Justin Bieber Shares Throwback Photo With Hailey Baldwin: ‘Where It All Began’


Ahead of their rumored second wedding this weekend, Justin Bieber has shared a throwback photo of himself with Hailey Baldwin from about 10 years ago.

The Instagram photo shows a shaggy-haired Bieber flashing a big smile while standing closely to Baldwin, who is flashing a peace sign.

«My wife and I 🙂 where it all began,» Bieber captioned the photo.

The singer and model have been friends since they were teenagers, but that changed in 2016 when a romance began. The pair was legally wed last year in a Manhattan courthouse.

Bieber’s throwback pic drew reactions from some of his famous IG followers, including Justin Timberlake, who commented, «That’s incredible, bro!!!» Kylie Jenner added, «This is amazing.»

Bieber and Baldwin are reportedly set to have a traditional second wedding ceremony in South Carolina this weekend with friends and family.

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My wife and I 🙂 where it all began

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This article was originally published by: Billboard

A Look Inside Kanye West’s Sunday Service in Detroit Ahead of ‘Jesus Is King’ Event


Kanye West straddled a couple of Sabbaths with a Sunday Service performance on Friday (Sept. 27) afternoon in Detroit.

The spirit was certainly right as West and his Sunday Service Collective — a 150-voice and nine-musician unit he’s assembled to perform his recent spate of gospel-oriented shows, which he launched in April at the Coachella Valley Music and Arts Festival — delivered 85 minutes of buoyant scripture at the Aretha Franklin Amphitheatre, a picturesque venue along the Detroit River where boats bobbed behind the stage to take part in the experience.

The show, which started more than 90 minutes late, came ironically on a day West was expected to release his highly anticipated new album Jesus Is King. Not a word was said about it onstage, but as the Sunday Service ended, West announced a surprise event, Jesus Is King: A Kanye West Experience, for Friday night at Detroit’s Fox Theatre.

Though he brought the star power, West was not the focus of the Sunday Service. Sporting a leather-jacket hoodie, jeans, white sneakers and, at times, shades, he only vocalized once, toward the end of «Father Stretch My Hands,» and played some electronic percussion on a couple of later songs, including a soaring rendition of «This is the Day (Psalm 118:24).» He spent most of the time enveloped in the center of the buoyantly choreographed collective, occasionally walking around the stage with North and Saint, his oldest children with wife Kim Kardashian, who also came on and off the stage throughout the set.

In West’s stead the heavy lifting was done by choir director Jason White, who served as pastor/emcee while conducting the ensemble as well as 2,000 local volunteers sitting in the crowd, who had been schooled on the arrangements during a two-day clinic and a lengthy morning rehearsal at the venue. It provided an invigorating 360-degree effect for the gospel adaptations, including «Eternal Life,» «Savior,» «Jesus Christ is the Light» and «We Serve a Great God» — part of which was set to Tracey Chapman’s «Fast Car» — as well as covers of Steve Green’s «Hallelujah, Salvation and Glory,» Richard Smallwood’s «Oh Lord, How Excellent» and the traditional «There is a Balm in Gilead.»

«We’re just people that love Jesus, and we just want to sing about him,» White told the Detroit crowd, which scooped up the 6,000 offered free tickets in less than 20 minutes the day before. «That’s all we’re here to say today — don’t forget about God.» Los Angeles pastor Jason Tyson delivered a brief sermon about the nature of God, and White also paid homage to Detroit’s musical history, from Motown to its rich gospel heritage, name-checking the Winans, Commissioned and especially the Clark Sisters, who the collective has been covering during its services. The iconic group’s «You Brought the Sunshine» closed Friday’s show, in fact, with West standing up towards the stage front members of the choir moving to the back of the stage wave at the boats as they walked off.

West has not yet announced any future Sunday Services nor a release date for Jesus Is King. Kardashian tweeted a handwritten track list on Sept. 27 that has not yet been confirmed, and the album is expected to include guest appearances by Ty Dolla $ign, Ant Clemons and Momo Boyd.

