Megan Thee Stallion Is ‘In The Process’ Of Trademarking ‘Hot Girl Summer’

Busy traveling the world? Lounging on a beach somewhere? Taking fire Instagram photos in an outfit you wouldn’t normally wear? Well, according to Megan Thee Stallion, you’re having a “Hot Girl Summer” — a term she coined to describe someone who’s out there living their best life, loving themselves unapologetically, and getting some well-deserved vitamin D. And now, the rapper is currently in the process of getting the iconic phrase trademarked.

According to Billboard, the trademark for “Hot Girl Summer” was officially filed on July 10, the same day that she confirmed on Twitter that legally trademarking the term has been something she’s been working on. “Yes mam it’s been in the process,” she responded to an inquiring fan.

And at this point, why shouldn’t she trademark the term? After all, “Hot Girl Summer” has truly evolved from a viral meme to a straight-up lifestyle, and naturally, brands like Forever 21, Maybelline, and Wendy’s have gotten in on the action.

But let’s give credit where credit is due. Megan Thee Stallion invented the phrase, and if the trademark goes through, it means that fans of the rapper will likely have a lot of “Hot Girl Summer” merchandise headed their way. And new merch isn’t the only thing she has planned. On July 18, the rapper confirmed that she’ll be dropping a “Hot Girl Summer” anthem before the season’s unfortunate, yet inevitable end.

At this point, it’s unclear whether or not the rapper’s request to trademark the phrase will get approved, but here’s to hoping it works out better for her than it did for Cardi B. Back in May, Cardi’s bid to trademark her signature catchphrase “Okurrr” got denied, which is so not “Okurrr.”

The 1975’s Matty Healy Bounced Around Like A Kangaroo On Corden

Matty Healy, frontman of The 1975loves jumping on stuff. That much is apparent in the band’s recent performance of “I Like America & America Likes Me” on The Late Late Show With James Corden last night (July 22). Matty bounces around like a kangaroo on stilts trying, so enchanted by the performance that he even lands on Corden’s desk. The host is even wise enough to be off the stage, ceding control to Matty, the band, and the twin backup dancers that elevate the entire show to the next level.

Matty’s pouncing presentation began calm enough, with him serenading into the autotune-infused mic while the twins hit the “Woah” dance. Matty himself twirled his hands in a circle before popping in place, his mouth making an uppercase “O.” Once the music swelled, the holy musical ghost took him over, causing him to catapult into the stratosphere and land his red Converse sneakers on Corden’s shiny wooden desk. As he sang sweet notes into the microphone while the band provided lush music from another corner of the stage, Matty made his way across the stage before jumping in the air again, this time landing on a drum. His balance never left him, surprisingly, and he finished out the performance calmly, on the stage this time instead of mid-air.

The 1975 are currently prepping to release a new album, Notes On A Conditional Form, sometime this year. In April, they teased its release on Corden where they also gave a performance of “It’s Not Living (If It’s Not With You).”

Check out the performance of jumping jacks up above.

Rolling Loud Is Hitting The Big Apple With Travis Scott, Megan Thee Stallion, Meek Mill, And More

For the first time ever, hip-hop festival Rolling Loud is coming to New York this October. It already blazed through Miami for its fifth installment earlier this year. Now, it’s time to take over the Manhattan masses with some of the biggest names in hip-hop music bringing heat and warmth to the chilly New York fall. Its lineup consists of Travis Scott, Meek Mill, A$AP Rocky, Blueface, Megan Thee Stallion, and so many more artists that it’s impossible to say them all in the same breath. If you want to hear the pulse of hip-hop right now, this is the festival.

Rolling Loud NYC will kick off on Saturday, October 12, and wrap up on Sunday, October 13. With nearly 100 artists spread out over two days, there’s just about everyone you could hope to see come together for a show – from the past and present. On October 12, Playboi Carti, Rico Nasty, and other popular artists of today will share the same stage with legends such as Fat Joe and Wu-Tang Clan. On October 13, Juice WRLD, Young Thug, Denzel Curry, and more will share the stage with legends like DMXPusha T, and Curren$y. The massive list of performers successfully meshes contemporary hip-hop with the powerful styles of yesterday and will be sure to deliver an interesting mix of hype and nostalgia.

