Wednesday, August 9, 2017

SERAYAH at Bed Head Hotel Festival Pop-up at Hard Rock Hotel in Chicago

SERAYAH at Bed Head Hotel Festival Pop-up at Hard Rock Hotel in Chicago 08/04/2017:



SERAYAH at Bed Head Hotel Festival Pop-up at Hard Rock Hotel in Chicago 08/04/2017


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ELSA HOSK in Elle Magazine, Sweden August 2017

ELSA HOSK in Elle Magazine, Sweden August 2017:



ELSA HOSK in Elle Magazine, Sweden August 2017


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KAITLY DEVER and HANNAH MURRAY for RAW, August 2017

KAITLY DEVER and HANNAH MURRAY for RAW, August 2017:



KAITLY DEVER and HANNAH MURRAY for RAW, August 2017


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SELENA GOMEZ for Selena Grace, Coach Fall 2017 Campaign

SELENA GOMEZ for Selena Grace, Coach Fall 2017 Campaign:



SELENA GOMEZ for Selena Grace, Coach Fall 2017 Campaign


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JOANNA KRUPA at Craig’s Restaurant in West Hollywood

JOANNA KRUPA at Craig’s Restaurant in West Hollywood 08/07/2017:



JOANNA KRUPA at Craig


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VICTORIA JUSTICE Out and About in New York

VICTORIA JUSTICE Out and About in New York 08/08/2017:



VICTORIA JUSTICE Out and About in New York 08/08/2017


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RITA ORA at Variety Power of Young Hollywood in Los Angeles

RITA ORA at Variety Power of Young Hollywood in Los Angeles 08/08/2017:



RITA ORA at Variety Power of Young Hollywood in Los Angeles 08/08/2017


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OLIVIA HOLT for Variety’s Youth Impact Report 2017, August 2017

OLIVIA HOLT for Variety’s Youth Impact Report 2017, August 2017:



OLIVIA HOLT for Variety’s Youth Impact Report 2017, August 2017


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CHLOE MORETZ for Variety Magazine, August 2017

CHLOE MORETZ for Variety Magazine, August 2017:



CHLOE MORETZ for Variety Magazine, August 2017


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ZENDAYA COLEMAN for Variety Magazine, August 2017

ZENDAYA COLEMAN for Variety Magazine, August 2017:



ZENDAYA COLEMAN for Variety Magazine, August 2017


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KARLIE KLOSS for W Magazine, Korea August 2017

KARLIE KLOSS for W Magazine, Korea August 2017:



KARLIE KLOSS for W Magazine, Korea August 2017


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Saturday, August 5, 2017

PINK FLOYD AUDIO VIDEO GALLERY - The 50 Greatest Pink Floyd Songs: Critic's Picks

The 50 Greatest Pink Floyd Songs: Critic's Picks:

If Led Zeppelin were the band most responsible for hard rock's vertical expansion in the '70s, hitting previously unforeseeable heights for the genre, Pink Floyd were the band that expanded it the most horizontally.

Obviously, they stretched out the length -- double albums, side-long jams, songs that had more movements and ideas than entire LPs by other bands. But they also broadened the music's width, with one of the most far-reaching musical palettes of any band approaching their magnitude. Starting with the Syd Barrett-stewarded kaleidoscopic psychedelia Piper at the Gates of Dawn in 1967 -- a half-century old this Saturday (Aug. 5) -- the band showed a truly staggering artistic flexibility and open-eared inventiveness, for which they remain oddly underrated in an era that increasingly views them as stodgy, cerebral rock puritans.

Yes, they set the standard for college-dorm stoner rock with the prismatic prog of The Dark Side of the Moon, but in between the LP's space-rock zone-outs are a pulse-racing proto-EDM instrumental, a heart-stopping soul vocal exorcism and a couple ripping sax solos. Yes, Wish You Were Here is overwhelmed by a combined 26 minutes and nine movements of jazzy art-funking (and no shortage of fretting about The Machine), but it's also centered around the profound humanity of one of the great tear-jerking ballads in rock history. Yes, the '77 punk movement largely followed in response to the overblown pomposity of their ilk, but play Never Mind the Bollocks, Here's the Sex Pistols and Animals back to back and see which one sounds more like a bilious screed from a bunch of pissed-off Britons who don't give a f--k what their fans want to hear. And yes, The Wall was a monstrous double-LP statement of egomania from which there was no returning, but the set's rock operatics couldn't obscure the most seamless integration of disco's thump that any major rock band had yet achieved -- resulting in a Hot 100 No. 1 rock fans didn't even bother to cry "sell out!" over.

With their debut album turning 50 this week, we've decided to count down our choices for the 50 best Pink Floyd songs -- from the proggiest to the poppiest to the most psychedelic, and the mini-masterpieces that were all three and more. Shine on, you lunatic vegetable men.

50. "On the Run" (The Dark Side of the Moon, 1973)

A fascinatingly ahead of its time interstitial: "On the Run" basically feels like interstellar chase music, or a decade-early soundtrack for the action scenes in TRON, or "Flight of the Bumblebee" as imagined by Giorgio Moroder. Not much song here to speak of, exactly, but the number of doors-of-perception this must've opened for music fans in the early '70s is hard to fathom.

49. "One of My Turns" (The Wall, 1979)

Careful with that axe, Roger! The Pink Floyd frontman's screaming-in-a-hotel-room voice would well wear out its welcome by the time he left the band a half-decade later -- if not by the end of The Wall's 81 minutes -- but the first time it tears through one of the album's more sedate-seeming tracks ("Would you like to learn to fly?/ WOULD YA LIKE TO SEE ME TRY??"), it's legitimately unnerving.

48. "Double O Bo" (The Early Years 1965-'72, 2016)

Originally recorded in 1965 and not officially released for another half century, "Double O Bo" saw the band tributing early hero Bo Diddley in typically perverse fashion: With a mutant Diddley groove and a narrative about Bo as a super-cool super agent who drinks himself to death. It would soon never define them again, but you wish the band coulda carried at least a crumb of this smart-alecky inside-jokiness into their brutally self-serious dominant period.

47. "The Gunner's Dream" (The Final Cut, 1983)

Speaking of brutally self-serious -- 1983's The Final Cut required a major emotional investment in spending time in Roger Waters' headspace to make it through all 46 somber, self-indulgent minutes. Occasionally the on-record majesty approaches the drama storming in Waters' brain, though, as on "The Gunner's Dream," a Spectoral ballad with Springsteen-like stakes (and sax!) and a relatively poignant lyric about a gunner's peaceful fantasies ("You can relax on both sides of the tracks") in the seconds before his shot-down plane crashes to his death.

