Megan Thee Stallion Introduces Her Latest Persona On New Song ‘B.I.T.C.H’

Megan Thee Stallion had a massive 2019 thanks to the platinum hit “Cash Shit,” her Fever project, and her viral “Hot Girl Summer” sensation. Now, her breakout streak is continuing to blaze on — after weeks of hype, the Houston rapper has unleashed her first solo single of the year, “B.I.T.C.H.”

Meg’s new track samples Tupac’s “Ratha Be Ya N***a,” off All Eyez On Me, and finds her firmly back in her bad-bitch zone. “Why you wanna play with me? You know I’m undefeated / A real hot girl know how to keep a n***a heated,” she confidently spits over a bouncy beat. That snarling dog on the cover art? Yeah, that’s pretty much the vibe here.

“B.I.T.C.H” marks Megan’s second release of 2020, following her Birds of Prey collaboration with Normani, “Diamonds.” The new single will appear on the ascendant star’s hotly anticipated debut album, Suga, on which she’ll be introducing fans to her next persona. In a press release, she said that “Suga” is “besties with Tina Snow… it’s a big problem.” She also teased that the new album will include work with Kehlani, and that “more hot collaborations and surprises” are on the way.

No word yet on when the sure-to-be-hot Suga will arrive. In the meantime, press play on “B.I.T.C.H” above.

Billie Eilish Drives Straight Into The Ocean In Her ‘Everything I Wanted’ Video

Billie Eilish surprised fans today (January 23) when she announced that the music video for “Everything I Wanted” would be out in an hour. Well, an hour has come and gone, folks, and the “Bad Guy” singer’s new video, which she directed herself, is a spine-chilling and anxiety-inducing journey.

The video, which stars Eilish’s brother and longtime collaborator Finneas, begins with an important message. “Finneas is my brother and my best friend,” the 18-year-old pop star wrote. “No matter the circumstance, we always have and always will be there for each other.” The remainder of the video confirms this to be true.

Following her sweet message to Finneas, Eilish cruises past a beautiful cityscape with her brother in the passenger seat. In true Eilish fashion, their stares are blank, their bodies expressionless. When the siblings drive through a tunnel, they find themselves out of the city, through the desert, past the valley, and onto the beach.

Less than halfway through the nearly five-minute-long video, we realize that it’s not at all about the scenery; it’s about sticking by each other’s side even at hit rock bottom. In this particular case, Eilish drives the car directly into the ocean. And though it’s difficult to watch them getting swept away by the tide and slowly sinking under, the siblings confirm with their hands held tight that everything will be OK because, at the very least, they have each other.

Eilish’s directing skills shine through on this project, and many fans on social media feel that it perfectly encapsulates the feeling of wanting to give up on everything but realizing that there are people who care, even when it doesn’t feel like it. This isn’t the “Ocean Eyes” singer’s first foray into directing, either. Eilish made her directorial debut with her song “Xanny” last month, which was just as soul-stirring and evocative.

10 Years Ago, Lady Gaga Left Us Speechless At Her First Grammys

The 2010 Grammys were dominated by women. Beyoncé was the main event, winning six awards out of a whopping ten nominations. Then there was country princess Taylor Swift, who became the youngest artist to win Album of the Year. But it was then-newcomer Lady Gaga who was the evening’s wildest performer and winningest rookie, attending the show for the first time and initiating a decade-long Grammy streak that continues into 2020.

At the time, Gaga had just begun establishing herself as an attention-grabbing awards show presence — in September 2009, for example, she shocked the VMAs with a bloody “Paparazzi” performance. So when she arrived at the Grammys a few months later, on January 31, 2010, she did so in characteristically eccentric style. Gaga — who was nominated for four awards that night — was tasked with opening the show, and her performance was one of the most ambitious that’s ever graced the Grammy stage.

