Megan Thee Stallion And Maxo Kream Struggle To Make Dating Decisions In ‘She Live’

Maxo Kream and Megan Thee Stallion have released a romantic new video for “She Live” that’s equally about love and competition. It’s a throwback to VH1’s classic dating shows like Flavor of Love that featured people trying to win the attention of celebrities through dates, arguments, and hilarious adventures. The two rappers even parody the extended scenes that played during these shows’ credits in a perfect recreation.

Dating shows used to be all the rage in the mid-to-late 2000s. Who could forget Flavor Flav’s hilarious antics as he searched for true romance on his own show or breakout star Tiffany Pollard’s dominating personality on follow-up series I Love New York? These VH1 romantic competitions, along with Bret Michaels’s Rock of Love and For the Love of Ray J, helped shape pop culture towards the end of the decade, offering glimpses of the hilarity and chaos that comes with competing for an entertainer’s love.

In 2019, both Megan Thee Stallion and Maxo Kream would have no problem having scores of potential partners lining up to compete for their love. In their new video for “She Live,” the pair do just that. Maxo has a diverse cast of women ready to compete for his love, and Megan has a cast of men that can’t stop drooling throughout the video. There are a few arguments, some valuable poolside time and some driving the boat (courtesy of Megan, of course) that bring the same highly charged atmosphere.

“She Live” appears on Maxo Kream’s recently released album Brandon Banks. Watch Megan Thee Stallion and Maxo Kream’s romantic competition in “She Live” up above.

Brooke Candy And Erika Jayne Are Freaky Felines In Supremely NSFW ‘Drip’

Close the door behind you, lock it, and put in your headphones. You are in for a wild ride with Brooke Candy and Erika Jayne‘s new video for “Drip,” a sensationally sexy new single that comes with the most explicit lyricism that you can imagine, a funhouse atmosphere created by a bouncy, circus-like beat, and immersive and frighteningly realistic moans of the highest hedonistic degree.

The accompanying video is anything but what the song suggests, opting for sexualizing domesticated cats, but it still finds ways to make you look behind your shoulder as you watch the video. Quick! Close your laptop. Someone’s coming.

“Drip” begins with cans of cat food being opened up — what these cans say on them, however, should be rated NC-17. We’re then introduced to Brooke and Erika as freaky felines, dancing on pink cat towers while glass bottles of milk continuously pour over them. It’s in slow motion, and it’s a lot sexier than it sounds.

Candy’s wild whispering plants sexy moans over the minimalistic beat while Jayne’s venomous raps slither out like an extended hiss. This should give you an extremely raunchy idea of what an alternative, NSFW version of the upcoming CGI Cats film would look like.

“Drip” is set to appear on Candy’s forthcoming debut studio album SEXORCISM, set to come out this year. It will also feature “XXXTC,” her collaboration with Charli XCX and Maliibu Mitch.

Watch the extremely NSFW video for “Drip” up above.

Iyla Breaks Down ‘Flowers’ And How To Say Sorry In A Relationship

Iyla is surrounded by roses, sunflowers, tulips, and peonies in her buoyant new video for “Flowers.” The rising pop/R&B singer is upset at the constant pleas for forgiveness by floret-faced butlers who cater to her every need. In a video bursting with the colors of a springtime fever dream, the relentless decor is also probably hell to witness if you have a pollen allergy.

Iyla laughs as she explains the video’s unique concept to MTV News over the phone, revealing its a deeper meaning. “It’s about the idea that women will really accept gifts and material items in place of an apology,” she says. “It’s like, oh, get me flowers or chocolates or whatever, but really there’s something else going on and you can’t just be honest with me!”

“Flowers,” which appears on Iyla’s debut 2018 EP War + Raindrops, finds the singer’s soft timbre whispering sweet arrogance in your ear and picking the petals off of roses. Her annoying lover apologizes by shoving flowers in front of her, but that just won’t do the trick this time — even if she does, in fact, like flowers, despite the song’s bitter refrain (“Fuck flowers”). But she wouldn’t tell you that. “I like delicate and beautiful flowers,” she says. “I think my favorites would be both peonies and roses because they both represent love.”

