Kim Kardashian Visited Her Wax Twin At Kanye’s Secret ‘Famous’ Exhibit

Kim Kardashian and Kendall Jenner may have had some car trouble last night, but that didn’t keep them from checking out Kim’s “Famous” dopplegänger at a gallery in Los Angeles.

On August 26, Kanye West broke the fourth wall with his (VMA-nominated!) “Famous” video by taking its notorious wax figures, along with the bed they’re “asleep” in, and putting them all on display for a secret showing in L.A. Kim, sporting a brand new blonde ‘do, and her sister hit the gallery to survey the scene for themselves.

Kanye himself wasn’t in attendance — or he sort of was thanks to the assistance of a FaceTiming robot.

A device featuring a camera and a monitor kept ‘Ye involved and circulating the crowd at the exhibit, and Kim caught him for a quick hey.

“Famous” is up for two VMAs, Video of the Year and Best Male Video. There will be no need for that robot to hit Madison Square Garden on Sunday, as Kanye himself will be in attendance for the ceremony.

Tune in to the 2016 VMAs, live from New York on Sunday, August 28, at 9 p.m. ET/PT.

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Why Did The VMAs Wait 25 Years To Revive The Long Form Video Category?

The 2016 MTV Video Music Awards are almost upon us and we can’t wait to see what kinds of crazy, jaw-dropping moments and performances are in store. This particular awards show, however, will also see MTV reviving a lost category — after 25 years. During the 1991 VMAs, Madonna beat out Aerosmith, Peter Gabriel, and R.E.M., to take home the Moonman for Best Long Form Video. She won for The Immaculate Collection, which apparently was too hot to handle, because the VMAs never included that particular category again — until this year.

Tweaking the category from Best Long Form Video to Breakthrough Long Form Video, five artists’ creations are nominated for this revitalized award: Beyoncé‘s Lemonade, Justin Bieber‘s PURPOSE: The Movement, Troye Sivan‘s Blue Neighbourhood Trilogy, Florence + The Machine‘s The Odyssey, and Chris Brown‘s Royalty. In order to qualify, videos had to be at least 10 minutes long.

Courtesy of Parkwood Entertainment

But why did the VMAs wait a quarter of a century to bring this category back from the grave? “It took that long to get it back,” Jesse Ignjatovic, the executive producer of the VMAs since 2007, joked on the phone to MTV News. “We’ve been working for years on this.”

In all seriousness, though, the main reason the category ended its long hiatus is because the music landscape really stepped up its game. Ignjatovic explained how the VMAs “is always trying to stay on the cusp and reflect culture and what artists are doing,” and expressing themselves through long form, as well as other methods — Kanye West‘s fashion show, anyone? — is the perfect way to do that.


When Madonna’s The Immaculate Collection won back in 1991, she was an artist who was changing the music game. The category is about honoring those who showcase their music visually in unique and unexpected ways.

Ignjatovic hopes the category is here to stay, and not just reappear every 25 years, like some kind of musical version of Stephen King’s Pennywise the Clown. “It just seemed that this year [long form video] was something that was proliferating the music landscape more than the past.” Let’s hope the trend continues.


Tune in to the 2016 VMAs, live from New York on Sunday, August 28, at 9 p.m. ET/PT.

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Daisy Ridley Knows As Much As We Do About The Title Of Star Wars: Episode VIII

Daisy Ridley may be one of the leading players in the next film to join the Star Wars franchise, but she’s just like us when it comes to some crucial details. Specifically, she has absolutely zero clue as to what Episode VIII is gonna be called, and she has even less of a clue as to when we’re going to finally figure it out.

In an interview with the My Dad Wrote A Porno podcast, Ridley mentioned that she heard a potential title for the flick back before they started shooting it, and now that the filming of the movie is complete, she isn’t sure that that’s the title — or when the Star Wars team will share it with audiences.

Wait, Does Carrie Fisher’s Dog Have A Cameo In Star Wars: Episode VIII?

“I heard the title a long time ago before we started filming, and so I feel some things have slightly tweaked during production,” she told My Dad Wrote A Porno‘s Jamie Morton, James Cooper, and Alice Levine. “It’s going to be a while before it’s released, I imagine.”

