Chloe x Halle’s ‘Who Knew’ Video Is A Leopard-Printed Daydream

Everyone’s favorite sister duo is back and more exquisite than ever.

On Tuesday afternoon (July 2), Chloe x Halle shared the dreamy video for “Who Knew,” a breezy tune about falling for someone unexpected. In it, the singers appear in a softy lit studio, wearing matching leopard-printed ensembles and basking in new love. “We started something by mistake / Who would’ve thought that I would feel this way? / This way about you,” they sing to that special someone.

Reflecting on the new song in an Instagram post last month, the sisters wrote, “Y’all know when you just start off being friends with somebody… honestly you’re just trying to keep them in the friend zone, but then one day something just happens x you start looking at em different.”

“Who Knew” is one of two songs Chloe x Halle released in June, alongside the flirty and sassy “Thinkin Bout Me.” Both new tunes are featured on Grown-ish, the hit Freeform show they star in. The double dose of fresh music also marks Chloe x Halle’s first new release since their 2018 Grammy-nominated debut album, The Kids Are Alright. And it sounds like there’s more new material on the way — in a YouTube Q&A to celebrate their new video’s release, they revealed that their sophomore LP is already in the works.

“We have, like, 50 songs we’ve written for this album, just trying to perfect it and get it right for you guys,” they dished. “We want it to be quality before we rush it out.”

Mabel Reveals Why She Was ‘Scared’ To Write Breakout Hit ‘Don’t Call Me Up’

It’s safe to say Mabel “won” the breakup that inspired “Don’t Call Me Up.”

The U.K. singer scored a smash with her bass-heavy, ex-blasting anthem, which became pop’s most instantly relatable kiss-off since Dua Lipa’s “New Rules.” But as Mabel recently told us, the process of writing “Don’t Call” was less about boasting and more about healing.

“I wrote it for myself because that’s where I wanted to be. I was going through a breakup and I was like, I want to be the person that doesn’t care,” Mabel, the MTV Push artist for the month of July, explained. “And the song kind of helped me get there. [Through] listening to it, writing it, singing it, I did finally get to the point where I was like, ‘Yeah I’m over you.'”

“Don’t Call Me Up” marked Mabel’s first time working with writers and producers Steve Mac and Kamille Purcell, a hit-making duo she describes as “the dream team.” (She’s since collaborated with them on “Mad Love,” another single from her upcoming debut album, High Expectations.) But even more integral to the single’s success and appeal was the honesty that Mabel put into the lyrics.

“I remember listening back to it and being quite overwhelmed because it was definitely different to anything I’d ever done before,” she said. “I’ve always wanted to make songs that have done what ‘Don’t Call Me Up’ has done: go global and have a pop record that’s still me. It took years to figure out how to make that record, and ‘Don’t Call Me Up’ was sort of that breakthrough moment.”

She continued, “I knew it was different. It was actually almost scary. … Sometimes the song is bigger than you, and it just sort of leads the way, and that’s quite scary. It was like, ‘Oh my god, I can’t control this one.'”

For her MTV Push performance of “Don’t Call Me Up,” Mabel stripped things down, giving the hit a cool acoustic makeover. See that below, and check out more of her exclusive Push content here.

Rick Ross Talks About Money Like It’s An Edible Delicacy On ‘Big Tyme’

Rick Ross talks about having money like he’s describing his favorite entree to eat on Sundays. He salivates at the smell of crisp Benjamin-faced bills, gets aroused at the sight of the thought of coin soup involving dimes, quarters, and nickels, and he appreciates the cut of a check like it’s a steak. It’s earned him a reputation as one of hip-hop’s most financially fascinated lyricists, a luxury connoisseur if you will. On his new single, “Big Tyme,” he continues this romance, bringing along Swizz Beatz to bask in the experience.

