special culture
Vogue Writers Clash Over Charli XCX and Lorde’s Intriguing “Girl, So Confusing” Remix

Após Charli XCX liberar seu sexto álbum de estúdio, Brat, em 7 de junho, a internet rapidamente entrou em fervor. Embora várias faixas tenham gerado discussão—“360,” com seu grupo de garotas famosas; “Penso nisso o tempo todo,” refletindo sobre a estranheza de ter amigos com filhos—“Menina, tão confusa” iniciou uma conversa diferente, devido às alusões de Charli a uma conhecida rival com “o mesmo cabelo” que ela. Em questão de segundos, detetives virtuais deduziram que a canção se referia a Lorde—embora essa conclusão se complicasse pelo fato de que Lorde rapidamente foi ao Instagram para elogiar Brat.

Mais surpreendente ainda, Lorde respondeu de fato à música. Ontem à noite, as duas artistas lançaram sua primeira colaboração conjunta, o remix “A versão da menina, tão confusa com lorde”, produzido por A.G. Cook. Em vez de um verso brincalhão e descartável, Lorde respondeu às inseguranças manifestadas por Charli sobre seu relacionamento (“Falamos sobre fazer música / Mas não sei se é sincero / Não dá para saber se você quer me ver / Caindo e fracassando”) com uma honestidade cortante. “Você sempre dizia, ‘Vamos sair’ / Mas então eu cancelava no último momento / Eu estava tão perdida em meus pensamentos / E com medo de estar em suas fotos”, canta Lorde. “Porque nos últimos anos / Estive em guerra com meu corpo / Tentei me esgotar ficando mais magra / E então recuperei todo o peso / Estava presa no ódio / E sua vida parecia tão incrível / Nunca pensei por um segundo / Que minha voz estava em sua cabeça.”

Harmonious Alliances: Allie X & Empress Of Unite on ‘Galina’

Allie X y Empress Of están teniendo dos lunes completamente diferentes. Conectando a través de Zoom desde el rural Canadá, Allie, cuyo verdadero nombre es Alexandra Hughes—que ahora reside en Los Ángeles, pero ha regresado a su país natal para unas vacaciones de verano—se sienta en una tumbona con la espléndida serenidad bucólica de un lago bordeado de bosque tras ella. Mientras tanto, Lorely Rodriguez, la nativa de Los Ángeles detrás de Empress Of, está en Londres, donde son las 10 p.m. en un fin de semana de bank holiday, y ha vuelto al apartamento que está alquilando después de un gran día de baile en el legendario Notting Hill Carnival. “Lo siento, he tomado algunos Aperol spritzes,” dice con una sonrisa.

Aunque ambas músicas son camaleónicas en el pop, sus más recientes discos también son un estudio en contrastes. Girl With No Face de Hughes, lanzado en febrero, es una impresionante y teatral porción de perfección synth-pop de los ’80, producida en su totalidad por Hughes. En cambio, For Your Consideration de Rodriguez, lanzado en marzo, amplió el baile-pop con influencia latina y etérea de sus lanzamientos previos I’m Your Empress Of y Save Me para convertirse en su álbum más seguro hasta la fecha. Así que fue algo sorprendente que las dos se unieran para una reimaginación del destacado tema del álbum de Hughes, “Galina,” una peculiar oda a una mentora femenina mayor que misteriosamente desaparece de la vida de Hughes. (Resulta que la inspiración más literal fue una anciana rusa que trabajaba en una clínica de piel y creó una loción a medida que curó el eczema de Hughes: después de retirarse, Hughes no pudo localizarla para obtener la receta. “Básicamente, Allie me llamó y fue como, ‘Tengo esta canción sobre el eczema, y siento que necesitas estar en ella,’” bromea Rodriguez. “Y yo estaba como, ‘Está bien. Punto. Vamos.’”)

A Reminder That Joni Mitchell’s Blue is the Ultimate Summer Travel Album
“Embracing Your True Self: Clairo Talks Style, Her New Tour, and Mastering the Perfect Winged Liner”

It’s approximately 4 p.m. when Claire Cottrill, known in her career as Clairo, ambles into Webster Hall for a sound test. Outside, on East 11th Street, admirers are lined along the block, anxious to claim their place in the standing-room-only location. Cottrill has had a hectic summer, with her third record, Charm, dropping in July and swiftly gaining traction online. (Surely you’ve come across the effervescent, longing “Sexy to Someone”?) Four concerts into her five-night residency in New York, she discusses feedback from the earlier day’s show with her band onstage. Then, after rehearsing “Juna,” “Thank You,” and “Echo,” Cottrill meets me in her dressing area. She opens a pack of Cafe Bustelo, her favored coffee brand, and offers me a cup while we chat.