Well… dammit. We already know that Episode VIII is set to show us plenty about the new characters we met in The Force Awakens, so hopefully a clue or two about the title will reveal more info soon enough.

After 40 Years, Women Are Finally The Face Of Star Wars In Epic New Poster

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Maisie Williams Thinks Game Of Thrones Will End Exactly The Way It Should

Winter is here, and Maisie Williams is ready for things to get colder — and shorter — for the final season of Game of Thrones.

Williams received her first Emmy nomination for her portrayal of Arya Stark on the hit HBO drama, and she sat down with Variety to discuss some of the memorable scenes that helped her earn her nomination. In their interview, she revealed the biggest challenges she dealt with last season (“The contact lenses, for sure”) and why the GoT crew thought that Arya slitting Walder Frey’s throat made for “the best kill of any kill ever.”

Maisie Williams Says ‘Nothing Will Prepare You’ For Game of Thrones Season 7

She also looked to the future, and discussed two developments regarding Season 7. She pondered how Arya’s relationship to her former half-brother/now cousin Jon Snow would change (“…they would still very much be close. I feel like Jon would find it difficult to accept Arya for who she is now”), who she wants to encounter before the final episode (“It would be wonderful to work with one of the Starks again, but I just want her to see Melisandre or Cersei and not be dead at the end of it”), and why it’s a good idea for GoT to wrap things up in fewer episodes than the last six seasons.

“It sucks for the audience because they love the episodes, but what we’ll never do on this show is drag it out, and I’m so thrilled about that,” she told Variety. “Too many shows start out about making a great show, and by Season 6 it’s about making money and all they want to do is write more episodes and make more money. This show makes a lot of money, and it would be easy for HBO to be like, ‘We’re gonna do four more seasons and we’re gonna extend them to 12 episodes.’ I really respect David [Benioff, GoT‘s co-creator and show-runner] and Dan [Weiss, screenwriter, executive producer, and occasional director] for holding their ground and for HBO to be like, ‘No… we’re gonna tell this story and we’re gonna end it and that’ll be final.'”

Though the time to say goodbye is drawing nigh, Williams is stoked to see her castmates and go out on a high note. “Good things must come to an end or they’re not good anymore,” she continued. “It doesn’t last forever and we’ve done what we came to do, it’s time to wrap this up, and it will have the ending it was always supposed to have, and that’s very special.”

Maisie Williams Surprised A Bunch Of Fans At Their Game of Thrones Party

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Ever Wondered Why The VMA Statue Is A Moonman?

The Academy Awards has a slim gold “Oscar” figure. The Emmys has a winged woman hoisting an atom. The Golden Globes has a… well… golden globe. And the MTV Video Music Awards has its Moonman.

Since the inaugural VMA bash in 1984, the Moonman has been one of the most coveted trophies an artist can receive: a symbol of their impact, popularity, and achievements. But where did the whole “man on the moon” concept originate, and what does it mean? To find out, we first need to rewind all the way back to 1981.

On August 1 of that year, MTV launched with footage of a literal launch. The video in question showed the Apollo 11 space shuttle firing off the ground, then segued into an astronaut planting a flag emblazoned with the MTV logo on the moon’s surface. A voiceover proclaimed, “Ladies and gentlemen, rock and roll.” And thus, MTV was born.

That now-iconic introduction was conceived by Manhattan Design, a small NYC-based graphic design collection headed by Pat Gorman, Frank Olinsky, and Patti Rogoff. The group designed both the MTV logo as well as the moon landing-themed “top of the hour” animation, which, as Gorman recently told MTV News, was inspired by “claiming unchartered territory.”

“We thought, ‘We’re like the guys landing on the moon and claiming it. We claim this land for music,’” Gorman said. “The thing about music is, there’s always something happening that’s the next thing. There’s always something new. MTV was claiming that. The Moonman claims all of that: what has happened and what will become in music.”

Everything You Need To Know About The 2016 VMAs

That clip (which — fun fact! — uses real footage acquired from NASA) replayed on MTV at the top of every hour for the next five years. “So by that time, people were really sick of it,” Gorman laughs. But it also meant viewers had an unshakeable image associated with MTV, which proved essential when the network decided to found its own award show three years later.

Again, Gorman and her team were commissioned to design a piece of MTV history: the VMA trophy. They submitted three ideas: a sneaker, a container of popcorn (which was later used as the MTV Movie Award statue), and a Moonman. The latter concept, Gorman says, was the natural choice in her mind.

