Rihanna’s History-Making Fenty Fashion House Is Officially On The Way

Today (May 10), Rihanna rises. Not to new music, that’s for some other time. The singer’s fashion brand is heading to Paris! LVMH has officially announced that it’s teaming up with Rihanna for a Paris-based luxury house, aptly named Fenty. The good news is that this isn’t a flag in the ground, only for news about it to come years later. Fenty will be unveiled on May 22.

It’s been rumored for months that Rihanna and LVMH had something in the works. Today, the hype became official with the announcement. In a statement on the official LVMH site, the new Fenty House will be “centered on Rihanna, developed by her and takes shape with her vision in terms of ready to wear, shoes, and accessories, including commerciality and communication of the brand. In just a few weeks, the first pieces will be on display in just a few weeks in Paris.

Rihanna also released a statement, excited for the House to come. “Designing a line like this with LVMH is an incredibly special moment for us,” she said in a statement. “Mr. Arnault has given me a unique opportunity to develop a fashion house in the luxury sector, with no artistic limits. I couldn’t imagine a better partner both creatively and business-wise, and I’m ready for the world to see what we have built together.”

The first word of the collaboration came back in January when WWD reported that through multiple sources, the singer was readying a collaboration with LVMH. Now that her threads will be available in coming weeks, it looks like the road to new music could be opening up. Hopefully, it’s a surprise announcement, just like this one has been.

Logic’s New Album Confessions Of A Dangerous Mind Comes With A Surprise Feature

Logic‘s spooky new album Confessions Of A Dangerous Mind is finally here. After the near two-month wait, the fully-stocked LP arrives in full splendor, with a list of collaborators both unpredictable and larger-than-life. It’s a welcome fifth chapter for the rapper that continues to rise.

Confessions Of A Dangerous Mind is sixteen tracks of confessions, danger, and surprise appearances. It features the previously released “Homicide” with Eminem and comedian Chris D’Elia that is the song equivalent of a category 5 hurricane. Elsewhere on the LP, YBN Cordae, G-Eazy, Gucci Mane, and Wiz Khalifa all pound out verses. And, in a weird turn of events, Logic’s father, credited as “My Dad,” appears on its penultimate track.  All of this combines for an interesting new stone in Logic’s infinity gauntlet. Now that he has five, what will he produce with a snap?

The rollout for Confessions Of A Dangerous Mind began in March when Logic released a blood-soaked trailer to announce it. The LP is also somewhat reminiscent of his debut novel Supermarket that came out that same month (which enabled him to become the first rapper to top the New York Times’ Best Sellers List), which follows the journey of a grocery store employee named Flynn who deals with, as the book’s back cover reads, “sex, drugs, and murder on aisle 9.” Logic released an accompanying soundtrack for the novel as well.

Listen to the album up above.

Madonna and Swae Lee Are Breathless Lovers On ‘Crave’

The soft jazz music of a noir thriller clung to the cool nighttime air like an evening breeze. Car horns popped softly in the distance and the chatter of the after-nightclub crowds grew dimmer. A mysterious man in a pinstripe suit stood in a wide alleyway between two closed restaurants with a cigarette in his mouth, unlit, and his left leg in a triangle as he leaned against a wall. 

After a few moments, a woman with frosty blonde hair turned the corner and slowly walked towards him. She looked fierce, tired, and ready to call it a night. Her eyes were locked on the manilla folder in the man’s hand that he gently flicked when she got close. He sighed, told her that she was late with the air of a teacher’s nagging tone, and handed it to her. She opened it and looked at its contents, smiling. Inside was a picture of Swae Lee. “Your next mission, if you proceed to take it, is to make a song with this chap,” the man said. The man reached for a lighter from his breast pocket and prepared to explain the task’s parameters. When he looked back up, the woman was gone. The folder too.


Madonna has intertwined her voice with Swae Lee for a happy new record about innocent love called “Crave.” The pair are obsessed partners who realize the power of their attraction and aren’t afraid to test the waters. The track is set to appear on Madonna’s forthcoming espionage-themed album Madame X that’s set to drop on June 14. It’s nearly impossible to listen to this without a smile sneaking to the corners of your face. Listen to it, you owe yourself that much on this beautiful Friday morning.