46. "Take It Back" (The Division Bell, 1994)

In this case, "It" appears to apply to the eternally ringing style of guitar patented by The Edge of U2, but arguably pioneered by Floyd six-string wizard David Gilmour on The Wall's "Run Like Hell." In any event, U2 certainly wasn't using it while in the thick of their Zooropa Eurotrash period, so good on Gilmour to reclaim it for The Division Bell's convincingly righteous lead single -- with a pretty solid Bono impression to boot, as he becomes one with the emotional elements ("All of this temptation, you know it turned my faith to lies/ Until I couldn’t see the danger or hear the rising tide").

45. "Vegetable Man" (The Early Years, 1965-1972, 2016)

Another long-buried early Floyd treasure, though by this one Syd Barrett had self-actualized as the psychedelic cult figure who would gain an immense following at the cost of his own mind: "Vegetable Man" is near-total delirium, a stomping, directionless garage-rock number that's half fashion satire and half lonerist cry for help, the song becoming more confused about its own identity as it goes. It's a transfixing mess, and despite going unreleased for nearly 50 years, the song developed enough of a legend through fan bootlegs to get covered by '80s underground heroes The Soft Boys and The Jesus and Mary Chain.

44. "Nobody Home" (The Wall, 1979)



A ballad of legitimate tenderness on The Wall's third side, essentially a more unhinged version of ELO's "Telephone Line," as the story's rock star anti-hero goes stir crazy alone among his possessions and yearns over twinkling piano to dial up some kind of human connection. "I've got 13 channels of s--t on the TV to choose from," Waters-as-Pink laments, reminding you just how long ago 1979 was.

43. "Not Now John" (The Final Cut, 1983)

Something of a "Young Lust" retread, to be sure -- Gilmour's guitar solo even starts off identically -- but the performance is committed and gritty enough, and it's so nice to hear a voice besides Waters' on The Final Cut's back end, that Gilmour's growl "Not Now John" is lent a disproportionate kind of energy and urgency. Definitely the best use of the F word on a Pink Floyd record, at least: "Oi! Wheres' the f--king bar, John??"

42. "Paintbox" (B-side, 1967)

The flip side to "Apples and Oranges," the band's final Barrett-written single, and almost undoubtedly the superior composition: Floyd keyboardist Rick Wright wrote and sang this one, a psych-pop nugget melodic and creative enough to have made it to The Zombies' Odessey and Oracle. "I feel as if I'm remembering this scene before/ I open the door to an empty room, then I forget," Wright sings, unintentionally predicting at least two of their '70s concept albums in the process.

41. "Wot's... Uh the Deal" (Obscured By Clouds, 1972)

Pink Floyd had an underrated acoustic rock period in between tapping out on psych-rock excess with the execrable Atom Heart Mother and going full future-rock with Dark Side. "Wot's... Uh the Deal" is a lovely mid-tempo strummer from the mostly delightful Obscured By Clouds that pictures a version of Floyd casual and sun-soaked and preternaturally tuneful enough to have played Classic East last weekend -- not their best-case scenario, but an intriguing alternate history.

40. "A Saucerful of Secrets" (Live) (Ummagumma, 1969)

Takes over seven minutes for this one to hit its groove, but that's nothing for late-'60s Pink Floyd -- especially on this superior 13-minute live version of the Saucerful of Secrets title track, from the experimental Ummagumma double LP. It's worth the wait, anyway -- by the time the full band takes flight in the instrumental's final quarter, the outright sorcery being conjured is enough to inspire a stadium full of raised gothic candles.

39. "Any Colour You Like" (The Dark Side of the Moon, 1973)

Wright's time to shine on Dark Side, his synth beams taking center stage for the most arresting sections of the short instrumental -- though there's plenty of time for Gilmour's guitar to raise its own talking points in between. Like "On the Run," not quite a fully fleshed song, but vital connective tissue for one of the most fluid LPs ever assembled, and undeniable proof that goddamn it, this album really needed its own friggin' laser show.

38. "Lucifer Sam" (Piper At the Gates of Dawn, 1967)

Pink Floyd's post-"Double O Bo" version of stereophonic spy music, tense and alluring, about the coolest cat that Syd Barrett knew -- in this case, an actual cat, his pet Siamese. "That cat's something I can't explain!" he exclaims on the refrain, stopping the song in its tracks, and a world of frustrated feline owners nods in resigned recognition.

37. "Cymbaline" (More, 1969)

A sublime song about a nightmare: Over sweet-sounding Farfisa organ and lush bass and bongos, Gilmour sings "The ravens all are closing in/ And there’s nowhere you can hide," before unveiling the song's true villains: "Your manager and agent are both busy on the phone/ Selling coloured photographs to magazines back home." Welcome to the machine, boys.

36. "Mother" (The Wall, 1979)

A moderately overwrought power ballad from side one of The Wall that became a somewhat unlikely classic rock staple and remains one of the least appropriate songs to sneak its way onto Mother's Day playlists every year. The song leans in a little too far into its more sarcastic moments ("Mama's gonna wait up until you get in/ Mama will always find out where you've been") but is much more affecting in Pink's "Mother will she break my heart?" (and in the film, "Mother, am I really dying?") questioning, the scared-little-boy side of Waters' persona still obviously a source of real rawness for the singer.

35. "Welcome to the Machine" (Wish You Were Here, 1975)



Not necessarily the easiest song in the Floyd catalog to defend, particularly against those who view the band as nothing more than pandering fare for 14-year-olds who think they're the first person to compare high school to a fascist regime. Yeah, but those sonics -- where else are you gonna hear bass that throbs like muscle pain, acoustic chords where every individual note stabs like an icicle to the back, or synths that shoot off like laser fireworks in the post-Skynet sky? A compelling case that sometimes, we all gotta engage with that inner easily-mind-blown teen and do a little anti-machine raging.

34. "High Hopes" (The Division Bell, 1994)

The Division Bell: a lot better than you remember! The band made the curious decision to significantly backload the album, though -- with all three singles coming on the second side -- so you have to sit through a whole lot of new-age noodling before you get to the actual song-songs. But the finest of 'em comes at the end, when the clanging church bells of the "Lost for Words" outro give way to the blood-curdling piano plinks of "High Hopes," a dolorous retrospective epic that's maybe a little more "Silent Lucidity" than "Comfortably Numb," but still comes the closest to the cinematic grandeur of classic Floyd than any other song since The Wall came down.

33. "Pigs (Three Different Ones)" (Animals, 1977)

Maybe not quite enough musical and lyrical ideas to sustain 11:25 -- takes a long time to even get past the "Ha-ha, charade you are!" refrain -- but a worthy sequel to the slop-funk chug of the previous album's "Have a Cigar," and the only Pink Floyd song to maximize the potential of the most '70s of all instruments, the cowbell. Would you believe Roger Waters resorts to Donald Trump imagery when he plays the song live now?