The Detroit show was locked in just four days prior and required the venue to reopen after wrapping its 2019 season during Labor Day Weekend. Sulaiman Mausi, co-owner of the Right Productions — which operates The Aretha for the city of Detroit — and the DOME Group, which is also putting on the Art of Cool festival in Durham, N.C., this weekend — said on Friday that. «Considering the magnitude of what he has been doing, and the fact that we are a family of faith, we didn’t give it a second thought. We support [West’s] movement and the impact it’s having on the world.»

Find highlights of Sunday Service below.

This article was originally published by: Billboard

Drake Celebrates ‘Nothing Was the Same’ Sixth Anniversary With Throwback Photos, Cake: See Pics


Drake’s third studio album, Nothing Was the Same, celebrated its sixth anniversary on Tuesday (Sept. 24). Drizzy chimed in with some throwback photos from 2013 posted to his Instagram before the night was out.

«NWTS,» he captioned. Pics included the 6 God sitting on top of his roof, rocking a «September 24th» hoodie, various NWTS merchandise, and a CD cover of the album. He also took to his Instagram Story to post a photo of his Nothing Was the Same birthday cake, which was expertly decorated with the project’s artwork.

The LP successfully debuted at No. 1 on the Billboard 200 after selling 658,000 copies in first-week sales. NWTS would end up spawning seven singles total, which included «Started From the Bottom,» «Hold On, We’re Going Home,» «Worst Behavior,» «Too Much,» «The Language,» «Pound Cake,» and «All Me.»

Check out the pics below and give NWTS a spin if you didn’t yesterday.

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This article was originally published by: Billboard


Kesha Is Ready to ‘Inspire Joy’ — And Write Huge Pop Songs Again


Singing about her personal trauma, Kesha became a #MeToo heroine and an industry symbol. But with a new album on the way, she’s focused firmly on the present — and on ‘writing the fuck out of some pop songs.’

«Follow me!” says Kesha, her long, newly brunette tresses blowing in the wind.

She’s biking a few feet ahead of me, leading us through a residential stretch of Venice, Calif. Every so often, she calls out a direction, pointing to the “killer palm trees” on one street we turn down — a human GPS wearing a fuzzy cheetah-print backpack with a tail that wags as she pedals. Ten minutes later, we arrive at a surprisingly empty stretch of Venice Beach that she calls her “secret hideaway.”

We lock up our bikes — hers is the same turquoise cruiser that paparazzi have photographed her on since at least 2017 — and walk toward the ocean, settling down on a blanket and towels she has brought. “I always have a bathing suit and a passport — always,” she says. “You never know when you’re going to find yourself wanting to go to a different country or a body of water.” The latter is, apparently, often: After she finished her most recent tour, Kesha went swimming with whales off the coast of a small island in the middle of nowhere.

When she’s home and has a rare day off, though, she’s usually here. “I just do this, pray for animals and jump in,” she says. Kicking off her slides and settling down on the sand, the artist born Kesha Rose Sebert looks much like any beachgoer, the tiger head on her one-piece peeking out from under a red Hawaiian shirt. “This is the only place I usually don’t get paparazzi,” she says — and over the hours we spend on the beach, and even on our ride later to her favorite dive bar near the fishing pier, no one seems to recognize her. Thanks in part to her decision to dye her signature wild blond waves, she can go incognito, “happy and free — no anxiety.”


It’s a welcome and still unfamiliar feeling for Kesha, 32, who has spent the past decade in an often glaring spotlight. Her debut album, 2010’s Animal, established both her talent for churning out hits (it became Kesha’s first Billboard 200 No. 1, and she has earned 2.5 billion U.S. streams to date, according to Nielsen Music) and her brash wild-child image. As her bombastic pop bangers climbed the charts — she has scored 10 Billboard Hot 100 top 10s, including the No. 1s “We R Who We R,” “TikTok” and “Timber” — the media started to equate their lyrical content with Kesha herself, painting her as a perma-plastered party girl. “Men glorify going out, getting drunk and hooking up,” she says. “As a woman, I came out and did it, and I was like Satan’s little helper.”

