We’re going to announce this summer’s winner here on the VH1 Blog on Tuesday, but before we do that, we’d love to find out what YOU, the VH1 audience, felt was this year’s Song Of The Summer. What song did you jam the most on the beach? Which track was blasting when you put your ragtop down so your hair can blow? What jam got you and your friends pumped up for a night out on the town? Vote as many times as you like in our poll below. (Oh, and congrats to You Oughta Know artist Foster The People for being only the third song all summer long to hold the top spot in our countdown with their zeitgeisty smash, “Pumped Up Kicks”!)
One of the minor instant celebrities of last night’s Video Music Awards was Tyler, The Creator‘s mother, who sobbed with pride and excitement when her son won the Best New Artist Moonman. It turns out that her on-camera presence is due in part to an unlikely VMA hero: Nathan Williams of Wavves, who claims on Twitter to have given her his Black Carpet pass. Left Brain of Odd Future seems to confirm this on his Tumblr, describing Williams as “a crazy white kid,” and further noting that Williams “sparked a blunt when [Lil] Wayne was performing and Ron Artest told him to put it out!” All that, and the premiere of I Just Want My Pants Back! featured new Wavves song “I Wanna Meet Dave Grohl,” a wish that apparently came true at the VMAs. [Tumblr]
Normally, defense lawyers tell their clients to keep their lips publicly zipped when it comes to matters like this, but the always dapper club sensation took to his website, PlanetPit.com, to tell his side of the story. He admits that when he first heard news of the lawsuit, he thought “it was very ironic,” but once he understood the severity of the allegations, he changed his tune. Pitbull claims the whole thing is just a misunderstanding over misheard and misinterpreted lyrics. “I didn’t look to defame, hurt or degrade someone else’s career,” he tells an off-camera honey. Rather, he explains that he was just attempting to keep her “relevant” and, furthermore, it’s considered a compliment to be “locked down” where he comes from. We’re not sure where you stand on this, but after watching Pitbull’s faux deposition, we’re officially on Team Pit on this one.
At this time last year, hopes for Maroon 5‘s third studio album, Hands All Over, were high. The lead single, “Misery,” had hit #1 on Billboard‘s Adult Pop chart, and since the band had convinced famed superproducer Robert “Mutt” Lange to come out of semi-retirement to produce their album, everyone looked for the band to take the leap from a well-liked, fairly popular M.O.R. band to the next level and a spot among the world’s most commercially successful bands. However, once the album finally hit streets in October 2010, the masses shrugged their shoulders and largely ignored the album. The record was certified gold by the RIAA for shipping over 500,000 copies, but worldwide sales stalled out at just 529,000 total units.
Perceived failures like this have sunk many a band in the past, but thanks to charismatic frontman Adam Levine and ten weeks of national TV exposure courtesy of NBC/Universal’s The Voice (corporate synergy at its finest!), the band has totally reversed their fortunes in less than a year. Their new track, “Moves Like Jagger,” hit #1 on the iTunes chart this week, and Levine’s featured hook on Gym Class Heroes‘ “Stereo Hearts” propelled the song to a Top 20 finish in this week’s Song Of The Summer countdown. No wonder artists like Mariah Carey (The X-Factor), Sara Bareilles (The Sing Off) and more are looking to land prime positions as judges on televised singing competition shows; it’s exactly the kind of exposure to Middle America that the flagging music business is no longer in a position to give these artists using “traditional” music channels. As Maroon 5 has proved, it’s great work if you can get it!
As for the rest of our Song Of The Summer chart —only two more weeks until we crown a champion!— kudos to Katy Perry for her ninth consecutive week in the #1 spot.
Electro-sleaze goofballs LMFAO are, at this moment, the only thing standing between Katy Perry and the history books. As we told you last week, their smash single “Party Rock Anthem” is blocking “Last Friday Night (T.G.I.F.)” from ascending to the top of the Billboard 100 chart (which would be Perry’s fifth Number One off her Teenage Dream LP). LMFAO is also currently besting Perry on the YouTube and iTunes charts, while Katy is maintaining dominance on Last.fm as well as airplay on our station. And our friends over at New York Magazine‘s Vulture just named “Party Rock Anthem”—a song they described as “a contrived, effective bit of nonsense about how ‘everybody?s gonna have a good time’”—as their current Song of the Summer.
Despite this onslaught from the progeny of Motown records founder Berry Gordy, our highly scientific formula still shows Perry atop our charts for the seventh consecutive week. While it will be incredibly difficult to topple her, it’s good to see Foster The People making a run at the Top Five. After a standout performance at Lollapalooza this weekend, their outstanding single “Pumped Up Kicks” is quickly climbing the charts; if the word “alternative” still carried any weight as a genre, there’s little doubt that Mark Foster could lay claim to the “alternative” Song of the Summer crown.