Tickets for the event go on sale on July 26. In September, the Rolling Loud festival train stops in Oakland for the Rolling Loud Bay Area rendition. It will feature Lil Yachty, Tyga, Saweetie, and more.

Check out the lineup for Rolling Loud NYC up above.

K-pop Stars Twice Brought A Kaleidoscope Of Color, Confidence, And Pride To Their First U.S. Tour

There’s a fan-favorite moment in Twice’s “Likey” when member Dahyun delivers a charismatic rap verse over a momentary trap beat. She ends with a customary dab, as one does. It’s brief and unexpected but extremely memorable. Watching Twice perform their hit 2017 single at the Prudential Center in Newark on Sunday (July 21) — the stage a multitude of rainbow colors and their faces adorned with glitter — I realized two things: One, Dahyun is the only person who can get away with earnestly dabbing in the year of our Lord 2019; and two, Twice is kind of brilliant.

The music industry loves to put artists in boxes, to package them up into a single marketing message and place them on shiny pedestals. The K-pop industry is no different, especially for women. Korean girl groups are often one or the other: sweet or sexy; girls who sing perfect pop confections or girls with attitude. But one concept can hardly contain the artistry and multitudes that today’s girl groups really have to offer. Twice is a perfect example of this.

When members Sana, Dahyun, and Tzuyu take the stage for their unit stage — a sultry cover of Beyoncé’s “Dance For You,” complete with slinky choreography — it’s a powerful display of feminine energy and sexuality. “Is this allowed?” tweeted one fan from inside the venue. For some reason, “sexy” and “sensual” aren’t words that people often associate with Twice, a group known for their bubblegum bops, legendary hooks, and playful point choreography. But on Sunday night, on the second U.S. stop of their Twicelights world tour, the eight members of Asia’s most popular girl group — ninth member Mina is taking time to recover from “sudden extreme anxiety and insecurity towards performing” — proved that they’re not defined by a single image.

The nearly three-hour set traversed the group’s many hits (“Cheer Up,” “Yes or Yes,” “What Is Love,” “Dance the Night Away,” to name a few) and some sparkling b-sides (“Strawberry” was a standout) through a kaleidoscope of colors: black, gold, white, red, blue, purple, and pink. As Dahyun kept reminding their fans (called Once) throughout the night, they wanted to show their various charms through these colorful, prismatic stages.

The surprising amount of actual flames and pyrotechnics during songs like “Stuck in My Head” and “Touchdown” didn’t hurt either.

But perhaps Twice’s true power was displayed during the ballad stage, where the night took an emotional turn during “After Moon,” which fans have unofficially deemed Mina’s song. The members sang out to a sea of mint green light sticks — Mina’s designated color — and some even became emotional themselves. “I miss Mina,” Jihyo said through tears after the performance. Ballad stages are tricky; they can sometimes kill the momentum of a good show. But Twice, dressed in white, matched the kinetic energy of their opening set with pure emotion, proving themselves as dynamic and empathetic performers.

Dancer Momo, who performs with a breathless intensity, and leader Jihyo sang a mesmerizing cover of Taemin’s “Goodbye,” but it was their contemporary choreography that took their special stage to even greater emotional heights. While powerhouse — both in terms of vocals and personality — Nayeon took the stage alongside members Jeongyeon and Chaeyoung for a plucky performance of Lady Gaga’s queer anthem “Born This Way” that was all sparkle and sass. And the cheers from the crowd — a diverse mix of genders, ages, and ethnicities, some holding rainbow Pride flags — were deafening. After the performance, Nayeon explained that the stage was rapper Chaeyoung’s idea. It’s an undeniably bold pick for a K-pop group, seeing as explicit support of queerness is still quite rare.

But subtlety has never been Twice’s thing. The final act of the set was an explosion of color and camp. The members took the stage in a holographic prism, wearing an array of bright colors and even brighter smiles. They concluded with their most recent single, “Fancy,” a song that saw the group experimenting with more mature sounds. The opening synth adds a layer of mystique that has previously evaded Twice’s singles, and the newly added dance break — just for tour — is a striking accumulation of the entire Twicelights experience: Twice are so much more than their concepts.