By 2013, she had her own MTV show, Ke$ha: My Crazy Beautiful Life, directed by her older brother, Lagan. A year later, everything changed: On Oct. 14, 2014, Kesha filed a civil suit against Lukasz Gottwald — the mega-producer known as Dr. Luke with whom she had collaborated on her biggest hits — accusing him of abusing her physically, sexually, verbally and emotionally over a 10-year period. He, in turn, denied the accusations and sued her for more than $50 million, alleging defamation and breach of contract for failing to turn in recordings she owed him under her contract on his label, Kemosabe Records. (Kemosabe started out in 2011 as a joint venture with Sony Music Entertainment; though Sony won’t disclose specific financial details of that arrangement, major labels typically finance JVs and then, after expenses, split proceeds 50/50. SME now refers to Kemosabe, which in 2017 went dormant, as an imprint.)

It was only the beginning of what would become a lengthy, ugly legal battle. But in the crucible of that turmoil, Kesha experienced a creative transformation. Long before the explosion of the #MeToo and #TimesUp movements, artists like Taylor Swift and Kelly Clarkson expressed their support for her as part of #FreeKesha, an ongoing social media campaign aimed at getting her out of her contract. And then in 2017 — just months after news broke that Gottwald was no longer CEO at Kemosabe — she released Rainbow, an album of emotionally raw songs that showcased her stunning vocal range, no Animal-era Auto-Tune necessary. Though it still bore the Kemosabe imprint — and, at the time, a spokesman for Gottwald said it was “released with Dr. Luke’s approval” — Kesha says Rainbow was the first album on which she had full creative control, and it showed. The most poignant track, “Praying,” which chronicled how she overcame years of trauma, became an anthem for survivors of abuse and earned Kesha one of her first two Grammy Award nominations.

On Rainbow, a new Kesha emerged, and the industry embraced her. “I did the therapy,” she says on the beach today. And now, after this “huge purge of emotions,” she’s prepping her fourth album, due this December on Kemosabe/RCA, on which she revisits some of the big-pop sounds that launched her career. Largely co-written with her best friend and longtime collaborator, Wrabel (they met through Lagan when Kesha left rehab in 2014 after receiving treatment for an eating disorder — after which she also dropped the dollar sign from her name), as well as her songwriter mom, Pebe; Justin Tranter, Tayla Parx, Nate Ruess, and Imagine Dragons’ Dan Reynolds; with production from Jeff Bhasker and Ryan Lewis, “it’s the happiness that I began my career with,” says Kesha. “But it feels more earned and healthier than ever.”


In going from good-time pop star to symbol for an industry — and a movement — Kesha made the kind of personal, and creative, pivot that few artists manage to accomplish intact. Remaining an artist on her own terms will be a different kind of challenge entirely, especially when a handful of tracks from her new album can’t help but call to mind the now-fraught sounds of her time working with Gottwald.

And with the trial date for his defamation and breach-of-contract suit not yet confirmed, a great deal of uncertainty still hangs over Kesha’s future. A jury will decide whether she is liable, and if so, how much she might owe Gottwald in damages for, as he sees it, irrevocably hurting his career.

“There are so many what-ifs, and quite honestly, I’m not allowed to talk about it,” says Kesha. “And I’m really not used to not being an open book about everything — but I do have to defer to my lawyers on this one, and they’re just like, ‘Focus on the music, focus on your happiness and mental health, and we’ll deal with this.’ Doing that has been greatly helpful.”

And right now, she says, “writing the fuck out of some pop songs” is precisely what she needs to stay focused on the present. “I dug through the emotional wreckage, and now…” She trails off, perhaps momentarily caught in the past. “I can go back to talking a little bit of shit. I really wanted to put a solid footprint back into pop music, like, ‘I can do this, and I can do this on my own.’ I don’t know if this is my last pop record, but I want to have one where I go out with a bang.”