“The entire intention of having short-term residencies in LA and New York was to have, like, 10 shows under our belt before we start a tour across the rest of the nation and the globe. Gaining that experience and language built among the band is crucial,” Cottrill says, contemplating her first leading shows in nearly two years. Nonetheless, the audiences both in New York and Los Angeles, where she performed five nights at the Fonda Theatre near the beginning of the month, were prepared: “It’s certainly surreal to hear folks singing the words back to me,” she states. “It’s always been an astonishing experience for me.”

Cottrill selected both residency locations for their audio excellence, which she recalled from attending events there herself in past years. “Attending live music was such a significant part of my childhood,” she remarks. “What more could I wish for than providing an experience like that for young people? It’s so lovely.”

While Charm has been delighting Clairo enthusiasts for months now, its rhythmic sound freely drawing from jazz, soul, and psychedelic folk, Cottrill has been living with the record for the majority of a year since creating it in her upstate New York dwelling with co-producer Leon Michels. “I enter recording with the understanding that what I release may not be everyone’s top album, but I believe as long as I sense that I’m evolving and advancing my personal journey, then it’s worth releasing,” she articulates.

Kendall Jenner and Bad Bunny’s Stylish (Barefoot?) Louvre Adventure

From my perspective, a museum outing is ideally enjoyed at the start of a romance—when you’re still sufficiently unfamiliar with each other’s peculiarities to persuade one another that you truly appreciate art and are essentially a living Gardner’s Art Through the Ages encyclopedia—but now that they’re (supposedly) reunited, Kendall Jenner and Bad Bunny appear to be indulging their creative side. On Wednesday, a few evenings after making an appearance at Vogue World: Paris, the duo was observed at the Louvre, where they were granted an exclusive late-night tour.

A Kendall/Bad Bunny outing invariably warrants celebration, yet there’s one detail that renders this excursion particularly thrilling from a style (or…orthopedic?) perspective: Jenner combined her elegant black asymmetrical skirt and matching top with bare feet, perpetuating a trend largely attributed to none other than Gwyneth Paltrow for popularizing. Is it the ultimate affluent-person trait to forgo footwear at one of Europe’s top cultural landmarks? Certainly, but in contrast to contributing to Trump’s 2024 campaign or purchasing a Tesla Cybertruck, I consider it a rather innocuous display of immense wealth. Allow Kendall her freedom! Candidly, if granted a night tour of the Louvre, the first action I’d take is to slip off my shoes; subsequently, I’d remove my bra; and by the time you arrived to usher me out, I’d be completely cocooned in a Slanket beside the Seurats.

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Sibling Anthems: The Gallagher Brothers’ Epic Feud

Ne regarde pas en arrière avec colère—Oasis, les fils prodigues du Brit-pop, revient. Après des années de querelles publiques, de sous-entendus sur Twitter et d’agressions présumées avec une batte de cricket, les frères Gallagher—Liam et Noel, évidemment—travaillent sur la réconciliation avec un remix, en annonçant une série de dates pour l’été 2025 sur leur site web. (C’est le moment idéal pour dire que “Wonderwall” est un chef-d’œuvre; aucun commentaire supplémentaire.)

Je ne suis pas un critique musical, alors je ne vous ennuierai pas avec mes synonymes maladroits pour mélodie, mais Oasis était évidemment un phénomène culturel. À leur apogée—probablement leurs célèbres deux soirées consécutives à Knebworth en 1996—Oasis incarnait une certaine arrogance typiquement mancunienne, une confiance insolente inégalée qui se heurtait à une scène musicale britannique plus construite, oserais-je dire prétentieuse. Franchement, la plupart des années 90 avaient un petit air nostalgique des années 60—les chambres à travers le pays étaient dotées de lampes à lave et de chaises gonflables translucides—et Oasis était le plus proche des Beatles parmi l’arsenal du Brit-pop du milieu du siècle. Et tandis que Blur, Suede et Pulp semblaient venir des écoles d’art et frustrés par leur propre classe moyenne, Oasis se trouvait de l’autre côté du spectre britannique, un groupe rock de la classe ouvrière misant sur la chance sans rien à perdre. Le Brit-pop, de manière générale, était fantaisiste et fondamentalement poli. Oasis était insolent, sans loi, et complètement indifférent.