Jihyo, Nayeon, Jeongyeon, Momo, Sana, Mina, Dahyun, Chaeyoung, and Tzuyu are multifaceted artists who are more complex than their bops often allow. The entire night was a display of their duality and empathy. As they worked the stage during their energetic encore, dressed in plain white tour tees and light-wash denim, I saw a glimpse of Twice as they really are, not as Korea’s chart-topping girl group but rather as a group of young women bursting with charm and charisma and inside jokes — who undeniably find strength and solidarity in one another.

As they depart the stage in their giant prism, back to their pedestals, they leave the crowd with one final image: eight girls (nine in spirit) striking dramatic poses and making goofy faces, dramatically inching closer to the ground as the curtain closes down on them — each member wanting to be the last to say goodbye. Of course, when it comes to Twice, who had no trouble filling the New Jersey arena on their first U.S. tour, this is clearly a see you later.

And next time there will be even more colors to show.

Can’t Tell Lil Nas X Nothin’: ‘Old Town Road’ Has Officially Been No. 1 For 16 Weeks

It’s been 16 long weeks since Lil Nas X’s “Old Town Road” – the version with Billy Ray Cyrus – hit the top of the Billboard Hot 100, but you were hearing about it long before then. The jokes, the memes, the witty MTV News headlines (which we’re super proud of): It’s stretched back since the song first went viral on TikTok and has come to be perhaps the biggest moment in pop culture right now. As of Monday (July 22), Lil Nas X has entered legendary territory with the official news that “Old Town Road” has tiee the record for the longest-running No. 1 in the chart’s history that stretches more than 60 years. Yee-haw!

There are only two other songs that meet this distinction: the 2017 megahit “Despacito” by Luis Fonsi, Daddy Yankee, and Justin Bieber, and 1995’s “One Sweet Day” by Mariah Carey and Boyz II Men. Given its momentum, the odds are good that “Old Town Road” will continue its reign well into next week. Then, it’ll surpass these records, causing us to write something even grander about the song. Somehow.

Lil Nas X, forever the Twitter joker, posted a SpongeBob SquarePantsclip to show his commitment to stretching the run to 17 weeks.

Lil Nas X has embraced “Old Town Road” to the fullest, but that hasn’t stopped him from marching along past it. He dropped a new EP, 7in June, featuring “Rodeo” with Cardi B and his Chowder-referencing tune, “Panini.” Earlier this month, he released an Area 51-themed cartoon visual for his latest version of the “Old Town Road (Remix)” with Young Thug, Billy Ray Cyrus, and Mason Ramsey.

Kid Cudi Is Soaring Into Space With New Entergalactic Album And TV Show

Not only is Kid Cudi coming out with a new album named Entergalatic (an awesome spelling of the word, by the way), he’s also bringing his talents to a new Netflix show that he’s executive producing, starring, and writing. He announced the news today, sending the world into collective shock. While neither the album or the show have release dates yet, it’s more than enough to hold the world over until they come out.

Entergalactic is a new Cudi album with a twist. It will also serve as the soundtrack to his new show, an animated adult series that will be exclusive to Netflix. black-ish executive producer Kenya Barris will be an executive producer of it along with Ian Edelmen of How To Make It In America. There are so many possibilities for a Cudi album, let alone an album that is a soundtrack to a show that he’s going to star in and produce. We’re on the moon just thinking about it.

Cudi revealed earlier this year he felt “reborn” after going to rehab for suicidal urges. He collaborated with Kanye West for Kids See Ghosts that dropped in 2018. Now, it looks like the next chapter of the Cudi story unfolds.

Camila Cabello Says Her Anxiety Prevented Her From Singing In Front Of Her Own Family

If you’ve seen Shawn Mendes and Camila Cabello‘s music video for “Señorita,” you know that Cabello exudes a ton of confidence. But it wasn’t always this way. Throughout much of her life, Camila struggled with such intense anxiety that she couldn’t bring herself to sing in front of people — especially her own family. Fortunately, her passion for performing ultimately drove her to pursue a career as a pop star anyway, and on Sunday (July 21) she took to Instagram to open up about how she conquered her fear.