The day before Kesha met with Reynolds at Los Angeles’ Village Studios, she planned to write a slow song with him. But when she told Lagan, he suggested something totally different: something “big and epic.” (This was the Imagine Dragons guy, after all.)

She took his advice and ended up writing one of the album’s most epically IDGAF pop-rock anthems — with lyrics that feel like a pointed rebuke of the world’s perception of her both before and after the Gottwald legal suits: “We get it that you’ve been through a lot of shit, but life’s a bitch, so come and shake your tits and fuck it/You’re the party girl, you’re the tragedy, but the funny thing is, I’m fucking everything.” (While the album goes through final mixing, Kesha and her team cannot disclose song titles.)

“She’s not taking the high road, which is kind of the point,” says Lagan. “That’s originally what people really noticed about her, and I felt like her fans wanted that from her right now, especially when the world is so fucked up.” Or, as Kesha more succinctly puts it: “I got my balls back, and they’re bigger than ever.”


At first, Kesha was hesitant to return to her early sound — one reminiscent of the earwormy hits Gottwald had crafted alongside Max Martin for the likes of Clarkson and P!nk by the time he heard Kesha’s demo. In 2005, she signed with Gottwald’s production company, Kasz Money, and his publishing company, Prescription Songs. He landed her a feature on Flo Rida’s “Right Round,” a Hot 100 No. 1, and major labels came knocking. By 2009, she had signed a recording contract with RCA; in 2011, when Gottwald founded Kemosabe, she joined the Sony imprint.

Kesha says that her earlier hits’ connection to that time in her life hasn’t tainted them for her. “When I play some of the poppier songs, people lose their shit, and those songs are my babies too,” she says. “It brings me so much joy to see people boogie and have the best time with their friends, and I shouldn’t take that away from myself.” But songs like “Die Young” in particular — as she has claimed in a since-deleted tweet — she felt forced to record and include on her albums, often in place of ones she felt better aligned with her own vision.

Over the course of making the new album, Kesha says, she proved to herself that she could find a balance between her early style and her more recent, introspective inclinations. “Emotions are forever,” she says. “Part of this album is resurrecting the fact that you can be a fucking mess in your head one day, and then you can also be glittered-up and have the best night of your life.”

Speaking of which: Kesha may have matured beyond her early brush-my-teeth-with-a-bottle-of-Jack vibe, but she’s not entirely tamed. Since finishing the Rainbow tour, she has caught bucket-list shows by Neil Young and Willie Nelson (she calls both the “real deal”) and enjoyed the occasional night out. “They are more few and far between than they were, let’s say, at 21 years old,” she admits. “But I’m not dead.”

One night in particular, Kesha and her crew went to see Elton John’s farewell tour in Los Angeles. The experience inspired a song with a piano intro that morphs into a bass-thumping anthem for a girls’ night. “I, of course, stand for so many things,” says Kesha. “But sometimes you just want to escape into a happy motherfucking song. It’s like a three-minute vacation, and I want to give that to people because I know I need that sometimes. Every time I’m sad, I put on [Carly Rae Jepsen’s] ‘Call Me Maybe.’ Every single time.” Lately, she has been listening to “positive, badass women” like Cardi B, Lizzo, Ariana Grande and Swift, who in 2016 donated $250,000 to help Kesha with her legal fees. (The two remain close friends.) “She has amazing integrity,” says Kesha of Swift.

RCA president of A&R Keith Naftaly has worked with Kesha for her entire career, and he believes that she can easily return to the same pop stratosphere that these women currently rule. “Even in a hip-hop-dominated landscape, Kesha will strike a chord with a contemporary global pop audience because her lyrics are right on time,” he says, pointing to how honest and specific storytelling like hers has been crucial to the success of RCA artists like Khalid, SZA and H.E.R.Plus, notes Naftaly, Kesha’s audience is still incredibly young.