Legendary producer Just Blaze handles the strings behind Ross’ latest. It’s a luxurious ballroom of sounds, a celebration of the high life through drums and piano runs. Ross strolls in with a mink coat, and the clunk of his designer hard bottoms can practically be heard through the speaker. He throws up tuft after tuft of lyrical fog, with the scent of printed paper filling the nostrils after each line. At first he “washed dishes,” now he “gets the toast.” Elsewhere in the monetary ode, he refers to the dollar as “cheddar.” Food and funds are synonymous here because they both provide him nourishment. Swizz Beatz adds the track’s “oomph” by gift wrapping his ad-libs and providing Ross support for select words. It feels like 2009 all over again.

“Big Tyme” will appear on Ross’ forthcoming album, Port of Miami 2. He’s also shared “Act A Fool” ahead of its release next month. Last month, he appeared on Drake‘s celebratory NBA Finals hit, “Money In The Grave.”

Listen to Rick Ross and Swizz Beatz fetishize finances in “Big Tyme” up above.

Jaden Smith Is Bringing Along Tyler, The Creator, A$AP Rocky, And More On New Album Erys

Jaden Smith, going now by just Jaden, told us a new album was coming in April. He released Erys Is Coming, a project with three songs, that, quite literally, told us the name of his new album and that it was on the way. So it should come as no surprise that Erys, his sophomore studio album, will be out on July 5. Ahead of its release, he’s shared its first single, “Again” and it gives a preview of where he’s going. Step into the party past the thick metal double doors that drowned out the sound to outsiders, into the visceral arena of big-city nightlife.

Erys looks to be a massive sophomore coming with seventeen tracks worth of Jaden to obsess over. It’ll feature Tyler, the CreatorA$AP RockyKid CudiTrinidad James, and, his sister, Willow Smith. The first four tracks are each named one letter of the word “PINK,” so it’ll be interesting to see how these tunes connect to each other.

Our first taste of Erys is “Again” which sounds like a great locomotive chase. The tune starts slow and grows fast frighteningly quick, and all of its drums and percussive instruments sound like moving pistons clanging together rhythmically on the road to chaos. Jaden’s plain voice has three different modes: a mopey guide-like stream of rapping is the first, followed by a melodic, slightly metallic spitting style, then a kind of quiet hissing, like he’s singing angrily through whispers. They converge for an insane maelstrom that serves as the sound of a lively night when it seems like the party that you’re at never ends.

Erys looks to be a massive sophomore coming with seventeen tracks worth of Jaden to obsess over. It’ll feature Tyler, the Creator, A$AP Rocky, Kid Cudi, Trinidad James, and, surprisingly, his sister, Willow Smith. The first four tracks are each named one letter of the word “PINK,” so it’ll be interesting to see how the tracks connect to each other.

Jaden has more than music on his mind since he’s recently been revealed to play a young version of Kanye West in Showtime’s series, Omniverse. There’s no set reveal of when it’s coming, but there’s that to look forward into the future post-Erys. 

Listen to Jaden’s new song, “Again” and prepare for the new album to drop above.

How Regina Spektor’s Broadway Residence Redefines The Concert Experience

By Caitlin Wolper

“It’s fucking Broadway!” Regina Spektor shouted gleefully, disbelievingly, on the final night of her five-show run at the Lunt-Fontanne Theater last week. Centerstage at the piano, Spektor didn’t look much different than if she was playing an average concert. But this particular show was anything but average.

Spektor’s Broadway residency, which ran in late June, is one among many notable entries in the theater’s In Residence on Broadway series: Past residents have included The Smiths’s Morrissey, Mel Brooks, and Yanni. As soon as the series was announced in March, the question immediately arose — what does a musician do on Broadway?

The best comparison to a Broadway residency is probably the jukebox musical, which relies on an existing body of music — often pop or rock hits from a single artist — as the show’s soundtrack. The expectations for a jukebox show — like Summer: The Donna Summer Musical, which ran at the Lunt-Fontanne just before their residency series began — are simple: Fans come because they love the music. It’s far more likely to see the audience singing along, bopping in their seat, or standing up and dancing at their seats by the final number. And while these musicals don’t star the musicians they highlight, the Broadway conventions of story, actors, set design, and costumes remain.