32. "Speak to Me" / "Breathe" (The Dark Side of the Moon, 1973)

The beginning to one of the most famous albums in rock history pretty successfully lays the groundwork for what's to come, with the "Speak to Me" intro essentially acting as a teaser trailer for the album's action highlights (the "Money" cash register, the "Brain Damage" cackle) and the sighing guitar slides of "Breathe" establishing the album's gorgeous Neil Young-across-the-fifth-dimension core jamminess. "Don't be afraid to care," Gilmour advises, words the band would either ignore or follow way too closely later in their career, depending on your perspective.

31. "Is There Anybody Out There?" (The Wall, 1979)

It could've very easily been plot filler, but exemplary production and some heart-rending arrangements make "Is There Anybody Out There?" one of the most stunning tracks on The Wall. The synths and sirens that swirl imposingly around Waters' panicked exhortations of the track's title -- the song's only lyrics -- give it an incredibly evocative post-apocalyptic ambiance, and the plucked acoustics and weeping strings that follow end the song with totally unexpected sensitivity, making it a transition track more rewarding than the full song it leads into.

30. "Arnold Layne" (Single, 1967)

The first Pink Floyd A-side, a catchy third-person character study that was too warped, inside-jokey and musically unpredictable for anyone to possibly mistake it for the Kinks. Probably hard to guess from this one that its creators would go on to sell over 250 million records worldwide, but by the time it got to its classic closing couplet -- "Arnold Layne/ Don't do it a-gain!" -- you had to know something was up with these guys.

29. "Brain Damage" / "Eclipse" (The Dark Side of the Moon, 1973)

Unfolding with a guitar phrase adapted from The Beatles' "Dear Prudence," the "Brain Damage" / "Eclipse" conclusion to Dark Side seems to see Pink Floyd making peace with their former leader, winking at Syd's madness ("And if the band you're in starts playing different tunes") and acknowledging they'll all likely be joining him there soon enough ("I'll see you on the dark side of the moon"). But of course, the band lets a recording of their damn doorman undercut the album's whole scheme at the end of "Eclipse": "There is no dark side of the moon, really. Matter of fact, it's all dark."

28. "In the Flesh?" (The Wall, 1979)

"So ya thought ya might like to... go to the show?" Though it hardly ended up one of its most famous tracks, "In the Flesh?" is the best kickoff The Wall could've asked for, Waters-as-Pink literally shouting stage directions as he cues the album's grand production, with Gilmour's soaring riffs and Wright's glowing organs giving him all the backing he could possibly need from the pit. By song's end, the dive-bombers are humming, the babies are crying, and the audience is silently screaming from the rafters.

27. "Free Four" (Obscured By Clouds, 1972)

P. Rex! Pink Floyd didn't exactly have a ton of natural overlap with the concurrent glam rock explosion as they finished their own ascent to U.K. rock primacy, but this Obscured By Clouds single borrows Electric Warrior's jaunty handclaps and hip-swaying boogie -- though it's clearly set apart by a searing Gilmour mini-solo, a gently foreboding Waters vocal ("You are the angel of death!") and synth bombs detonated at the end of each line by Wright. It's a fiendish concoction, and one of the most purely likeable things the Floyd did in the '70s.

26. "Astronomy Domine" (Piper at the Gates of Dawn, 1967)

Appropriate that the first song to ever appear on a Pink Floyd LP should begin with the sound of their manager reading the names of the planets over a megaphone, and unfold with zooming guitars, Morse code synths, pounding drums and disembodied vocals. The band would find many new and innovative ways to ready their brew for mass consumption -- and its been rightly pointed out that the band never really sang about space that much after this -- but all the ingredients for their mega-success were still pretty much right there from the beginning.

25. "Echoes" (Meddle, 1971)

Not the first strap-yourself-in-folks Pink Floyd song by any means -- "Atom Heart Mother" ran about ten seconds longer, and they'd hit double-digit minutes on a couple others even before that. Still, Meddle closer "Echoes" feels like a eureka moment for the band, the first time they'd had a central motif (that monster proto-Phantom of the Opera riff) strong enough to build ten-plus minutes of music around, and the first time they'd matched it with an ambient breakdown section (the whale-sounds middle) that was compelling enough in its own right to wade through until the hook's return. It might not captivate for all 23-plus minutes, but it came impressively close, an early demonstration of a band on the verge of one of the most limitless musical runs in rock history.

24. "Goodbye Blue Sky" (The Wall, 1979)



A brief Blitz ballad with some of the most heavenly harmonies acoustic picking of the band's career, the serenity of the main refrain chillingly undercut by the creeping synths and shellshocked lyrics ("Did-did-did you see the falling bombs?") on the verses. They may have nicked the outro melody from the chorus to The Rolling Stones' "Ruby Tuesday" from a decade earlier, but "Sky" ended up lending the main riff to Def Leppard's "Hysteria" a decade later, so it evens out.

23. "Dogs" (Animals, 1977)

The 17-minute proper entre to Animals, complete with Call of the Wild-meets-Wolf of Wall Street survival-of-the-fittest lyrics, extended sections of guitar-lead harmonizing, heart-racing acoustics, several tempo changes, and yes, no shortage of barking sounds from the title characters. Sounds exhausting, but it surprisingly isn't -- least not until the very final "who was..." lyrical checklist -- as the song's discrete sections all stand out as individually arresting, and hand off to the next at seemingly just the right moment, with enough memorable lyrical checkpoints from Waters and Gilmour to mark time and maintain interest throughout.

22. "The Nile Song" (More, 1969)

As purely heavy (musically, if not thematically) as Pink Floyd ever got, with a rave-up so scorching you can practically feel the acid dripping off the guitars, and production so fuzzy you'd never guess the unnerving sonic spotlessness of A Momentary Lapse of Reason lay within the band's next two decades. It's not what Floyd was best at, obviously, but it's a much more persuasive argument for the band as a potential Blue Cheer or early Who rival than you'd expect, and it makes you feel a little bad for Gilmour and drummer Nick Mason that they didn't get to play Roger Daltrey and Keith Moon more often.

21. "The Great Gig in the Sky" (The Dark Side of the Moon, 1973)

Perhaps an "interlude" by virtue of being entirely wordless -- minus the well-chosen "I am not frightened of dying" spoken-word sample in the song's intro -- but still one of the most memorable tracks on Dark Side, thanks to one of Rick Wright's greatest spotlight piano riffs and a stop-the-world, non-verbal vocal from soul singer Clare Torry. Despite coaxing her to classic-rock immortality through her solo, the sessions for "Great Gig" were about as awkward as you'd expect, Waters recounting the recording in '03: "Clare came into the studio one day, and we said, 'There's no lyrics. It's about dying – have a bit of a sing on that, girl.'"

