Last Fan Standing: The Results

Which fanbase won?

MILLIONS voted on 4music.com and Twitter.







Fanbases asked to vote:

Beliebers, Navy, Directioners, Swifties, Monsters, Smilers, BeyHive, Mixers, KityCats and Barbz.







10. Nicki Minaj's Barbz 0.51%

9. Katy Perry's KatyCats 0.72%

8. Little Mix's Mixers 0.84%

7. Beyonce's BeyHive 1.18%

6. Miley Cyrus' Smilers 1.20%

5. Lady Gaga's Little Monsters 7.09%

4. One Direction's Directioners 17.71%





3. Rihanna's Navy 22.91%









2. Justin Bieber's Beliebers 23.53%









1. Taylor Swift's Swifties 24.31%





TAYLOR SWIFT'S SWIFTIES WIN LAST FANSTANDING

THE COUNTRY SINGER'S FAN GROUP TOP VOTE



Taylor Swift's Swifties have been crowned the winner of Last Fan Standing!



The fan group beat Justin Bieber's Beliebers, Rihanna's Navy, One Direction's Directioners, Lady Gaga's Little Monsters, Miley Cyrus' Smilers, Beyonce's BeyHive, Little Mix's Mixers, Katy Perry's KatyCats and Nicki Minaj's Barbz to win the vote.



We asked you to pledge your alleigance to your fandom on 4music.com and Twitter, and you voted in your MILLIONS.



The Swifties won with with 24.31% of the vote, but it was a close run battle between the Swfities, Beliebers and Rihanna's Navy throughout.



The Beliebers came in second place with 23.53% of the vote. This put them behind the Swifties by only tiny 0.78% difference!



Though witnessing a strong start - and recieving a call to action from the bad gal herself - Rihanna's Navy came in third place to take 22.91% of the vote.



In fourth place came the Directioners with 17.71%, followed by the Little Monsters in fifth with 7.09%, the Smilers in sixth with 1.20%, the BeyHive in seventh with 1.18%, the Mixers in eigth with 0.84%, the KatyCats in ninth with 0.72%, and the Barbz in tenth with 0.51%.





sry mods! added the source



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Lady Gaga's ArtRave fizzles

Lady Gaga’s Artrave concert Saturday night at Joe Louis Arena was like a stalled engine that just wouldn’t turn over. It barely even coughed or sputtered, and after an hour and 50 minutes, it flat out died, junk for the scrap heap.



It’s hard to even say what went wrong, but what went right would be a much shorter conversation. The show simply had no spark, and it never got off the ground. It was Gaga’s “Artpop” alright — the kind of pop that occurs when you poke a hole in a balloon.



Gaga’s previous Metro Detroit tour stops told a much different story. At those shows, including a pair of Joe Louis Arena concerts in January 2010 and a Palace of Auburn Hills show later that year, the energy was crackling and people hung on Gaga’s every word. She was on top of the world then, a cutting edge pop phenomenon in full control of the audience and her vision. She was wild, voracious and vital.



She has since cooled considerably. Part of it is timing, and she’s simply not moving the needle the way she once was. (It’s difficult sitting inside pop culture’s control tower; just ask Miley Cyrus in a few years.) But a lot of it is her music, and last year’s “Artpop” simply lacks the sizzle of her previous works. Lady Gaga didn’t get gigantic because of her crazy performances and wild public appearances, her music was so good that it allowed her to do those things. But without a solid foundation of killer tunes, the artifice is exposed and you get what you had Saturday night at the Joe.



Gaga, backed by her five-piece band and joined by up to 14 dancers, emerged onto her truly dazzling stage that took up most of the floor at Joe Louis Arena to the booming thump of “Artpop’s” title track. It was the first of an audacious six songs off the album she opened with, a deadly stretch that forced fans to sit through stinkers like “Donatella,” “Fashion!” and “Manicure.” It wasn’t until a half hour into the show that she got to “Just Dance,” her first smash, which segued into a series of familiar tunes (including “Poker Face,” “Paparazzi” and a snippet of “Telephone”), but that first portion of the show became such an endurance test that it was difficult afterward to mount a recovery.