Cabello began by explaining that, as a child, she simply didn’t think she had it in her to make it in the music industry. To her, it seemed like every successful musician loved performing in front of their families, but the idea of singing for people truly brought tears to her eyes. “I never ever sang in front of my parents or friends and would get flustered when they would ask me to,” the “Havana” singer revealed. “I sang in my room when my parents left for Walmart and cried when one day I saw them filming me through the crack of the door, I got teary eyed when people sang happy birthday to me because people looking at me actually made me overwhelmed.”

So how did Camila overcome her anxiety and find her passion for performing? Well, it certainly wasn’t easy. And the simplest way she found to explain it is that, according to her, there are two Camilas — one that’s anxious and prefers to play it safe, and another that has a strong desire to push through the fear and pursue her dreams. “I feel like my whole life there’s been two Camila’s in me,” she wrote. “There’s little Camila that is terrified of the unknown, is aware of all the ways everything can go wrong, (actually can picture them vividly lol), and thinks it’s safer to stay home than to play ball. Then there’s the other Camila. And she knows what she wants out of life, is aware of how little time I have to let little Camila run the show while time passes by, and grabs young me by the hand and forces her out the door saying ‘Let’s go. You’ll survive, and I’m not gonna miss out on this. Let’s go.'”

These days, the pop star is allowing herself to be who she was truly meant to be, and she wants her fans to know that they can do the same. “The truth is you decide who you’re going to be. Every day,” she wrote. “I’m not talking about talent or success. I just mean the type of person you’re going to be. If you haven’t been very brave, or very social, or wild, or an adventure seeker, if you describe yourself as the opposite of those things… it doesn’t mean you can’t be. The other you needs to grab little you by the hand, yank you by the hairs and tell you, ‘Let’s go.'”

And just because Camila doesn’t let her anxiety stop her from achieving her goals doesn’t mean it’s not something she still struggles with. Instead, she’s actively choosing to give less power to the little voice in her head that tells her she can’t do something — which is something we should all strive to do in our day-to-day lives. “Little me hasn’t left,” Cabello revealed. “I just don’t let her boss me around as much.”

The message? If you want to do something in your own life but feel like it’s out of your league, go for it anyway. And rather than comparing yourself to other people and automatically assuming you’ll be unsuccessful, believe that you’re capable, too. “I felt like sharing because I think sometimes we see other people do things and think ‘Ah, well.. that’s just not me. I’ve never been like that.’ It’s NOT TRUE,” she wrote. “I’m telling you. I went from never wanting to sing in front of my family to being addicted to performing, from being too anxious to hang out with new people to… still being a little anxious but having THE BEST time and making irreplaceable memories. … You choose who you’re going to be. Force yourself to do what you’re afraid of, always- and go after what you want and who you want to be, because you’re worth that. You’re worth the fight. It’s the most worthwhile one there is.”

Alessia Cara Shrugs Off A Partner’s Difficulties On ‘Ready’

Alessia Cara‘s new single, “Ready,” speaks to those at wit’s end in a relationship, clenching their teeth and then….pop. They realize that their partner, simply, isn’t ready to handle the situation right now. Calmness comes. Possibly, a smile. It’s a different kind of heartbreak, one that makes you realize you’re a badass. That’s what Cara also accomplishes with the energetic and slightly funky “Ready,” boldly coming to this realization and shrugging off her other half. She chuckles.

“Ready” sounds like being under palm trees in a hammock, sipping a mango iced tea while watching the waves brush against sandy shores. Cara sounds bold, confident, and unapologetic as she shrugs off the bullshit that her partner subjects her to. It’s in the second verse that that lightbulb moment happens and she realizes her situation. “Why do I care so much about you, boy? You know I do/I think a million thoughts, but only half get through to you,” she sings. All the arguing, nagging, and general discomfort of the relationship just isn’t going to do. He’s just not ready.