It makes sense that the “Flowers” visual is absolutely overgrown with flowers, even as this dream garden sets the stage for a creepy storyline. While getting her every need catered, Iyla psychedelically changes size according to what happens, at one point appearing with her head popping out from the top of a house. “The theme is kind of like Alice In Wonderland, that when I’m given love and affection I grow, and when I’m given material items, I shrink,” she says.

Her favorite scene finds her scarfing down boxes of chocolates with a murderous glint in her eyes. The boxes quickly tower higher and cocoa smears the corners of her mouth, but she just keeps going. “We shot that particular scene maybe three or four times, so I kept having to get my makeup redone because we’d have to take the chocolate off of my face to eat it again and again,” she says. “I’m not complaining.”

As many petals, vines, and blossoms dot the landscape of “Flowers” though, Iyla wants to make it clear that these gifts can only go so far when it comes to apologizing for wrongdoing. “You have to apologize to be and be both real and honest,” she says, before adding a second demand: “But you also have to have a rose in your hand.”

“Flowers” is the third video she’s dropped from War + Raindrops following the breathtaking cinematic visuals for “Juice” and “Shampoo.” It’s similarly a feast of warm colors and heightened visual aesthetics, giving new dimensions to the song it represents. All three were directed by Patrick “Embryo” Tapu, Iyla’s creative director who helps bring her eccentric visual direction to life. “We both just had a similar feel for the video, so we got in and did a one-day shoot,” she says of the process. This might be the last of the videos from War + Raindrops because the three released visuals “really tell the story of the EP.” But with Iyla and Embryo together, you never know. She leaves the door open for possibilities.

It’s been almost a year since her debut EP came out last October, and even though “Flowers” is just coming out, Iyla is surging ahead. “I am actually literally in the studio right now,” she says. “I’m working every day and night for the next couple of months. I don’t know exactly what it will look like – if it’s another EP, if it will be a couple of singles – but there is definitely going to be new music out before the end of the year.”

Check out Iyla’s garden-centric video for “Flowers,” which premiered today on MTV and mtvU, up above.

Charli XCX And Troye Sivan Take The DeLorean To The Future On ‘2099’

Charli XCX and Troye Sivan longingly relived the turn of the century on “1999” last year on a feel-good pop anthem that made us all think about what we were doing during the age of neon-colored leather tights and extremely small sunglasses. The pair have linked up for a new collaboration, “2099,” that travels exactly 100 years from the previous song to predict how metallic it will all sound. It’s very robotic, harsh, and even scary.

Where “1999” was fun, sparkly, and inviting, “2099” thrusts in a more violent direction. Charli and Troye’s latest is like a saw-blade smoothie bubbling with robotic voices. Imagine it over a desert scene at night with a floating city and flying cars zooming around behind it. The song begins with heartbeats, robotic screeches, and a chorus of rickety androids singing like a gospel choir. Gigantic bass drums are a thing of the past; in its place, muted thumps and automated fingers snap like realistic ones.

Charli and Troye sing with tinny voices about pulling up, rolling up, and fucking up the scene. They are “fast like Nascar,” existing similar to “Pluto, Neptune,” and both being a “little dose of napalm.” This future may sound dark, but it’s not too far from what we have now.

“2099” is set to appear on Charli’s forthcoming self-titled album, out on Friday. It will feature her previously released songs, “February 2017” with Clairo and Yaeji, “Warm” with HAIM, “Gone” with Christine and the Queens,”Blame It On Your Love” with Lizzo, “Cross You Out” with Sky Ferreira, and “1999.”

Listen to Charli XCX and Troye Sivan’s vision of the future in “2099” up above.