L’un des aspects qui rend Oasis si britannique est leur capacité à se prendre extrêmement au sérieux tout en étant très, très spirituels. Leur lyrisme imaginatif dépasse leurs compositions, et toutes leurs querelles semblent hilarantes. Noel a décrit Liam comme “un homme avec une fourchette dans un monde de soupe”. Liam a plus de rivalités qu’un épisode de The Bear—avec Damon “ce con de blur” Albarn, les Spice Girls’ (Mel C (qui a proposé de se battre avec Liam aux Brits), et, dans une querelle apparemment sans fin, avec Robbie “gros con idiot” Williams. Liam a un jour dit, “Chris Martin ressemble à un prof de géographie,” a qualifié le footballeur Wayne Rooney de “putain de ballon avec un putain de Weetabix écrasé sur le dessus,” et a déclaré, “Tout le monde [dans Mumford & Sons] a l’air d’avoir des putains de poux et mange de la soupe de lentilles avec les manches retroussées.” Mais Liam réserve son vif mépris pour “la vieille langue brune” et “le Ronnie Corbett du rock n roll” Noel, qui a apparemment quitté temporairement Oasis après que Liam lui ait jeté un tambourin à la tête.

Je suis heureux qu’Oasis soit de retour ensemble—un milliard de personnes chantant “Wonderwall” en direct sera transcendant—mais, je sais pas, j’espère un peu de drame entre les frères? Je ne pense pas que leurs égos duellistes puissent assez se détendre, même en supposant les 50 millions de livres qu’ils sont censés gagner. C’est en partie la raison pour laquelle leur rupture a été si fascinante—et leur réunion sera si divertissante.

Celebrating the Victory: 2024 MTV VMA Champions

Las Premios MTV Video Music Awards de 2024 se transmitieron en vivo desde el UBS Arena de Long Island el 11 de septiembre, contando con la encantadora Megan Thee Stallion como anfitriona de la velada y una gran variedad de emocionantes talentos musicales—desde Chappell Roan y Sabrina Carpenter hasta Lenny Kravitz, Shawn Mendes, y Rauw Alejandro—listos para ofrecer actuaciones. Pero, debido a las categorías tan disputadas este año (¡Ariana contra Taylor! ¡Bad Bunny frente a Eminem! ¡Beyoncé vs. Billie!) ¿qué artistas nominados se llevaron los premios más importantes de la noche? Sigue con nosotros para recibir actualizaciones sobre todos los grandes ganadores del moonperson en los VMAs de este año.

Video del Año

GANADORA: Taylor Swift ft. Post Malone, “Fortnight”

Ariana Grande, “no podemos ser amigos (espera tu amor)”

Billie Eilish, “ALMUERZO”

Doja Cat, “Pintar la ciudad de rojo”

Eminem, “Houdini”

SZA, “Dormir”

Mejor Latino

GANADORA: Anitta, “Mil Veces”

Bad Bunny, “MÓNACO”

KAROL G, “MI EX TENÍA RAZÓN”

Myke Towers, “LALA”

Peso Pluma & Anitta, “BELLAKEO”

Rauw Alejandro, “Tocando el cielo”

Shakira & Cardi B, “Puntería”

Mejor Artista Nuevo

GANADORA: Chappell Roan

Benson Boone

Gracie Abrams

Shaboozey

Teddy Swims

Tyla

Mejor Hip-Hop

GANADOR: Eminem, “Houdini”

Drake ft. Sexyy Red & SZA, “Bebé Rico Papá”

GloRilla, “¡Sí Glo!”

Gunna, “fukumean”

Megan Thee Stallion, “BOA”

Travis Scott ft. Playboi Carti, “FE!N”

Mejor Coreografía

GANADORA: Dua Lipa, “Houdini” – Coreografía por Charm La’Donna

Bleachers, “Pequeños movimientos” – Coreografía por Margaret Qualley

LISA, “Rockstar” – Coreografía por Sean Bankhead

Rauw Alejandro, “Tocando el cielo” – Coreografía por Felix ‘Fefe’ Burgos

Tate McRae, “avaricioso” – Coreografía por Sean Bankhead

Troye Sivan, “Rush” – Coreografía por Sergio Reis, Mauro Van De Kerkhof

Mejores Efectos Visuales

GANADOR: Eminem, “Houdini” – Efectos Visuales por Synapse Virtual Production, Louise Lee, Rich Lee, Metaphysic, Flawless Post

Ariana Grande, “el chico es mío” – Efectos Visuales por Digital Axis

Justin Timberlake, “Selfish” – Efectos Visuales por Candice Dragonas

Megan Thee Stallion, “BOA” – Efectos Visuales por Mathematic

Olivia Rodrigo, “haz que regrese” – Efectos Visuales por Cooper Vacheron, Preston Mohr, Karen Arakelian, Justin Johnson