But here, at Regina’s strange hybrid show, no one really knew how to behave. The woman to my right recorded songs on her phone, which vexed the man to my left. The crowd called out their admissions of love between songs — common for a Spektor show — but in the sophisticated, chandeliered theater, it came off almost rude. After the first song, Spektor let us know that her the keyboardist’s wife had given birth that very morning, and led us in a large scream in the baby’s honor, because as she said, babies enter the world screaming because they already realize how fucked up everything is. It was decidedly more casual than your typical Broadway show.

Still, this setting also gives artists the chance to expand on their repertoire. There’s a good reason residencies are generally given to artists with extensive careers: They can bring a crowd, and they’re ready to experiment with their older work. Springsteen on Broadway, which ran at the nearby Walter Kerr Theatre for 14 months between 2017 and 2018, showed the potential longevity of such a concept.

Here, threads in Spektor’s became clearer to me than ever before: Primarily, the intense politicism of her lyrics (“They made it past the enemy lines / Just to become enslaved on the assembly lines” in “Blue Lips” or “What a strange, strange world we live in / Where the good are damned and the wicked forgiven” in “The Trapper and the Furrier.”) Sitting in a theater changed not just how she performed, but how I listened: More intently, sure, but more analytically, too — I hadn’t actually sat at a concert, or been so unbothered by those around me at a concert, in years.

“The first thing that I did was opened up all the songs — because I have been writing songs for, I don’t know, 20 years?” Spektor told Rolling Stone ahead of the residency’s run. “A lot of them I played in bars and cafes maybe a couple of times in my life, and I just didn’t ever play them again. I want to create these little moments in the show that are sort of like my old New York, on the Lower East Side playing those songs. Thank God for the people who used to come and tape my shows, and put them up on the internet!”

That intimacy lent the residency itself a “special event” quality. The exclusivity of a limited engagement brought some of Spektor’s friends out of the woodwork: Every night, she brought out a guest, among them Lin-Manuel Miranda and Ben Folds. (Her husband, Only Son’s Jack Dishel, also made an appearance both to play guitar and harmonize on their track “Call Them Brothers.”)

Perhaps more notable than the special guests were the dancers. While not uncommon to a concert, they’re usually reserved for Top-40 pop stars, not a solo, seated vocalist-pianist. Spektor employed contemporary and tap for a handful of songs, and the difference in those songs was enormous. Once a dancer came onstage, her focus — which is usually on the microphone — expanded outward: Her often internal performance transformed into a communicative, communal experience. Most importantly, the story of a given song took shape through movement instead of through music and lyrics alone. Even the track “Silly Eye Color Generalizations,” usually performed a cappella, took on a brand new life as she danced goofily alongside tap dancer Caleb Teicher, whose movement emulated the song’s hokiness.

But to have a Broadway residency — or to simply perform a concert in this sort of classical theater space — presents certain qualifications. First, the barrier to entry: The cheapest ticket — “We see you from the cheap seats!” a fan shouted, referencing Spektor’s What We Saw From the Cheap Seats album — with fees, came out to $78.45. (For a comparison, a GA ticket to see her at Brooklyn Steel in August cost $59.50.) While for an act like Spektor, this price isn’t surprising (she has 20-plus years of experience behind her), it can be exclusionary if the residency concert model extended to comparatively newer artists.

Another qualification is the genre itself. Spektor’s music, once deemed “anti-folk” but now falling in the genre-free realm of poppy, offbeat, singer-songwriter-pianist, fits neatly with tap and modern dance, as well as the small band of strings, keys, and drums behind her. Her music — notably songs like “All the Rowboats,” “Us,” and “Aprés Moi” — has an orchestral quality that felt in place both with the classical dancers and the venue itself.

In most ways, the residency was a glorified concert. The lighting was gorgeous, the sound pristine. Fake snow, a Broadway specialty, fell lightly as Spektor closed the show with love ballad “Samson.” Overall, the experience was best when the boundaries of “concert” were pushed, offering a hint at what a Broadway concert might look like in the future — a performance that recontextualizes the work it performs.