“I thought, well, the one thing that everybody knows right now from ‘top of the hour’ is the Moonman, so why don’t we do that? Something that everybody recognized? So that, however many years this goes for, everybody will know that it has something to do with claiming this land for music,” Gorman said.

Stephen Flores/courtesy of Pat Gorman

Pat Gorman with her own (wildly dressed-up) VMA statue

The network higher-ups agreed, and Gorman commissioned the company responsible for casting the Oscar statues to work on the VMA Moonman. With just under two weeks until the show, the clock was ticking… and getting the Moonman just right was trickier than expected. The first design, Gorman says, was “horrible” and featured an astronaut wearing bell bottoms. The second design wasn’t right either: both the Moonman’s feet were planted firmly on the ground, something Gorman vehemently opposed.

“The whole idea was, the statue had to be balancing on one leg, like anti-gravity and floating,” Gorman said. “Otherwise, it didn’t have any magic to it.”

She was also intent on having a footprint on the base of the trophy underneath the astronaut’s floating foot, which Gorman said was an homage to Neil Armstrong’s famous quote, “One giant step for man, one giant leap for mankind.”

“I think we used that quote in the program and changed it to, ‘This is one small step for man, but a giant step for all music,’” she explained.

Philip Errico/courtesy of Pat Gorman

One of the first designs of the VMA Moonman

Frustrated and frantic, Gorman ended up sculpting the statue herself, but there was only time for five finished trophies to be made. The showrunners settled on a risky idea: They’d present five awards, cut to commercial, collect all the trophies back, then repeat the whole process. During the night of the 1984 VMAs, their plan was working smoothly… until Diana Ross got in their way. Ross was seated in the front row and was collecting all of Michael Jackson’s awards on his behalf that night. He ended up winning three awards (all for “Thriller”), and Ross kept bringing the trophies right back to her seat. When a crew member tried to take them away from her, she refused.

“Somehow they didn’t communicate with the cameramen, so when we came back from commercial, Diana Ross and this backstage guy were involved in a tug of war over the statues,” Gorman, who was in the audience that night, recalled. “We turned around and we waved at the cameraman frantically to say, ‘Stop, stop, go to commercial!’ So they went to commercial almost immediately, and somebody explained it to [Ross], and even then she really didn’t want to give them up. It was somewhere between really terrible and really hilarious; it was just so insane. I thought, ‘This is the award show where anything happens, and it’ll always be that way.’”


Gorman’s right: the VMAs are famously unpredictable, but one thing viewers can always expect to see is the iconic Moonman statue. It’s gone through a couple transformations over the years: Brooklyn artist KAWS redesigned the statue in 2013, and designer Jeremy Scott gave it a ’90s-esque makeover last year. But the VMAs is a show that takes its roots seriously, and nothing represents that ideal more than the Moonman.

“I think the Moonman and the VMAs connect to the roots of where MTV started, which is with music and videos and entertainment,” Gorman said. “So in a way, the Moonman and MTV — starting at those roots and growing into what’s relevant now — represent change. And that’s what we wanted. Everything’s built on the past but it’s got to move into the future. You have to have a vehicle to do that, and that’s what the VMA statue is. Something that comes from the past and moves into the future.”

Tune in to the 2016 VMAs, live from New York on Sunday, August 28, at 9 p.m. ET/PT.

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Mariah Carey Gets Serious In The Studio In New Empire Trailer

The newest preview hyping the upcoming third season of Empire is here, and it features none other than the (not so) elusive chanteuse herself, Mariah Carey.

In the clip, Mariah makes not one, but two appearances, and alongside two of the show’s biggest characters. First, we see her put patriarch Lucious Lyon (Terrence Howard) in his place with an unblinking “You’ve always got a trick up your sleeve.” Looks like Cookie’s gonna get a run for her money with Mimi …

Then, Mariah is shown in the studio alongside Jamal (Jussie Smollett). Though Mariah’s been busy with her own show, Mariah’s World, it appears that her television interests have expanded beyond reality TV and into one of the best dramatic series on the air.

