad songs to sing. I’ve got a tattoo on my behind too, you think you’re gonna see it? I know why you spend time with her: because she’s not threatening… She doesn’t make you laugh, she doesn’t make you cry… I won’t even go into the men you’ve been hanging around with… You’ve never had more fun with anyone else—and you know it.”

    That was and is still the truth when it comes to MTV and its most iconic moments. For even the Britney Spears ones are rooted in “Madonna-ness” (most especially the 2003 VMAs). But, more than that, the speech would touch on a number of apropos and foreshadowing points regarding the direction MTV had taken in its then still germinal period. It was like a harbinger of how the network would continue to mutate as the 90s went on. For, only a year after Madonna’s immortalized “love letter,” the network would premiere its first reality show (for some, arguably, the first “proper” reality show), The Real World, in 1992. Granted, before that, House of Style was one of MTV’s earliest deviations from focusing on music as it decided that taking to “the streets” to give the hoi polloi a snapshot of the latest fashion trends, as well as the lives of supermodels (still an ever-burgeoning concept that OG House of Style host Cindy Crawford helped solidify), was just as important as playing music videos.

    Of course, by the time the late 90s rolled around, the original “premise” of MTV was all but gone, with “content” taking over instead (though that isn’t to say some of said programming wasn’t actually brilliant [see: Daria]). Which is why Say What? started airing in 1998—because it was a show designed to do what MTV had originally been “all about”: playing music videos. The fact that the network had to make such a concerted effort to “block out time” (usually no more than an hour) to do what their unofficial mission statement had originally been was, well, not a good sign…to say the least. And then came a slew of other shows in the spirit of Say What?: 12 Angry Viewers, MTV Live, Artist’s Cut, and Total Request. It was the latter, in its Total Request Live format, that would signal the third phase of MTV and its influence on a new generation. To be sure, many tween and teenage millennials would spend their after-school hours watching TRL while “doing homework.” And yes, it was during this era when Britney Spears became the reigning queen of the network, serving as the twenty-first century edition of Madonna with her own indelible visuals, including “…Baby One More Time,” “Oops!…I Did It Again” and “Toxic.”

    Reality-type shows centered on the “hottest” musicians of the day also extended into programming like Punk’d and Making the Video (Britney was a staple on both). And even the VMAs continued to offer up a steady stream of “iconic” moments up to a certain year (the Taylor and Kanye incident of 2009 being of particular note)—but probably the last major “moment” was Beyoncé doing her baby bump reveal after singing “Love On Top” at the 2011 VMAs. The lack of “memorable MTV” instances wasn’t necessarily because the network stagnated. No, instead, it just kept getting worse. But, perhaps even more than that, it had lost its core audience. Generations that no longer cared about such things (e.g., music, style, what’s “relevant” in pop culture) as they once did, having grown into the very kind of person Avril Lavigne had warned about in “Sk8r Boi” (“She sits at home/Feeding the baby, she’s all alone”). More damaging still, those generations had joined the likes of Gen Z in getting their music and pop culture fix from other internet and app-centric outlets. Even for all of MTV’s best efforts to pivot itself toward being just as available via the internet, it didn’t have the same clout.

    Then came the first truly gut-punching portent of full-tilt doom: the deletion of the entire online archive of MTV News. That meant years and years of music journalism flushed into the proverbial abyss in the wake of layoffs and the shuttering of MTV News altogether. Ever since, the descent into total oblivion for MTV has been all but guaranteed. And sure, maybe it will keep the lights on, so to speak, with some of its “tentpole” offerings (like the VMAs and, in Britain, Geordie Shore), but there’s no denying that MTV will never again be the vibrant, cutting-edge network that molded culture and public taste as it once did. Yet that isn’t entirely its own fault. Indeed, perhaps it’s best to quote Madonna paraphrasing Sunset Boulevard’s Norma Desmond when she said in the abovementioned speech, “I am big. It’s the videos that got small.” And oh, how they have—whittled down to barely thirty seconds of “content” on a petite smartphone (that oxymoron of a word).  

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    Genna Rivieccio

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  • VMAs 2025: Winners, Nominees, Performances & Highlights

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    Here’s everything you need to know about MTV’s 2025 Video Music Awards

    Ariana Grande accepts the Video of the Year award while director Christian Breslauer looks on at the 2025 MTV Video Music Awards at New York’s UBS Arena
    Credit: Mary Kouw/CBS

    On Sunday night, MTV’s annual Video Music Awards brought together some of the biggest names in music. Attendees hit the red carpet and stage for a night of celebration, tribute, and taking home Moon People, of course.

    Hosted by rapper and entertainer LL Cool J, the 2025 VMAs certainly went down in pop culture and entertainment history. The program included superstar headliners, live performances, and a heartfelt tribute to the late Prince of Darkness and heavy metal icon, Ozzy Osbourne.

    Guests arrived at UBS Arena just outside of Queens, New York, to debut red carpet looks, snap some photos, and get ready for the show. Girl group KATSEYE kicked off the evening with an energetic performance of their trending song “Gnarly” during the Red Carpet Pre-Show.

    The band earned their first nomination and later won their first-ever VMA for the hit song “Touch”, earning the ‘PUSH Performance of the Year’ award. Mariah Carey also won her first-ever VMA award for ‘Type Dangerous’ as ‘Best R&B’, taking to social media to joke around. “My first moon man ever! This is amazing MTV, I don’t know why it took you so long!” Carey teased.

    Carey also took home the prestigious Video Vanguard Award and gold-plated Moon Person. She joined the likes of David Bowie and the Beatles in earning the highest accolade honored at the VMAs. Ariana Grande won the coveted ‘Video of the Year’ for “Brighter Days Ahead”, marking another incredible career achievement for the “Wicked” star.

    Lady Gaga accepted ‘Artist of the Year’ on stage briefly before taking off to perform the second night of her Mayhem Ball tour in Madison Square Garden. Sabrina Carpenter took home ‘Best Album’ for her cult favorite ‘Short n Sweet’.

    The competition was high this year, with some nominees taking to social media to joke about it. Alex Warren, who ended up winning ‘Best New Artist’, posted a video days before the show referencing a popular meme. “Just vote, I know I’m going to be out so just vote,” he lip-synced over the viral audio.

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    @officialalexwarren36 Just vote #alex ♬ original sound – Alex Warren

    Singer-songwriter Sombr was surprised to win his first VMA, earning ‘Best Alternative’ for his popular track ‘back to friends’, and thanked his growing fanbase for their support. Other winners across categories included Tyla, Shakira, Doja Cat, LISA, Coldplay, Doechii, Megan Moroney, Bruno Mars,ROSÉ, BLACKPINK, Tate McRae, Charli XCX, and Kendrick Lamar.

    Performers for the evening included Lady Gaga, Sabrina Carpenter, Ariana Grande, Mariah Carey, Busta Rhymes, Ricky Martin, Doja Cat, Post Malone, and Tate McRae. A special tribute honoring Ozzy Osbourne was performed by Steven Tyler, Joe Perry, Yungblud, and Nuno Bettencourt.

    For those who missed the live show, it’s available to stream on demand for Paramount+ Premium users.

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    Natalia Oprzadek

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  • Apart from Sabrina Carpenter, the 2025 VMAs Keeps It Pretty Tame (and Straight)

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    Perhaps it was only right that Doja Cat should kick off the 2025 MTV Video Music Awards with a performance of her lead single from Vie, “Jealous Type.” Not just because it throws shade at the notion of how artists get so competitive with one another at these sorts of award shows, but because, with her “new” sound embodying the sonic landscape of the 80s, it’s in keeping with the identity of the erstwhile “cable” network that was born at the dawn of said decade. A channel that changed the entire industry forever in that it made musicians fully grasp that their music was in need of a visual just as memorable (and/or “iconic”) as the song itself.

    To further heighten the overall “80s-ness” of her performance, Doja Cat appeared amidst the kind of set design that can best be described as something out of Patrick Nagel’s wet dreams. And then, of course, there was her decision to tap Kenny G as the person to perform the opening saxophone solo of the track (though, obviously, no saxophone solo will ever hold a candle to the one in “Careless Whisper”). She was also certain to evoke more than slight hints of Janet Jackson in the musical dance break toward the middle of her performance, which was rounded out with a keytar player that looked like a former member of Jem and the Holograms. All of which is to say that there’s definitely a reason the word “nostalgia” was used to describe the ceremony. Since, of late, that’s what MTV has been coasting/banking on in terms of staying afloat. This clearly being part of the reason that, for the first time, the ceremony was also aired on CBS, a network not exactly known for appealing to “youths.”