Tiffany Young Is Living A Fairy Tale As She Brings K-pop To Disney

“I can’t believe it’s only been 14 months,” Tiffany Young says as she settles in with MTV News. “And I’m just going. I’m so inspired. I’m having so much fun.”

Going, inspired, and fun — there really aren’t three better words to describe the artist’s life since returning stateside to jumpstart her solo career after finding global success with K-pop phenom Girls’ Generation. In that short window of time, Young has released six music videos — the latest for her current single, “Magnetic Moon” — won an iHeartRadio Award, completed a mini showcase tour, planned an upcoming North American tour, written more music than she ever has before, and after sneaking in a few Asian tour stops, she’s landed in Anaheim, California, for D23 Expo, Disney’s major fan convention that happens once every two years.

Young still can’t believe she’s here; the joyful anticipation in the room is birthday-like. For as long as she can remember, Disney has held a space in her heart. After leaving her California home for Korea at the age of 15 to pursue her K-pop dreams, the parks became a sanctuary of sorts, offering a comforting place for her and her bandmates to really unwind, be that in Japan, Florida, or anywhere in between. (Her fans, Young Ones, are well aware of her lifelong love for all things Mouse.)

This time, though, things are different. She’s not here to revel in all the unrestrained glee packed into one giant convention center. She’s here to perform as part of Disney’s True Original Summer of Music, a showcase that celebrates 90 years of Mickey Mouse and his influence on culture. (OK, there is still some reveling. “I was just greenrooming with Mickey, and how many people get to greenroom with Mickey Mouse himself and celebrate his 90th anniversary?” she marvels.) As such, she’s whittled her repertoire down to the four songs that most embody the woman she is today: “Magnetic Moon,” “Born Again,” “Runaway,” and a Korean rendition of The Lion King classic “Can You Feel the Love Tonight?”.

Slipping in that bit of her identity just made sense to Young. Not just because “Mickey Mouse is a universal language,” but because she knows how impactful cultural representation can be. “As much of a Disney fan as I am, it’s a moment, not only for myself, but for K-pop artists. And it is a moment for… just everybody and every young woman and man of color who can continue to dream to be a part of Disney,” she said, nodding to Disney’s diversified revival of all their classics. (Young’s favorite, at the moment, is the new Aladdin, which she also loved a whopping six times in its Broadway form. “I was like, ‘I’m going to watch it in the front, I’m going to watch it on the side, I’m going to watch it above.’ I like to take it in as first person perspective and then for production,” she said. “Like, what if I were to play Princess Jasmine?”)

It also brings to mind an interesting parallel between Disney’s global dominance — seen in its massive box office success and its 12 parks in six cities around the world — and K-pop’s current explosion. Although the genre has been steadily consumed abroad for decades, its impact on the U.S. music scene has become undeniable in recent years, with groups selling out arenas, dropping collabs with mainstream artists (such as BTS and Halsey’s “Boy With Luv” and Blackpink and Dua Lipa’s “Kiss and Make Up”), and smashing YouTube records, all of which practically demanded a brand-new VMA category spotlighting the genre. Just like the stories in Disney’s library, K-pop transcends language.

The Walt Disney Company/Image Group LA

“I thought that I had to move halfway around the world, just be there full-time. I was there for 12 years. And to have it be in real-time, without having to be in another language, just hearing Korean and K-pop on mainstream radio and on TV,” she says, “it’s beautiful, it’s inspiring, and I hope this new chapter of my career will add onto that as well.”

Leaving the carefully plotted world of K-pop in Korea for uncharted territories in the U.S. wasn’t easy for Young; it took getting over some nerves before she was really able to relax into her new lifestyle. Songwriting helped. In the past, performing songs written by other people kept a part of Young closed off. Now, that added layer of vulnerability has awakened new levels of emotional freedom within her, with unrestrained time in the studio showing new sides of herself that she didn’t know were there.

She’s still learning to dig deeper, with every new song she writes. The payoff, so far, has been enormous. “I feel empowered,” she says. “I feel like the woman I wanted to be on stage. Like I’m talking and moving the way I pictured myself as Young Tiffany, and it’s wonderful.”