Does this mean we’ll have more than a passing glimpse of Mariah and her untouchable whistle tones in the coming weeks? Here’s hoping that’s a yesssss darling, as the Lambily will be oh so thrilled to have an excuse to tune into the show’s season premiere on September 21.


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Black Sabbath Summer

August always sucks. It’s hot and disgusting and I spend it fantasizing about a fall season that doesn’t really exist here in Los Angeles. But in August I pin all my hopes on September, because September is “Sabbath Season,” an end-of-summer tradition my brother started where we listen to the first three Black Sabbath albums — 1970’s Black Sabbath and Paranoid, followed by 1971’s Master of Reality — on repeat. We do this in order to will autumn into being, as a yearly harvest ritual at the slightest sign of fall: a chill breeze, the first night where it’s no longer too hot to sleep, one lonely leaf falling off a tree.

This week was perfect timing to listen to the new Black Sabbath box set, released in promotional conjunction with the band’s current farewell tour. The set includes deluxe remastered CD versions of those first three albums with second discs of previously unreleased (in North America) outtakes and alternate versions, and a reissue of the out-of-print Past Lives, which collects live performances from 1970 to 1975, plus recently remastered versions of the band’s first 10 albums. That’s a lot of Black Sabbath CDs.

Like many people, I have abandoned compact discs in favor of listening to music through the internet. At some undetermined time — after iPods replaced the Discman and then replaced themselves with smartphones, and between when the CD player in my car broke and computers stopped being manufactured with CD drives — I stopped owning any devices that could play CDs. It hadn’t really occurred to me until I received a stack of beautiful Black Sabbath reissues, the kind of box set I’ve long lusted over, and stared at them like mystical tablets for which I was all out of Rosetta stones. All I could do was run my hands over the beautiful, glossy booklets until I got to Best Buy the next day and bought a cheapie personal CD player — an item I was not entirely sure was still being manufactured.

It turns out you can forget how to use a personal CD player if you had not used one in some time. Every time I wanted to turn the volume up or down, I reflexively did so on my laptop, before I remembered that my headphones were actually plugged into the CD player. I also kept wrongly pressing the same laptop’s space bar to pause the music. I guess old habits die remarkably easily. That said, I suddenly found myself contemplating the Discman as if it were a brand-new-to-me technology. When we traded in CD players for iPods, it was based on the assumed ease of having your music library at your fingertips rather than in physical form. Never again would we have to carry around giant binders of CDs or skim them in search of the thing we wanted.

CD players — once the cutting-edge, lightweight, portable alternative to vinyl — were now seen as excess baggage just as much as those crates of vinyl had been. Vinyl came back in again as CDs went out. But the lowly compact disc, once the most prized objects in any music collector’s life, went in the bin. I haven’t forgotten what I hated about compact discs: namely, paying $20 for them, and the fact that they are so easily capable of getting scratched and ruined. And, sure, Discmans skip if you move too much, but Spotify skips and glitches when I open a new browser tab. Everything is flawed.

In recent years, I mostly listened to Black Sabbath on used vinyl that was not in the greatest condition. It didn’t matter — the analog fuzz knitted with the album’s halo of scuzz and distortion. Listening to these remastered discs via my new portable CD player from Best Buy, I could appreciate the precision and clarity of the sludge. The outtakes and alternate versions emphasize that Black Sabbath were always as much a blues-rock band as they were a hard-rock proto-metal group — the wailing harmonica and cowbell on “The Wizard” come into sharper focus on the instrumental version included on Disc 2 of their debut. The different lyrics for “Planet Caravan” and “Paranoid” are more explicitly about women, and more closely connect them with other British blues boogie bands of the early ’70s. The official version of “Paranoid” is just that — the “alternative version” is not scary and includes the line “Everyone is saying I’m mad because you’re the only girl I’ve ever had.” It just doesn’t have the misanthropic pop of “People think I’m insane because I am frowning all the time.”

The deluxe edition of Black Sabbath also includes their first single, a cover of Minneapolis band Crow’s “Evil Woman,” which was omitted on the American edition of the album in favor of “Wicked World.” “Evil Woman” features a lot of rock flute (maybe influenced by guitarist Tony Iommi’s year spent in Jethro Tull?) and a rollicking chorus that verges on heavy bubblegum. The “evil woman” of “Evil Woman” is just a regular old bad girlfriend of the kind in blues lyrics, not involved in any sort of satanic practices. It’s a peek into what the band might have been like had they not seen a marquee for a revival showing of Mario Bava’s horror film Black Sabbath one night and been inspired to write the eponymous song that created and epitomizes their image, fusing the pentatonic blues scale to the locally grown pentagrams of Aleister Crowley.