Taylor Swift ft. Post Malone, “Fortnight” – Efectos Visuales por Parliament

Canción del Año

GANADORA: Sabrina Carpenter, “Café Express”

Beyoncé, “TEXAS HOLD ’EM”

Jack Harlow, “Amor en Mí”

Kendrick Lamar, “No como nosotros”

Taylor Swift ft. Post Malone

Teddy Swims, “Perder el Control”

Mejor Afrobeats

GANADORA: Tyla, “Agua”

John Legend: Dreamy Lullabies, Sleep Composing, and a Memorable Encounter with Prince

John Legend has tunes on his brain even during slumber. There are instances when the artist is immensely inspired, dreaming of fresh harmonies and ideas, subsequently waking up to capture them on his mobile before they vanish.

The unceasing, sometimes obsessive whirl of Legend’s inventiveness can likely be attributed to the fact that the 45-year-old has been crafting songs since childhood, consistently drawing motivation from the void and transforming it into the compositions forming his vast collection.

In the two decades since his initial album, Get Lifted, came out, Legend has frequently documented pivotal instances of his life through his music; his iconic track “All of Me,” dedicated to Chrissy Teigen, was launched a month prior to their Lake Como nuptials in 2013. Now the parent of four children under nine years old (the youngest being a boy named Wren, who arrived last summer), Legend is unmistakably a family-oriented individual—hence, his tenth studio album, fittingly named My Favorite Dream, centers on lullabies and tunes for the young ones. For Legend, the album was an opportunity to leave his unique mark on a typically overlooked music category.

With Sufjan Stevens involved as a producer, My Favorite Dream features jubilant original pieces and renditions of Fisher-Price melodies that many parents recognize all too well. Legend shared insights with Vogue about this endeavor and the enchantment of inventiveness—alongside his notable recent appearance at the Democratic National Convention.

Vogue: Besides tunes like “Rainbow Connection” or Vince Guaraldi’s Peanuts pieces, serious composing and children’s music haven’t always blended…

John Legend: I don’t wish to undervalue those who create music for youngsters, as many invest considerable effort and thought into it. However, it’s accurate that not many prominent pop artists have produced a complete children’s record like this. But I wanted to approach it in the same way I would any other album, maintaining standards of musical excellence, sonic quality, and other criteria to which I hold any of my albums.

Podcast Spotlight: Finneas – Breaking Away from Sentimentality

Finneas isn’t hesitant to relinquish things. Be it a track he’s penned or a souvenir, the 10-time Grammy victor explains that being attached isn’t part of his approach.

Initially recognized for co-authoring and producing tracks alongside his sister, Billie Eilish, within their family’s Los Angeles residence, Finneas has now crafted music for numerous artists like Drake, Rosalía, and Justin Bieber. In the latest episode, Chloe Schama and Chloe Malle chat with him regarding his second independent album, For Cryin’ Out Loud; his experience at the Met Gala; and collaborating with Alfonso Cuarón on the fresh Apple TV series Disclaimer.

Besides, Chioma Nnadi and Chloe Malle converse about the significant fashion happenings of the week, covering Chioma’s newfound admiration for Maria Callas style (motivated by Angelina Jolie’s latest movie Maria), the finest ensembles at the Academy Museum Gala, and an evaluation of Armani’s debut New York runway display.

Camila Cabello’s Dazzling Dive into Miami’s Gritty Glamour

Camilla Cabello has portrayed a variety of characters throughout her career. As part of the X Factor-created girl band Fifth Harmony, she captured the show’s judges as a relatable, quintessential pop star—so compellingly that after four years, she decided to pursue a solo path in 2016. In her early tracks such as “Havana” and “Señorita,” the singer from Cuba presented a modern-day Carmen Miranda fantasy seemingly aimed at English-speaking audiences.

Cabello delved more deeply into her background with her 2022 album, Familia. The sincere ballads, reflecting an immigrant daughter’s dedication, were not solely about her personal identity but also her broader connection to Latino culture. In songs like “Lola,” she mused about an alternate reality where her parents had never left Cuba and Mexico for grander dreams.

In preparation for her upcoming album, C, XOXO, Cabello ended her long-term romance with Shawn Mendes and left Los Angeles for the city of her upbringing: Miami. She enlisted renowned producers El Guincho and Jasper Harris to craft a more daring sound for her, influenced by the hip-hop beats of her youth. By blending her music with Jersey club (“I Luv It” featuring Playboi Carti), reggaeton (“Dream Girls”), and Afrobeat (“He Knows” featuring Lil Nas X), Cabello released an innovative album reflecting the diverse nature of the Magic City.