Pharrell’s new video for “Come Get It Bae” brings up a lot of questions: Why does the video start out by stating “beauty has no expiration date,” only for the multiple dancers in the video to all look to be in their thirties or younger? Why is Pharrell filming the dancers? Shouldn’t he be singing?
Tag: Pharrell (1-10 of 18)
Master parody artist Weird Al Yankovic is back, and this time, Pharrell’s “Happy” is his target.
“Tacky”—the first of eight videos he’s releasing over eight straight days in advance of his new album, Mandatory Fun—cleverly and playfully criticizes the everyday bad habits of our postmodern society.
Pharrell is all about the ladies: His most recent album is called G I R L, its songs are almost exclusively about females, and at his American Express “Unstaged” show last night at Harlem’s famed Apollo Theater, he made a special point to introduce his “baes” (a.k.a. his backup singers and dancers): “There’s no stars on this stage, everybody up here’s suns,” he said, forgetting that suns technically are stars… but hey, the sentiment was there.
Yesterday on The Howard Stern Show on Sirius XM, Pharrell Williams confessed that Cee-Lo Green actually recorded “Happy” years before he took the song to the top of the charts, but that “the powers that be at the time did not see it fit for” the Goodie Mob rapper turned four-letter-word crooner and star of The Voice. READ FULL STORY
Hans Zimmer admits he was reluctant to score another superhero flick.
“I think I’ve done all the -Man movies now,” the Oscar-winning composer, whose credits include Christopher Nolan’s Batman trilogy and last year’s Man of Steel, tells us in the latest issue of Entertainment Weekly, on stands now. But as it turns out, the prospect of scoring The Amazing Spider-Man 2 just proved too irresistible.
Step aside Jay and ‘Ye, Pharrell is the new King of Cool. The rapper/producer/entreprener/fashion icon graces the cover of the GQ‘s Style Issue this month. (Yep, he’s winking at you.)
The photo spread featured an amazing polka-dot ensemble that you can’t miss. Pharrell really seems to be bringing the Dr. Seuss game to his style choices and it totally works for him. (It’s the cheekbones.) While cruising around Miami, he shared his thoughts on politics, black culture and the space and time continuum. Here are some highlights:
On the girls-only gym he’s invested in: “they can find their inner beauty and find their inner challenging spirit and find their bravery, all by dancing, and then at the same time getting fit…you’re going to see loads and loads of women doing, you know, trap dances and squatting low…”
Rick Ross might need to update that $92 million bank balance he advertises on Mastermind: His luxuriously dark sixth album sold 179,000 copies last week, earning the number one spot on the Billboard 200. That’s his fifth chart-topping album, which as Billboard points out, puts him in rarified company, trailing only Nas, Kanye West, Eminem, and Jay Z in terms of hip hop number ones. (Last week’s top album, ScHoolboy Q’s Oxymoron, dropped to number eight.)
Pharrell Williams fans, it’s time to get happy.
Next up, Pharrell will be performing his hit single “Happy” at the Academy Awards this Sunday on ABC.
UPDATE: The stream is now live.
The Brit Awards are just moments away from kicking off at London’s famed O2 arena, and for the first time, you’ll be able to stream the U.K.’s annual pop music awards on YouTube and also help pick one of this year’s winners through social media.
At 3 p.m. ET, the show starts here: READ FULL STORY
The Beatles Grammy Salute performances: The good, the bad, and the tacky from John Mayer, Brad Paisley, Pharrell, Adam Levine and more
“I was wondering if it was seemly to tribute yourself,” said Sir Paul McCartney in the most quotable moment from last night’s prerecorded CBS special, “The Beatles: The Night That Changed America—A Grammy Salute.” Naturally, it was “a couple of American guys” who convinced him that awards-show-style indulgence was called for on the 50th anniversary of The Ed Sullivan Show bringing Beatlemania to these United States. But when Paul—and, let’s not forget, Ringo Starr—finally performed, they did it with such earnestness, good humor, and energy that all the self-congratulation seemed crowded out. The bummer was that the Yanks who covered Beatles songs in the two hours leading up to this casually historic finale missed a big fat opportunity to inject more tacky, over-the-top American spirit into the proceedings. The lusty screams of young women in cat-eye glasses seemed distant indeed.
Although we must recognize Adam Levine and John Mayer for bringing a louche, careless, cruise-ship vibe to “Ticket to Ride” and “Don’t Let Me Down,” respectively. Especially Mayer, who, with his appealing voice and hobo-stylist look, took his bittersweet selection to an irreverent climax, trading guitar faces with Keith Urban, his sleekly metrosexual partner. Honorable mentions go to Katy Perry, who gave “Yesterday” a literal representation in the form of her retro dress, with its yards and yards of flowery fabric (fashion scolds attacked this choice when they first spotted it on the red carpet); and the louchest of them all, Joe Walsh, who popped up in a couple places, wailing on his guitar and reminding everyone that rock excess endures even when it disdains mind expansion—and that this can be groovy, too. READ FULL STORY
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