Gaga’s stage, which used a series of bridges to connect pod-like stages scattered across the arena floor, allowed her to move freely about the room. She had a keyboard at one end where she stopped to play “Born This Way,” with just her voice and her piano, a reminder of how talented a singer-songwriter she is underneath all the costumes. Just moments before that, she was outfitted in a series of inflatable tentacles that made her look like a cross between an extra in “The Fifth Element” and a child’s pool toy.



Fans threw articles of clothing, stuffed animals and notes on stage throughout the show, and Gaga stopped and read one of them aloud at one point. It was a heartfelt letter written by a fan in the front row (it flew onto stage attached to a stuffed Pegasus), and in it the fan described how much Gaga had inspired him and others. It was a touching moment in a show that needed those sort of personal connections, but it awkwardly transitioned into Gaga performing “Sexxx Dreams.”



It was that kind of night. The energy was never right, things were amiss. By the time Gaga was on her knees and snorting like a pig during set-closer “Swine” — which came at the expense of songs like “Marry the Night,” “You and I,” “The Edge of Glory,” “LoveGame” and “Dance in the Dark,” to name just a few songs left off the set list — it was unsure if the pig was a metaphor for the show, or the audience, or what, and it was all too boring to even try and sort out. (suddenly the koons is the pig)



An encore of “Gypsy” — which began with Gaga belting out the song while sitting at her piano, before the band kicked in in a big way — was electrifying in a way like no other song before it, full bodied and charged up, but by then it was the end of the show and time to go home. Had she opened with “Gypsy” and reconfigured the setlist, it might have been a different night. But like the song says, Gaga’s Artpop can mean anything, and it just so happened that on this night it meant nothing.



Source: http://ift.tt/1o7ACmq



Was the dragging warranted?

Miley Cyrus at World Music Awards

The 21-year-old singer is on a professional high at the moment, with her latest success occurring as she picked up the Best Pop Video: Wrecking Ball and Best Female Act at the World Music Awards in Monaco on Tuesday night.



And Miley - who looked stunning in a floor length silver gown -made it a family affair by taking her handsome younger brother Braison, 19, as her date.



While she is known for her outrageous on-stage outfits, Miley opted for a softer, prettier look for the awards.













Miley and her brother, Braison.













Kellan Lutz lol























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The 'Little Women: LA' Cast Is Awesome: Meet The Ladies Of Your Next Reality TV Obsession!

How female 'Drag Queens' are taking over the charts!

Who knew the LGBT movement would advance so far that there’d one day be dozens of drag queens topping the music charts? Oh, I’m fully aware that these stars technically have women’s parts, but believe me, they’re totally drag queens, and the public likes them that way, which is a big leap from the old days when women had to act like they weren’t really gay men.



Katy Perry, Nicki Minaj, Miley Cyrus, Kesha, Lady Gaga, Britney Spears, purple-lipped Lorde, and nutty Iggy Azalea (a combination of Lady Gaga and Nicki Minaj) are among the wave-making gals who achieve the Victor/Victoria-like feat of coming off like women dressed like men dressed like women. The result requires extra work from the stars—not to mention on the part of their fans, who valiantly try to decipher the mixed gender messages being sent—but it’s worth it, since the layers of inspiration served are as textured and involved as the hair and makeup required to pull it off.



And it’s a big, fat kiss of validation to us gays, who respond with cheering and fashion tips. But why so many female drag queens, and why now? Well, all of these stars were born in the 1980s and ‘90s and were impressionable during the club kid era, when waves of gender-bending clubbies appeared on every daytime talk show in creation to flaunt their fashion choices and sexuality. Obviously, it made a big, sick impression on these future icons, especially since that all happened to coincide with cinema tucking classics like Mrs. Doubtfire, The Adventures of Priscilla, Queen of the Desert, and The Birdcage. Adding to the gay allure, LGBT culture is more prevalent than ever right now, so it’s more common to liberally borrow from it and even pretend you’re a contestant on Drag Race, vagina notwithstanding.



The original female drag queen, Madonna, certainly did it with 1990’s “Vogue,” which paid homage to the ballroom antics of the hand- and hip-swivelers of the Paris is Burning era. (Tellingly, that song has been covered in one form or another by Katy Perry, Britney Spears, Rihanna, and Kylie Minogue, among others.) And since Lady Gaga is a spiritual descendant of Madonna, it makes sense that she’s taken that even further, openly embracing the universes of club kids, RuPaul, and young gays looking for a light out of the tunnel. She does so with elaborate outfits topped by wittily placed objets that seem made for a drag queen—or at least made by a drag queen. And even if the current album has been a commercial letdown, Gaga is still a big, old drag force kept aloft by the strength of her sequined feathers and flapping wrists.