Black Sabbath were hated by a lot of major rock writers at first, anticipating the mantle of stupidity that critics would continue to ascribe to fans and makers of the burgeoning genre of heavy metal. Some found their horror-movie theming hokey, but, in retrospect, it’s fairly restrained. It’s such a specific, European kind of horror, all earth tones and ancient paganism. They made writing songs about Druidism and magic seem heavy and cool instead of twee and silly. When Ozzy sings “Look over your shoulder, Satan is there” in an outtake of “Black Sabbath,” it’s scary when it could be laughable.

Sabbath specialized in long, slow grooves that build up a palpable sense of dread. What’s very apparent from the alternate takes and versions on the box set is that they had a strong, coherent vision for the band from the first album (recorded in 12 hours). And from the toll of the bell that opens that first album, Black Sabbath built a cinematic world. Who else can sing things like “Everyone’s happy when the wizard walks by” without just sounding like goofs? A band that can make wizards seem scary are, in fact, wizards themselves.

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Get Amped On This Moistbreezy Mix

First impressions can be hard to shake for a DJ mix. The New York City–based producer Moistbreezy showed that she understands that point with a mix she put out earlier this month on Nest HQ, Skrillex’s free online imprint. She opens the set on an immediately engaging note with “Need U,” a euphoric track from 2012 by the Scottish producer Unicorn Kid, who’s more or less disappeared from the spotlight in the last two years after a run of great singles, mixes, and remixes inspired by late-’90s trance. That sweet, upbeat style carries through the rest of Moistbreezy’s mix, even as she finds room for tracks by maximalist electronic artists like Rustie (“Big Catzz”) and Liz, whose SOPHIE-produced “When I Rule the World” is a highlight. The mix also includes an untouched version of The Killers’ 2008 song “Human,” providing a light reprieve from techno dramatics as we consider the song’s ponderous question: “Are we human, or are we dancer?”

Much of the mix is devoted to Moistbreezy’s personal favorites (in an interview with Nest HQ, she mentions that she “can only hope Unicorn Kid makes a comeback”). But it finds its true stride in her own work, like an innovative “Full Moisture” remix of the title track from Kesha’s 2010 debut, Animal. Where the original was a glitter bomb of EDM pop, Moistbreezy reimagines the song as a happy hardcore classic, with an effect akin to pouring sugar packets into a bottle of Mountain Dew. And so the mix goes by in an overcaffeinated blink — just the kind of exciting ride promised by the pitched-up vocals that kick off Unicorn Kid’s “Need U” half an hour earlier.

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11 Times Siblings Ruled The VMA Red Carpet

Our fave pairs on the Video Music Awards red carpet keep it in the family. Like, what better way to impress your parents than extending an invite to your sibling or siblings?

Here are the duos — and in a few cases, trios — who didn’t look far beyond their dinner tables for VMA dates.

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    Years before Miley hosted and invited her entire family, she attended the 2012 show with her sister, Brandi.

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    At the 2013 VMAs, Kendall and Kylie rolled up with (and towered over) Kim.


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    I mean, it’s not like Mary-Kate would attend without Ashley, y’know?

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    Back when the Simpson sisters were both blonde, they hit up the 2005 show together.

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    In 2003, Venus wore shoes that, in a way, matched Serena’s arm warmers. That had to be deliberate, right?

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    Imagine looking as cool as the Smith siblings at any point in your life. Any single point.

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    Nothing screams family like identical hair shades, right, Haylie and Hilary?

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    The Jonas Brothers all matched in suits, though they were all made of very different materials. A satin suit isn’t something you see every day, Joe.

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    What could possibly be in those bags? PLEASE SOMEONE TELL ME.

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    Of course Vanessa and sister Stella matched in flow-y dresses. Of course.

  12. Getty Images


Tune in to the 2016 VMAs, live from New York on Sunday, August 28, at 9 p.m. ET/PT.