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In a meta statement about the celebrity machine, the spectacle opened with a monologue by Elijah Kelly, who touted Lady Gaga as the perfect pop star: “The real Gaga comes complete with five No. 1 singles… and she has no soul!” Gaga — wearing a green sequined leotard with exaggerated rounded shoulders, pink triangles painted around her eyes — then appeared out of the “Fame Factory” and began singing a cabaret version of “Poker Face.” In one breathless jump, she then leapt to the stage and finished the song surrounded by a fleet of male dancers.

But she wasn’t done yet. After being branded a “monster” and dropped into a “rejected” pit of fire, Gaga reemerged for a surprise duet with Elton John. Both covered in soot and surrounded by severed mannequin arms, they sat at a double-sided piano and performed a medley of her “Speechless” and his “Your Song.” Elton even changed his lyric to sing, “How wonderful life is with Gaga in the world.” It was a match made in glitter-pop heaven, and John would later reminisce, “It was really spine-chilling and I knew it was a big success.”

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Never a sartorial bore, Gaga’s green leotard was just one of three daring Armani looks she wore that night. For the red carpet, she arrived in a cosmic lavender creation accessorized with cylindrical orbiting rings, beaded tights, golden hair, and a spiky star ornament. Following her performance, she pulled off another costume change that involved a sharp, sculptural headpiece that probably made everyone around her duck for cover.

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Gaga’s shiniest accessories, however, were her pair of golden trophies: her first two Grammys ever, for Best Dance Recording (“Poker Face”) and Best Dance/Electronic Album (The Fame). Unfortunately for Little Monsters watching at home and hoping to see a speech from their idol, both of Gaga’s awards were announced during a pre-telecast ceremony. Later that night, she revealed in a TV Guide interview, “We found out we won two Grammys right before I went onstage. And I cried and ruined all my makeup, so my makeup artist was screaming at me. And it was very memorable and I’ll never forget it.” (It must also be noted that, in the same interview, she answered the question, “Where do you get your inspiration?” with the now-iconic answer, “God and the gays.”)

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After an exhilarating evening, Lady Gaga celebrated her win by tweeting, “We won big tonight little monsters, I am so proud to make music 4 you. I hope I continue to inspire u the way u inspire me. You’re everything.” Her wish came true — that 2010 debut was just the first chapter in a long and storied history with the Grammys. The following year, she would one-up herself by taking home three awards, arriving at the show encased in a giant egg. Over the next decade, she only missed two of the annual ceremonies, which meant plenty more eye-catching Grammy moments from Gaga — like that David Bowie tribute look in 2016, her performance with Metallica in 2017, and last year’s “Shallow” showstopper. Plus, she’s racked up a total of nine wins from 27 nominations. That includes the three awards she’s up for this year, like Song of the Year for her A Star Is Born ballad “Always Remember Us This Way.” We can’t wait to see how Gaga continues to command the Grammys in the new decade.

Iyla Talks New ‘Tattoo Tears’ Video, Venting, And Embracing Her Scars

“Today is literally my first day off in months,” Iyla says excitedly over the phone. It’s a Friday morning and she’s reciting her plans for this unusually quiet day, which center around one very magical destination: “Disneyland is my favorite place. It has a good vibe to it.”

The downtime didn’t last long. On Thursday (January 23), the L.A.-based pop/R&B artist got back to business by launching her next era with the release of “Tattoo Tears,” the lead single off her forthcoming EP, Other Ways To Vent. And what a stunning reintroduction it is. “I haven’t put out music for over a year now,” she told MTV News, “and it just felt like this was a good way to come out with a bang and a statement.”

That statement is one of total empowerment, as she tells an ex she’d rather “tattoo tears than cry for you.” Over a springy R&B beat, the 26-year-old continues asserting, “I can reign on my own / I’ma wear your crown, throw a king off his throne.” The song was borne out of personal experience and a realization that erasing pain isn’t always an option, but controlling how you see it is. As she observes on the second verse, “These scars will never cease to exist / But I won’t ever fill ’em, fill ’em in / ‘Cause they gonna make me badder in the end.”