Miley Cyrus And Her Mom Are Pushing For Power And Change In ‘Mother’s Daughter’ Video

“Mother’s Daughter,” the lead single from Miley Cyrus‘ EP She Is Coming that dropped in May, is a song about seizing power and throttling it. Miley sings that she’s nasty, evil, a witch, and she praises the evil trinity; think Randall Flag from The Dark Tower, only sharper, more youthful, and much more socially aware. Today (July 2), Miley has released a video for “Mother’s Daughter” that’s just as gripping, angry, and strapping as the song, featuring a wide array of symbolic figures including her mother. Clad in an all red, dominatrix-like suit, Miley’s on a conquest for equality and understanding. Your attention is just the icing on the cake.

“EVERY WOMAN IS A RIOT” is the first of many flashing phrases that appear in “Mother’s Daughter” throughout its runtime; “YOU ARE BEAUTIFUL” and “L’HÉROÏSME DE LA CHAIR,” the French translation for “The Heroism Of The Flesh,” and others like it paint the message that Miley, and director Alexandre Moors, wanted to send. That power comes from acceptance and establishing yourself as the conduit for your own agency, then tasking society to step up to the plate and accept you for your own vision. Then being uncompromising with that belief. Miley dons her evilest gear here, wearing a dominatrix-like jumpsuit with metal rings across it, giving the camera every bit of the smiling menace that she paints herself to be, all while her refreshing smile keeps us grounded in reality.

But Miley isn’t the only one showcasing the power of accepting oneself here. Her mother, Tish Cyrus, appears within, a fierce smile dominating her features as she repeats the lyrics to the song. Elsewhere, trans model Aaron Philip, dancer Amazon Ashley, actress Angelina Duplisea, queer skater Lacey Baker, and more encourage you too to accept the capacity lurking in your bones, to dominate your reality while obstacles come at your way. Deflect them, as have they, and continue to push for the stars. Everyone here is also in the long fight, for acceptance, for equality amongst women and the LGBTQ+ community. Together they stand, pushing for much-needed change. They’ve found their power.

Miley also recently starred in Netflix’s Black Mirror as fictional singer Ashley O and released a video for “On A Roll.”

Watch the outrageous video for “Mother’s Daughter” up above.

How Camila Cabello And Shawn Mendes’s ‘Señorita’ Choreographers Made Their Love Look Real

Camila Cabello and Shawn Mendes fooled everyone with “Señorita.” The steamy, cinematic video stars the duo as will-they-or-won’t-they lovers whose summer fling plays out over a windy motorcycle ride, a late-night hotel hook-up, and a sexy dancefloor rendezvous. It’s those latter scenes that have gotten fans especially hot and bothered, wondering how the longtime friends made their onscreen love look so real.

“I know it’s tough for Shawn and Camila, because they’re friends and a lot of the moments are super intimate. It was hard to stay focused and not laugh,” choreographer Sara Bivens told MTV News. “That was probably one of the hardest things: to really lock in the chemistry and not be so nervous.”

The video’s steamy dance sequences were dreamt up by Bivens and Calvit Hodge, two L.A.-based choreographers who have worked with Cabello since her solo breakthrough in 2017. In that time, they’ve gotten to watch Cabello grow as an artist and a performer — they contend she now has the sensibilities of a professional dancer — but working with a dance newbie like Mendes was another story.

“He was super nervous. He was sweating,” Hodge said. “But it was actually really, really, really easy to work with him because he was super eager. The one thing that he kept saying was, ‘I don’t want to look like I’m trying to be a dancer. I want it to feel natural.'”

To keep it organic, Hodge observed Mendes in the studio, taking notes on his mannerisms and body language and using that to create choreography that suited the singer’s energy. It’s an approach Hodge and Bivens use regularly in their work; they create an authentic story through movement, as opposed to mapping out strict dance steps.

“Like, there’s a part where he kind of flicks her hair, and that’s something that he naturally does,” Hodge explained. “So we just took his natural motions and put it to a beat and made a dance out of it.”

