Watch Avril Lavigne's, like, totally immature 'Here's to Never Growing Up' music video

Watch Avril Lavigne's, like, totally immature 'Here's to Never Growing Up' music video

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Co-written by fiancé Chad Kroeger, co-sponsored by 1998

My favorite part of Avril Lavigne's "Here's to Never Growing Up" is that there isn't a single acoustic guitar or drum machine in it. Think about it.

My least favorite part is there was no pig's blood involved.

While the track itself is a combo of Ke$ha's "We R Who We R" and Miley Cyrus' "Party In the U.S.A.," the video will remind you why you left your prom early to go drink in the car. In 1998.

"Here's to Never Growing Up" is the first song from Avril Lavigne's next album, her fifth, due some time in 2013.

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<p>The-Dream</p>

The-Dream

Credit: Andrew Zaeh

Listen: Jay-Z guests on The-Dream's low-brow 'High Art'

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Hit that, then go out

The-Dream and Jay-Z combine yet again for a new song off of the former's "IV Play." "High Art" is pretty low-brow, with The-Dream intro'ing "I'm tired of talking 'bout it, lets do it / Girl I'm missin' you like bitches miss my music / And I swear I can't wait to drop ya, hit your body with that yoppa." Bitches, note, also love being called bitches. Also, dropping E is the universal language for "I miss you, and I'm going to go out with my friends soon."

There's a lot of filler on this party song before you get to Hov's goods, when he gently explains his success and how, y'know, controlling girls are when they think you're going to be hanging out with "nasty bitches." Ugh, right?

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Listen to Jennifer Lopez and Pitbull's derivative, lab-made 'Live It Up'

Listen to Jennifer Lopez and Pitbull's derivative, lab-made 'Live It Up'

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Redone checks the 2012 carbon copy

Jennifer Lopez combines with Pitbull for a generic, Redone-produced single, for promotion around "American Idol" and the summer-bound months: "On the Floor." According to Lopez, if it ain't broke, don't fix it, and thus a new song is born. "Live It Up" by Jennifer Lopez, featuring Pitbull, dropped today in a haze of deja vu.

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Watch: Gary Oldman and Marion Cotillard star in David Bowie's 'Next Day' video

Watch: Gary Oldman and Marion Cotillard star in David Bowie's 'Next Day' video

NSFW video is predictably sacrilege... or is it holy?

"Thank you Gary. Thank you Mary. Thank you everybody," says David Bowie, playing Jesus. He's also giving gratitude to his co-stars in the new music video to his song "The Next Day," from his fresh album of the same name: Gary Oldman and Marion Cotillard star as a corrupt priest and a prostitute in the short film, which strangely clocks in a little shorter than the song's 3:27 run-time.

Still, it's enough tape for some self-flagellation, stigmata, the beating of a homeless man, a depraved Catholic cardinal dishing out money, Mother Mary and madonna/whores, kissing of rings and cutting of rugs by Cotillard and Oldman, the latter of whom should win Lifetime Achievement For Hair in one fell swoop.

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<p>Kanye West</p>

Kanye West

Credit: AP Photo

Kanye West ramps up hype for new album with performance at the Met: Watch

Hudson Mohawke also oiling the hype machine?

Even as his girlfriend Kim Kardashian was whipping fashion-watchers up in a frenzy, Kanye West still managed to be the belle of the ball at the Met Gala last night. The punk-themed evening was, coincidentally, a fine match for what appears to be fits of screaming coming from the rapper and producer, who intro'ed his set with the phrase "I am a god."

What follows is a series of Vine clips from the event, including what appears to be an ode to his pregnant girlfriend: "You're awesome."

And what matters less is how they sound: what's more is that West is previewing new material at all.

A second case-in-point is that his production protege Hudson Mohawke, who's signed to Ye's GOOD Music label, reportedly spun two new West tunes during a gig last night [via Fake Shore Drive]. Details are a little more hazy on this one, but Kanye West forum Kanye To The ran a couple of short videos, having had some input from Kanye cohort Mike Dean.