20. "Have a Cigar" (Wish You Were Here, 1975)

The definitive mid-tempo Floyd lurch, sleazy quasi-funk that sets the perfect stage for the surfeit of empty promises and self-skewering ignorance ("Oh and by the way -- which one's Pink?") offered by the song's music-exec narrator, portrayed with delectable vulgarity by guest singer Roy Harper. And no matter how many times you've heard it, nothing ever really prepares you for that shocking whoosh near song's end that sonically transports the band -- in the middle of one of Gilmour's all-time closing shreds -- into a tinny FM radio, leaving them seemingly trapped inside the dial, as they no doubt felt they were by that point in the mid-'70s.

19. "Hey You" (The Wall, 1979)

The opener to side three of The Wall, and early proof that Floyd had the stuff to maintain two LPs worth of enthralling riffs and structural imagination. Doesn't exactly kick the record off with a bang -- the slithering mix of acoustic guitar and fretless bass (by Andy Bown from Status Quo, of all people) makes for one of the band's most disquieting intros -- but by the time Waters leaps in an octave higher on the third verse, it's demonstrated itself as a ballad powerful enough to raise the emotional stakes for the set's back end, setting the tone for all the bitter isolation and chilling emptiness to follow.

18. "Fearless" (Meddle, 1971)

Floyd's finest early acoustic jaunt, a blissful mid-tempo saunter that sounds like a more ethereal Everybody Knows This Is Nowhere, or a less sentimental Led Zeppelin III. There's absolutely no good reason why a groove this divine should end with a field recording of Liverpool F.C. hooligans singing "You'll Never Walk Alone," but the unexpected outro ensures that the song is instantly unforgettable -- an early lesson in keeping songs surprising till their very final seconds that Floyd would heed well in the decade to follow.

17. "Bike" (Piper at the Gates of Dawn, 1967)

The one song that seems to stick with everyone from their first listen to Piper, the childlike absurdity of its verses -- which pays little attention to meter, rhymes when it feels like doing so, and wastes a verse on a "good mouse" named Gerald -- making an unsettling contrast with the almost-coherent refrain: "You're the kind of girl that fits into my world/ I'll give you everything, anything, if you want things." Then it dissolves into a cacophony of percussive scrapes and manic giggles. Like Barrett at large, near total anarchy, but with just enough of a whiff of something true at the center for fans to continue decoding the enigma 50 years later.

16. "Money" (The Dark Side of the Moon, 1973)



Certainly not the subtlest song in the Floyd arsenal -- hard to demonstrate a light touch with Gilmour beginning each lyric by literally shouting "MO-NEY!," and that cash register sound effect smacking you upside the head every measure. But save subtlety for songs that don't have a bass riff so funky you don't even notice it's in 7/4 time, or a zooming sax solo that shreds harder than most guitar clear-outs: "Money" was just blunt enough to give Pink Floyd their first stateside crossover hit, and offers a much needed sing-along in the midst of all the atmospheric abstraction at Dark Side's middle.

15. "Careful With That Axe, Eugene" (LIve) (Ummagumma, 1969)

A textbook acid-rock freakout, and much more effective with the live build on the Ummagumma version than in the more abbreviated form as the B-side to the largely forgettable "Point Me at the Sky." You need those first three minutes of eerie falsetto, menacing organ and lightly plodding bass, before Waters offers the bad omen of the whisper title phrase, and the song absolutely explodes with his screaming -- a hurricane howl that that would become a signature sonic element of the band in the decade to come. Somewhere, a young Alan Vega was taking careful notes.

14. "Learning to Fly" (A Momentary Lapse of Reason, 1987)

After years of inter-band legal battling had left Pink Floyd depleted and spent in the mid-'80s, Gilmour may have been more emotionally invested in his aviation hobby than in his recording career by the time of Monetary Lapse's development -- which would explain why the weightless "Learning to Fly" is the one song on the album that really connects. With panoramic production, a heart-swelling guitar hook and a chorus that soars well above the clouds, "Learning to Fly" became not just the band's only true MTV-era hit -- with a stunning video to match -- but maybe the only undeniable counter-argument to Waters' claims that the band's fundamental DNA lay solely with him upon the time of his mid-'80s departure from the group.

13. "Sheep" (Animals, 1977)

The thrilling 10-minute climax to "Animals," with racing organs and bass and portentous vocals ("You better watch out! There may be DOGS about!") that make the band sound like Evil Steely Dan -- especially in time for the "bad dream" moaning synth breakdown halfway through. But the song picks back up for the song's unexpectedly righteous close, a triumphantly chiming guitar riff that either proves that the animals in power are vanquishable after all ("Have you heard the news? The DOGS are dead!"), or that we're simply long past the point of fighting them anyway.

12. "Young Lust" (The Wall, 1979)

It says something about this song's blistering 4/4 strut (erupting mid-verse from lead-in track "Empty Spaces") that Waters and Gilmour -- just about the last two people on the planet who you'd optionally choose to hear cooing "Ooooh, I need a dirty woman/ I need a dirty girl" -- make "Young Lust" legitimately sexy, a roaring expression of stir-crazy horniness that comes across every bit as blood-pumping and unstable as it should. Foreigner must've been seething with jealousy the first time they heard it.

11. "Shine on You Crazy Diamond" (Parts I-V) (Wish You Were Here, 1975)

Regardless of how much you believe the apocryphal-seeming story of Syd Barrett wandering into the studio as his old band was recording their sympathetic symphony to his lunacy, there's definitely at least a sprinkling of Syd's magic in "Shine on You Crazy Diamond," the epic opener to their Wish You Were Here masterwork. The composition's majesty shimmers with every synth twinkle and guitar echo, and the alternately despairing and chuckling lyrics ("You reached for the secret too soon/ You cried for the moon") seem to conjure Barrett's madcap spirit, even as the production displays a fundamental pristineness his chaos would never have allowed.

10. "Set the Controls for the Heart of the Sun" (A Saucerful of Secrets, 1968)



The passing of the torch from the Barrett era to the Gilmour era of Pink Floyd -- and it's a chillingly beautiful, neon-green-glowing torch, at that. "Controls" is the only Floyd song with all five canonical Floyd members playing on it, and the balance it strikes between Barrett's improvisational heat-vision jamming and the ultra-controlled cacophony of the band's later highlights is downright eerie -- unlike most of the band's extended workouts, "Controls" never really detonates, instead producing a hypnotizing simmer that remains unmatched by the band before or since.