It’s not quite pleading, per se, but “Crave” bounces along with a frantic tone, one of grasping for affection that’s just out of reach. The pair’s manufactured love for each other here is heavy and the lip-biting is steamy. Madonna sighs and sings breathlessly of her NEED for her partner. She’s far away from home and she misses the safe space of her partner – her head nuzzled on his shoulder. Swae Lee joins her for a breezy chorus about feelings that never fade and strong, dangerous love. “‘Cause you’re the one I crave/And my cravings get dangerous,” the pair sing together, their voices twisting themselves around each other until they lock in place. The goosebumps then fall down your shoulders.

“Crave” is the latest of the vast world that Madame X will explore. Last week, she released an empowering anthem about resilience, “I Rise,” featuring the voice of Stoneman Douglas shooting survivor Emma González. Last month, she released “Medellín,” a tropical anthem with Maluma.

Listen to the song up above.

“Good job, agent,” the man said, curling the cord of the pay phone around his fingers. “The payment that we discussed will be in the account shortly.” He hung up the phone and walked off into the hustle and bustle of a New York morning in Times Square. The woman with the frosty blonde hair put down the phone and nuzzled the fur on her cat’s head beside her. She reclined into the couch, smiling.

Justin Bieber And Ed Sheeran Turn Social Anxiety Into A Breezy Bop With ‘I Don’t Care’

Rejoice, Beliebers! Justin Bieber’s musical drought has ended, and we apparently have Ed Sheeran to thank for that. The two pop princes have reunited for “I Don’t Care,” a loved-up collaboration they’ve been relentlessly teasing for more than a week now.

Thankfully, it was well worth the wait — this could be a strong Song of Summer contender, thanks to its easygoing beat and breezy mood. Sheeran sets the scene by recounting a stuffy party where he feels out of place, and Bieber echoes that by admitting he’s “crippled with anxiety.” But both of them find solace in a lover who puts their minds at ease.

“‘Cause I don’t care, as long as you just hold me near / You can take me anywhere / And you’re making me feel like I’m loved by somebody / I can deal with the bad nights / When I’m with my baby, yeah,” they harmonize on the enchanting chorus. Bieber even throws in some fancy falsetto notes at the end, because he just knows what the people want. Welcome back, JB!

Just minutes before “I Don’t Care” arrived, Bieber tweeted, “Been a long time since I’ve done a countdown to new music.” Indeed, the pop star has appeared on a handful of hits in the years since his last album, but his solo output has largely stalled. He did, however, return to the stage last month as a guest during Ariana Grande’s Coachella set, where he teased, “By the way, album coming soon.”

“I Don’t Care” marks Sheeran’s first new music since divide, and Bieber’s first single as a lead artist since his 2017 BloodPop collaboration, “Friends.” It’s unclear if the new track is intended as a one-off single or of it’s meant to lead a bigger project from either artist involved. In any case, it’s a welcome reunion from the longtime friends, who last struck gold with the chart-topping Purpose single “Love Yourself.” Let’s see if “I Don’t Care” follows suit!

Watch Jonas Brothers Relive The ‘Emotional Sting’ Of Their Breakup In New Doc Trailer

Jonas Brothers are really putting fans through the emotional ringer this year. Their reunion has been almost entirely smiles and happy times — new music and videos and weddings and performances! — but now it’s getting a little serious.

On Thursday (May 9), the sibling trio released the trailer for their new Amazon Prime Video documentary, Chasing Happiness. It promises to share the untold story of the band, from their humble beginnings in New Jersey — cue all the nostalgia-inducing throwback footage! — to their chart-topping comeback. Of course, that also means it’ll get into the “emotional sting” of the “Sucker” group’s shocking 2013 breakup.

“There were moments I thought, ‘they’ll never speak to me again,'” Nick says about telling his brothers he wanted to pursue a solo career. “What hurt the most was that it came from Nick,” Joe says, eyes watering. “He is my best friend.”

As we now know, the story has a happy ending (whew!), and the trailer quickly turns to their reunion as a band and their flourishing love lives, with Nick declaring, “I really want to have a second chance with them.”

Chasing Happiness arrives on Amazon Prime on June 4, just before the release of JB’s hotly anticipated new album, Happiness Begins, on June 7. Check out the emotional trailer below.

Taylor Swift’s Seventh Album Will Be Her Longest Yet: ‘There’s A Lot Of A Lot’

Taylor Swift must have heard our collective cries for more interviews, because she’s been on quite the press-friendly roll. After recently gushing about how “energized” she’s feeling heading into her seventh album, Swift sat down for her first magazine interview in three years with Entertainment Weekly, giving us a few discrete but promising clues about her upcoming music.