In turn, Katy Perry seemed influenced by Lady Gaga when, a few years ago, she suddenly started wearing kookier outfits and accessories to spice her act out of the realm of the mundane. In her getups, complete with anthems of self empowerment and drunken same-sex smooching, Katy comes off like one of the flashier entertainers at New York’s Escuelita club. So does Pink, who—it’s no surprise—is reportedly being talked about as a possible replacement for Hedwig and the Angry Inch on Broadway. A woman playing a trans woman with a vestigial penis. That’s rich!



The inspirational effects of the drag and trans communities are nothing new, of course. In 2010, TRANSform Me was a VH1 show with Laverne Cox and other transsexuals giving biologically born women makeovers while teaching them how to look and behave. Well, those subjects (and their audience) obviously learned well, some of them apparently riding their knowhow to music careers, their most interesting transition of all!







Among today’s pop provocateurs, Miley Cyrus is a pint-sized drag queen trapped in a female body, especially with her innate sense of the outrageous and her continual joy in shocking the bourgeoisie. Miley dressed as Lil’ Kim last Halloween—she sported a purple wig, pastie, and other glitzy appliques--which involved so many levels of drag it was mind boggling (and a little bit confusing, too, to the perplexed delight of many). Meanwhile, Nicki Minaj has inherited Lil’ Kim’s scepter of being the empress of drag-queen-like aesthetics involving two-toned hair, vinyl caps, wild makeup, and serious cleavage. She even wore a rainbow-studded wig once!







And then there’s Britney, who has long been the twinks’ favorite diva because she revels in vampy sexuality, raunchy innuendo, and an innovative use of underwear as outerwear. All too perfectly, she’s taken up residence in Las Vegas as, basically, the new Siegfried and Roy. And her “Work, Bitch” song came off like a riff on Ru’s old phrase “You better work, bitch,” whether Britney knew it or not.



Besides, what could be more of a drag queen trait than good lipsynching? Britney can synch even better than Courtney Act! In fact, as all the above ladies gamely mouth along to their campy hits while wearing hilarious ensembles, you would think they’re way better suited to the old drag fest Wigstock than to Lilith Fair. So here’s to the female drag queens. Next up, maybe Justin Bieber can become a male drag king and learn to be a man?



Source: http://ift.tt/1jYmNal



Did they spill the tea on today's pop stars or not?

Miley Cyrus Bangerz Tour: When Sex Stops Selling

The chasm between what this show believes it is—a high-art exploration of music, erotica and nebulous stream of consciousness for a critically mature and appreciative audience—and the reality of its setting—a pop concert attended mostly by confused children and their furious parents—only adds to the surreal nature of the show. The only thing more entertaining than the Bangerz tour is witnessing the stunned expression of short-straw dads watching it with their kids.

Miley can pretend she’s in a Brooklyn gallery space rather than an all-ages show, if she wants to. But she can’t pretend things are going well in terms of ticket sales. There were plenty of empty seats at the O2 and, unusually for an artist of her sway, she only played one night there. Things haven’t picked up on the rest of the European tour, with tickets still available for many of her upcoming dates. In the US, sales for the tour also struggled, particularly after she was seen smoking weed on TV. Forbes believe it’s unlikely she’d sold out “as many as half of her shows”. Tickets on secondary ticketing sites were selling for less than face-value as touts just tried to make some of their money back.

Her record sales have also been surprisingly poor. Despite being repeatedly described as “the person of the year” with unprecedented coverage across the worlds of music, entertainment and news, not to mention having two of the most watched music videos of all time, Cyrus’ album was only the 71st best selling of last year in the UK. Records by Alt-J, Kodaline, dutch jazz singer Caro Emerald and violinist Andre Rieu all performed considerably better. Globally the album did slightly better, but was still a long way off the top 20 global albums of 2013, an important measure for world-straddling artists.

How can that be? To understand why Miley isn’t selling you have to disregard everything you believe about what she is.