    In this sense, it’s as though MTV has decided to pander to the Gen Z view of their network as something dated, out of touch and generally “dinosaur-y” (a reality that still seems unfathomable when considering how “edgy” it once used to be). And yet, a great many of the musicians that dominate TikTok were in attendance, including Doja, Tate McRae, Sabrina Carpenter, Sombr and Conan Gray. However, those considered of the “older” generations now, including Mariah Carey and Lady Gaga also took precedence in terms of their performances.

    As for Mariah, who received the Video Vanguard Award this year (marking her first Moonman ever), her medley touched on “Sugar Sweet,” “Fantasy,” “Honey,” “Heartbreaker,” “Obsessed,” “It’s Like That” (interpolated with “Dangerous Type”) and “We Belong Together” (complete with a violin-playing ensemble behind her). And even her alter ego, “Bianca,” made a little cameo onstage. Her first appearance being in the “Heartbreaker” video as “the other woman” that Mariah catches Jerry O’Connell with at the movie theater. Alas, the homage to her greatest hits was more than slightly flaccid, especially since, after Carey’s appearance, she was quickly outshined by the greater dynamism of a live broadcast of Lady Gaga’s performance of “Abracadabra” and “The Dead Dance” from her Mayhem Ball show at Madison Square Garden. This (the fact that Gaga didn’t actually perform at the VMAs venue), however, further proving, in some sense, that the awards show was mostly phoning it in.

    What’s more, Gaga didn’t have a very queer performance, at least not in a “hit you over the head” kind of way. Nor did she have a very sexual one. Even so, there were errant moments of “spiciness.” Namely, when it came to Tate McRae dancing to her hits, “Revolving Door” and “Sportscar,” with her coterie of muscular male backup dancers starting out as “statues” on platforms before jumping in to join her for “Sportscar” and, then, to quite literally play in the same sandbox as her.

    Then, of course, there was Sabrina Carpenter, who, in the absence of both Madonna and Chappell Roan, appeared to take up the mantle for showcasing queerness onstage thanks to her rendition of “Tears.” That queer and trans advocacy being on-brand for the accompanying The Rocky Horror Picture Show-themed video. Throwing it back to late 70s-era New York vibes (since, again, most of the musicians at the VMAs are relying on already overdone sound tropes of the past for their “current” selection of music), Carpenter emerges from a sewer next to a trash bag as drag queens gather ‘round to have a kiki. Toward the end of the performance, there’s a bit of an “It’s Raining Men”-meets-Flashdance-meets Britney singing “…Baby One More Time” during the Dream Within a Dream Tour (and Carpenter is no stranger to imitating her at the VMAs either) moment when water begins raining down on Carpenter and the stripper-looking cops dancing next to her. The queer folk parading around the stage with protest signs that offer such insights as, “If you hate you’ll never get laid,” “Protect Trans Rights” and “Dolls Dolls Dolls” reminded the audience that, with the current administration in office, these are messages well worth reiterating. Particularly before the boot comes down completely, and all such forms of free speech are suppressed.

    Swinging the pendulum back toward straightness, Sombr, who comes off like a mash-up of Benson Boone (sonically and visually) and Austin Butler (just visually), also did his quote unquote best to “sex it up,” albeit with a very straight male perspective as requisite “hot girls” danced around him while he sang “12 to 12.” This after commencing the performance with “Back to Friends.” His only other “male competition” (in the same age bracket, that is) was Conan Gray, who served as this year’s dose of Kate Bush-meets-Chappell Roan with his romantic performance of “Vodka Cranberry.”

    As for the big winners of the night, Lady Gaga, Sabrina Carpenter and Ariana Grande, all three played up their gratitude and appreciation for the fans (this being the go-to for the VMAs, whereas “God” is usually for the Grammys). And yet, one wonders anymore who MTV thinks that demographic includes. For, the older the network gets, it doesn’t appear to matter if they have the “newest” (ergo, youngest) acts onstage. Because, more and more, MTV is playing it as safe as possible—this extending to a kind of “sexlessness” and general lack of controversy compared to years past.

    It’s also saying something that the tameness of the show comes at a time when Paramount (a.k.a. MTV’s “parent” company) is accused of cancelling The Late Show with Stephen Colbert, ultimately, because of an Orange One-related vendetta. Perhaps prompting MTV to keep its content less “offensive” to certain (political) parties, while also trying to keep appealing to the generations it started out with: X and millennial. In other words, the generations that can even still remember what a marvel it was to have cable.

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    Genna Rivieccio

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  • The 2025 MTV Video Music Award Winners

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    Photo: Kevin Mazur/Getty Images for Live Nation

    Lady Gaga has conquered Wednesday, and now she’s coming for the holiest day of the week. Tonight, Gaga will make this year’s MTV VMAs her temple of Mayhem. She returns to pull double duty as the most nominated artist this year in 12 categories — sharing four of those noms with Bruno Mars for “Die With a Smile” — and as one of the evening’s performers. No word yet if fake blood or raw meat will be her plus-one, but considering that Mars is also sharing nominations with Rosé, they’ll have room. Gaga won the first Moon Person televised on the night, Artist of the Year. And yet the voters said Tate McRae had the song of the summer. Interesting!

    Hosted by LL Cool J, this evening’s awards show will hold a lot of firsts: Rosé was the first Korean artist nominated for Video of the Year, Mariah Carey is getting her first VMAs with the Video Vanguard Award, and it’ll be the first time the show will air live on CBS. Below, the 2025 MTV VMA winners, updated live once the show starts at 8 p.m.

    Video of the Year, presented by Burger King 
    Ariana Grande – “brighter days ahead”
    Billie Eilish – “BIRDS OF A FEATHER”
    Kendrick Lamar – “Not Like Us”
    Lady Gaga & Bruno Mars – “Die With a Smile”
    ROSÉ & Bruno Mars – “APT.”
    Sabrina Carpenter – “Manchild”
    The Weeknd, Playboi Carti – “Timeless”

    Artist of the Year
    Bad Bunny
    Beyoncé
    Kendrick Lamar
    Lady Gaga
    Morgan Wallen
    Taylor Swift
    The Weeknd

    Song of the Year
    Alex Warren – “Ordinary”
    Billie Eilish – “BIRDS OF A FEATHER”
    Doechii – “Anxiety”
    Ed Sheeran – “Sapphire”
    Gracie Abrams – “I Love You, I’m Sorry”
    Lady Gaga & Bruno Mars – “Die With a Smile”
    Lorde – “What Was That”
    ROSÉ & Bruno Mars – “APT.”
    Tate McRae – “Sports Car”
    The Weeknd, Playboi Carti – “Timeless”

    Best New Artist
    Alex Warren
    Ella Langley
    Gigi Perez
    Lola Young
    sombr
    The Marías

    Best Pop Artist
    Ariana Grande
    Charli xcx
    Justin Bieber
    Lorde
    Miley Cyrus
    Sabrina Carpenter
    Tate McRae

    MTV Push Performance of the Year, presented by Bacardí Rum
    Shaboozey – “A Bar Song (Tipsy)”
    Ayra Starr – “Last Heartbreak Song”
    Mark Ambor – “Belong Together”
    Lay Bankz – “Graveyard”
    Dasha – “Bye Bye Bye”
    KATSEYE – “Touch”
    Jordan Adetunji – “KEHLANI”
    Leon Thomas – “YES IT IS”
    Livingston – “Shadow”
    Damiano David – “Next Summer”
    Gigi Perez – “Sailor Song”
    ROLE MODEL – “Sally, When the Wine Runs Out”

    Best Collaboration, presented by Under Armour
    Bailey Zimmerman with Luke Combs – “Backup Plan (Stagecoach Official Music Video)”
    Kendrick Lamar & SZA – “luther”
    Lady Gaga & Bruno Mars – “Die With a Smile”
    Post Malone ft. Blake Shelton – “Pour Me a Drink”
    ROSÉ & Bruno Mars – “APT.”
    Selena Gomez, benny blanco – “Sunset Blvd”