The dog days of summer are upon us, people. It’s August, it’s hot outside, and the news cycle is starting to slow to a crawl. The general sluggishness of the season is even affecting the music industry, as music fans don’t seem to be gravitating towards any new material. Instead, they seem to be content to play the same songs that they’ve had on repeat all summer long.
Case in point: Katy Perry‘s “Last Friday Night (T.G.I.F),” which has exhibited a stranglehold on the top of our Song of the Summer Countdown for six consecutive weeks. Her song looks to have a lock on the prize at this point, but then again, maybe The Throne (aka Jay-Z and Kanye West) can mount a last-minute challenge when their highly anticipated collaboration Watch The Throne drops next week? Stay tuned!
When Michael Jackson tragically and unexpectedly passed away two summers ago after an overdose of Propofol (which may or may not have been administered by Dr. Conrad Murray), the primary coping mechanism that people utilized while dealing with their grief was rekindling their love of his extensive musical legacy. People who hadn’t visited record stores in years flocked to purchase his back catalog, radio stations worldwide spun his songs for months on end and, as a result, Michael Jackson became a bigger star in death than he had been during the last 15 years of his life.
Well, in terms of her cultural relevance, it’s safe to say that Amy Winehouse was no Michael Jackson. However, her untimely (if somewhat expected) death this weekend at the age of 27 has done a lot to rekindle people’s interest in her musical output, which consists of two studio albums (2003′s Frank and 2006′s Back To Black) and a handful of B-sides. Not surprisingly, she currently occupies three of the top six spots on the iTunes album charts (see below), and “Rehab” —sadly, the song that will now forever define her career— has sold enough and been spun enough in the past three days to land it at #15 on this week’s Song Of The Summer Countdown.
As for the rest of the chart, there’s not much to say this week. The top seven spots in this week’s countdown are identical to the top seven songs from last week’s countdown; Katy Perry is still holding court at the top of the charts, and Adele is still nipping at her heels, closely trailed by Pitbull, LMFAO and Lady Gaga.
In the nineties, you could count the number of commercial white rappers on one hand. Beastie Boys. Vanilla Ice. Marky Mark (and the Funky Bunch). Maybe Everlast and even 3rd Bass count too, although their “household name” reach wasn’t nearly as long. As a result, an entire generation of hip-hop fans grew up listening to a genre that was based in a primarily Urban setting, rarely poking its nichey head above ground into the pop arena. That didn’t stop the audience’s obsession with hip-hop though, and regardless of content relatability, the music managed to draw a crop of loyal, melanin-lacking disciples.
Putting his unquestionable talent aside, it’s not a huge surprise that Eminem’sSlim Shady LP was so well-received when Interscope helped him to first put take his underground music into the mainstream back in 1999. Paving the way for the constant flow of new, up-and-coming white rappers who idolized him back then, Eminem came to market with a blunt, true-to-self, lower socio-economic class character that was refreshing and different from the previous attempts of white rappers past. Looking the accidental mockery in the face, who can forget The White Rapper Show, for example? Whether you hated it or loved it, it was a trainwreck that you couldn’t resist watching, if only to laugh at the contestants’ hilarious missteps.
On Monday, it was announced that white rapper Rich Hil, son of fashion designer Tommy Hilfiger, was signed to Warner Brothers Records. This news not only continues to feed the growing trend of white rapper signings, but also the perpetuates the sub-genre craze that is now commonly referred to as “Frat Rap.” Focusing less on conveying social commentary or more personal issues, Frat Rap flaunts a party lifestyle, celebrating the cliche reckless behavior associated with college fraternities, like getting hammered, bagging girls, and partaking in experimental gateway drugs. Executing lyricism and celebrating the Bronx-born culture aren’t really a priority.
At the moment, everyone who isn’t named either Adele or Katy Perry is currently playing for third place, but that’s a tight race, too. Pitbull and LMFAO each continue to hold strong with their club-friendly megahits, while Lady Gaga‘s “The Edge Of Glory” makes its highest appearance on the charts so far this summer, despite its video being widely panned as being too underwhelming and not up to snuff with the rest of Gaga’s video canon. It’s also worth noting that OneRepublic‘s “Good Life” would also find itself in the running for the top prize, if not for a total lack of traction on YouTube and LastFM.
One last note: Rebecca Black‘s follow-up to “Friday”—a song which might just be the most popular (and hated) song of 2011 so far—is scheduled to be released at 8 p.m. this evening. We should know in less than 24 hours time whether this song has got what it takes to make a late summer run at #1.