He added, “We use the same thing [with Camila]. We spend a lot of time with her, so we know her a lot more — what type of movements she likes to do, and we know that her best side is her left side… things like that. It’s almost like little cheat codes to make it work for her.”

Bivens and Hodge didn’t hear “Señorita” for the first time until they were actually in rehearsals with Cabello and Mendes, meaning they came up with the choreography on the spot. They only had two four-hour rehearsals with the duo before the video shoot, but that tight turnaround ensured that the dance didn’t feel forced or over-rehearsed. Director Dave Meyers — whom Hodge and Bivens had worked with on Cabello’s VMA-winning “Havana” video — gave the choreographers some reference points, citing Dirty Dancing as aesthetic inspiration. Mostly, though, they were influenced by the song’s sultry, summery sound, and by both Mendes and Cabello’s evolutions as artists and as people.

“I feel like they’re both in the same point in their lives,” Hodge explained. “And we just wanted to tell that story of a young woman starting to become an adult and a young man starting to find his maturity and his sex appeal. We wanted to play on both sides of that.”

Take, for instance, one of the most tantalizing scenes: when Mendes handily and passionately pins Cabello against the wall. Hodge said, “That’s the human in it. And that’s what this song is about — it’s about passion and emotion. It was like, what would be a normal thing we would do? ‘Oh my god, I need you so bad, I want to take you against the wall and let’s keep going and making out.’ That’s a normal reaction. So let’s capitalize on that.”

Fans of Mendes and Cabello know the two go way back — “Señorita” is their second collaboration on wax, following 2015’s moody “I Know What You Did Last Summer,” and the two have remained close friends since. That relationship, Bivens said, was both a blessing and a curse when it came time for them to execute the sensual “Señorita” moves.

Hodge elaborated, “Imagine if you’re not really a dancer, like Shawn. And you have to [dance] in a room of people that just taught you these moves, and act like you’re madly in love with each other. And then once you figure that out, you have to go on set where there’s, like, 50 to 200 people watching you do this, and you try to make it look like you guys are in the room by yourself. That was probably the most complicated [part] for them.”

To shake off the nerves, Bivens came up with an awesome idea where Cabello and Mendes would scream at the top of their lungs before each take (a montage of those moments can be seen in one of the “Señorita” behind-the-scenes videos released last week).

“I know everybody in the room was like, ‘What in the heck is going on?!’ But it helped them,” she said.

Even so, the chemistry between Cabello and Mendes was palpable and gave everyone on set goosebumps, Hodge admitted.

“From what I saw, the energy on set got awkward. Like, it’s awkward because it was so good,” he laughed. “It was like, ‘Oh my god, this looks real. This is too real.’ So that’s always a good sign, ’cause if we can feel it in the room, you can definitely feel it through the camera.”

Fans have absolutely been feeling it — since the video’s release on June 20, it’s racked up a whopping 138 million views (and counting), and the single has shot to No. 2 on the Billboard Hot 100. It’s a testament to Mendes and Cabello’s star power, but also to the opportunity to see both artists in a fresh light.

“The glow-up is real!” Hodge said, with Bivens adding, “I think everybody’s just so shocked that Shawn danced. He’s masculine, and [Hodge] was a perfect match for him, to teach him that choreo and get him to find the grit. And then the woman that Camila is becoming is just ever-evolving. I think the fans are noticing that. Above everything, it was the shock of, ‘Holy shit, the glow-up is happening right in front of us, and we’re getting to watch it.”

How To Explain Taylor Swift and Scooter Braun’s Feud To Anyone Who Asks

Later on, Big Machine founder Borchetta directed his followers to a blog post he published on Big Machine’s website explaining his side of the story. Not only did he attach an image of his 2018 proposal to Taylor as proof she passed on owning her own masters, but he also expressed a lot of doubt about whether or not Taylor really found out the news with the rest of the world, as her blog post suggested. “I personally texted Taylor at 9:06pm, Saturday, June 29th to inform her prior to the story breaking on the morning of Sunday, June 30th so she could hear it directly from me,” he wrote.