Conventional wisdom is that Cyrus, like every other almost famous female popstar from the past 30 years, is using sex to sell her music. She is basically Madonna, only more crude, with less self-awareness and worse music. This seems almost painfully self-evident. “Wrecking Ball” is a well-performed but largely perfunctory ballad that has become the 9th most watched video in the history of Youtube because it features a butt-naked Miley swinging across a laboured metaphor. Miley remains in the public eye because of her very public displays of her body.

Undoubtedly, she made a buttload of money from all the plays her videos. "Wrecking Ball" and "We Can't Stop" have received over 1 billion plays on Youtube alone. Most estimations suggest she will have made around $10 million from those two videos. Nothing to be laughed at, but considering the huge expenditure she has for live performances, press and general upkeep—she still needs to be making money for sales and touring and here’s where things get sticky.

The old adage that sex sells meant a lot when you literally had to buy into an artist or performer. You couldn’t read Madonna’s Sex book without purchasing it, or watch Deep Throat without going to the cinema. True, music videos have always been free at the point of access, but they once acted as adverts for a purchasable product; now people can watch "Wrecking Ball" as many times as they want, with no interest in the Miley album itself. They can tweet about what she means for feminism till they’re blue in the face, but with no real interest in the end project, there’s no guarantee that all publicity is good publicity.

Obviously, Miley won’t be declaring herself bankrupt anytime soon, the Bangerz album and tour will have brought in tens of millions of dollars. But in pop everything is relative, and there’s no doubt she’s underperforming in relation to the size of her public persona and the popularity of her performances.

Read the full article at the source

Hollywood gets patriotic: See stars wear red, white and blue!

Happy Memorial Day!



The national holiday may only come once a year, but celebrities show their love for the good old USA all year long!



Just check out country cutie Taylor Swift wearing an adorable star-spangled sweater while out and about. Stars and stripes bikinis are also popular among the lovely ladies of Hollywood. Mariah Carey, Heidi Klum, Rachel Bilson and Jamie Chung have all stripped down to show their loyalty to The Land of the Free. Jennifer Aniston even took it one step further, posing on the cover of GQ naked with only a teeny tiny patriotic necktie to keep her warm!





Rachel Bilson







Miley Cyrus





Destiny's Child





Julianne Hough





Mariah Carey





Katy Perry and John Mayer





Jennifer Aniston





Fergie





Frank Ocean





Jamie Chung





Christina Aguilera





Busta Rhymes





Courtney Stodden





Kesha





Heidi Klum





Justin Timberlake





Taylor Swift





Lauren Conrad + friends





Andy Cohen





Snooki





Jamie Lee Curtis





Lil Wayne







E!

#YesAllWomen UCSB Shooter Response Is Uprooting Everyday Misogyny One Tweet at a Time

As we continue to process the events of last Friday, in which 22-year-old Elliot Rodgers went on an anti-woman shooting spree he deemed "the Day of Retribution" in order to punish those women who rebuffed him, one hashtag has been proliferating immensely on Twitter. With "#YesAllWomen," many Twitter have been sharing their experiences as women in a culture where they do not feel safe. Some have shared personal experiences while others have pointed to broader social patterns and behaviors. But they all address head-on the dangers of being a woman in our culture—the type of dangers that just became more tangible with the actions of Elliot Rodger. The tweets are just as sobering as they are empowering:

#YesAllWomen because when women stand up for their right to feel safe & not get killed or raped, men turn it around & make it anti-male.

— ♕☮ Genny Λstartiel ❤ (@Astartiel) May 25, 2014

#YesAllWomen because when we're offended at something we are told we are 'too sensitive' & 'it was a joke' rather than given an apology

— baeth (@postirl) May 25, 2014

Because every single woman I know has a story about a man feeling entitled to access to her body. Every. Single. One. #YesAllWomen

— Emily (@emilyhughes) May 24, 2014

Girls grow up knowing that it's safer to give a fake phone number than to turn a guy down. #yesallwomen

— Kate Tuttle (@katekilla) May 24, 2014

#YesAllWomen Because Robin Thicke is applauded while Miley Cyrus is censored and ridiculed.