“When ‘Tik Tok’ and ‘Your Love Is My Drug’ and ‘Take It Off’ came out, her audience was like, 9,” he says. “So now, a lot of her die-hard fans are in their early 20s, while a lot of her peers and their audiences have shifted into more of an adult-contemporary context.” Kesha, for her part, admits that she’s “not a 21-year-old bitch anymore, [but] I can still go onstage in assless chaps because I want to. And maybe one day, when everything is sagging and I don’t want to wear assless chaps anymore, I can sit on a stool and play country music.”

This article was originally published by: Billboard

Avril Lavigne Is Back on the Road & Still Inspiring Artists Like the ‘Extremely Talented’ Billie Eilish


ISSUE 24 2018 - DO NOT USE!!!! - ISSUE OUT OCT. 18, 2018

Avril Lavigne waited five years to return to the road — and when she did, the preparation process was a scramble. She needed new guitars and straps, as well as a refresher on the bridges of hits like “My Happy Ending” and “When You’re Gone.”

“It’s funny,” the 34-year-old Lavigne tells Billboard. “I’m relearning, but it’s total muscle memory. I’m like, ‘Wait, it goes like this, right?’ Then without even trying I’m like, ‘It’s right here.’” (Even so, she always has a teleprompter onstage, “just in case.”)

Since the pop mainstay — who has sold 12.5 million albums in the United States, according to Nielsen Music — wrapped her Avril Lavigne Tour in Japan five years ago, she largely stepped out of the spotlight as she battled Lyme disease. For a long time, Lavigne (who at one point was bedridden) wasn’t sure if she would ever release another album or be physically able to tour again. Now that she has recovered, Lavigne says her 15-date trek that began in mid-September and runs through Oct. 11 in support of her long-awaited album, Head Above Water (which hit No. 13 on the Billboard 200 in February), is her most intimate yet.

“I was wondering what I was going to be doing, and unsure if I could work or not — and songs just flowed,” recalls Lavigne. “After everything I went through, I re-fell in love with music all over again.”

he tour largely pulls from material off the intense, emotive Head Above Water, and its visuals are inspired by the album’s title track and the single “I Fell in Love With the Devil,” playing on the contrasting themes of water and fire.

“Devil” has been part of her encore, and a “really special moment” complete with a red dress and lots of fire. But still, Lavigne says that the tour is nostalgic, for both the audience and herself: there are wardrobe changes inspired by her music videos, and familiar imagery to appear in her visuals, like the “Sk8er Boi” star from debut album Let Go or the “Girlfriend” skull and crossbones from The Best Damn Thing.

“The singles from the last 17 years all hold memories,” she says. “‘Sk8er Boi’ is a moment, ‘Girlfriend’ is a moment — and I get to go back with [my fans] and enjoy that.”

Lavigne counts Billie Eilish as a fan, along with a handful of indie artists on the rise like Soccer Mommy and Snail Mail. She recently met Eilish and her brother, Finneas, at Los Angeles’ Greek Theater during one of their hometown shows, and Lavigne recalls pulling up to the venue only to see her own face plastered on posters and screens promoting her upcoming date there.

“It’s an honor any time — especially someone as talented and cool and creative as Billie — mentions that I’ve had an impact on their music career,” says Lavigne. “My approach was always just like, I’m going to be myself, write the songs that I want to write, dress how I want to dress — because when I entered the industry, everyone was showing their bellies and had a bunch of dancers around them and were bubblegum pop, and I was so different. I was dressing in Dickies and Converse and like a dude, and playing loud guitar in my songs.”

Lavigne sees a lot of similarities in Eilish, “who is her own individual,” which is largely why Lavigne thinks she’s taken off in such a major way.

“We’re in a time now where people want real, and they want authentic and they can read past the bullshit,” she says. “That was something I always stood my ground on, and I always fought to be true to myself. And she’s an artist who is very much herself, and also extremely talented — and that’s why it’s working for her.”