Going solo has reminded Young what took her down this path in the first place: her dream of helping others heal through music in the same way that music lifted her soul after losing her mom at age 12. Infusing her music, moves, and performances with elements that feel authentic to her own journey has kept her in a constant state of “nervous-excitement,” but the long hours are all worth it to Young.

“Storytelling and the art, it’s going to help you heal while healing others, and I think that’s the magic,” she says. “You shouldn’t be afraid of the hurt and pain that has gone on in your life because the moment you walk deeper into it and let the emotions take over, that’s where you feel love.”

Young won’t lie; it is exhausting being constantly on the move and introducing these new parts of herself to the world. But she’s been finding exactly what she needs to re-energize along the way — and it’s not just thanks to her stellar glam team. “I feel happy. As crazy it may seem… Like I’ll go home and it’s really quiet and I’m just like, ‘Wow, I just performed for like 5,000 people today,’” she says. “I can’t not be thankful. I think that’s what it is right now. It’s gratitude. Gratitude is what’s making me glow inside.”

Backstreet Boys And Steve Aoki Cede Emotional ‘Let It Be Me’ Video To Real Stories About Love

Steve Aoki is a collaboration machine. He regularly racks up a dozen or more superstar team-ups per year, often fusing genres and language boundaries. This year, for example, he paired with Monsta X for the house-influenced “Play It Cool” and recruited Darren Criss for a lite-EDM take on Dave Matthews Band’s “Crash Into You.”

This month, he kept on rolling with “Let It Be Me,” an acoustic-led pop number alongside Backstreet Boys. It arrived just a few days before with a new video that dropped on Monday (September 9) and features open-hearted confessionals from real people sharing their stories about the challenges of love.

“This is a special one for all of us,” the BSB team wrote in an Instagram caption. “It’s about working through any challenges that life brings to be with the person you love.” As such, the stars of the clip are not even the dapper, besuited five Boys themselves, nor the equally spiffy Aoki, but the everyday storytellers who spin their tales of love in black-and-white portraiture.

“We’ve all overcome challenges when loving someone, but love always wins in the end,” Aoki tweeted to promote the clip. And by the end, there’s a nice and subtle Wizard of Oz moment where love indeed wins — and you can tell by how saturated the video’s color becomes.

Watch the stark, emotional video for “Let It Be Me,” which premiered today on MTV channels, above.

Lil Baby And Future Roll Around In The Dirt In ‘Out The Mud’

Lil Baby and Future have released a dirty new video for “Out the Mud” that isn’t afraid to roll around on the ground. It’s a community affair that follows the pair having fun in Atlanta, turning a video shoot into a journey around town. There are tons of nice cars in it, too. But the best part about it is the contagious smile on the faces of everyone just happy to be involved.

The phrase “out the mud” means to come from the bottom of something and rise to the top. So it makes sense that there are mounds of mud in the video for the song of the same name. Lil Baby even crumbles the dirt in his hands to show that he’s now on top of the mud. The simplistic video heads around town and shows off the places and faces of Atlanta near Simpson Plaza; kids smile and jump around like loose cannons, older people settle down and watch what’s going on around them, also enjoying being on camera.

Future comes in with his shirt off for some reason, delivering his energetic verse with similar high-octane force. The video’s depiction of Atlanta is beautiful and realistic, not some highly glamorized dream of the city’s nightlife. There’s a lot beneath the surface to consume, too.

Last month, Lil Baby collaborated with DaBaby on “Baby” from Quality Control: Control The Streets Volume 2 that dropped on August 16.

Watch the video for “Out the Mud” below.

Lana Del Rey Covered Ariana Grande’s ‘Break Up With Your Girlfriend, I’m Bored’ With Woozy Whispers

You’ve heard Ariana Grande‘s “Break Up With Your Girlfriend, I’m Bored,” but you’ve never heard it quite like this.