— Felice Fawn (@felicefawn) May 25, 2014

#YesAllWomen because when a girl is harassed or even groped by a stranger in public, we're told to "take it as a compliment"

— AB (@bottrill) May 25, 2014

Because when a guy kills six people because he's a virgin and women reject him, he's met with sympathy. #YesAllWomen http://ift.tt/1jKCF06

— Bekah (@RebekahBolser) May 25, 2014

Because the friendzone is the fictional exile of the entitled. “Sexual partner” is not a woman’s default mode. #yesallwomen

— Harrison Mooney (@HarrisonMooney) May 25, 2014

When senseless tragedies like this happen, we try to look for something bigger, a pattern or a profile to which we can attach such devastation. And the trail of evidence and motivation left in Rodger's wake, the Youtube videos, the online posts, and the 141-page manifesto give us some semblance of that. Rodger's manifesto reveals that he resented men for having sex and falling in love with women just as much as he resented women for rebuffing him. But the focus of his rage and blame always remained on women, which apparently made his indignation reasonable.



While the ramblings of a disturbed young man intent on purifying the world, ridding it of sex and love by eradicating women and putting them into concentration camps is clearly beyond delusional, his rhetoric and general view of entitlement to women is engendered by the same anti-women notions that houses the men's rights movement. We are told not to give attention to the ideology of a deranged killer, but what are we supposed to do when that ideology is as widespread as misogyny?



The power of misogyny that fuels MRAs partially lies in its 'subtlety,' the fact that there hasn't been such a high-profile attack that is categorically rooted in an anti-woman sentiment since maybe the École Polytechnique Massacre in Montreal in 1989, in which a 25-year-old man killed 14 women in a crusade against feminism and the feminists he felt were ruining his life. And even, the extremity of these attacks have permitted 'everyday misogyny' to continue—after all, it's not like an 'everyday misogynist' killed or even hurt anyone, only the mentally ill or criminal ones. Being able to distance a movement from the actions of a mentally disturbed person still allows for the space for ideas like "retribution" to fester.



But now with trends like the #YesAllWomen hashtag, we are uprooting everyday sexism, the ideas that perpetuate systematic marginalization, outright violence towards women, rape culture, and demonization of women who deign to stand up for themselves, forcing it out and showing just how pervasive and destructive it is.




Isla Vista Community Holds Vigil For Shooting Victims



The community of Isla Vista, a college town nestled next to UC Santa Barbara, held a vigil Saturday night to mourn the six people killed in a shooting rampage.



A crowd began to gather 7 p.m. at UCSB Storke Plaza for a vigil that included speakers and performers, along with a memorial walk into Isla Vista.



This comes less than 24 hours after a gunman waged a drive-by shooting at several different locations across the area, Santa Barbara police reported.



The victims’ identities haven’t been confirmed by authorities by UCSB officials say students were involved.



At the vigil — which continued well into the night Saturday — CBS2′s Cristy Fajardo spoke to many students who said they were in disbelief and trying to come to grips with the tragedy.



Many of the students placed flowers inside bullet holes at the deli where Chris Martinez, believed to be the last victim killed, died after being shot several times.



She reported, “All evening we’ve seen people dropping by to pay their respects and all day long we have seen prayers for those who survived — and tears for those who didn’t.”





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Miley Cyrus Gets Restraining Order Vs. Arizona Man

Miley Cyrus obtained a temporary restraining order Friday against an Arizona man who was recently detained by police while trying to meet the singer-actress.


A Los Angeles judge granted Cyrus the stay-away order against Devon Meek after Cyrus' lawyers filed court documents stating that Meek, 24, believes the singer is communicating to him through her songs.


Los Angeles police arrested the man from the southeastern Arizona city of Sierra Vista on May 16, and he was placed in a psychiatric hospital, where he remains. Meek has said he will continue to try to meet Cyrus once he is released, according to filings by Cyrus' attorneys and a police detective.



Meek was arrested outside a property he believed is owned by Cyrus, but the documents don't specify the location.



Detective Rosibel Smith wrote in a sworn statement that Meek told officers they should shoot him in the head if he couldn't meet Cyrus.


Smith wrote that a police officer who interviewed Meek "informed me that Mr. Meek stated that when he is released from the hospital, he will not stop seeking Ms. Cyrus and that he will continue to go to Ms. Cyrus' residence until Ms. Cyrus accepts him or he dies."



A hearing to extend the restraining order for three years is scheduled for June 16.



There is no declaration from Cyrus in the filing. The pop star rose to fame as the star of the TV show "Hannah Montana" and has recently postponed several concerts while she recovers from her representatives have said is an allergic reaction to antibiotics.