In the cover story, Swift revealed that she started recording album No. 7 as soon as she finished the Reputation Tour. Though it took her just under three months to finish, the project will mark the lengthiest album of her career thus far, which means it’ll be at least 17 songs long (Red, her current lengthiest release, has 16 tracks).

“I try not to go into making an album with any expectation,” she explained. “I started to write so much that I knew immediately it would probably be bigger.”

She added, “There’s a lot of a lot on this album. I’m trying to convey an emotional spectrum. I definitely don’t wanna have too much of one thing. You get some joyful songs and you get the bops, as they say.” There are also, however, some “really, really, really, really sad songs,” but “not enough to where you need to worry about me.”

One of those aforementioned bops is the buoyant lead single “ME!“, which marked a stark left turn from the darker, moodier tone of the reputation era. “It’s definitely the fans that made that tonal shift in the way I was feeling,” Swift said, adding, “This time around I feel more comfortable being brave enough to be vulnerable, because my fans are brave enough to be vulnerable with me. Once people delve into the album, it’ll become pretty clear that that’s more of the fingerprint of this — that it’s much more of a singer-songwriter, personal journey than the last one.”

Of course, it wouldn’t be a T. Swift story if she didn’t also drop a few easter eggs, and there are almost certainly some clues to be uncovered in her EW photoshoot. On the mag cover, she wears a denim jacket with a variety of buttons — there’s everything from her fave Game of Thrones characters to ones with Drake and Selena Gomez on them. Could one or both of those artists be featured on her new album? Let the (guessing) games begin!

Taylor Swift Explains How Reputation Was Inspired By Game Of Thrones

The theme of Taylor Swift‘s 2017 album Reputation is jump-out-at-you vicious. Of course, there are Taylor’s lucid love tales, which have become a staple of her artistry, but they’re balanced out by more vengeful, angry songs, the kind that could be made of fire and smoke if it were a dragon shrieking their vocals. It turns out that Swift was inspired by Game of Thronesa show known for its trio of dragons, for Reputation‘s weaponized aesthetic. In a new cover story for Entertainment Weeklythe singer elaborated on which songs were inspired by different aspects of the show. Like all of us, she’s an expert on the land of Westeros.

But here’s the thing: she wasn’t watching it from the beginning. She first tuned into it in 2016. “So much of my imagination was spent on Game of Thrones,” she said. “At the time, I was making Reputation and I didn’t talk about it in interviews, so I didn’t reveal that a lot of the songs were influenced by the show.” What songs, you ask? She delves right into the specifics soon after in the interview. “‘Look What You Made Me Do’ is literally Arya Stark’s kill list. ‘King Of My Heart’ was influenced by Khal Drogo and Daenerys. It’s even got this post-hook of drums – I wanted them to sound like Dothraki drums. ‘I Did Something Bad’ I wrote after Arya and Sansa conspire to kill Littlefinger.”

Swift also revealed that the show influences her approach to storytelling on her albums and through the use of narrative bread crumbs hidden in her music videos. She was also asked about who she thinks will end up taking the Iron Throne once the coming war for the Seven Kingdoms wraps up. “Daenerys, Arya, or Sansa,” she said. “But if I’m being realistic, I think Sansa has the skill set and the ability to delegate and put on a brave face but a stoic demeanor.”

Swift is gearing up for her own takeover of the pop kingdom with the imminent release of her mysterious new album. She dropped the first single, “ME!,” last month. With it, a colorful, Mary-Poppins-In-Easter kind of video that proves the pastel colors of her youngest years are back and front and center.

The Losers’ Club Is All Grown Up In First It: Chapter Two Teaser Trailer

It — adapted from Stephen King’s chilling source material of the same name — became the highest grossing horror film in history. Audiences fell in love with the film’s preteen heroes, known as the Losers’ Club, as they faced puberty, bullies, and, of course, the shape-shifting clown/amorphous evil entity, Pennywise the Dancing Clown.

Chapter One ended while they were kids — victorious, but in a fleeting sense. In the first teaser trailer for the anticipated second half of the story, It: Chapter Two, the Losers’ Club aren’t kids anymore. And they’re back in Derry, and unfortunately so is Pennywise.