Lana Del Rey stopped by BBC Radio 1’s Live Lounge and gave a spooky performance of Grande’s bold and sexily selfish hit, grounding the buoyant track in a mysterious swamp that swallows all who enter it. She performed her Sublime cover “Doin’ Time” also, but the “Break Up” cover is what shocks. It’s almost like it’s an entirely different song.

Lana’s version of Grande’s hit was infinitely more spiritual and atmospheric, with hazy voices swirling in a spiral like cream in coffee. Her vocals were turned down to match the delicate nature of the drums, guitar, and piano. A breeze blew through the Live Lounge as Lana’s whispers turned the oxygen into a mystical mist, carrying her soft timbre to the heavens. If it were a kiss, it would make your knees go weak.

Lana Del Rey recently released Norman Fucking Rockwell to rave reviews. With her album — which features previously released singles “Mariners Apartment Complex,” “Venice Bitch,” “Hope Is A Dangerous Thing For A Woman Like Me To Have – But I Have It,” “Fuck It, I Love You,” and “The Greatest” – in the rearview, the singer recently revealed that she’s already working on her next project, White Hot Fever

Lana and Ari also teamed up on “Don’t Call Me an Angel” alongside Miley Cyrus for the upcoming Charlie’s Angels reboot. That song drops on Friday. In the meantime, check out Lana’s soft cover up above.

How Lil Nas X’s ‘Panini’ Director Took A Video Treatment From The Notes App To Virtual Reality

A few weeks ago, Mike Diva, the director of Lil Nas X‘s new Orwellian fantasy video “Panini,” slept no more than 10 hours total. On Thursday (September 5), it was easy to see why — months of Diva’s hard work was on full display when the effects- and choreo-heavy visual finally came out. “I slept in my office for about two weeks,” he told MTV News over the phone, laughing victoriously. “It definitely shaved a few years off of my life.” The directing, dancing, and conceptualizing point man can now relax and watch Cartoon Network’s Chowder because he admittedly doesn’t know much about the origins of the character Panini (who Lil Nas X refers to in the song).

Diva’s viral videos like 2011’s “Dubstep Guns” and 2016’s “Japanese Donald Trump Commercial” showcased his unique, colorful, and goofy approach to self-aware comedy. This year, he was approached by the music commissioner at Sony with the opportunity to direct Lil Nas X’s latest. “He figured I would be perfect for it because it had the surrealist slapstick humor I strive for, and that it needed some visual flare,” Diva said. From there, he connected with Lil Nas X and his team and began working on concepts.

At first, Lil Nas X sought something blending live action and animation in line with and inspired by Chowder. But after that concept was scrapped, the rapper’s team came back with a treatment glowing with cyberpunk and futuristic inspirations. “The Sony commissioner sent me the concept that Lil Nas X actually wrote on his Notes app and it was insane,” Diva said. Lil Nas X shared it on social media over the weekend and previewed it at his 2019 VMAs performance. “After reading it, I was like, we have to do this,” Diva said, “but how in the hell are we going to do it without a million dollars?”

“Panini” takes place in a magnificent, glowing metropolis in the future, where holographic ads featuring Lil Nas X stretch up the sides of buildings and pop up through the streets. The design rings familiar and uniquely stylish; Diva mood-boarded “every single scene,” taking inspiration from seminal futuristic visions like Ghost in the Shell and Blade Runner. “Nas was very receptive to all of my ideas: concepts for robots, cars, and other things like that,” Diva said. The shooting process moved quickly. “We pretty much got the treatments to the video a week before we shot it. So we roughly had a couple of days to rewrite the treatment and make it into an actual shootable video, and then a couple days of pre-production, and then we were just thrown right into it.”

Since shooting was so swift, Diva, who felt insecure about the quality of some of the effects, decided to add holograms to “pick up the slack.” He also worked on the ridiculous amount of advertisements that help fill the world, from the real brands — Uber, Fiat, Beats By Dre — to the fake ones. The entire creation was an enormous, taxing, and exhilarating experience — one much grander than Diva’s typically intimate process of making YouTube videos.