“Ready” will appear on Cara’s forthcoming EP, The Summer. In February, she released an acoustic cover of “Let Me Down Slowly” with Alec Benjamin.

Listen to Cara question a partner’s way of thinking in “Ready” up above.

Spoon’s Greatest Hits Album Traces The Band’s 25-Year ‘Underdog’ Story

Ten minutes into 2017’s Spider-Man: Homecoming, Peter Parker rides the subway to school. He’s just experienced the thrill of his life fighting alongside several Avengers in Berlin, though now, a few months later, he’s being ghosted by his hero, Tony Stark. But his spirit can’t be broken. We know this because underneath the crippling mundanity of his daily high-school life are the familiar, jaunty strums of Spoon’s 2007 song “The Underdog.”

It sounds good, though the version in the film is missing one key element: Britt Daniel’s signature vocals, cool yet raddled, delivering the song’s enduring refrain (“You have no fear of the underdog / That’s why you will not survive”). Coupled with bright trumpets, warm acoustic guitars, and crisp production from the whimsy-minded Jon Brion, “The Underdog” has long been one of the storied Austin band’s most popular songs. It’s their second most-streamed Spotify cut (33 million plays and counting) and has soundtracked key scenes in Cloverfield, Horrible Bosses, and I Love You, Man, in addition to Peter Parker’s commute. Even so, “The Underdog” nearly ended up a b-side.

“We almost left that song off the record because we didn’t think it fit in with the reverb-heavy dub record that most of [2007’s] Ga Ga Ga Ga Ga was,” Daniel told MTV News. These are the kinds of career-spanning conversations he’s having now, as Spoon celebrates a quarter-century of being indelible indie-rock staples.

They’ve made so much music — five EPs, nine studio albums, hundreds of shows played — that they understandably had a hard time narrowing it all down to a single-disc greatest hits collection, Everything Hits At Once: The Best of Spoon, out July 26. “The Underdog” is on it, of course (“a no-brainer,” Daniel said). So is a subtly political new single called “No Bullets Spent” that Daniel called “a fantasy of the best way to get rid of [an oppressive master],” as well as likewise essential band cuts “I Turn My Camera On” and “Don’t Make Me a Target,” both heard on TV shows like Veronica Mars and Chuck throughout the past two decades.

The story of Spoon, as pretty much every narrative will lay out, is the story of consistency. The band has weathered several shifting lineups, though Daniel and drummer Jim Eno have anchored the operation since its 1993 inception. Their first album, Telephono, dropped the same year current Spider-Man Tom Holland was born, and after a brief yet tumultuous experience on a major label (“We became a bit of an underdog,” Daniel said), Spoon continued to gain momentum simply by putting out releases that were reliably good. Their 2002 breakthrough Kill the Moonlight is the one that changed it all, and though that may seem like a century ago in our relentlessly accelerated culture where last week’s cliff-wife discourse liquifies into this week’s Robert Redford meme lesson, it still matters. Just ask Pete Buttigieg.

In February, a video of the South Bend, Indiana mayor and 2020 Democratic presidential hopeful playing “The Way We Get By” ahead of a college event went viral. Daniel later saw the clip when Mac McCaughan, Merge Records founder and Superchunk maestro, sent it his way. “It was cool,” he said. “I got a kick out of that when it happened.” But back when Mayor Pete was still writing Harvard columns about Radiohead and Dave Matthews Band, that song found its way onto the TV screens of nearly 9.5 million Americans thanks to The O.C.

It also appeared on the show’s accompanying soundtrack Music From The O.C. Mix 1 alongside Phantom Planet’s era-defining title anthem. The follow-up to that soundtrack is the key document, a full-blown baptism of early-aughts indie acts like The Killers, Death Cab, Interpol, The Walkmen and more, for burgeoning tastemakers. But on the first cut, the bouncy piano of “The Way We Get By” helped cement Spoon as an essential new-millennium rock act. “Once we recorded that one, I was like, ‘That’s got to be the single,'” Daniel said. “It was sort of our calling card for a little while.”