9. "Time" (The Dark Side of the Moon, 1973)



The cruelest trick that Pink Floyd ever played on their stoner fans, setting the alarm clark to end all alarm clocks to go off right when Dark Side seems to be settling into its early mellow. Blame engineer Alan Parsons and his quadrophonic sound tests for that one, but credit the band to living up to so dramatic an intro with one of their best lyrics -- about Waters' sudden quarter-life crisis -- a trademark wailing Gilmour solo, and the band's first on-record reprise, of album opener "Breathe," cleverly following the "Time" closing sentiment: "The time is gone the song is over/ I thought I'd something more to say?..."

8. "See Emily Play" (Single, 1967)



Pink Floyd's signature early hit in their home country, with sighing guitar slides, lush production, an expert chorus, and the least knotty melody or song structure of Barrett's tenure. Of course, Syd thought it was too poppy and begged the band not to release or promote it ("John Lennon doesn't do Top of the Pops"!), and it'd be years before the band released anything nearly so immaculate again, with or without their self-destructive frontman. All the more reason that "See Emily Play" stands today as such a standard-bearer for psych-pop, brilliant, precious and thoroughly transportive.

7. "Another Brick in the Wall" (Pt. 2) (The Wall, 1979)



An unlikely chart-topper on both sides of the Atlantic -- though maybe not so unlikely when you consider the song's blend of arena-rock muscle with punk snottiness and (most importantly) disco propulsion, making it enough of a sledgehammer to tear down walls a lot more fortified than Roger Waters' metaphoric self-isolation. The band resisted it at first, but producer Bob Ezrin dragged Dave Gilmour into the discos and sent engineers off on secret kiddie choir-recording missions until they had a single as riotous as "School's Out" and as club-ready as "Miss You," one still soundtracking middle-schooler revenge fantasies nearly 30 years later. "It doesn't, in the end, not sound like Pink Floyd," Gilmour begrudgingly admitted in 1999. True!

6. "One of These Days" (Meddle, 1971)



The true starting gun for '70s Floyd, a spectral voyage into the great art-rock unknown, entirely instrumental except for a heavily altered "One of these days I'm going to cut you into little pieces" bellow from drummer Mason. One heavily delayed, single-note bass riff shouldn't be nearly enough to build a song this mighty around, but that kind of studio ingenuity would prove the group's greatest weapon in the decade going forward -- and here, the band surrounds the anti-hook with sweeping wind noises, growling guitars, extraterrestrial organs, racing drums and reversed percussion until it poses as much of a threat as Mason's garbled title intro.

5. "Interstellar Overdrive" (Piper at the Gates of Dawn, 1967)



Yeah, the band's outer-space allegiance may have been historically overstated, but when their debut album has two songs as good as "Astronomy Domine" and this, could you really blame us for doing so? "Interstellar" is the instrumental opus of the Syd era, a nearly-ten-minute expansion of Barrett's all-time grungiest riff, with a mind-melting mid-song breakdown of meowing guitars and chirping organs, that hisses back to life with a (dated, but still decently psychedelic) stereo-panning riff reprise. Only "Sister Ray" managed to get quite this dark or deep in '67, and the fact that the band was able to achieve such stratospheric later-career success without ever straying too far from this experimental, instrumental core is the true testament to the group's collective genius.

4. "Comfortably Numb" (The Wall, 1979)



The ultimate in Pink Floyd as classic rock titans, an absolutely towering power ballad where both elements of that phrase feel individually and collectively insufficient to appropriately summarize the song's might. "Comfortably Numb" is iconic from its opening line, and nails both the little things (the "pinprick" sound effect) and the big things (Gilmour's GOAT-contending closing guitar solo) with such unquestioned mastery that the song endures as one of the most recognizable of its era, despite never charting pretty much anywhere. It might not be as mystifying or genre-blending as some of the group's other signature moments, but it ensures they'll have at least one standard circulating on classic-rock radio for as long as classic-rock radio is a thing.

3. "Us and Them" (The Dark Side of the Moon, 1973)



Dark Side's crown jewel, a slow-burning sway built around a softly flaring Gilmour riff and radiant Hammond organ from Wright. It's a Floyd song for sure, with militaristic lyrics, a surging chorus and a tough-talking roadie spoken-word sample ("Well I mean, they're not gonna kill ya, so like, if you give 'em a quick short, sharp shock... they won't do it again"), but it stands out because it's one of the few Floyd songs you could picture being recorded by a whole range of artists. Maybe it's the What's Going On?-worthy sax that shows up at all the right moments, or the universality of the opening lines, but the song connects on a level that's closer to soul than prog, giving Dark Side a beating heart to go with its overactive brain.

2. "Run Like Hell" (The Wall, 1979)



Not like it's surprising that nobody ever thought to combine the strengths of Chic and Rush before Pink Floyd, but the fact that Floyd did, and came up with The Wall's side-four highlight in the process, is forever one for the top of the band's resume. Like "Young Lust" and "Another Brick," it's at least based in the steady thump of disco, but unlike those songs, it's still mostly led by its guitars, the galloping, chiming six-strings of Gilmour. It might be the most anthemic chest-beater Floyd ever devised, but it's also one of the group's most unsettling, with dramatic tonal shifts before the explicitly fascistic Waters-as-Pink verses, and some of the singer's most stomach-churning, guttural wails ("If they catch you in the backseat trying to pick her locks/ They're gonna send you back to mother in a cardboard box!"). Unlike "Us and Them," it's impossible to imagine any other band even attempting a song like "Run Like Hell," but that just makes you grateful to have had such extended access to Floyd's singular dementia.

1. "Wish You Were Here" (Wish You Were Here, 1975)



Feels kinda wrong, doesn't it? To have a relatively straightforward ballad as the crowning achievement of one of history's greatest progressive rock bands -- it's sorta like putting "Patience" at the top of a Guns N' Roses list, no? Fair, but you have to consider that being Pink Floyd means even an accessible lighter-waver like "Wish You Were Here" has untold layers of subtle production and structural depth to it. Consider the radio crackle the opening riff emerges from -- a thematic holdover from the preceding "Have a Cigar" outro -- and the way the song's acoustic solo lands on top of it with such comparative clarity, with every finger-on-strings slip audible, that it's heart-piercing from the first note. Or how the bleating synths come in to fortify the melodic refrain in between the first verse and chorus. Or how despite being among the most legendary sing-alongs in rock history -- epochal enough that even a mook like Fred Durst knows all the words -- the song's chorus only appears once in the entire song.

"Wish You Were Here" lands like no other song in the band's catalog, because it does all these clever, unobtrusively inventive things, but the song's core remains as emotive and relatable as a Lynyrd Skynyrd classic. It's about Syd Barrett, of course -- though he probably would've hated the lack of bongos or feedback freakouts -- but it doesn't have to be, not by a long shot. And even with a chorus so sky-scraping, you don't need to deploy it more than once when you're falling back to a riff that anyone who's ever learned the acoustic has attempted to master within the first month. "Wish You Were Here" packs the obligatory anti-authoritarian messaging into its verse, but its ultimate feeling is one of human connection, of needing friends and family and loved ones to give you a reason to keep fighting in the first place. It's as beautiful a composition and production as the '70s produced, and it should live on well after the last Dark Side of the Moon poster is torn down from a college undergrad dorm room.