    Best Pop
    Alex Warren – “Ordinary”
    Ariana Grande – “brighter days ahead”
    Ed Sheeran – “Sapphire”
    Lady Gaga & Bruno Mars – “Die With a Smile”
    ROSÉ & Bruno Mars – “APT.”
    Sabrina Carpenter – “Manchild”

    Best Hip-Hop
    Doechii – “Anxiety”
    Drake – “NOKIA”
    Eminem ft. Jelly Roll – “Somebody Save Me”
    GloRilla ft. Sexyy Red – “WHATCHU KNO ABOUT ME”
    Kendrick Lamar – “Not Like Us”
    LL COOL J ft. Eminem – “Murdergram Deux”
    Travis Scott – “4X4”

    Best R&B
    Chris Brown – “Residuals”
    Leon Thomas & Freddie Gibbs – “MUTT (REMIX)”
    Mariah Carey – “Type Dangerous”
    PARTYNEXTDOOR – “N o C h i l l”
    Summer Walker – “Heart of a Woman”
    SZA – “Drive”
    The Weeknd, Playboi Carti – “Timeless”

    Best Alternative
    Gigi Perez – “Sailor Song”
    Imagine Dragons – “Wake Up”
    Lola Young – “Messy”
    mgk & Jelly Roll – “Lonely Road”
    sombr – “back to friends”
    The Marías – “Back to Me”

    Best Rock
    Coldplay – “All My Love”
    Evanescence – “Afterlife (From the Netflix Series Devil May Cry)”
    Green Day – “One Eyed Bastard”
    Lenny Kravitz – “Honey”
    Linkin Park – “The Emptiness Machine”
    Twenty One Pilots – “The Contract”

    Best Latin
    Bad Bunny – “Baile Inolvidable”
    J Balvin – “Rio”
    Karol G – “Si Antes Te Hubiera Conocido”
    Peso Pluma – “La Patrulla”
    Rauw Alejandro & Romeo Santos – “Khé?”
    Shakira – “Soltera“

    Best K-pop
    Aespa – “Whiplash”
    Jennie – “Like Jennie ”
    Jimin – “Who”
    Jisoo – “Earthquake”
    Lisa ft. Doja Cat & Raye – “Born Again”
    Stray Kids – “Chk Chk Boom”
    Rosé – “Toxic Till the End”

    Best Afrobeats
    Asake & Travis Scott – “Active”
    Burna Boy ft. Travis Scott – “TaTaTa”
    Moliy, Silent Addy, Skillibeng & Shenseea – “Shake It to the Max (Fly) (Remix)”
    Rema – “Baby (Is It a Crime)”
    Tems ft. Asake – “Get It Right”
    Tyla – “Push 2 Start”
    Wizkid ft. Brent Faiyaz – “Piece of My Heart”

    Best Country
    Chris Stapleton – “Think I’m in Love With You”
    Cody Johnson with Carrie Underwood – “I’m Gonna Love You”
    Jelly Roll – “Liar”
    Lainey Wilson – “4x4xU”
    Megan Moroney – “Am I Okay?”
    Morgan Wallen – “Smile”

    Best Album
    Bad Bunny – Debí Tirar Más Fotos
    Kendrick Lamar – GNX
    Lady Gaga – Mayhem
    Morgan Wallen – I’m the Problem
    Sabrina Carpenter – Short n’ Sweet
    The Weeknd – Hurry Up Tomorrow

    Best Long Form Video
    Ariana Grande – “Brighter Days Ahead”
    Bad Bunny – “Debí Tirar Más Fotos (Short Film)”
    Damiano David – “Funny Little Stories”
    Mac Miller – “Balloonerism”
    Miley Cyrus – “Something Beautiful”
    The Weeknd – “Hurry Up Tomorrow”

    Video for Good
    Burna Boy – “Higher”
    Charli xcx – “Guess featuring Billie Eilish”
    Doechii – “Anxiety”
    Eminem ft. Jelly Roll – “Somebody Save Me”
    Selena Gomez, Benny Blanco – “Younger and Hotter Than Me”
    Zach Hood ft. Sasha Alex Sloan – “Sleepwalking”

    Best Direction
    Ariana Grande – “Brighter Days Ahead”
    Charli xcx – “Guess featuring Billie Eilish”
    Kendrick Lamar – “Not Like Us”
    Lady Gaga – “Abracadabra”
    Rosé & Bruno Mars – “Apt.”
    Sabrina Carpenter – “Manchild”

    Best Art Direction
    Charli xcx – “Guess featuring Billie Eilish”
    Kendrick Lamar – “Not Like Us”
    Lady Gaga – “Abracadabra”
    Lorde – “Man of the Year”
    Miley Cyrus – “End of the World”
    Rosé & Bruno Mars – “Apt.”

    Best Cinematography
    Ariana Grande – “Brighter Days Ahead”
    Ed Sheeran – “Sapphire”
    Kendrick Lamar – “Not Like Us”
    Lady Gaga – “Abracadabra”
    Miley Cyrus – “Easy Lover”
    Sabrina Carpenter – “Manchild”

    Best Editing
    Charli xcx – “Guess featuring Billie Eilish”
    Ed Sheeran – “Sapphire”
    Kendrick Lamar – “Not Like Us”
    Lady Gaga – “Abracadabra”
    Sabrina Carpenter – “Manchild

    Best Choreography
    Doechii – “Anxiety”
    FKA Twigs – “Eusexua”
    Kendrick Lamar – “Not Like Us”
    Lady Gaga – “Abracadabra”
    Tyla – “Push 2 Start”
    Zara Larsson – “Pretty Ugly”

    Best Visual Effects
    Ariana Grande – “Brighter Days Ahead”
    Lady Gaga – “Abracadabra”
    Rosé & Bruno Mars – “Apt.”
    Sabrina Carpenter – “Manchild”
    Tate McRae – “Just Keep Watching (From F1 The Movie)”
    The Weeknd – “Hurry Up Tomorrow”

    Song of the Summer
    Addison Rae – “Headphones On”
    Alex Warren – “Ordinary”
    Benson Boone – “Mystical Magical”
    BigXthaPlug & Bailey Zimmerman – “All the Way”
    Chappell Roan – “The Subway”
    Demi Lovato – “Fast”
    Doja Cat – “Jealous Type”
    Huntr/x – “Golden”
    Jessie Murph – “Blue Strips”
    Justin Bieber – “Daisies”
    Moliy, Silent Addy, Skillibeng & Shenseea – “Shake It to the Max (Fly) (Remix)”
    Morgan Wallen & Tate McRae – “What I Want”
    Ravyn Lenae Featuring Rex Orange County – “Love Me Not”
    Sabrina Carpenter – “Manchild”
    Sombr – “12 to 12”
    Tate McRae – “Just Keep Watching”

    Best Group
    aespa
    All Time Low
    Backstreet Boys
    BLACKPINK
    Coldplay
    Evanescence
    Fuerza Regida
    Grupo Frontera
    Imagine Dragons
    Jonas Brothers
    KATSEYE
    My Chemical Romance
    SEVENTEEN
    Stray Kids
    The Marías
    Twenty One Pilots

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    Alejandra Gularte

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  • Mondo Bullshittio #50: Madonna Not Winning VMAs Most Iconic Performance

    Mondo Bullshittio #50: Madonna Not Winning VMAs Most Iconic Performance

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    In a series called Mondo Bullshittio, let’s talk about some of the most glaring hypocrisies and faux pas in pop culture…and all that it affects.

    In yet another one of many (seemingly infinite) examples in this world of how everything is rigged, the winner of MTV’s so-called “Most Iconic Performance” award—freshly added into the mix this year—was bequeathed to the least deserving nominee: Katy Perry’s “Roar” performance back in 2013. One that, by the way, absolutely no one remembers (and if they say they do, they’re definitely lying). However, considering that Perry was the 2024 recipient of MTV’s “coveted” Video Vanguard Award (decreasingly referred to by its full name: the Michael Jackson Video Vanguard Award), it seems more than a little bit “political” that she should be the one to claim the award for “Most Iconic Performance” when, in fact, what she offered back in 2013 was one of the least iconic performances in VMA history (which also extends to someone like Bryan Adams singing “Do I Have To Say The Words?” in 1992).