Considering the clips haven't been pulled, and that Mohawke has no need to bite the hand that feeds, either they weren't finished enough to offend or he got Ye's blessing to throw them on.

West took to his vacated Twitter account over the last week, to post just the words "June Eighteen."

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Watch: Yeah Yeah Yeahs' 'Mosquito' music video

Watch: Yeah Yeah Yeahs' 'Mosquito' music video

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It will suck your blood

One of your least favorite things about the summer months is the featured creature in the Yeah Yeah Yeahs' "Mosquito" music video. The famed blood-sucker spends the clip doing as the song says.

The CGI winged nuisance also changes shape over the duration, taking on neon colors and getting greedy, chowing down on a little boy's hand. Curiously, director Shimbe Shim shows the mosquito's victim's face in the lower right hand corner, making a display of him watching us and watching it, without the ability to do anything to warn him. The insect ultimately gets his, but it is a very uncomfortable time up until then.

Perhaps the wily song has the same initiative: to make the listener a little perturbed and slightly violent, a little raging weirdo among the other weirdos on the album that shares the same name as this track.

Whatever, just keep it away from me.

Read our review of Yeah Yeah Yeahs' "Mosquito" here.

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<p>&quot;You know how I feel about will.i.am.&quot;</p>

"You know how I feel about will.i.am."

Credit: Warner Bros. Pictures

Review: Soundtrack to Baz Luhrmann's 'The Great Gatsby'

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Jay-Z, will.i.am, Beyonce, Lana Del Rey: Album is a series of missteps to the Charleston

Were the soundtrack to Baz Luhrmann’s “The Great Gatsby” made in a vacuum, it would seem its supervisory was given a loose guideline to tip its hat to the trademarks and to put a subtle spin on the opulence of the “Gatsby” era. Operationally, it sounds like what a 1920s-themed sorority party looks like.

Luhrmann on “Moulin Rouge” and “Romeo + Juliet” proved adept at hand-selecting buzzy bands and theatrical covers to convey the same over-the-topness that his narrative adaptations do. They were hits vehicles. “The Great Gatsby,” on the other hand, is vehicular manslaughter, with several instances of forcing ‘20s music together with hip-hop and dance in ways that demean all genres. And that’s not to say they can’t combine – ask soundtrack contributor Q-Tip of jazz and hip-hop’s storied romance together.
 
The first perpetrator, though: will.i.am, a master of the copy-and-paste pathos of pop music-making, whose scatting over Louis loops and vapid blues-making “Bang Bang” will cause follicles to peel from skin like cheap fringe on a Forever 21 costume dress. His Black Eyed Peas cohort Fergie, whose strong pipes do a fine imitation of torch-bearers from the '20s, is nailed into a cheap coffin of “skeet-boddop-bop” by Goonrock on “A Little Party Never Killed Nobody (All We Got).” Able-bodied Emeli Sande does her best on Jay-Z and Beyonce’s “Crazy in Love,” the Bryan Ferry Orchestra’s warped and cartoonish anthem that would be better suited to a 30-second commercial than a lurching 3-minute experiment. (Ferry with his Orchestra, unsurprisingly, do a much more linear spin on Roxy Music’s “Love Is the Drug,” as well.)
 
Speaking of the couple that encapsulates lavishishness of a spirited era, Bey and Hov both take turns on the set. Jay-Z’s “100$ Bill” slips on a sequined headband (sampled horns) with the copped stutter of A$AP Rocky, making it an OK-but-not-great addition from the film’s executive producer. The cover of Amy Winehouse’s lovers’-mourning, “Back to Black,” by Beyonce and Andre 3000 feels positively skeletal and dated on impact.
 