“To pull something off like this is actually pretty insane in the music-video world,” he said. “In post-production, it took almost a month because every single shot was a multi-layered digital effects shot.” Although arduous, Diva loved the process because it reminded him of the “golden age” of expensive, high-concept music videos in the 1990s that felt undeniably cinematic. (Indeed, some of the era’s biggest visionaries — Hype Williams, David Fincher, Spike Jonze, and more — graduated to feature films.) “I feel like you don’t see as many of these anymore, so I was stoked to be able to do that because those kinds of videos are what inspired me to direct in the first place.”

Actress Skai Jackson plays the video’s title character who just can’t stand seeing Lil Nas X everywhere. She flees but still ends up coming face-to-face with him dancing in an alley and surrounded by robots. They filmed the scene filmed 5 a.m. when the entire crew was ready to go to sleep — apart from Lil Nas X. “Everyone was exhausted, and Nas had just been napping, so we woke him up and had him dance in an alley for an hour and he killed it,” Diva said.

Lil Nas X’s electric routine was in part choreographed by Diva. “I worked with the dancer, Phil, to choreograph the movement for the robots using motion capture,” Diva said. “I basically wanted him to come up with the movements that, if Nas didn’t have the time to learn, or if he wasn’t necessarily a good dancer, that he could just perform in front of these robots and look cool.” When brought a simplified version of the routine, Nas didn’t want to settle. “He was adamant about learning the dance in the day that we had to learn it, and he really wanted to just do the full thing.” At that moment, Diva knew that the video would be something special.

The video wraps up after Jackson lands back in the city to find the rapper turning off his presence so that, as Diva said, “he can kill the saturation of his brand, just for a moment” and show Panini that he does care for her. This happy finale could have potentially been a bit darker, if Diva’s original treatment had been used. “It would have had this ending, but then, after a bit of blank screen and you think it’s over, there’s a rebooting sequence and you see Nas floating in front of the TV with a bunch of flowers, and all the Nas holograms come back more obnoxious than ever,” he laughed. Diva also found inspiration in director Jordan Peele’s frightening visions to give “Panini” a haunting closing memory. “There would be a horror version of ‘Panini,’ almost like the remix of ‘I Got 5 On It‘ used in Us. Afterward, he’d do a classic ‘Thriller’ turn to the camera, and you would see that his eyes are glowing red.”

It took a city of people to bring the metropolis of “Panini” to life, and despite a lack of sleep, Diva knows it was worth it to help amplify and execute the unique vision of Lil Nas X. “I’m happy to say that I was able to take 80 percent of his ideas and make them happen,” he said. “We work really well together, and he’s really fun to collaborate with.”

Post Malone Is Bringing Pharrell, Meek Mill, And More To The Second Annual Posty Fest

While Post Malone is busy bandaging a bleeding Hollywood, he’s preparing for his second annual festival, Posty Fest, that’s set to kick off on November 2 in Arlington, Texas. Ahead of its takeoff, he’s revealed a star-studded lineup that includes Pharrell, Meek Mill, and more artists — on top of a wild array of activities offered, such as jousting. There’s truly nothing like Posty Fest.

Pharrell and Meek Mill are just two of Posty Fest’s magnificent lineup members. Additionally, you’ll see Rae Sremmurd, Jaden Smith, Doja Cat, Dominic Fike, Yella Beezy, and more. Influencer Kerwin Frost, who recently interviewed SZA, has a DJ set. There’s also a “guests” slot, so there’s no telling who else will pop up.

In addition to artists, the activities going on sound spectacular. At what other festivals can you smash guitars and joust? What about get free stuff and “not free stuff?” It just keeps sounding bigger and better. There’s also “exclusive collabs” and “so much more” in store.

Check out Posty’s lineup announcement up above.