    Indeed, of the seven nominees, the performances that people are likely to most immediately recall (even if solely by an image alone) include Madonna’s “Like A Virgin” at the 1984 VMAs, Eminem’s “The Real Slim Shady/The Way I Am” at the 2000 VMAs, Britney Spears, Christina Aguilera, Madonna and Missy Elliott’s “Like A Virgin/Hollywood” at the 2003 VMAs and Beyoncé’s “Love On Top” at the 2011 VMAs. The three other options—Perry doing “Roar,” Lady Gaga doing “Paparazzi” at the 2009 VMAs and Taylor Swift doing “You Belong With Me” at the 2009 VMAs—are hardly memorable at all.

    But one supposes that, of the three least memorable out of those seven, Lady Gaga’s 2009 performance of “Paparazzi” was more “iconic” for how horrible her vocals were (not to mention how retroactively offensive her “disabled” shtick was) and the fact that “the fame” killed her at the end—with the fake blood pouring down her body to prove it as she was suspended in midair for the big finish. With regard to Swift, the only thing that people will ever remember about her appearance at the ’09 VMAs is her illustrious encounter with Kanye West, who incited their now lifelong bad blood by bum-rushing the stage when Swift won the award for Best Female Video, declaring that it was, instead, Beyoncé who had “one of the best videos of all time” (which is definitely not true of “Single Ladies [Put A Ring On It]”).  

    And, if one is really going to try to make the claim that the “Roar” performance is “iconic,” let it be noted that Perry’s boxer costume and the boxing ring backdrop that was set up in front of the Brooklyn Bridge look like a bad knockoff of Madonna’s boxer persona from the Hard Candy era, which she also took on the road for the 2008-2009 Sticky & Sweet Tour. It was on that tour that Madonna incorporated her boxing aesthetic in a major way for the “Die Another Day” video interlude. And yes, it was in a manner far more, let us say, “hardcore” than what Perry offered “live from Empire-Fulton Ferry Park.”

    In any event, the fact that Madonna had two nominations in the Most Iconic Performance category also might have led one to believe the odds were easily stacked in her favor, with both the 1984 and 2003 performances being the pinnacle of iconic. But no, clearly not. Because apparently people think that Perry bopping around in a shitty boxing costume and singing a Black Mirror-level type of “inspirational” song is much worthier for icon status than Madonna changing the fucking game on sexual and ironic performances with “Like A Virgin” or being the first theoretically hetero woman in the mainstream to make lesbianism chic in the twenty-first century (just as she also did in the twentieth with her Sandra Bernhard friendship/Erotica era [among other things]).

    The question of who ought to have won this award should have been utterly undeniable. Thus, to give the “honor” to Perry just proves that not only is everything political, but also that the masses (or maybe just the MTV VMAs in this instance) prefer to reward inferior trash. Because, objectively, there is absolutely no argument in favor of Perry dominating in this category. We’re talking about Madonna in one of the most signature fucking looks not just of her career, but in modern pop culture as we know it. A moment so iconic that it was riffed on again in 2003 for yet another performance that would turn out to be equally iconic in its own way (even in terms of cutting away from the Christina Aguilera beso for the sake of getting Justin Timberlake’s peeved reaction). And this time with Madonna making the then-latest generation of pop princesses into her brides, while she played the big dick energy groom.

    Incidentally, it was less than a year later that Madonna and Perry would pose together for a V Magazine photoshoot (taken by none other than Madonna’s favorite, Steven Klein). Although it was technically meant to “star” both of them, Madonna also stood out as the dominant force among the Bettie Page-inspired images. But at least being styled and photographed by the same people put them on a more level playing field—for when it comes to VMAs performances, there’s no fucking contest. Regardless of the grave error made at the 2024 VMAs.

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    Genna Rivieccio

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  • Mondo Bullshittio #50: Madonna Not Winning Most Iconic Performance at the 2024 VMAs

    Mondo Bullshittio #50: Madonna Not Winning Most Iconic Performance at the 2024 VMAs

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    In a series called Mondo Bullshittio, let’s talk about some of the most glaring hypocrisies and faux pas in pop culture…and all that it affects.

    In yet another one of many (seemingly infinite) examples in this world of how everything is rigged, the winner of MTV’s so-called “Most Iconic Performance” award—freshly added into the mix this year—was bequeathed to the least deserving nominee: Katy Perry’s “Roar” performance back in 2013. One that, by the way, absolutely no one remembers (and if they say they do, they’re definitely lying). However, considering that Perry was the 2024 recipient of MTV’s “coveted” Video Vanguard Award (decreasingly referred to by its full name: the Michael Jackson Video Vanguard Award), it seems more than a little bit “political” that she should be the one to claim the award for “Most Iconic Performance” when, in fact, what she offered back in 2013 was one of the least iconic performances in VMA history (which also extends to someone like Bryan Adams singing “Do I Have To Say The Words?” in 1992).

    Indeed, of the seven nominees, the performances that people are likely to most immediately recall (even if solely by an image alone) include Madonna’s “Like A Virgin” at the 1984 VMAs, Eminem’s “The Real Slim Shady/The Way I Am” at the 2000 VMAs, Britney Spears, Christina Aguilera, Madonna and Missy Elliott’s “Like A Virgin/Hollywood” at the 2003 VMAs and Beyoncé’s “Love On Top” at the 2011 VMAs. The three other options—Perry doing “Roar,” Lady Gaga doing “Paparazzi” at the 2009 VMAs and Taylor Swift doing “You Belong With Me” at the 2009 VMAs—are hardly memorable at all.

    But one supposes that, of the three least memorable out of those seven, Lady Gaga’s 2009 performance of “Paparazzi” was more “iconic” than “You Belong With Me” or “Roar” for how horrible her vocals were (not to mention how retroactively offensive her “disabled” shtick was) and the fact that “the fame” killed her at the end—with the fake blood pouring down her body to prove it as she was suspended in midair for the big finish. With regard to Swift, the only thing that people will ever remember about her appearance at the ’09 VMAs is her illustrious encounter with Kanye West, who incited their now lifelong bad blood by bum-rushing the stage when Swift won the award for Best Female Video, declaring that it was, instead, Beyoncé who had “one of the best videos of all time” (which is definitely not true of “Single Ladies [Put A Ring On It]”).  

    And, if one is really going to try to make the claim that the “Roar” performance is “iconic,” let it be noted that Perry’s boxer costume and the boxing ring backdrop that was set up in front of the Brooklyn Bridge look like a bad knockoff of Madonna’s boxer persona from the Hard Candy era, which she also took on the road for the 2008-2009 Sticky & Sweet Tour. It was on that tour that Madonna incorporated her boxing aesthetic in a major way for the “Die Another Day” video interlude. And yes, it was in a manner far more, let us say, “hardcore” than what Perry offered “live from Empire-Fulton Ferry Park.”

    In any event, the fact that Madonna had two nominations in the Most Iconic Performance category also might have led one to believe the odds were easily stacked in her favor, with both the 1984 and 2003 performances being the pinnacle of iconic. But no, clearly not. Because apparently people think that Perry bopping around in a shitty boxing costume and singing a Black Mirror-level type of “inspirational” song is much worthier of icon status than Madonna changing the fucking game on sexual and ironic performances with “Like A Virgin” or being the first (theoretically) hetero woman in the mainstream to make lesbianism chic (thus, normalized) in the twenty-first century (just as she also did in the twentieth with her Sandra Bernhard friendship/Erotica era [among other things]).

    The question of who ought to have won this award should have been utterly undeniable. A proverbial no-brainer. Thus, to give the “honor” to Perry just proves that not only is everything political, but also that the masses (or maybe just the MTV VMAs in this instance) prefer to reward inferior trash. Because, objectively, there is absolutely no argument in favor of Perry dominating in this category. We’re talking about Madonna in one of the most signature fucking looks not just of her career, but in modern pop culture as we know it. A moment so iconic that it was riffed on again in 2003 for yet another performance that would turn out to be equally iconic in its own way (even in terms of cutting away from the Christina Aguilera beso for the sake of getting Justin Timberlake’s peeved reaction). And this time with Madonna making the then-latest generation of pop princesses into her brides, while she played the big dick energy groom.

    Incidentally, it was less than a year later that Madonna and Perry would pose together for a V Magazine photoshoot (taken by none other than Madonna’s favorite photographer, Steven Klein). Although it was technically meant to “star” both of them, Madonna also stood out as the supreme force among the Bettie Page-inspired images of the duo in various S&M-y poses. But at least being styled and photographed by the same people put them on a more level playing field—because when it comes to VMAs performances, there’s no fucking contest. Regardless of the grave error made at the 2024 VMAs deeming Perry the “winner.”