The struggle with now-ness is pertinent to one of the soundtrack’s few achievements. See Lana Del Rey, whose strengths as a personality and performer lie precisely with the lyrical DNA of a song like “Young and Beautiful.” She doesn’t state “You WILL still love me…” but asks the question “WILL you still love me when I’m no longer young and beautiful?” and arrives, trancelike, “I know you will” as she vapidly pines: “Oh that grace, oh that body / Oh that face makes me wanna party / He's my sun, he makes me shine like diamonds.”
 
It’s a song so willfully vacant, it’s practically satire (very, very beautiful satire); tracks like it plus Sia and Florence + The Machine’s turn at melodrama help to mold Luhrmann’s spin on F. Scott Fitzgerald’s subtle dig at the American Dream. But this is not created in a literary vacuum, it's a functioning soundtrack. Like missteps to the Charleston, the elegance of suggestion from its better songs is disrupted by its obnoxious neighbors. Maybe Tom Buchanan can relate.

 

Watch Tom Waits perform with the Rolling Stones in L.A.
Credit: AP Photo

Watch Tom Waits perform with the Rolling Stones in L.A.

First among the classic rock band's tour dates features very special guests

As I'm on the self-assigned Tom Waits beat in perpetuity, here is Waits singing "Little Red Rooster" with the Rolling Stones last night (May 5) during the classic rockers' show in L.A.

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<p>Taylor Swift in &quot;Highway Don't Care&quot;</p>

Taylor Swift in "Highway Don't Care"

Taylor Swift co-stars in Tim McGraw's 'Highway Don't Care' music video: Watch

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Keith Urban shows up, too, for another Car Crash Music Video

"Highway Don't Care" by Tim McGraw and featuring Taylor Swift and Keith Urban features all three country stars in its music video, which also brings home the message: don't futz with your cell phone in your car, folks. Otherwise, Vanderbilt Medical is going to have to scrape you up from the highway, and the highway don't care.

This marks yet another addition to the Car Crash Music Video genre: "Highway Don't Care" hops in next to others like Coldplay's "The Scientist," Trey Songz' "Heart Attack," Metallica's "Frantic," Nickelback's "Someday," Katy Perry's "One That Got Away" and Adele's "Chasing Pavements," some with better storytelling and "twists" (an apparent feature of Car Crash Videos) than others.

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<p>Lauryn Hill walks to court in Newark, N.J. today (May 6)</p>

Lauryn Hill walks to court in Newark, N.J. today (May 6)

Credit: AP Photo

Listen to Lauryn Hill's new song 'Neurotic Society (Compulsory Mix)'

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Released in order to avoid jail or penalty from Sony

Man, there is nothing like an artist who reluctantly releases new music.

As previously reported, the Grammy Award-winning MC and singer Hill signed a new record deal with Sony in order to get an advance of cash that helped to get her out of her tax debt to the government. The punishment for tax evasion could have equaled out to jail time. The punishment for failing to deliver goods to her new record label? Who knows, maybe even harsher, like a purposely ill-fated collaboration with Ke$ha?

Regardless, Hill has completed step one of her deal with the major music company by dropping a new song "Neurotic Society (Compulsory Mix)." Compulsory, as in required by law, or coersion. That's what's giving you that warm feeling in your belly, right next to that bitter pill.

The song appeared on Hill's Tumblr this weekend (nothing says "fanfare" like posting on a weekend), making it her first new release in more than a decade. She noted that the song was "rushed" out the door, though she stands by its message:

Here is a link to a piece that I was ‘required’ to release immediately, by virtue of the impending legal deadline. I love being able to reach people directly, but in an ideal scenario, I would not have to rush the release of new music… but the message is still there. In light of Wednesday’s tragic loss (of former label mate Chris Kelly), I am even more pressed to YELL this to a multitude that may not understand the cost of allowing today’s unhealthy paradigms to remain unchecked!

The resulting song is about "unhealthy paradigms." More simply: Hill is pissed about everything, and guns are blazing in every direction, including the hypocrites, the greedy, the ignorant, the oppressors, the patriarchy, the "neurotic toxic society."

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