The teaser trailer finds Beverly, played by Jessica Chastain, making her return to the city 27 years later and visiting a mysterious older woman. Before long, while waiting for a cup of tea, Beverly sees Pennywise’s creepy smile on the woman’s wall in an older photo, and behind her, the woman dances in her kitchen naked. Beverly gets rushed by the wrinkled skin and the teaser shifts outside of the claustrophobic house to the town itself. The gang’s back in town, and Pennywise is up to its old, murderous tricks — this time attempting to prey on a young girl. The conclusion looks to be bigger, scarier, and bloodier than ever before.

It: Chapter Two also features James McAvoy, Bill Hader,  James Ransone, and others. Bill Skarsgard makes his return as the impossibly scary Pennywise. You’ll be able to hide behind your hands during its scariest scenes when it hits theaters on September 6.

Check out the scary teaser up above.

Charly Bliss Quit Their Day Jobs — Now Their Powerful New Album Finds Them Primed To Break Out

By Emma Madden

The joy that left somewhere between your fifth birthday party and puberty never escaped Charly Bliss’s Eva Hendricks. A super extrovert or “total hambone,” as she describes herself, Hendricks is exactly the person you picture when you listen to Charly Bliss’s strain of invigorating, hot-blooded power pop. Born into an encouraging family in a small arts town, she spent most of her out-of-school hours performing musical theater before she ever picked up a guitar. “I would watch the movie Josie and the Pussycats and imagine myself being in that band,” she says. Her face is mostly mouth when she speaks, spread in a constant grin like she’s delivering life-altering news. “I was obsessed with Michelle Branch and the Dixie Chicks, and I was always trying to convince everyone that we had to start a band, even though none of us knew how to play instruments.”

While Hendricks had seen women represented in pop music, she never quite saw herself in them. “Pop stars are almost like aliens,” she says. “They’re not us. In the best way ever.” It wasn’t until she saw Jenny Lewis fronting Rilo Kiley that it occurred to her that she could make her pussycat pipe dream a reality. Meeting Spencer Fox, a former child actor who voiced The Incredibles’ Dash Parr, was the final push. With Fox’s encouragement, Hendricks began writing songs, and finally picked up the guitar.

Charly Bliss formed soon after, with Fox on lead guitar, Hendricks’s brother Sam on drums, and childhood friend Dan Shure on bass. Their debut album, Guppy, landed in 2017, following several painstaking years trying to find their sound. They went through numerous costume changes — garage-rock band, acoustic Starbucks-core outfit — before landing on the resilient pop, and achingly nostalgic rock that, heading into the upcoming release of their second album, Young Enough, now defines Charly Bliss.

Hendricks was still working in a coffee shop — her “favorite job ever, except for this one” — when her band’s first album came out. “Once that tour for Guppy started, I just felt so bad for my coworkers. I kept calling out for months at a time. I was gonna start to lose friends over how often I was having to leave.” The band was in Las Vegas when Hendricks received the text message from her mother telling her: “You cannot keep doing this. You need to be all in.”

Johnny Nunez/WireImage

The band quit their jobs and began pursuing Charly Bliss full time two weeks into that tour. Now, as they’re preparing for Young Enough, with no day jobs to fall back on, the stakes have never been higher. While Guppy gave the band the opportunity to pursue music full time, Young Enough is the kind of album that could give the band its big break — more fans, bigger venues, an answer on a gameshow. Hendricks is feeling ambitious. “I think all four of us are.” Not ashamed to have high hopes, the band are wanting to push Charly Bliss as far as it will go. “Michelle [Zauner] from Japanese Breakfast always jokes that we’re both super try-hard bands,” Hendricks laughs.

Like Guppy, Young Enough is sorely sentimental but never mawkish. Its highs are earned — “Do you remember walking barefoot against the dark?” Hendricks screams in one such instance. It’s the kind of rush that makes your stomach lurch — like you’re cycling down a tall hill, or about to fall in love.

Hendricks is made of these moments. “Part of it is I have no chill, I’m a super intense person,” she says. “I remember back in high school, I’d become obsessed with one person, and felt like I was madly in love with them. I’d drive around in my car and cry about them, and I remember thinking: No one has ever felt this much, no one knows what this feels like.” That teenage feeling — the one which isolates you in your intensity, as though the whole world’s going down on a sinking ship — has extended into Hendricks’s adult life and Charly Bliss’s latest album.