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    Genna Rivieccio

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  • Chappell Roan’s VMAs Performance: A Nod to How We’re Still in Medieval Times

    Chappell Roan’s VMAs Performance: A Nod to How We’re Still in Medieval Times

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    There’s no doubt that Medieval Times is still a major institution in the Midwest, with one of its precious few locations being in Chicago (more specifically, Schaumburg, Illinois). And, of course, being a “Midwest princess,” one would like to think that Chappell Roan was vaguely aware of her Medieval Times aura as she took the stage at the MTV Video Music Awards for the first time (on the now always inauspicious date of September 11th). That’s right, like many other celebrities (despite Roan’s continued claim that she’s just “a random bitch”), she schlepped all the way to Long Island for this big debut at the UBS Arena—even going so far as to cancel other scheduled performance dates in Amsterdam and Paris in early September (perhaps not wanting to “overextend” herself while rehearsing for the VMAs) for the sake of making “icon history.”

    And that she did, confirming her increasing comparisons to Kate Bush (mainly on the vocal intonation front, but also embodying the “queer energy” Bush gave off despite being a straight woman…not to mention her ultra-camp sensibilities) as Roan opted to dress as a knight in shining armor for her live rendition of “Good Luck, Babe!” (a standalone single that was released months after The Rise and Fall of a Midwest Princess). As a matter of fact, there’s an immortal image of Bush dressed as a knight during a photoshoot for a 1980 edition of Melody Maker. But “maybe” Roan didn’t know about that before running with this particular concept and visual.

    In any case, to set the tone for this poignant costume during her performance, Roan arrived on the red carpet in what can best be described as a “Maid Marian getup” (courtesy of a sheer dress by Y/Project) and coordinating cape. Roan, for good measure, additionally packed a sword (how innuendo-laden) in hand as a prop to round out an aesthetic intended to convey that just because she’s a woman, it doesn’t mean she’s a “delicate flower.” Indeed, wielding that sword was in keeping with her snapping back at a press member (that reportedly told her to “shut the fuck up”), “You shut the fuck up! …Not me.”

    Later “explaining” her outburst, Roan remarked, “[The red carpet] is quite overwhelming and quite scary. I think for someone who gets a lot of anxiety around people yelling at you, the carpet is horrifying. And I need to—I yelled back. I yelled back! You don’t get to yell at me like that.” Such “bravado” was an ideal match for her knightly image as she defended her own honor—a theme that goes hand in hand with her entire “brand.” That is to say, women don’t need rescuing—they can ultimately save themselves (as Carrie Bradshaw, of all people, once tried to explain to Charlotte York in a season three episode of Sex and the City called “Where There’s Smoke…”). They just need a night on the town (ideally at a drag bar) to recover from almost any slight. Emphasis on the word almost.

    Alas, Roan is finding it more and more difficult to enjoy such therapeutic nights out on the town as her fame level eclipses her ability to do “normal person things.” Thus, dressing up as a knight also seems to speak to Roan wanting to take back her power by “valoring up.” However, that’s not the only subtext one can take away from the costuming and misleadingly “intricate” set design (modeled after, what else, a medieval castle). There’s also the undeniable message being sent that, despite Kamala Harris running for president, the U.S. (in particular) is still living in some very Dark Ages—complete with the overturning of Roe v. Wade in 2022 that has led to numerous states outright banning abortion. And while Roan claims her costumes aren’t that “deep” and that, most of the time, she thinks she just “looks hot” in them, the decision to don medieval garb doesn’t exactly feel like a coincidence in the current climate. Especially one in which Donald Trump (despite everything about his inherent nature and varied illegal activities that have been revealed to the public since 2016) still has almost half of the country’s vote as of September 2024.

    As for Roan’s Medieval Times energy, it bears noting that, in 2017 (the year of #MeToo, incidentally), the franchise changed the show (as they’re known for doing about every six years) to include a queen at the center of the event rather than a king. With Roan’s medieval interpretation, however, the “lady” herself becomes the “man.” Or at least one butch-ass bitch. Bedecked in her armor and faux chainmail, the performance begins with Roan standing behind the gates of the castle wielding a crossbow with a fiery arrow. She soon struts outside of the gate (opened for her by a bevy of “lackey knights”), approaches the center of the stage, turns around and then aims it directly back toward the gates, which, in turn, light up into a fiery pattern on select bars. The lackey knights then dance and preen around her with swords in hand as Roan boasts about how she “told you so.”

    As the fire burns in a glorious blaze behind her (including over-the-top explosions on the spires of the castle itself—courtesy of a screen, [un]naturally), the chaoticness of everything around her echoes the ways in which Roan is seeking to “burn it all to the ground.” From conventional pop stardom to the ongoing political “safeness” of most everything in pop culture—even in spite of all the insistence about how much “things have changed.” Of course, whether she “intended” to say all of this isn’t the point. It’s right there, between the lines displayed by those spiky, oppressive gates.

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    Genna Rivieccio

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  • How Drew Barrymore Went From Hollywood Darling To Scab In The Blink Of An Eye

    How Drew Barrymore Went From Hollywood Darling To Scab In The Blink Of An Eye

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    This article is part of HuffPost’s weekly culture and entertainment newsletter, “The Culture Catchall.” Click here to subscribe.

    Well, folks, despite the WGA and SAG-AFTRA strikes, awards season is in full swing. MTV’s Video Music Awards took place Tuesday evening, with Shakira’s historic Video Vanguard Award win, a nostalgic “Itty Bitty Piggy” performance from Nicki Minaj featuring Lil Wayne, and much more.

    But you know who wasn’t on the mainstage? Or even the Extended Play Stage? Victoria Monét. Fans have been petitioning for the industry veteran to perform her hit single “On My Mama” at the awards show, but sadly it was beyond her control. Monét tweeted, “My team was told it is ‘too early in my story’ for that opportunity so we will keep working!’ If newbies like Olivia Rodrigo and Reneé Rapp (whom I love dearly) can get up on stage just one to two years after releasing debut projects, so can Victoria. Sorry not sorry!

    The show went on for what felt like an eternity, bombarding viewers with filler performances and teleprompter mishaps (to distract from the fact that there are no writers to help the show and banter run smoothly). What brought me reprieve, though, was Selena Gomez’s response to Chris Brown being nominated in the year of our Lord 2023. Now, do I think Selena should have been nominated for *checks notes* an Afrobeats award? Hell no, but she hasn’t been repeatedly accused of assault, so I’ll cope.

    Despite her aversion to becoming a meme, it was inevitable, especially as Gomez sat beside bestie Taylor Swift, who was just having the time of her life. Swift, who won Video of the Year, has been in the news lately amid a rumored entanglement with NFL player Travis Kelce. (If you know me, you know how I feel about that man.) I’m going to reserve my comments — but I will let this TikTok do the talking. If you don’t know who his ex-girlfriend is, I suggest you look her up. Quickly.

    Anyway, happy Friday, happy Latinx Heritage Month and welcome to another edition of The Culture Catchall.

    NEW YORK, NEW YORK – APRIL 26: Drew Barrymore attends the 2023 Time100 Gala at Jazz at Lincoln Center on April 26, 2023 in New York City. (Photo by Jamie McCarthy/Getty Images)