That combination of authenticity and talent remains successful for Lavigne, who on her current trek chose to play 3,000- to 5,000-capacity theaters — saying that an up-close-and-personal atmosphere made more sense for a more serious project. “It’s vulnerable and raw and exposed, whereas in the past it was loud guitars and fist-pumping,” she says. “You’ll still feel that from me, but with everything I went through, it’s like, ‘Okay, I’m here. I’m alive.’ I’m gliding back into it. I’m just so grateful to God that I’m still able to actually work and have a life.”

ISSUE 24 2018 - DO NOT USE!!!! - ISSUE OUT OCT. 18, 2018

This article was originally published by: Billboard

Rihanna Rocks a Rainbow Of ‘Fits in Seoul: See the Pics


Rihanna slayed the style game while in Seoul, South Korea to promote her Fenty Beauty makeup line.

First, outside her new Fenty Beauty store, RiRi stunned in an all-white power suit by French designer Jacquemus on the red carpet, pairing an oversized blazer with slouchy, pleated pants and layers of diamond accessories.

The superstar later went from white to bright, hitting the streets of Seoul in a pink dress and loose, tangerine pants.

RiRi also posted about the event on Instagram, wearing a more formal gown in similar hues. “Thank you @shinsegaedutyfree for hosting me at the Shinsegae Myeongdong Store last night!” the pop star wrote, sporting a ruched orange column dress with peachy pink undertones. “It was so exciting to see the new @FentyBeauty store in person and I am grateful for our amazing partnership!”

Rihanna then shared one last outfit from her trip via Instagram, posting multiple snaps in a chic sweatsuit and heels from her own Fenty line — all in varying shades of mint green and paired with a large, white snakeskin handbag.

Check out all four of Rihanna’s looks below.

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bored as money… @fenty

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P!nk Unveils Striking Video For ‘Hurts 2B Human’ Title Track With Khalid: Watch


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P!nk debuted the visual for the Khalid-featuring title track from her eighth studio album Hurts 2B Human on Tuesday (Sept. 17).

The moody video features scenes of New York City individuals in their apartments, undergoing the daily stresses of life — fighting with a spouse, receiving an upsetting text message — as well as the positive, like being cheered up by a friend. P!nk and Khalid both make appearances, eventually crossing paths.

“God it hurts to be human/ Without you, I’d be losin’/ Yeah, someday we’ll face the music/ God it hurts to be human/ But I’ve got you,” the pop star sings on the gently strumming chorus before Khalid takes over on the second verse.

P!nk unveiled her Hurts 2B Human album on April 26

This article was originally published by: Billboard

From Elephants Falling Out Of the Sky to Drones Attacking, the 10 Wildest Moments in Camila Cabello’s ‘Liar’ Video


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Camila Cabello has proven, once again, that she is a music video queen. The «Havana» singer unveiled her amazingly dramatic «Liar» video Thursday (Sept. 12), and it’s another cinematic masterpiece.

The 6-minute clip — directed by Dave Meyers, who also directed the steamy «Señorita» video with Cabello and Shawn Mendes — features Cabello in the middle of a love triangle between billionaire (and total jerk) Reese Kensington and an adoring restaurant bus boy. Cabello’s acting skills shine, as she also portrays a hilariously fiesty Latina talk show host named La Flaca, but it’s the wacky bits of the video that make «Liar» truly great.

When Camila starts choking

By now it’s no secret that Camila Cabello is a great actress, but her fake choking may be her most convincing act yet. As she tries to tell Reese she loves the necklace he gave her (which she clearly doesn’t mean), she begins to choke, and it’s pretty darn believeable — she even turns bright red at one point. Though Camila’s pale near-death face is clearly just makeup, her choking sounds were spot-on.

When Camila and Reese have a high-speed goose chase

Upon waking up next to Reese with the bus boy’s love note in hand, Camila knows she needs to get out of the room quickly. As she speeds through the house, Reese wakes up to find her not there, and goes on a hunt to find her — and thanks to the scene’s high-speed visual effects, it’s quite a rush.