Borchetta then went on to point out some other inconsistencies in Swift’s post. According to him, there was nothing in the contract that said Taylor would have to earn back the masters from her previous albums. “100% of all Taylor Swift assets were to be transferred to her immediately upon signing the new agreement,” Borchetta wrote. “… Taylor had every chance in the world to own not just her master recordings, but every video, photograph, everything associated to her career. She chose to leave.”

He also addressed Swift’s claims that she was “either crying or trying not to” whenever Braun’s name was mentioned. “I certainly never experienced that,” he wrote. Borchetta acknowledged past tension between Swift and Bieber but said Braun had reached out to see if Taylor would be interested in participating in One Love Manchester and March For Our Lives. He said she declined both.

Tyler, The Creator’s Odd Future Involves His Own Ice Cream

Tyler, the Creator released his third studio album Cherry Bomb in 2015. On July 6, he’s releasing his own ice cream in a flavor called “Snowflake,” that’s really a mix of peppermint and spearmint flavors. There’s no correlation between that album or the ice cream release – it’s just to show that that album title sounds like a more delicious ice cream flavor than one that can freshen your breath before a big date. Maybe Tyler knows something that we don’t, but one thing’s for certain. Tyler, the Creator can add “Ice Cream Maker” to his lengthy list of titles.

“Snowflake” comes courtesy of a collaboration between the rapper’s brand, GOLF le FLEUR*, and Jeni’s Splendid Ice Creams, a company based out of Columbus, Ohio. According to a press release via Pitchforkthe fresh-breathed desert won’t be made of just mints. It’s “cool peppermint on the ivory side, warm spearmint on the green side, with buttery white chocolate melted throughout, white chocolate flakes for some crunch, and a little sea salt to bring the flavor and scent forward.” That sounds appetizing, the chocolatey parts, but the presence of mint is…a lot to consider. It’ll be available online starting July 6 on GOLF and Jeni’s websites and then it’ll arrive at Jeni stores on July 8. If you happen to be in Los Angeles on July 6 though, you’ll be able to get some of this minty treat at the GOLF store.

Tyler recently released his fifth studio album, IGOR, earlier this year and instructed fans to not go into the LP expecting anything. He’s heading out on a tour this fall for the LP with Goldlink, Jaden Smith, and Blood Orange.

Lil Nas X Closed Out Pride Month By Coming Out And Fans Are Backing Him All The Way

To close out Pride Month over the weekend (June 30), Lil Nas X, the chart-disrupting cowboy behind “Old Town Road,” opened up with a personal, well-timed coming-out announcement. His reveal was met with an outpouring of support from both fans and figures in the entertainment industry. And most importantly, he pointed to “C7osure” from his new EP, 7, for fans to listen to so that they could hear more about his truth. This means more song spins, more streams, and more Lil Nas X to come.

Lil Nas X took to Twitter with the announcement and an animated visual for “C7osure.” “Some of y’all already know, some of y’all don’t care, some of y’all not gone fwm no more,” he wrote. “But before this month ends i want y’all to listen closely to c7osure.” He ended the hint with the rainbow and heart-eyed emojis.

He followed up the tweet with an examination of his own EP cover. There’s a rainbow in there, for anyone who didn’t zoom in close enough to get a glimpse.

“C7osure” is about growth, about abandoning fear and moving in the right direction. It’s all about living your truth. On it, he sings, “Ain’t no more actin’, man that forecast say I should just let me grow / No more red light for me, baby, only green, I gotta go / Pack my past up in the back, oh, let my future take ahold / This is what I gotta do, can’t be regrettin’ when I’m old.”

Since his news, support has come in all sides: from day-one fans to recent ones, from collaborators to actors across the world.

In honor of Lil Nas X, listen to 7 today. It features the previously released “Panini,” the Cardi B-assisted “Rodeo,” and his Travis Barkercollaboration, “F9mily (You & Me).”