    Jamie McCarthy via Getty Images

    We’re Still Talking About It

    • To borrow a phrase from Tyra Banks: Drew Barrymore, we were rooting for you! We were all rooting for you! I have never in my life yelled at a girl like this! Our favorite Hollywood darling is now being called a scab, after she effectively crossed the picket line by resuming her eponymous talk show. “I own this choice,” she said, as audience members get kicked out for displaying support for Hollywood workers. Earlier this year, Drew walked away from her duties as the MTV VMAs show host in solidarity with her comrades. Now, a vicious precedent has been set as more daytime TV shows are returning to the air. (On Friday, Drew released an apology video, but her show will continue to go on.)
    • Just in time for the NFL’s 2023-2024 season, Disney and Spectrum have finally reached a carriage agreement deal. While ESPN, FX and ABC stations are restored in major markets, eight networks will be left behind. Parents: your kids, tweens and teens are, unfortunately, getting the short end of the stick. Learn more from Deadline about which networks and local broadcast outlets are impacted.
    • In a bombshell exposé, NBC News internet reporter Kat Tenbarge shed light on accusations that “Rick and Morty” co-creator Justin Roiland used his fame to pursue young fans. Eleven women and nonbinary people came forward, citing and providing “thousands of messages with Roiland from 2013 to 2022” — many of which became sexual exchanges. Some of these fans were 16 years old when Roiland allegedly contacted them. Please use caution, as this article contains explicit language and graphic details.
    • Hasan Minhaj: I can’t keep defending you, Mr. Homecoming King. In a New Yorker profile, the former “ Daily Show” correspondent admitted to fabricating details of his standup bits in various comedy specials, ranging from a fake anthrax exposure scare to a contrived prom rejection story. Not only does this undermine Minhaj’s integrity, but it raises doubts about his use of identity and oppression as vehicles to further comedy — when those traumatic events may never have actually happened to him. One can only wonder what shadow this now casts on other comics of color. Read up for yourself here.
    • “Euphoria” producer and talentless hack Sam Levinson has been accused of ripping off a female filmmaker and photographer’s visual aesthetic. In an interview with Hungarian outlet Punkt, director Petra Collins alleged that Sam approached her to direct the HBO series, claiming he was “inspired” by her photos. Seems like pushing women out of opportunities is his M.O. (*Coughs* Remember Amy Seimetz, original creator of “The Idol”?) I’d say something like “I hate to say I told you so,” but then I’d be lying!
    • The notorious Gannett network is looking for two reporters to exclusively cover Beyoncé and Taylor Swift at USA Today and The Tennessean. (Emphasis on “reporters,” not middle-aged stans who run Timothée Chalamet fan accounts.) Mind you, the listings come after Gannett has slashed countless roles in local news markets over the past two years. We love the lack of job security in news! It’s so fun! The Daily Beast has more details.
    NEWARK, NEW JERSEY - SEPTEMBER 12: Olivia Rodrigo attends the 2023 MTV Video Music Awards at the at Prudential Center on September 12, 2023 in Newark, New Jersey. (Photo by Dia Dipasupil/FilmMagic)
    NEWARK, NEW JERSEY – SEPTEMBER 12: Olivia Rodrigo attends the 2023 MTV Video Music Awards at the at Prudential Center on September 12, 2023 in Newark, New Jersey. (Photo by Dia Dipasupil/FilmMagic)

    Dia Dipasupil via Getty Images

    Industry News & Announcements

    To get complete industry news and the full entertainment newsletter in your inbox weekly, subscribe to The Culture Catchall here.

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  • Victoria Monét Explains Why She Didn’t Perform at the MTV VMAs

    Victoria Monét Explains Why She Didn’t Perform at the MTV VMAs

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    Timing is everything. After dropping “On My Mama” this summer, many fans campaigned for Victoria Monét to join the impressive lineup of performers at the MTV VMAs on Sept. 12. Despite all the people championing her new music, the 30-year-old singer-songwriter still ended up at the award show as an attendee instead of a performer. Hearing the disappointment from her supporters, she explained the situation in more depth on social media.

    “I see your advocation for me to have performed tonight and I’m so grateful to you!! Sincerely!” Monét wrote on X (formerly Twitter). “My team was told it is ‘too early in my story’ for that opportunity so we will keep working!” She went on to thank fans, maintaining a positive attitude as she pointed to the upcoming tour for her new album “Jaguar II,” with shows beginning on Sept. 15.

    “My team was told it is ‘too early in my story.’”

    Understandably, not everyone was comforted by this explanation. “I love you and your beautiful positive SWEET ASS SELF OMG but also they’re full of sh*t lol,” former Fifth Harmony member Lauren Jauregui responded. Others pointed out that Monét has been a game-changer in the music industry for years, making the reported reasoning behind her missed performance opportunity even more frustrating.

    Disappointment aside, Monét previously told POPSUGAR in an Aug. 21 interview that she considers herself to be in her “level-up” era. “I feel really thankful whenever the opportunities come,” she said. “Obviously, in my life span, I don’t feel like a ‘new artist.’ I’ve been an artist since I was 17. So I’m never really surprised at doing new things still . . . I think everything happens when it’s supposed to.”

    Maybe the VMAs weren’t ready for Monét just yet, but she still has faith they’re headed in her direction. “The things that I’ve been wishing for are on the way,” she said. And when they finally arrive, we’ll be ready.

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    Chandler Plante

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  • Kelsea Ballerini’s Stylist Breaks Down Her Mid-Performance VMAs Outfit Change

    Kelsea Ballerini’s Stylist Breaks Down Her Mid-Performance VMAs Outfit Change

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    The 2023 MTV VMAs were part live concert, part magic show this year, thanks to Kelsea Ballerini. After walking the pink carpet with boyfriend Chase Stokes, the country singer executed a sneaky outfit change in the middle of her performance, leaving viewers at home mystified. To hear about how she pulled off the swap so seamlessly on stage, we got the full scoop from her stylist, Molly Dickson, who helped the moment come to life.

    For those who may not have tuned into the VMAs on Sept. 12, we’ll start with a brief recap of Ballerini’s performance. She took the Prudential Center stage wearing a white strapless gown with a leg slit to sing “Penthouse,” an emotional ballad about her divorce from Morgan Evans. After she belted out the lyrics “And it stings rolling up the welcome mat / Knowing you got half,” the fog around her suddenly got thicker, and when it cleared seconds later, she stood in the same spot wearing a totally different dress, a black Alexander McQueen minidress. “I need someone to explain this Kelsea Ballerini sorcery to me,” one person tweeted with a video of the outfit swap. Fan theories quickly flooded the internet.

    It wasn’t sorcery but some “expert tailoring” that helped Ballerini switch dresses so quickly, Dickson shares. “Once we decided we wanted to have a look change, we worked backwards,” she tells POPSUGAR. They started by fitting her in the black McQueen minidress and then fit the white gown on top “truly down to the centimeter.” Her team also transformed the white gown into the stylish equivalent of tearaway pants from the ’90s, replacing the side seam stitching with invisible magnets and Velcro to make it easy to remove quickly. “It was definitely a process; the slit on the white gown had to be tailored exactly to not reveal any of the minidress,” Dickson adds.

    “I’m afraid to tell you the amount of time we spent on this look.”

    Dickson played coy about exactly how much preparation went into making the now-viral moment happen. “I’m afraid to tell you the amount of time we spent on this look, but the fact that it worked made it worth it,” she says. “We did countless fittings, meetings with tailors in both LA and NYC, and lots of rehearsing.” Ballerini shared a behind-the-scenes glimpse at one such rehearsal on TikTok the morning after the VMAs. “Telling my future children i was once houdini,” the star captioned a video of her dramatically stripping away the white dress. In the clip, she noted how a bright light would briefly shine into the camera to help shield viewers at home from seeing the dress being torn away.

    All of the fittings and rehearsals helped make Ballerini’s debut VMAs performance one for the books, and Dickson couldn’t be prouder. “Seeing the full look come to life on stage with the lights, the fog, the string quartet, it honestly brought tears to my eyes,” she says. “This was such a busy week with Fashion Week and the VMAs, and seeing it all work out is the best.”

    Watch Ballerini’s full VMAs performance below to relive her slick outfit change, then catch up on every other standout fashion moment from the 2023 VMAs.

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    Victoria Messina

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  • People Love Selena Gomez’s Appropriate Response To Hearing Chris Brown’s Name

    People Love Selena Gomez’s Appropriate Response To Hearing Chris Brown’s Name

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    Selena Gomez is being called a real one thanks to footage from the 2023 MTV Video Music Awards.

    The “Only Murders in the Building” star displayed zero poker face while the nominations for the Best R&B category were announced at the ceremony Tuesday night. In one MTV livestream, Gomez can be seen exhibiting utter elation when SZA wins the award for her single “Shirt” — and then expressing oodles of disappointment when Gomez realizes that SZA isn’t at the ceremony to receive her award in person. Yet, it was Gomez’s reaction to hearing singer Chris Brown’s name among the Best R&B nominees that got people’s attention.

    In a clip circulating widely on X, formerly Twitter, Gomez can be seen scrunching her nose and pouting her lips in an apparent stink face as Brown’s name is announced.

    HuffPost reached out to Gomez for comment on her peculiar facial expression, but did not receive an immediate response.

    Gomez — who won the Best Afrobeats award for her collab with Rema on the summer hit “Calm Down” — did however post a cryptic message to Instagram after the ceremony wrapped, and it could be considered a response to her now-viral sneer.