Tiga Drops Hypnotic House Track 'Woke': Listen

Tiga Drops Hypnotic House Track 'Woke': Listen:

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Rachel Murray/Getty Images for Pandora

Tiga performs during the Pandora Discovery Den SXSW on March 16, 2016 in Austin, Texas.
Canadian artist Tiga has delivered a head-spinning new house single called "Woke" that enlists eerie tones, nimble percussion and a monotonous topline.

"'Woke' is a song about freedom, specifically my freedom," Tiga states on SoundCloud. "About me, at the end of the earth, pushed towards a final act of emancipation: throwing my phone into the sea, and watching it sink."

A jazzy saxophone riff emerges about three-quarters of the way in, creating an enticing dynamic between its freeform style and the track's hypnotic foundation.

Listen to "Woke" below:

Taylor Swift & Ex-Radio Host Head to Court Over Groping Claim Next Week

Taylor Swift & Ex-Radio Host Head to Court Over Groping Claim Next Week: Taylor Swift and her support team didn't call police after she said she had been groped by a Denver radio host during a photo session before...


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Robert Pattinson (Thankfully) Refused to Perform a Sex Act on a Dog for 'Good Time' Film

Robert Pattinson (Thankfully) Refused to Perform a Sex Act on a Dog for 'Good Time' Film:

"The director was like, 'Just do it for real, man!'" Pattinson tells Jimmy Kimmel.

Directors have been known to sometimes ask actors to do weird things in the name of getting in character. In Robert Pattinson​'s case, this "weird thing" was performing a sex act on a dog.

Pattinson revealed on Thursday's episode of Jimmy Kimmel Live! that his character Connie in the Safdie brothers-directed movie Good Time has a strong affinity for dogs, even believing he was one in a past life. According to Pattinson, one of the brothers wanted to convey this affinity by having the actor actually sexually stimulate a dog on-set.

"There's this big dog... Mufasa, who is a kind of one-eyed...huge, huge dog. There was initially this scene -- I don't actually think I should say this," Pattinson said, laughing. "There's this one scene which we shot, which is basically there's a drug dealer who busts in to the room, and I was sleeping with the dog. And, uh, basically giving the job a hand job."

According to Pattinson, the scene was initially considered important because it was a "character thing."

"The director was like, 'Just do it for real, man, don't be a p----!'" He mimicked in an American accent. "And the dog's owner was like, 'Well, he's a breeder, I mean, you can. You just gotta massage the inside of his thighs.'"

Thanks to Hollywood magic, however, Pattinson was instead filmed massaging a "fake dog penis," as Kimmel put it.

"Wow, Hollywood is a great place, folks," Kimmel announced.

Watch below as Pattinson tells the bizarre story and recounts what it was like to receive a six-minute standing ovation at the film's premiere at Cannes:

Watch a Short Documentary About Metallica Bassist Robert Trujillo's 12-Year-Old Son Playing With Korn

Watch a Short Documentary About Metallica Bassist Robert Trujillo's 12-Year-Old Son Playing With Korn:

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Mauricio Santana/Getty Images

Tye Trujillo of Korn performs at Espaco das Americas on April 19, 2017 in Sao Paulo, Brazil.
When Korn’s bassist Fieldy was unable to join them on a recent tour of South America, the band had a surprising pick for his temporary replacement: Tye Trujillo, the virtuosic 12-year-old son of their old friend, Metallica (and former Suicidal Tendencies) bassist Robert Trujillo.

On Friday (Aug. 4), the band released an extremely charming short documentary about Tye’s short tenure as their resident five-string slapper, narrated by his very proud dad. “I didn’t have to help him with anything…I was there basically to offer him snacks and water,” the elder Truillo told Rolling Stone, which premiered the film.

It’s true: Tye is no joke. Watch Korn and the Prodigy Son, directed by Korn videographer Sébastien Paquet, below:

This article was originally published on Spin

One Direction Could Reunite Without Every Member But It 'Wouldn't Be the Same,' Simon Cowell Says

One Direction Could Reunite Without Every Member But It 'Wouldn't Be the Same,' Simon Cowell Says: The men of One Direction might have just recently splintered off into their own solo careers, but Simon Cowell said he's always "in"...


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Cassie Counts Her Regrets on New Single 'Love a Loser' Featuring G-Eazy: Listen

Cassie Counts Her Regrets on New Single 'Love a Loser' Featuring G-Eazy: Listen:

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Gilbert Carrasquillo/GC Images

Cassie Ventura is seen at the Rei Kawakubo/Comme des Garcons: Art Of The In-Between Costume Institute Gala at Metropolitan Museum of Art on May 1, 2017 in New York City. 
After a four-year hiatus, Cassie returns with a brand-new single titled "Love a Loser" featuring G-Eazy.

Despite taking an extended break from music, Cassie flaunts her airy vocals over the melancholy productions of Ben Billions and Danny Boy. "I'd rather lose a lover than love a loser," she sings on the chorus. On the flip side, Eazy speaks with a fragile heart after watching his love interest betray him. "I cannot tell, I think I'm under her spell/ I sent her flowers, and all she sent back was, 'Hope all is well,'" he spits.

In addition to her new single, Cassie penned a deal with Bad Boy Entertainment and Epic Records. Her last project came in 2013, courtesy of her mixtape Rockabyebaby. Her lone album, Cassie, was released in 2006 and spawned her ubiquitous single "Me & U." The song peaked at No. 3 on the Billboard Hot 100.

Listen to "Love a Loser" below:

Rae Sremmurd Fly High on Their New Single 'Perplexing Pegasus': Listen

Rae Sremmurd Fly High on Their New Single 'Perplexing Pegasus': Listen:

The boys of Rae Sremmurd make a huge return with their booming new single "Perplexing Pegasus."

After sharing snippets of the Mike WiLL Made-It-produced record on social media, the "Black Beatles" tandem decided to stop toying around and unwrap their new song. On "Pegasus," the brothers trade fiery verses wrapped around their favorite things: money, clothes and women. 

"2K on my feet, yeah, 2K, I be kickin' game/ Bubble gum on Jxm', smokin' on a different strain," raps Jxmmi. Swae Lee counters back and injects his own flavor during his playful verse. "Barricades ain't holdin' me/ Money on me, but that ain't controllin' me/ Last night had b-----es go at me, like they go at me?/ Took off all these n----as, call it jet stream," he pens.