When everything becomes the truth

After Camila admits she hates the swanky restaurant and just wants a cheesburger (relatable, really), everything around her begins to live its truth the way she did. Dead roses come back into bloom; a waiter reveals that the food at the fancy establishment is only 10% natural (not 100%); two men on dates with women begin to make out; a balding guy removes his toupee; a man unveils his sleeve tattoo to his mom; and another waiter reveals he’s a breakdancer — all in a matter of 10 seconds.

When Camila gets squashed by an elephant

Okay, not really. But when Camila initially tells Reese off, she’s met with the first of a few resulting misfortunes — the first in the shape of a massive elephant falling out of the sky. Common occurrence.

When a hoard of bicyclists have a pile-up crash

Another one of Camila’s post-truth disasters involves a pack of cyclists who have a domino-effect crash after she walks into the middle of the street. She even avoided the elephant this time, dang it!

When the drones attack

What’s scarier than a swarm of buzzing bees? Thousands of buzzing drones, apparently. Her third and final truth-telling calamity is in the form of drones, which may be the most horrifying tragedy of them all.

When she sets the mansion ablaze (and barely escapes)

Though Camila has a burning desire to open the note the bus boy gave her, she seems to think that actually burning it is the best way to fight the urge. Of course, it backfires — literally — and suddenly Reese’s massive home goes up in flames. Luckily, she makes it out, but not without some seriously frizzed hair.

When Reese discovers a dildo in Camila’s her purse

After Camila set fire to the mansion, Reese puts her through a lie detector test. He first pulls out the necklace that she has yet to wear, which pains him enough. But once he pulls out a dildo, then he’s just offended. Camila, you go, girl.

When a little birdie brings Camila joy

As if there haven’t been a ton of did-that-really-happen moments already, an animated bird flies into Camila’s room once her «Liar» nightmare ends. Though the bluebird is quite adorable, it’s just another part that makes you wonder if you need to get your eyes checked.

When La Flaca says Camila isn’t that pretty

Camila’s anchor girl alter ego delivers the tea that Camila left a billionaire for a bus boy, and more hilarity ensues between La Flaca and her co-anchors, Gordita and Tammy. But after a handful of lighthearted jabs, La Flaca says, «She’s not really that pretty, is she?» then proceeds to call Camila a 7, to which Gordita says «she’s like a 5.» There’s plenty of outlandish things in the «Liar» video, but c’mon — Camila is a 10!

This article was originally published by: Billboard

Louis Tomlinson Rocks Out in Flashy ‘Kill My Mind’ Video: Watchhttps://www.billboard.com/files/styles/1500x992_gallery/public/media/Louis-Tomlinson-may-4-2019-england-billboard-1548.jpg


The guy gets the girl, but how does it end?

Louis Tomlinson is all in on the rock thing in the video for his «Kill My Mind» single. The high-energy clip directed by the aptly named Charlie Lightening (Paul McCartney, Liam Gallagher) that debuted on Friday morning (Sept. 13) finds Liam blazing through the uptempo track in a packed club in front of an enthusiastic audience that includes a particular blonde woman that the camera seems to love.

The live scenes are intercut with images of a man bombing down a country road on a motorcycle, leading one to believe that said road hog might be Louis and the woman might be his video love interest. But that’s where the plot twist comes in, as the man is revealed to be a buzz-cut rider excited to check out a Louis Tom show with his crush. As Tomlinson hypes the crowd with his Gallagher-esque stage moves on the song the former One Direction star co-wrote and co-produced with Jamie Hartman, the couple hop on the man’s bike and take off.

And that’s where the plot twist comes in. Watch the video below to see how it ends, and stick around after the surprise for a sneak preview of Tomlinson’s next chapter in the couple’s love story. «Kill My Mind» is the second song released to date from Tomlinson’s upcoming debut solo album, following the pop ballad «Two of Us.» The release date and title of the album has not yet been announced.

Watch «Kill My Mind.»


This article was originally published by: Billboard