    “I will never be a meme again,” Gomez wrote. “I’d rather sit still than be dragged for being myself. Much love.”

    Selena Gomez posted this message to her Instagram story after the MTV VMAs.

    Screenshot Selena Gomez/Instagram

    Considering the laundry list of concerning accusations Brown has faced over the years, it’s easy to see why many social media users believe Gomez was sneering at his name.

    Brown has a well-documented history of assault. He infamously pleaded guilty to a felony charge in 2009 following a violent incident involving then-girlfriend Rihanna.

    But Brown’s troubling past certainly does not end there.

    In 2017, ex-girlfriend Karrueche Tran was granted a restraining order against him after the “Claws” star accused Brown of making violent threats.

    Musician Frank Ocean told police in 2013 that Brown called him a homophobic slur in a dispute over a parking space. He also alleged that Brown punched him, though he declined to press charges.

    And in 2011, Brown reportedly trashed the “Good Morning America” studio after co-anchor Robin Roberts confronted him with questions about his 2009 assault.

    But whether Gomez purposely made a face upon hearing Brown’s name — or just happened to twitch — is unknown.

    It’s especially unclear since Gomez had told Capital FM in 2015 that she’s a “huge fan” of Brown, despite the negative news coverage of him that began years earlier.

    Need help? In the U.S., call 1-800-799-SAFE (7233) for the National Domestic Violence Hotline.

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  • Ice Spice’s VMAs Dress Is a Tribute to Madonna, Britney Spears, and Christina Aguilera

    Ice Spice’s VMAs Dress Is a Tribute to Madonna, Britney Spears, and Christina Aguilera

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    Ice Spice blew a metaphorical kiss to Britney Spears, Madonna, and Christina Aguilera at the 2023 MTV VMAs on Sept. 12. In honor of the trio’s iconic performance at the VMAs exactly two decades ago, the rapper walked the red carpet in a sheer bridal dress with lacy tights and a voluminous tutu. Spice’s style team completed the elegant ensemble with silver jewelry and strappy heels with rhinestone embellishments.

    Spice’s dress featured a satin corset bodice with lacy sleeves that transformed into fingerless gloves at the ends of her wrists. At the waist, the dress puffed out in either direction, boasting multiple layers of floral lace. The delicate, sheer fabric appeared again along the neckline and on both sides of the bodice, marking two large cutouts along her back. Spice kept the ornate design going with a pair of see-through tights and bedazzled sandals. Around her neck, the rapper also wore a rhinestone collar and layered chain necklaces in silver, the perfect complement to her Moon Person for best new artist.

    The frilly design is a clear homage to Spears and Aguilera’s outfits at the 2003 VMAs, which in themselves were nods to Madonna’s 1984 MTV VMAs performance when she sang “Like a Virgin.” The 2003 performance began with the megastars strutting onstage to the tune of “Like a Virgin” in full wedding dresses, complete with tulle veils and flower bouquets. As the track transitioned to Madonna’s “Hollywood,” the singer emerged in a groom-inspired tuxedo look complete with a top hat. The performance — including the trio’s outfits — has since been memorialized as one of the most iconic moments in award show history.

    Though Spice’s outfit looked incredible regardless of its significance, the clear homage to such a historic award show makes her ensemble that much more special. Later in the evening, she changed into a sheer maxi dress with a plunging, lace-up design that stretched down either side of her silhouette. Along the back, the ruching of the transparent fabric split at the knees, creating a subtle slit that gave a glimpse at her white pointed-toe stilettos.

    Ahead, admire Spice’s sartorial tribute to Spears, Aguilera, and Madonna, and take a closer look at its original inspiration.

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    Chanel Vargas

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  • We Spoke to the Designer Behind the Bracelets Lance Bass Gave to Taylor Swift

    We Spoke to the Designer Behind the Bracelets Lance Bass Gave to Taylor Swift

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    If you tuned into the 2023 MTV VMAs, you likely watched Lance Bass of *NSYNC hand Taylor Swift a stack of friendship bracelets as she accepted the award for best pop — a nod to the phenomenon happening at her Eras Tour shows among fans. The moment drummed up a lot of buzz, not least because Swift gushed over how much she looked up to the group growing up: “I had your dolls,” she told them after accepting the bracelets in near disbelief.

    It might’ve been hard for viewers to get a good glimpse of the glimmering bracelets, but they were made by the brand Little Words Project — and they were hand-beaded the night before.

    “When Lance Bass wants to hand out bracelets, you make it happen.”

    Little Words Project (LWP) is a Latina-founded brand started by Adriana Carrig, whose motto of “just be nice” has translated to wearable and shareable bracelets featuring words of affirmation. Swift’s stack at the VMAs consisted of bracelets with the words “Lover,” “NSYNC,” and “FTGWHE,” a reference to the *NSYNC track “For the Girl Who Has Everything.”

    Mariah Grippo

    According to Mariah Grippo, director of brand experience for LWP, Bass also had bracelets made for the rest of the boy-band members — Justin Timberlake, JC Chasez, Joey Fatone, and Chris Kirkpatrick — to wear while presenting the award. “Dirty Pop,” “NSYNC,” and “10.01.95” (the inception date of the group) were among those Lance gifted to his fellow bandmates, who reunited during the show for the first time in 10 years.

    Grippo shared that she was in talks with Bass’s team the weekend before the show, trying to figure out a way to spread kindness and share bracelets with whoever the ultimate winner would be. The LWP team worked through the wee hours of the night before the VMAs to handmake each bracelet that would potentially be going to any one of the best pop nominees, including Olivia Rodrigo, Miley Cyrus, and more.

    “Everyone’s in their friendship-bracelet era right now.”

    “We had so much fun beading these while blasting *NSYNC music all night,” Grippo said, adding that she and her team hadn’t handmade the bracelets in years (they have an entire team dedicated to that now, as the company has grown). “But when Lance Bass wants to hand out bracelets, you make it happen.”

    So when the night came and Swift won, the rest of the LWP team hoped Bass would make giving the bracelets to the pop star “a moment.” And to their delight, it indeed was a moment worthy of headlines and social media adoration.

    “Lance has handed out our bracelets before at Taylor Swift’s Eras Tour,” Grippo added. “He believes in our mission of spreading kindness and wanted to specifically work with LWP on this” for the VMAs. (Bass’s reps did not immediately respond to POPSUGAR’s request for comment.)

    Mariah Grippo

    Given the popularity of the Eras Tour tradition of handing out bracelets, as well as this latest exchange, we can only imagine Little Words Project will have many more customers lining up to create their own. The brand is available in stores like Target and Nordstrom, as well as on its website, where you can customize bracelets for a personalized stack.

    “We pride ourselves on being the original friendship bracelet,” Grippo said, “and everyone’s in their friendship-bracelet era right now.”

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    Ali Faccenda

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  • Cardi B in a Naked Dress, Taylor Swift in Denim, and More Celebs at the VMAs Afterparty

    Cardi B in a Naked Dress, Taylor Swift in Denim, and More Celebs at the VMAs Afterparty

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    The 2023 MTV Video Music Awards, which took place in Newark, NJ at the Prudential Center on Sept. 12, saw best dressed stars like Cardi B in a spiky Dilara Findikoglu dress, Taylor Swift in an edgy black Atelier Versace gown, and Selena Gomez in a scarlet Oscar de la Renta number. Following the ceremony, the afterparties continued into the wee hours of the morning on Sept. 13, and celebrities trekked to New York City to attend Diddy’s soirée at The Ned NoMad and Cardi B’s gathering at Somewhere Nowhere. While some opted for wardrobe changes in the middle of the VMAs — Saweetie, for instance, swapped her pink rhinestone Area Couture sheath for a regencycore moment in Kim Shui Studio before taking the stage — others waited until the event wrapped to make a transformation.

    Selena Gomez posted a bathroom selfie in a satin purple corset to tease her minidress, which she’d later cover with a leather trench jacket and finish with patent pumps. And Swift slipped into a deconstructed denim with a raw edge, mixing silver and gold with several metallic accessories. Meanwhile, Cardi B played host in a sheer, seafoam green halter maxi, coordinated perfectly with her mini Hermès Kelly bag. The look was in line with the many naked dresses that conquered the VMAs, establishing the daring trend as a go-to option for turning heads on one of the most iconic nights in music.

    Ahead, see which celebrities attended the 2023 MTV VMAs afterparties, and get details on what they wore.