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Miley Cyrus -- Crazed Fan Threatens ... I'll Die Trying to Meet Her

Miley Cyrus just got an emergency restraining order against a "delusuional" fan who allegedly said he won't stop hunting her down until she "accepts him or he dies" ... TMZ has learned.Devon Meek was arrested on May 16 by LAPD's Threat Management…

Glowing reviews for Me. I Am Mariah: "Her best in years"

Mariah Carey has entertained the idea of hosting a talk show. Last December, she showed us what that might look like, when she effortlessly hijacked Andy Cohen's Watch What Happens Live and turned it into The Mariah Carey Hour. She came with a portable fan, catchphrases and slick retorts, describing herself as the "girl version" of Will Ferrell's Elf character ("I'm like a five-year-old"). She slyly waved off Cohen's softball questions. And she explained her reasoning for joining American Idol: to show us her personality.



Me. I Am Mariah...The Elusive Chanteuse (which should count as a self-titled album) finds her owning her multiple personalities, minus the caricature. It's a successful merger of her opposing images: the forever-young R&B star known to skate at a theme park in daisy dukes and the balladeer who finger-wags behind a mic in a gown.



Messing around with big ballads, summery R&B anthems, hip-hop, choir-backed gospel and cover songs on one album could seem thematically indecisive. (Mariah has struggled with this before and come across as mom wearing young-adult leggings.) But I Am Mariah glues all those ideas together, making the focal point her voice, which crescendos, becomes breathy or expresses sass when needed. Her staple whistle-runs - the thing that has made her Mariah Carey, the elusive chanteuse - pop up throughout, sometimes just as a show-off move. Jermaine Dupri, her go-to executive producer, knows the ins and outs.



The ballads are your new inspiration for shower acoustics (expect YouTube renditions of "You're Mine"); though they're not as compelling as her classic material. The mid-tempo R&B moments are the most special. "Faded" (produced by Mike Will Made It) and "Dedicated" (Hit Boy) recall the breeziness of "Breakdown" or "Always Be My Baby". "You Don't Know What You Do" (featuring Wale) plays in the skating rink soundtrack in your head. And like almost everything Miguel makes, "#Beautiful" is simple and glistening.



Disciples call Mariah the "shade queen" for a reason. Like a pro, her cutting remarks are delivered with equal pettiness, humor and offense - they're even better when directed at men: "I miss you almost half as much as you miss me" (You Don't Know What To Do), "I call your name, baby, subconsciously, always somewhere, but you're not there for me" (Faded), "You used to be Mr. All About Me, now you're just thirsty for celebrity" (Thirsty).



With The-Dream steering production and songwriting on 2009's underrated Memoirs of An Imperfect Angel, his vengeful snark overshadowed Mariah. With I Am Mariah, there's an overall easiness to the melodies that show her, for the most part, having the time of her life. When she's floating, we get joyous records like "Meteorite" - a light disco record ' and "Make It Look Good", which is old-school prom material (Stevie Wonder harmonica included) in a good way. There's a tendency to pour on the sugar ("Our love will never end", etc.), but there are fewer of those moments here.



Notably, the album begins with an admission of guilt. A sparkling sermon, "Cry" features a mature Mariah preaching about what she may or may not have done wrong to push an old lover away. "Maybe I didn't give you your space back then." And "maybe I shouldn't have told you I love you." Maybe. Of course, she has to leave room for another person's error.



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It's been five years since Mariah released an album of new material, and that album was what many believe to be her career's nadir point, Memoirs Of An Imperfect Angel. That flop was followed by a Christmas album, yet another Best Of album (her fourth to date), hired Randy Jackson to manage her career, as well as a marriage and the arrival of twins. So it's not as if she's just been on an extended holiday, but this time away sounds like it has helped Carey refocus on what it is that she's good at, and what it is that her fans love her for, namely That Voice singing R'n'B.



Harking back to a level of quality that she hasn't reached since her 2005 comeback The Emancipation Of Mimi, sharing that album's executive producer Jermaine Dupri, as well as some new big name collaborators such as Hit-Boy (Kayne West, Jay-Z), Mike Will Made It (Miley Cyrus, Rihanna) and Rodney Jerkins (Whitney Houston, Toni Braxton). Despite these heavy hitting producers, the album has been a stop-start production, with first single "Triumphant (Get 'Em)" nowhere to be found, and later single "The Art Of Letting Go" only available on the deluxe edition of the album.



