The new music video for St. Vincent’s “Los Ageless,” the second single from her upcoming album, MASSEDUCTION, is a vibrant, sci-fi satire of Hollywood superficiality. The video, directed by Willo Perron in partnership with Red Bull Music, finds singer-songwriter Annie Clark going to the extreme in her quest for Tinseltown perfection, enduring an ectoplasmic pedicure, swallowing slug sushi, and, in a nod to a scene from Terry Gilliam’s dystopian 1985 film Brazil, getting skin-stretching plastic surgery.
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“The Gate,” the first single from Björk’s follow-up to 2015’s Vulnicura, was scheduled to premiere next week, but according to a post on the Icelandic artist’s Facebook page today, she was “too excited to wait” and took to Twitter to announce a “midnight treat.” (The bump might have been a preemptive move, as the track leaked online just a few hours later.)
The latest piece in the surprisingly swift rollout of Taylor Swift’s Reputation is the album’s opening track, “...Ready for It?” The release comes just one week after the music video for lead single “Look What You Made Me Do,” which dropped just days after the song’s premiere and broke Adele’s record the most views on YouTube in 24 hours.
“Um, I would very much like to be excluded from this narrative?” says one Taylor Swift to a dozen-plus others at the end of her decadent new music video for “Look What You Made Me Do.” The video is an expression of melodramatic outrage tinged with the macabre that offers a better indication that Swift is in on the joke than the song itself does.
Last week, Taylor Swift sent shockwaves through the Twitterverse when she scrubbed her social media accounts, prompting fans to speculate that the country singer turned pop star was preparing to make headlines for something other than the liberal use of the word “ass” in a courtroom. Then, on Wednesday, Swift posted a series of short, cryptic videos of a snake on her Instagram account, followed by the announcement of Reputation, the long-awaited follow-up to 2014’s blockbuster 1989.
Katy Perry has finally released the long-awaited music video for “Swish Swish,” a diss track rumored to be a response to Taylor Swift’s “Bad Blood”—a song many believe was written about Perry for allegedly stealing Swift’s backup dancers. Heavy stuff, right? The basketball-themed video, directed by Dave Meyers, is decidedly less serious than all that—and, disappointingly, less queer than Perry’s drag-ball performance of the song on Saturday Night Live earlier this year. Katy plays “Kobe” Perry, the team captain of the Tigers, who go head-to-head with the Sheep, led by Game of Thrones’s Hafþór Júlíus “Thor” Björnsson. The star-studded clip also features Molly Shannon as the Tigers’s inept coach, Stranger Things’s Gaten “Tragic Johnson” Matarazzo, the ladies from GLOW as cheerleaders, and, of course, Nicki Minaj, who headlines a fierce halftime show.
The first single from Miley Cyrus’s new album, “Malibu,” sparked a flurry of think pieces that both doubled down on the criticism that the singer has received over the years for her cultural appropriation of hip-hop signifiers while also rebuking her for abandoning it. That Miley adopted a more mellow pop-rock sound and traded grillz and twerking for a more squeaky-clean image and frolicking in a country meadow, respectively, was seen as proof that hip-hop was nothing more than a costume.
In an interview celebrating the 20th anniversary of the hit sitcom Friends, Lisa Kudrow revealed that her approach to playing Phoebe—her famously eccentric character, whose backstory included a mom who committed suicide, a dad who went to prison, and a pimp who spit in her mouth—was based on a friend from college who “never got down about it, ever.”
It wasn’t long ago when the notion of Yoko Ono’s discography getting the deluxe reissue treatment would have sounded like a pipe dream—or a pipe nightmare, depending on one’s perspective. But recent years have been kind to the controversial artist, whose importance to contemporary conceptual art, feminism, and even popular music has finally outpaced her reputation as the Woman Who Broke Up the Beatles. Earlier this month, Secretly Canadian Records released their second wave of Ono reissues on CD, vinyl, and digital: Fly (1971), Approximately Infinite Universe (1973), and Feeling the Space (1973). All three are among Ono’s finest and most accessible albums, and they’re also among the first in rock history to so explicitly foreground feminist principles.
A companion piece to Bright Light Bright Light’s music video for “New York Pretty,” the first single from his new EP Tales of the City, “Into the Night” finds Welsh singer-songwriter Rod Thomas paying tribute to his adopted hometown of New York City. Along his route from Brooklyn to Manhattan, Thomas walks by the Williamsburg Bridge and queer landmarks like Stonewall.