“When I wrote that, I was coming from this place of feeling like… in a relationship, there are sometimes emotional scars left on you,” Iyla explained. “I wanted to come at it from, even though you did this to me and you left this mark, I’m going to be cuter and badder in the end because of it. I’m going to embrace it and make it my own and own it for the rest of my life.

“‘Tattoo Tears’ is the most badass way of saying that I never want to cry for you again,” she continued. “I’d rather carve this beautiful scar into my skin than cry for you.”

Iyla plays off of those freeing themes in the accompanying video, which premiered on MTV and was directed by longtime collaborator Embryo. In it, she abandons her usual bright color palette — seen in her earlier videos like “Juice” and “Flowers” — and steps into a black and white world where geometric projections continuously wash over her.

“That stems back to the theme of the record,” she said. “A lot of times in relationships there are these standards that are projected on you. Or expectations or emotions, whether that’s from the person you’re with or from people around you. The video is symbolizing that these projections are unable to stay on me permanently. At the end of the day, I got myself, no matter what, and those insecurities will slide off. They will fall off of my body like those projections did. They’re temporary.”

Iyla speaks warmly but with clear conviction, and that command also comes through onscreen. In “Tattoo Tears,” there’s no one else sharing her space and nothing to distract from her emotionally resilient message. Unless, that is, you count the Beyoncé-esque wind machines that whip her hair around her face, or the fierce looks she wears throughout, like an all-black ensemble with arm-length, crystal-adorned gloves.

“When [stylist Brookelyn Styles] put me in that, I literally felt like a superhero,” she said. “I was like, ‘I’m ready. I got this. First video back.’ I felt powerful in that and I wanted to feel powerful in this song. It’s a vulnerable record and it’s definitely taking a stance and claiming my independence. A lot of this EP is like that.”

Other Ways To Vent arrives on February 7 and marks the follow-up to Iyla’s 2018 debut EP, War + Raindrops. That first project is “more summery,” but its sequel “definitely leans on the darker, more ethereal vibe,” she explained. “I think it was important for me to go a little deeper into who I am and get a little more in my feelings. It’s showing the ways that I vent, and music is my way.”

Next month, Iyla will vent out loud on her first headlining tour, which kicks off on February 16 in San Francisco before visiting 15 more cities in the U.S. and Canada. She’ll perform both War + Raindrops and Other Ways To Vent on the North American trek, and she’s looking forward to hugging her fans and reciprocating their support in a judgement-free zone.

“When you come to the tour, I want it to feel like, whoever you are and wherever you’re from, you are completely accepted and loved and this is a beautiful safe space where we’re all just on the same vibe,” Iyla said. “I want the tour to encompass that. I want the merch to encompass that. I want the music to encompass that. I think it’s going to be a really beautiful year. I feel a good energy and I can’t wait to just create more.”

Rosalía Chains Her Heart To A Locked-Up Lover In ‘Juro Que’

Rosalía began her career as a flamenco artist and, just ahead of the Grammys where she’s nominated for Best New Artist and Best Latin Rock, Urban or Alternative Album, she’s returned to her roots for “Juro Que.” The acoustic guitar-heavy new single comes with a video about longing for a partner that’s locked away from her touch. It’s a tale of true love that isn’t bound by time or space and Rosalía sounds right at home. Hopefully, this means that more is on the way.

It’s hard to state enough just how good that “Juro Que” sounds. Rosalía, who began studying flamenco at 13 years old, sounds perfect as her voice shimmers and slides over the handclaps and guitar strings. She sings about her partner, played by Spanish actor Omar Ayuso from Netflix’s Elite, who’s imprisoned for 400 days. Rosalía swears that she’ll wait for him to be out no matter how long it takes. That’s the power of true love.

Rosalía recently appeared on the remix to Travis Scott‘s “Highest In The Room” with Lil Baby. Her second studio album El Mal Querer came out in 2018. At the end of December, former President Barack Obama placed her “Con Altura” collaboration with J Balvin on his Favorite Music Of 2019 list.