After relishing the success of their No. 1 single "Black Beatles" in 2016, Rae Sremmurd are hoping to duplicate the magic with "Perplexing Pegagus." The single will live on their forthcoming album SremmLife 3. Though the project doesn't currently have a release date, "Pegasus" will surely hold fans over until then.

Listen to "Perplexing Pegasus" below:

DJ Tracy Young Celebrates 25-Year Career, Talks Spinning at Madonna's Wedding

DJ Tracy Young Celebrates 25-Year Career, Talks Spinning at Madonna's Wedding:

Female DJs are still a rarity, but 25 years ago -- when Tracy Young first stepped into a DJ booth -- it was unheard of. “I would get the strangest looks from people when they realized I wasn’t a man.”
Young owes much of her success to strong women in the industry who helped her along the way. Most notably: Madonna, whom she met in the mid-’90s. Not only did Madge hire her for movie premieres and album releases, but she chose her to spin at her wedding to Guy Ritchie. Madonna’s stamp of approval has led to work with other celebrities: She’s made remixes for P!nk, Rihanna and Demi Lovato. To celebrate her 25 years in the biz, the trailblazer talked to Billboard about gender biases in the dance world, her favorite remixes and what it was like working with the Material Girl: “DJing for Madonna was a priceless experience.”
When you began your DJing career 25 years ago, you were a trailblazer of sorts, as it's a male-dominated field. Things haven't changed much today. Why do you think that is?
It is an interesting question. When I began my DJ career, I did not give much thought to how male-dominated the field was; I just knew that I had this passion inside me to play music and that had to be released. When I think about the path I took and the path that females take today, I think there are still similarities. The DJ industry lacks the conscious mentoring and partnering that it takes to build a female presence, coupled with a gender bias that exists within society itself. Women have to establish a higher level of credibility in order to compete with our male counterparts.
DJs are having a moment; artists like DJ Khaled, Calvin Harris, The Chainsmokers and Kygo have been dominating charts lately. Is it cool to see DJs taking over the charts?
DJs are constantly touring and playing different venues and events. We are playing new music weekly, testing our productions live, getting feedback and seeing what works musically by observing the crowd. We have the ability to go back into the studio and make changes based on these instincts and feedback. It is extremely insightful and is different than sitting in a studio while producing. The opportunity to share the music on a weekly basis with varying crowds gives DJs and producers the opportunity to constantly engage and connect with the dance floor in a different way than other types of artists. I think that connection is a piece of what is driving and shaping this moment.
Looking back now, what was your first big break?
I have had several breaks in my career, beginning in radio at WPGC, which opened the door to other music opportunities, such as appearing on several shows on MTV and BET. I owe a lot to my friend Ingrid Casares, who truly believed in me and introduced to me Madonna in the mid-'90s. I went on to spin many private events, movie premieres and album release parties for Madonna and was personally asked to DJ her wedding to Guy Ritchie in 2001. I also remixed several tracks for her such as “Hung Up”, “What It Feels Like for a Girl,” “Music” and more. Working with Madonna over the years was the opportunity of a lifetime and changed my life.
DJing for Madonna was a priceless experience. You always knew that you were doing a good job when she would dance all night long. Her wedding was a beautiful, magical experience and it was an honor for me to play. Besides DJing the wedding, the coolest thing for me was to have my own spread and spend the night in a Scottish castle. [Editor’s note: Madonna and Guy Ritchie’s wedding took place at Skibo Castle in Scotland.]
Is there one production or remix you’ve done that really stands out for you?
This is a really hard question. They all have deep meaning to me and are so personal and reflective of that time in music. They reflect a time in music where DJs were handpicked by the artist to do the remixes and were a bridge, debuting some of the largest-circuit parties and legendary clubs around the world. If I were to pick one, I would have to say “Music” by Madonna because it was one of my first commercially released official remixes.


How do you plan to define the next 25 years?
I’m focused on my weekly iHeartRadio show, which airs Saturday nights at 9 p.m. This gives me a great opportunity to expand my reach and refine my skills for radio. I am producing more originals, not only for the club and radio, but for some future TV shows and movie productions and, of course, remixing the latest pop songs. My original, “Peace, Love & Music” with Ceevox, is currently No. 18 on Dance Club Songs in its fifth week of release, on my record label Ferosh. I’d love to finish the book I started seven years ago and will be releasing a 25th-year anniversary compilation. I’m excited to tour and take music to the next level.

DESPACITO - Luis Fonsi & Daddy Yankee's 'Despacito' First Video to Hit 3 Billion Views on YouTube

Luis Fonsi & Daddy Yankee's 'Despacito' First Video to Hit 3 Billion Views on YouTube:

After setting a record for most-viewed video in YouTube history on Friday (Aug. 3), Luis Fonsi and Daddy Yankee's "Despacito" tackled yet another record that same day: becoming the first YouTube video to reach 3 billion views.

The video, shot in Spanish and without Justin Bieber's additional verses, was first posted on Jan. 12 of this year.

"What an honor.. most viewed video in history and first video to reach 3 billion views... y EN ESPAÑOL!!" Fonsi captioned a celebratory video on Instagram. "Thank you to everybody involved @daddyyankee@zuleykarivera @elasticpeople Thank you, the fans for celebrating this song with us y gracias Puerto Rico por ser el escenario más hermoso del mundo. Que viva la música latina."



JAY-Z's 'Friends'-Spoofing 'Moonlight' Clip & More Music Videos Inspired by TV Shows

JAY-Z's 'Friends'-Spoofing 'Moonlight' Clip & More Music Videos Inspired by TV Shows:

Music videos might not dominate television airwaves anymore, but TV has infiltrated music videos.

In fact, a fair amount of videos have taken inspiration from TV shows, including Friday's (Aug. 4) latest JAY-Z visual for "Moonlight," which recasts the classic sitcom Friends with a buzzy string of actors, including Insecure's Issa Rae and comedian Hannibal Buress.

But it's hardly the first: Take a look at nine music videos modeled after your favorite small-screen shows:

1. JAY-Z, “Moonlight” 
Inspired by: Friends

Featuring a stunningly accurate re-creation of the opening couch scene -- complete with colorful umbrellas and turtlenecks -- and swapping in Whodini’s 1984 single “Friends” as a theme song, JAY-Z’s latest music video pays homage to the '90s sitcom about six pals in New York City. (Check out a clip of the Friends-inspired video below. Subscribers can view the full "Moonlight" video over on TIDAL.)

— TIDAL (@TIDALHiFi) August 4, 2017
2. Destiny’s Child, “Girl”
Inspired by: Sex and the City

It’s only fitting that one of the most influential girl groups of all time would star in a video modeled after one of the most influential TV girl groups of all time: the Sex and the City women. For this video, Beyoncé, Kelly Rowland and Michelle Williams channeled Carrie Bradshaw and Co. as they strut down the streets of early 2000s New York to -- where else? -- brunch.