“If I had to think of one word that totally encompasses all of the lyrical themes of this album, and the process of making it, it would be ‘growth,’” she says.

She call the album’s title track its “lyrical centerpiece,” for that reason. On “Young Enough,” Hendricks refers back to the palmy days of her first love in cinematic detail. “Do you remember walking barefoot against me?” she screams once more, while coming to the grown-up conclusion that despite all of it, it’s better to love well than it is to love hard.

“I think of it as a song that’s about growing up and growing out of buying into the idea that the hardest relationships are the most meaningful,” she says. “Obviously, it was a relationship that would never work for so many reasons, but in comparison to these other experiences that came after, of being with someone who was actually really sinister, and being with someone who was abusive, I’m grateful that that relationship was my blueprint and not something so much darker.”

In conversation, Hendricks still pauses before she shares that she’s been abused and sexually assaulted. She describes the months leading up to the release of “Chatroom,” a song in which she discusses both, as “brutal.”

“It’s something that I’ve been wrestling with for a long time,” she says. “I don’t think that I could have gotten to a place where I could have admitted it to myself, or admitted it to the world and the internet, if it hadn’t have been for other women.”

Hendricks believes that visibility can change the world, just as it’s changed her, whether it was seeing Jenny Lewis in a band, or seeing women tell their stories as part of the #MeToo movement.

“If I felt like I really couldn’t make it out the other end of this, then I hope that I would’ve made that decision to wait until the time felt right,” she says. “I feel really lucky that I have a therapist that I really love.”

As Guppy’s standout song “Ruby” proved, Hendricks’s greatest love songs are to her therapist. Still working with Ruby today, the language of therapy occasionally leaks into Hendricks’s songwriting. “I’m someone who’s very open and I feel like I connect easily with people, and sometimes that means I give a ton of myself, and that’s landed me in some sad situations,” she says. Young Enough is full of lessons learned in hindsight — the importance of setting boundaries; knowing that it’s impossible to truly save someone else; growing old enough to favor stability over intensity.

And, for an artist who has struggled to connect to pop music and the removed nature of stardom, that vulnerability had a perhaps unlikely inspiration: Lorde’s chronicling of brutal breakup on 2017’s Melodrama.

“It felt to me like the most honest expression of what going through [a breakup] feels like, and that’s like therapy,” she says. “When you can articulate those feelings, you immediately feel like someone gets you, and if other people get this music, then they get you, and if this person who wrote this music can get through, then something as lonely as a breakup doesn’t feel as lonely anymore. In a way, it makes the world bigger for you. That’s my favorite thing about how art works.”

Young Enough is out 5/10 via Barsuk/Lucky Number.

Carly Rae Jepsen Asks The Hardest Question Of All On New Song ‘Too Much’

“Is this too much?” Carly Rae Jepsen asks on her new single, released on Thursday (May 9). But even if the lyrics speak to staggering self-consciousness — “Be careful if you’re wanting this touch / ‘Cause if I love you, then I love you too much” — CRJ heads can never have enough.

The slow-burning track new continues along the same languid path laid by previous singles “No Drug Like Me” and “Julien,” though its main concern is one of pesky self-doubt. “Party For One” this is not — instead, “Too Much” is an ode to uncertainty.

Aided by the same production duo behind “No Drug Like Me,” “Too Much” gives CRJ’s neuroses plenty of room to breathe on the sparse verses, ultimately yielding to a pensive trop-pop chorus that preserves the hesitancy of the lyrics. Like “Julien,” the most viscerally grooving 2k19 Jepsen cut, “Too Much” doesn’t build to a massive cathartic refrain, opting instead for a quieter presentation. Naturally, the one thing that’s certain here is that it sounds good.

“Too Much” is the fifth song Jepsen’s put out in advance of Dedicated, her fourth album set to drop on May 17. The singer told MTV News in March how she sifted through hundreds of recorded songs to arrive at a final tracklist for the album, something she also illustrated in a recent Rolling Stone interview.

“I rarely write a song and am like, ‘It’s done!,'” Jepsen said. “It’s sort of my passion and obsession in a way: late at night being like, ‘I found the lyric!’ I envy writers that are like, ‘I just wrote this and put it on the album.’ I’m like, ‘How do you sleep at night?!'”

With only eight days until Dedicated drops, is it wishful thinking to hope we get that intimate NPR Music Tiny Desk Concert before then? Until then, listen to “Too Much” above.