The studio experimentation littered across Kill the Moonlight largely sounds as inspired in 2019 as it did in 2002. When Daniel listens back to it now, he hears “some great ideas” and “really good drum sounds.” The hits it holds, along with the funky, sparse “I Turn My Camera On,” from 2005’s Gimme Fiction, reveal Spoon at their commercial and creative peak in the aughts. This decade, however, they’ve spent a little more time going galaxy brain: the warbling “Inside Out,” their most-streamed song on Spotify at a cool 38 million spins, is purely keyboards on keyboards. It’s the Dr. Dre-inspired, boom-bap imitating They Want My Soul cut that Daniel used as a guidepost once they began work on 2017’s rollicking, atmospheric album Hot Thoughts.

And then, before they recorded new song “No Bullets Spent,” Daniel bought a new guitar and started doing something a bit more unexpected: some light, tasteful shredding. “I never was one of those guys who was really big into guitar solos, but I just started enjoying it,” he said. Two small moments ended up on the new track after chipping away at some noodling ideas. “Sometimes the most creative way to deal with anything in music is to do one little bit, listen back, hear that new bit and then think, what comes next?” he said. “When I saw that Lil Wayne documentary, he seemed to be writing a lot of his verses that way, which I thought was cool.”

It’s tempting to imagine future Spoon recordings that find the band taking the same approach to long improvised guitar freak-outs that they consistently have to rhythm and groove. But that’s not “No Bullets Spent,” a tight four-minute protest song. “I don’t want anybody to get the impression this is going to be [Television’s] ‘Marquee Moon’ or anything. It’s a 10-second solo, but it is a little new ground compared to the last record.”

Now, there’s a new record, and though it’s made up of the old hits, listening to Everything Hits At Once (rejected titles: Atom Bombs and Blunt Razors, All the Weird Kids Up Front) in 2019 is an edifying experience. Before the band decided on a final single-disc tracklist, Daniel revisited Spoon’s entire discography, which was, as you might imagine, “a trip.” The collection is enlightening simply because once you know Spoon, you begin to hear Spoon out in the world — and vice versa. They’re mainstays in the musical ecosystem that exists outside of the merely “indie” or “alternative” realms. The experiences can be as ordinary as noticing a song passively — say, as Spider-Man takes the train to school — or as you belly up to the bar and order your first beer.

It happens to Daniel, too. “I like hearing our music when it comes on,” he said. “I’ll be in a restaurant or a bar. It does happen, and I like it.” That feels like a victory all its own.

Cardi B’s New Tattoo Is A Tribute To Offset And He ‘Can’t Wait To Get Home’

Cardi B and Offset‘s rollercoaster relationship has had its fair share up and downs, but it appears to be smooth-sailing in recent months. Now, the pair are almost never seen in public without matching lovebird-esque smiles and their x-rated back-and-forths on social media lets the world know that everything’s good for them in all facets. But if all of that isn’t enough, Cardi B’s new tattoo should be more than enough to convince you that she’s 110% percent invested in their marriage. She’s gotten Offset’s name on the back of her thigh. This just changed the entire game of love in the 21st century.

Sure, we’ve heard of names on necks and arms, but the back of one’s thigh? That’s astounding. Offset posted a screenshot of a recent Facetime call with Cardi who had her leg up, showing off her new ink: “Offset” written in gigantic Olde English-style letters. Offset blocked his face with an emoji so it’s reasonable to consider the possibility that he was flabbergasted by this display of affection. Cardi just looks at the camera and blows a warm smooch. Offset’s caption summed up how he was feeling succinctly: “CANT WAIT TO GET HOME” with three tongue-out emojis.

This new level of affection is astounding, considering all that they’ve gone through such as cheating allegations and Offset’s subsequent public plea for Cardi to give him another chance. They came back together and are stronger than ever. See their collaboration, “Clout,” or Cardi’s recently released tune “Press“; the two rappers are living as a union where only they and they alone matter to each other. The world doesn’t have to understand. They do. With that being said, they did recently go on Jimmy Kimmel Live! to explain the meaning of “Clout” so that older listeners would get the message.

Check out Cardi’s awesome new tattoo up above.