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Delete Your Account: Keep It, Young Thug

Delete Your Account is a weekly column that takes the hot air out of celebrities and their social media shenanigans. Every Friday, I will decide whether or not each perpetrator should delete their accounts and never grace the internet again. This week, Young Thug plays video games, Shawn Mendes clears the air, Bella Thorne is young and restless, and Hillary Clinton needs to help a sister out.


What the hell kind of down, forward, uppercut album cover is this? Late Thursday night, Young Thug dropped the album cover to his new effort, No, My Name Is JEFFERY. At that point, Instagram and Twitter users had a meltdown at the sight of the straight rapper appearing in a piece by designer Alessandro Trincone. Naturally, since — aside from looking like Raiden from Mortal Kombat — the dress is very feminine. I got a headache looking at all the takes on whether or not Thug was appropriating queer culture or simply being fashion-forward or whether Nate Parker would be concerned that this album cover won’t preserve the black male. I could have engaged in the conversation myself, but … as soon as I saw the cover, I popped a Xanax and mixed a cocktail. Because Young Thug tires me.

To understand how much Young Thug tires me, let’s take a step back and look at how he’s “studied” “fashion.” A February GQ interview describes Thug as “leader of the psychedelic fashion movement of rap hippies” and his crew as “an equally fashion-forward swath.” This is because Thug often dresses like an amalgamation of all the “hipster rappers” that have come before him. Bright colors and unconventional looks are no stranger to fans of Kanye, Kid Cudi, and Diddy. But Thug more than the others has leaned toward the gender-bending, as if he’s the second coming of Prince.

Sorry, I had to stop to laugh at the thought of that for a second. Anyway, Thug’s looks have certainly not gone unnoticed by other rappers. Last year, when a male fan got too close to Rich Homie Quan, he shouted at the fan: “Get your gay ass away from me. I don’t fuck with no faggot fucks! Looking like Young Thug, get the fuck away from me. I don’t like sissies, nigga!” Putting aside the fact that this rant is more coherent that Quan’s general Mother Goose style of rapping, this is also pretty much word for word what some of the responses to Thug’s JEFFERY album cover were. Thug ended up responding to Quan, which at first seemed like it might be a clapback, but eventually became a “say faggot all you want, it’s all good” response.

So, of course, it wasn’t surprising when Thug dropped the track “Serious” in January, which featured the lyrics: “Green and red motherfuckin’ flag / I dress like a prince, not a fag.” I don’t know too many princes who look like they just delivered a fatality to Sonya Blade, but sure, Young Thug. Sure.

All of this is to say that I don’t really give a fuck what fashion designers Thug linked up with. I’m not about to declare that he’s “forwarded” any kind of acceptance of queer culture with regards to black masculinity. It’s just an album cover. It’s a gorgeous one, but it’s also the album cover of someone comfortable enough to interact with the fashion industry and use it to further his own image while using the word “faggot,” so he can keep it. Black gay men just can’t have anything, can we? Whether it’s Keke Palmer gagging like she just lost a lip sync for her life, or being told we should ignore Nate Parker’s homophobia for the good of a damn movie, or watching straight people talk about how groundbreaking Young Thug’s album cover is … we really just can’t have a single damn thing to ourselves.

Should Young Thug Delete His Account?


How do you solve a problem like crazed music fans? Last week, I dove into how Selena Gomez told Justin Bieber that he should treat his fans better and that when they do things like harass his girlfriend online, it’s only because they love him. Which, I’m sorry, is utterly deranged. I know a bit about demanding things from your idols — after all, I did harass Frank Ocean daily until he finally released Blonde. But the concept of spewing hatred at your idol on Instagram just because of who they’re dating is insane behavior and someone needs to take away these kids’ phones.

In his Billboard interview, Shawn Mendes seems to understand that, saying Bieber’s fans should maybe chill out: “People thought of him as a type of person. But maybe he was the same person the whole time and you guys just didn’t give him a chance to show you who he was. Stop ­looking at him in a ­negative view and accept him as who he is. We don’t get mad at punk rock bands for doing shit like [he does], because that’s their personality. I just find it very confusing.” This is a sensible thing to say! He goes on to say some other crazy shit about how sex is “impossible” now that he’s famous, or whatever, but let’s focus on the smart stuff this 18-year-old says. The writer, Rebecca Haithcoat, mentions how genuine Shawn looks when interacting with his fans, even if he’s taking something like 900 photos in a row. It’s actually a pretty great profile of a young pop star on the rise.