3. Big Sean feat. Chris Brown and Ty Dolla $ign, “Play No Games”
Inspired by: Martin

Big Sean grew up in Detroit, so it only makes sense he would decide to model the video for “Play No Games” after Detroit-based sitcom Martin. Big Sean dons a chunky color-blocked jacket to play comedian Martin Lawrence’s titular character as the stylized '90s credits role. Add Chris Brown and Ty Dolla $ign as Martin’s friends, and you’ve got a playful tribute to the successful sitcom.



4. Rag'n'Bone Man, "Skin"
Inspired by: Game of Thrones

Although not set in medieval times, Rag'n'Bone Man's music video for "Skin" evokes the eerie, dismal feel of Game of Throne's provincial setting. Plus, the artist himself said the visual was inspired by the relationship between John Snow and ill-fated wildling Ygritte on the HBO series.



5. Pitbull feat. Chris Brown, "Fun"
Inspired by: Miami Vice

Pitbull and Chris Brown are after a beautiful criminal in Miami while rocking dapper clothes and driving cool cars from the 1980s -- just like Detectives Crockett and Tubbs in Miami Vice.



6. Labrinth, "Express Yourself"
Inspired by: The Fresh Prince of Bel-Air

Labrinth steals the rotating throne from Will Smith for his music video, although he forgets to bring Carlton and Hillary along for the ride, which is a quirky tribute to the popular 1990s sitcom set in -- you guessed it! -- Bel-Air.



7. Weezer, "Buddy Holly" 
Inspired by: Happy Days

A 1970s show set in the 1950s inspired this classic 1990s music video, which interspersed footage from the sitcom (there's Fonzie!) to make it seem like Weezer was really playing Arnold's Diner.



8. Simple Plan feat. Nelly, “I Don’t Wanna Go to Bed”
Inspired by: Baywatch

Wearing red swimsuits and running in slow motion -- what else does a good music video or TV show need? This parody of the David Hasselhoff-led lifeguard crew will make you want to pack up for the beach, and maybe hit the gym once or twice before going so you can jog as masterfully as Simple Plan and their co-stars.



9. Radiohead, "Burn the Witch" 
Inspired by: Trumpton

Radiohead's song criticizes world leaders, so it's fitting that one of those leaders' names is tucked right into the title of the children's show that inspired the music video: Trumpton. The show's quaint village takes on a very eerie feel, thanks to the searing lyrics and burned-at-the-stakes visual.

Shawn Mendes Could Bump 'Despacito' From No. 1 on Pop Songs Chart With 'There's Nothing Holdin' Me Back'

Shawn Mendes Could Bump 'Despacito' From No. 1 on Pop Songs Chart With 'There's Nothing Holdin' Me Back': Shawn Mendes is on course for his second No. 1 on the Pop Songs airplay chart, as “There’s Nothing Holdin’ Me Back” is eyeing...


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13 Things to Know About the Charts This Week: 'Despacito' Continues Its Summer Sizzle

13 Things to Know About the Charts This Week: 'Despacito' Continues Its Summer Sizzle:

Luis Fonsi and Daddy Yankee’s “Despacito,” featuring Justin Bieber, adds a 12th week to its run atop the Billboard Hot 100, tying Ed Sheeran’s “Shape of You” for the longest-leading No. 1 song of 2017.

Plus, Lana Del Rey rules the Billboard 200 with her latest studio album Lust For Life, helping the singer reach a new peak on the Billboard Artist 100 at No. 2. Linkin Park rules as the week’s top overall act on the chart.

Here are 13 other things you should know about Billboard’s charts this week:

1. At roughly two-thirds of the way through the summer, “Despacito” has led the Songs of the Summer chart for the entirety of the list’s first nine weeks. Click here to read the full update.

2. More on “Despacito": The smash hit is now among only 19 songs to ever lead the Hot 100 for at least 12 weeks. Billboard looks back on the longest-leading Hot 100 No. 1 hits. Click here to read the full post.

3. Happy Birthday, Hot 100! Billboard’s flagship songs chart turned 59 years old on Friday (Aug. 4). To celebrate, we look back at 59 fun facts about the chart. Click here to read the full article.

4. Congrats are in order for One Direction! As Louis Tomlinson’s “Back to You,” featuring Bebe Rexha and Digital Farm Animals, debuts at No. 40 on the Hot 100, all five members of the group have now charted solo top 40 hits. Only two other groups have as many members with individual top 40 Hot 100 hits. Click here to read the full story.



5. Sam Hunt’s “Body Like A Back Road” breaks the record for most weeks at No. 1 on the Hot Country Songs chart, leading the list for a 25th week. The song breaks the 24-week reign of Florida Georgia Line’s “Cruise.” Click here to read the full article.

6. More record-breaking news: Linkin Park charts a record-breaking 23 titles on the Hot Rock Songs chart, following the death of frontman Chester Bennington on July 20. The band is also the first act to rank at Nos. 1, 2 and 3 simultaneously. Click here to read the full post.

7. On the latest Hot 100, Cardi B’s breakthrough hit “Bodak Yellow (Money Moves)” rockets into the top 40, while J Balvin and Willy William’s “Mi Gente” jumps 42-30. Click here to read this week’s Hot 100 Chart Moves.

8. Over on the Billboard 200, two former No. 1 albums, The Weeknd’s Beauty Behind the Madness (No. 76) and Halsey’s Badlands (No. 121), score 100 straight weeks on the chart. Plus, Linkin Park charts eight albums on this week’s list. Click here to read this week’s Billboard 200 Chart Moves.

9. Tyler, The Creator earns his third No. 1 on the Top R&B/Hip-Hop Albums chart, as Flower Boy debuts atop the list. Plus, Meek Mill starts at No. 2 with his latest effort Wins and LossesClick here to read the full story.

10. In other album news, Romeo Santos earns the biggest week of 2017 for a Latin studio album, as his latest effort Golden debuts at No. 1 on Top Latin Albums with 36,000 equivalent album units. Click here to read the full article.

11. “Heyyy Macarena!” On the latest Chart Beat Podcast, Gary Trust and Trevor Anderson count down the Hot 100’s top 40 from this week in 1996. Click here to listen to the full podcast.

12. Over on the Pop Shop Podcast, Keith Caulfield and Katie Atkinson sit down with John Mayer to discuss his new tour, the unique rollout of his The Search for Everything album, and touring with Dead & Company. Click here to listen to the full podcast.

13. New Kids on the Block’s 2017 Total Package Tour, which wrapped last month after a nine-week run through 46 North American cities, earns the group $40 million. Click here to read the full story.