Perhaps the reason for this is because The Elusive Chanteuse finds Mariah at her most old school, sounding like she's given up trying to sound current, and just doing what she does best. Kicking off with torch-ballad "Cry", it's like we've never left the early 90's, with Mariah and a piano and a broken heart. "Faded" finds the diva pouring her feelings out over old photographs and a hip-hop tinged slow jam. Meanwhile, if given the opportunity, "Camouflage" could potentially be looked back upon with the same regard as "Vision Of Love" or "Hero" as one of the great Mariah Carey love songs, even if it is about that love coming to an end.



It's not all downbeat, thankfully. "Dedicated" is a celebration of the era when Mariah was at her most relevant, both in terms of lyrics ("That's how we do it, cos this is how we did it back then") and the appearance of Nas for an uncharacteristically upbeat cameo. "#Beautiful", the one and only surviving official single, is still a gorgeous, guitar driven duet with the equally caramel voiced Miguel.



Aggressive and pissed off on "Thirsty", a non-specific call out on some former lover, perhaps having learned her lesson from "Obsessed" which resulted in Eminem scorching the Earth with her and Nick Cannon. Something that wouldn't have been out of place on The Great Gatsby soundtrack, "Make It Look Good" is a big band, wedding-in-a-ballroom-sounding number, kicked off with a Stevie Wonder harmonica solo. Latest potential single fodder "You Don't Know What To Do" starts off with a solid minute of Mariah giving it socks all by herself, before the 70s funk drops in, all stuttering drums, independent woman lyrics, and a fun rap verse from Wale.



Album highlight has got to be "Meteorite", produced by fellow 90s stalwart Q-Tip, starting out with Mariah quoting Andy Warhol, before seguing into an incredibly infectious beat of conga drums and hand claps, and Carey singing about her lover who can light up the sky, which itself then segues into a warped and clipped chorus of 'Meteor-ite-ite-ite!" which, like all Mariah's best upbeat songs, was custom built for singing along to at summer barbeques or while driving with the top down.



Of course, this being Mariah Carey, a lady not entirely known for doing things in small measures, there are a few moments of self-indulgence and The Elusive Chanteuse goes off the rails. Requisite for requirements, Carey tosses in one cover song, this time taking on George Michael's 1988 hit "One More Try", and while she gives it a good go, she still can't quite overtake the haunting power of the original. "Supernatural" contains what must be a contractual obligation for every new parent, vocals from Mariah's very young children, as she sings over the looped laughter of her babies. It's all very cute, but still borderline unbearable. "You're Mine (Eternal)" and "Heavenly" both sound like Mariah trying to revisit former glories, namely "Touch My Body" and "When You Believe" respectively, and failing at both.



Despite these missteps, The Elusive Chanteuse is still a massive step in right direction for Mariah. Looking at her contemporaries, they're either sadly departed or simply not recording new music anymore, while the younger generation have seemingly all given into the EDM monster. So while Mariah may not be to everyone's taste, her taste in old school sounding music is beyond reproach.



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this future grammy-winning album is truly a divine gift <3 here's a link to her "betcha gon know" remix with r kelly

Southern Belle Miley Cyrus Disses Taylor Swift: She ‘Cant Deal With How Prissy [Taylor] Is’

After Miley Cyrus‘ infamous performance at the 2013 MTV Video Music Awards, Taylor Swift reportedly called the performance “grotesque” (though Taylor’s rep later denied that claim). Well, Miley is now firing back, according to a new report from OK! magazine! Miley is calling Taylor “sexless” and “stuck up” and “frigid” — read on for the rest of the shocking report!







Miley was not happy about Taylor’s reported MTV VMAs diss, and “That’s one thing Miley can’t stand — women being bitchy to other women,” OK!‘s source revealed. Er, a bit hypocritical at this moment, but moving on.



“She thinks Taylor is stuck up and can’t deal with how prissy she is. Miley can’t stand girly girls,” their source continued. “She’s telling everyone that Taylor is a ‘sexless, frigid ice princess’ who ‘bored’ Harry Styles out of bed.” Whoaaa, shots fired!



And Miley is not afraid about this getting back to Taylor — indeed, the mag’s source claims that Miley is “hoping it will circulate back to Taylor.



this frigid cold bitch