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    Sarah Wasilak

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  • Doja Cat Summons Halloween in a Spiderweb Dress at the VMAs

    Doja Cat Summons Halloween in a Spiderweb Dress at the VMAs

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    Doja Cat had the supernatural on her side at the 2023 MTV VMAs on Sept. 12. Ahead of her performance of several singles, including “Paint the Town Red,” Doja walked the red carpet in a see-through spiderweb dress by Monse.

    The Halloween-ready ensemble, designed by Laura Kim and Fernando J Garcia, was fabricated using faux spiderwebs by Yu Jei Yen Textile. From afar, the fabric created the illusion that the rapper’s gown had been meticulously composed by dozens of committed arachnids. Her stylist, Brett Alan Nelson, paired the look with transparent heels by Amina Muaddi and diamond jewelry from a multitude of jewelers, including Balenciaga, Yeprem, Nicole Rose Jewelry, Maria Tash, and Yessayan Jewelry.

    It’s likely that the dress, inspired by artist Louise Bourgeois’s famous “Maman” spider sculpture, is a direct nod to Doja’s upcoming album, “Scarlet.” “This stunning creation pays homage to Louise’s extraordinary work and the inspiration behind it — her mother’s dedication to textiles, mending, and repairing fabrics,” the designer captioned photos of Doja Cat’s look on Instagram ahead of the award show. “A true masterpiece that weaves together the worlds of fashion and art.”

    The intricate, floor-length design was carefully draped to create multiple cutouts along the bodice and skirt, which covered a nude thong. From behind, the cutouts continued, giving the star minimal coverage as she posed for the cameras in her frosted heels. The neckline, also composed of the delicate, web-like fabric, boasted a one-shoulder design. Further demonstrating her love for all things creepy, Doja also wore multiple snake-like cuff bracelets and oversize spider earrings with ruby eyes and diamond abdomens.

    Doja’s beauty team completed the haunting ensemble with ghostly white eyeshadow, bold lashes, poison-green contact lenses, and blood-red stiletto nails. With Halloween still weeks away, Doja isn’t letting that stop her from unleashing her spooky side. Ahead, see the star’s incredible spiderweb dress from all angles.

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    Chanel Vargas

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  • Diddy Celebrates His VMAs Global Icon Award by Performing With 3 of His Kids

    Diddy Celebrates His VMAs Global Icon Award by Performing With 3 of His Kids

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    Diddy celebrated his legendary career at the 2023 MTV VMAs on Sept. 12 — and he did it with his family by his side. The music icon received the show’s Global Icon Award and hit the stage, marking his first performance at the event since way back in 2005. During his performance, Diddy was joined on stage by his son King Combs, 25, and his twin daughters, Jessie and D’Lila Combs, 16. The pair danced with their dad during his greatest-hits medley, while King popped up throughout the performance.

    Diddy performed classics like “I’ll Be Missing You,” “It’s All About the Benjamins,” “Bad Boy For Life,” “I Need a Girl (Part Two),” and “Mo Money Mo Problems.” Yung Miami also joined him for his track “Gotta Move On,” while Keyshia Cole took the stage to perform “Last Night.”

    Mary J. Blige introduced Diddy before he took the stage, and she and his oldest daughter, Chance Combs, presented the mogul with his award afterward. “This is a dream come true for me,” he noted during his acceptance speech. “I grew up watching MTV. I started as a paperboy at 12, and then I was going to be an NFL football player for the Pittsburgh Steelers.” But then Diddy shared that he broke his leg, crushing his dreams, until he got scouted as a dancer and realized he wanted to work in music.

    “I want to thank every executive, every producer, every songwriter,” Diddy added in his remarks. “I gotta thank the Bad Boy family because without them, I wouldn’t be up here.”

    He urged the audience, “You just gotta keep dreaming. I know sometimes you get hit with those hard things. Like I said, I thought I’d be playing for the Pittsburgh Steelers, but God made another choice.” Diddy added, “I pray to God y’all get to do something that you love for 30 years consistently.”

    Last, he said, “Before we go, in true Diddy fashion, I’m a hustler. I’ve got an album coming out this Friday.” Diddy had Jessie and D’Lila lift up copies of the album, titled “The Love Album: Off the Grid,” his first solo album since 2006.

    At the award show, Diddy was also nominated for four other awards. His song “Gotta Move On (Queens Remix)” was nominated for best collaboration and best hip-hop, while Metro Boomin’s song “Creepin’ (Remix),” which he features on, was also nominated for best collaboration and best R&B.

    Though only four of Diddy’s kids attended the award show, the hip-hop icon is a proud dad of seven total. His youngest daughter, baby Love, was born in October 2022. Diddy is the third recipient of the MTV Global Icon Award after the Red Hot Chili Peppers in 2022 and the Foo Fighters in 2021.

    Diddy and His Kids Performing at the 2023 MTV VMAs

    Diddy’s Global Icon Acceptance Speech

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    Victoria Edel

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  • Bebe Rexha Flashes Her Butt Cutouts at the VMAs, Body-Shamers Be Damned

    Bebe Rexha Flashes Her Butt Cutouts at the VMAs, Body-Shamers Be Damned

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    Bebe Rexha is showing her allegiance to the butt-cutout trend. At the MTV VMAs in Newark, NJ, on Sept. 12, the singer walked the pink carpet in a black leather dress featuring two skin-baring holes on her backside — one on each cheek. The body-hugging gown also came with a long black horse tail trailing down the back, and the bustier bodice featured pointy cone-shaped cups à la Madonna. Rexha struck a series of playful poses to show off every angle of the daring design, which hails from London-based fashion label The Uncommonist.

    Working with stylist Emily Evans, Rexha accessorized with dazzling vintage jewelry, including emerald and diamond chandelier earrings and two diamond bracelets. She finished her look with black platform heels, blush pink nails, and a sleek middle part hairstyle.

    Just one day before the VMAs, Rexha shared how she was considering skipping the award show due to “not feeling so confident.” “I am so anxious and stressed about going on the red carpet and people talking about my weight,” she said in a TikTok video. “I’m not really loving myself right now. I’m not really feeling like the bad b*tch that I usually am.” She asked her followers to drop “any motivational tips or tricks” in the comments to help her overcome the self-doubt, and they certainly came through. Rexha showed up looking like a total bombshell ready to celebrate her best collaboration nomination, potential body-shamers be damned.

    Rexha’s booty-exposing dress wasn’t the only revealing look of the night at the VMAs. Naked dresses were a popular pick this year, repped by stars including Megan Thee Stallion, Doja Cat, and Tinashe on the pink carpet. Shakira also showed some skin in an open-back gown covered in sequins, while Taylor Swift put her legs on display in an edgy high-slit Versace dress.

    Check out Rexha’s sultry look ahead, and then see every other VMAs pink carpet dress that blew us away this year.

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    Victoria Messina

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  • Selena Gomez Sets the VMAs Red Carpet Ablaze in a Lacy Beaded Dress

    Selena Gomez Sets the VMAs Red Carpet Ablaze in a Lacy Beaded Dress

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    Selena Gomez is back on the MTV VMAs red carpet, and damn, does she look good. For her first appearance at the award show since 2015, the singer chose an aptly statement-making custom gown by Oscar de la Renta. The cherry-red number was made entirely of beaded lace material with small sheer cutouts all over. The design came with a bustier bodice and skirt made of delicate lacy strips that skimmed the floor as she made her grand entrance.

    Working with longtime stylist Erin Walsh, Gomez paired her dress with red ankle-strap heels, coordinating floral rings, earrings, and a bracelet, as well as shiny red nails by celebrity manicurist Tom Bachik. Hairstylist Anh Co Tran gave the actor a sleek middle-parted hairstyle, and makeup artist Hung Vanngo used Rare Beauty products to give her a natural makeup look with a subtle brown smoky eye.

    It’s sure to be a big night for Gomez at the VMAs. Her and Rema’s collaborative hit “Calm Down” is nominated for three awards, including song of the year, collaboration of the year, and best afrobeats. Seeing as it’s her first time attending the music event in eight years, it’s safe to say fans are rooting for her to scoop up a few moon person trophies.

    Read ahead to admire Gomez looking like an absolute bombshell at the VMAs, and then catch up on what Megan Thee Stallion, Olivia Rodrigo, and more attendees wore to the star-studded show.

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    Victoria Messina

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