Jessie Reyez Bathes In A Cosmic Sea Of Romance In ‘Love In The Dark’

Jessie Reyez has released a stirring and visually stunning video for “Love In The Dark.” It shows off the beauty of nature and space itself, possibly to symbolize the allure of true, romantic bliss. Or maybe we’re just reading too much into it. Just count the number of gasps that slip out of your mouth over the course of its four minutes.

Being happy with someone feels like you’re sleeping peacefully on a cloud but to be truly in love has to feel like floating through space. Reyez shows what this feels like in “Love In The Dark.” Wearing a wedding gown, she sinks into water that continuously turns into a cosmic sea of nebulas and back. Initially standing on land, she submerges herself in romance, showing how the world changes, yet her feelings stay the same. “I’ll be around you, I’m nothing without you/I won’t leave you alone,” she sings on the delicate and emotional tune, seeking to comfort a partner. This is going to be a popular wedding song, that’s for sure.

“Love In The Dark” is set to appear on Reyez’s debut studio album, Before Love Came To Kill Us, that’s set to drop on March 27. It’s the fourth released song from the LP following “Imported,” with 6LACK, “Far Away,” and “Crazy” that all dropped in 2019.

Check out Reyez’s romantic video for “Love In The Dark” up above.

Haim Shelve Their Soft Voices For Thick Drumsticks On The Price Is Right

The Grammys are right around the corner so it’s Music Week on The Price Is Right. To commemorate the pending awards show, different musicians are popping up to spread a little celebratory cheer with unsuspecting audience members. Yesterday (January 22), Haim were the special guests and gave fans a preview of what they’d sound like as drummers instead of windy folk-adjacent sirens.

When Haim, who were nominated for Best New Artist at the 2015 Grammys, were revealed from behind one of The Price Is Right‘s showcase-hiding walls, they were placed strategically around three drumsets. They began pounding their drumsticks on every instrument that they could find, somehow creating an original beat that the crowd began to cheer to. It couldn’t have been more than thirty seconds, but the foundation was laid for Haim’s next direction. They each have backgrounds in multiple instruments, so reinventing themselves as masked drummers, maybe with angel wings, would be awesome.

Haim aren’t the only musicians to take the Price Is Right stage this week. Fall Out Boy members Pete Wentz and Patrick Stump did earlier and both Meghan Trainor and Diplo are set to appear.

Check out their brief appearance up above.

Live From Inside Of A Hurricane, I’m The Weeknd With Your Kimmel Performance

Forget about that old folk tale about the man inside of the moon. The Weeknd was the man inside of a storm in a thunderous new performance of “Blinding Lights” on Jimmy Kimmel Live!. With some twirling camera work and raining leaves, the singer found a way to stand inside of a category 5 hurricane and sing as if he was still suffering the effects of licking the frog that sent him into a fritz in the video for “Heartless” which continued in “Blinding Lights.” Wearing that now-iconic red suit blazer, The Weeknd’s wicked show was unforgettable.

Straight out of a storm-chasing 1980s rom-com (I seriously doubt a movie like that really exists), The Weeknd’s grainy and choppy old-school filter set the nostalgic mood of the performance. Flickering cumulonimbus clouds behind him illuminated the bruises from the “Blinding Lights” video that made it clear that he was still in character. While leaves fell around him and the camera twirled like it was being flung around the eye of a natural calamity, The Weeknd remained firmly centered in the middle, forcing himself to get the words out before he blew away into oblivion. If that would have happened, at least he could have breathed a sigh of relief since his frog-induced freakout would have been over.

The Weeknd released “Blinding Lights” earlier this week (January 21). This followed “Heartless,” the start of The Weeknd’s latest era, that dropped last December.

Check out The Weeknd’s weather forecast-worthy performance of “Blinding Lights” up above.