Which is why it’s so disheartening that Shawn got all the way turnt on Twitter about the profile. A simple quote about how fans don’t really know him (which is true — being a fan of someone does not mean you know everything about them inside and out) gets elaborated on in the article, but instead of reading in, one of his fans merely tweeted “bitch what?” And that was enough to get Shawn ranting about how his words were “twisted” and that’s not what he said at all. My least favorite thing in the world is when someone gets a writer to do them the favor of promoting them, then turns around and throws it back in their face.

“It’s unfortunate when what you say gets turned into a bad version of it” makes no damn sense, because there’s no bad version of his quotes in the article. And for someone who seemed so self-aware about their fans while being interviewed, all that awareness seemed to go out the window when responding to people on Twitter who do the exact same thing that they do to Justin Bieber. There’s a way to explain that you clarified your statement in the interview. The piece ends with this quote: “People know me but they have no idea. I can’t be best friends with the entire world, I can’t fall in love with every girl, I can’t be a father figure or older-brother figure to every person. But I hate being alone. I just want someone there — to get out of my own head for a minute.” Which I’m assuming are Shawn’s own words, since they’re in quotes and all. You said that, boo. You don’t then get to turn around and claim you were misconstrued just because one of your Twitter followers doesn’t like it. For someone who tries to come off as a mature, thoughtful artist in their Billboard interview, this is more like acting like a reality TV character who claims they were edited to be a villain. Furthermore, if you can’t even interact with your own fans without having a meltdown and claiming that an interview tried to make you into something you’re not, maybe keep your opinion about Justin Bieber and his fans to yourself. This is what happens when YouTube stars become actual stars. Every response of theirs sounds like an overwrought video they recorded in their bedroom at 3 a.m. after watching an episode of Steven Universe.

Should Shawn Delete His Account? Nah, he can stay. But his online persona does need some … wait for it … stitches.


Let me pray to the Jerry Springer Show gods, because who knew Zendaya’s costar from Shake It Up could rustle up more drama than she’s had acting roles in the past year? I was a fan of the succinct reply when a fan asked Bella if she was bisexual, but the thing that then threw me for a loop was who she’s dating. The entire reason Bella was asked if she’s bisexual is because she uploaded photos of herself making out with another girl on Snapchat. That’s all well and good, because Snapchat honestly needs the attention at this point, but the girl she’s kissing is named Bella Pendergast.

If you don’t know who Bella Pendergast is, it’s OK, because neither did I at first. I mean, they both have the same damn name, so at first I was like, “Is this the same person? Is this white girl pulling some kind of Hannah Montana shenanigans?” But no, Bella Pendergast is a completely different person. She is also the ex-girlfriend of Bella Thorne’s brother.

SIS, DID YOU JUST ANNOUNCE TO THE WORLD THAT YOU’RE BISEXUAL BY MACKING ON YOUR BROTHER’S EX-GIRLFRIEND? Good. Lord. There are easier ways to do this. A Lance Bass People magazine cover seems almost tame in comparison. What kind of attention-thirsty antics are they teaching these ex-Disney stars? I mean, do you, I guess, girl. But … whew. That’s the kind of shit that gets people exposed on Days of Our Lives, not lauded as a bisexual icon. The power of Caucasian women is strong. Maybe Joanne Prada is onto something.

Should Bella Delete Her Account? Bella just joined the queer family so I’m not gonna kick her out. After all, Gay Twitter is messy enough as it is, so she’ll fit right in.


Leslie Jones has suffered some pretty horrendous racial harassment thanks to some trash on Twitter. So much so that other celebrities have chimed in with their support.

But also, these are celebrities. All they can really do is offer support. Meanwhile, Hillary Clinton has the power to delete emails that prove the U.S. government faked the moon landing and that Reagan created AIDS and that 9/11 was an inside job, but all Leslie Jones gets is a tweet? Hillary, you better call up some CIA wetworks team and get some real damn results. And also the “I’m with you?” Girl, now is not the time for you to promo your campaign slogan …

Should Hillary Delete The Account Of Everyone Who Has Harassed Leslie Jones On Twitter?

Yes, ma. Tell @jack you’re taking over.

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