Paramore’s Hayley Williams Plays The Slasher And The Final Girl In Creepy ‘Simmer’ Video

Paramore‘s Hayley Williams solo era is here, and it has arrived like a horror movie monster standing in a suburban house doorway. She’s released “Simmer,” a dread-inducing new track of angry feels that comes with an equally scary video about evading a slasher. Wait until you see the twist-ending. You’ll look at yourself in the mirror a bit differently afterward.

“Simmer” sounds like the first zombified arms bursting from the ground at a cemetery in the middle of the night. It’s neck hair-raising groove comes from the whispering guitar courtesy of Paramore guitarist Taylor York who imbues the midnight playground with an intense fog. Williams’s soft vocals add to the intensity as she sings about a wide range of emotions like rage and contempt. “Rage is a quiet thing/You think that you’ve tamed it/But it’s just lying in wait” she mumbles into an imaginary crystal ball, setting up the song to explore the dark feelings that make us into primal beings.

In the video, Williams flees from a masked killer who can take the form of a red cloud. After running through a forest and taking refuge in a nearby house, the killer chases her there. By putting mud all over her body, Williams escapes from the entity chasing her, then turns the tables by clobbering it over the head and knocking it out on the floor. Suddenly, Williams looks horrified as she looks down upon it and sees her own face staring back at her. Is she suggesting that the past is dead and she’s moving boldly into the future?

Williams is set to release a solo project, Petals For Armor, soon. It’s the start of her solo era that she’s been teasing for a little while, revealing in December that she’d be ringing off the new year with some fresh tunes. Paramore has been on something of an unofficial hiatus since 2018.

Check out Williams’s scary new “Simmer” video up above.

Lizzo Always Knew She’d Be At The Grammys — Her Old Tweets Are Proof

On September 16, 2015, a singer, rapper, and flutist from Minneapolis fired off a tweet from her iPhone: “Heads up: imma be me at every stage— Grammys, to ya granny’s backyard.” It earned five retweets, 17 likes, and was probably nothing more than a tiny, if somewhat presumptuous blip on her followers’ timeline. Nothing spectacular, in other words.

Oh, how things have changed.

The tweet in question came from Lizzo, who, at the time, was fresh off a stint opening for a Sleater-Kinney tour and was gearing up for the release of her second album, Big Grrrl Small World. She wasn’t signed to a major label; rather, she was headlining small clubs and hustling hard. But she clearly believed in herself. And when the 2020 Grammys touch down in Los Angeles this Sunday (January 26), we’ll see just how majorly that hustle paid off.

It’s Lizzo’s year to lose, with the “Truth Hurts” singer leading the pack of nominees with eight nods to her name, including Album of the Year, Record of the Year, Song of the Year, and Best New Artist. Oh, and she’ll hit the stage for a live performance, just like she predicted she would five years ago.

In celebration of Lizzo’s Grammy debut, take a look back at some of her old tweets about the awards show that, in the wake of her dominating breakout year, have aged remarkably well. She always knew she was 100 percent that bitch.

  • February 8, 2015: Lizzo cheers on Haim and Bastille at the 2015 Grammys.

  • September 16, 2015: She makes it known she’ll slay any stage.

  • February 15, 2016: She’s floored that one of her songs played during the Grammys telecast… in a commercial for Barbershop: The Next Cut.

  • February 13, 2017: She shouts out her glam team for their work getting her ready for various Grammy parties — and then congratulates all her nominated pals.

  • September 19, 2017: She unknowingly predicts her Grammy success when responding to a fan who praised her for having “real talent.” The fan’s comment came on the same day Lizzo released a little song called “Truth Hurts.”

  • January 29, 2018: The day after the ’18 Grammys, she posts a fierce topless video with the caption “*practices my Grammy speech.*”

  • May 24, 2018: Her version of the Grammys was being a guest judge on RuPaul’s Drag Race.

  • February 17, 2019: She once again predicts she’ll be at the Grammys — months before her nominations or performance were even announced.

  • November 20, 2019: It all comes full circle when Lizzo earns eight Grammy nominations.