Rihanna Bursts Into Flames on Diamonds World Tour Rihanna Bursts Into Flames on Diamonds World Tour Laura Ferreiro Share By Laura Ferreiro There's no denying Rihanna knows how to heat things up, but on Tuesday she was literally on fire. While performing in Portugal on her Diamonds World Tour, the pop star appeared to burst into flames. Unlike the time Michael Jackson's hair caught on fire while filming a Pepsi commercial, this was a controlled outburst. Although the photo RiRi posted on Instagram made it look like her hair was on fire, she was actually standing in front of carefully placed pyrotechnics, reports InStyle. The star was wearing a striking ensemble of skin-tight red pants, knee-high yellow boots and a black-and-white bustier (hopefully fireproof), and she dramatically threw back her long blond locks as the flames ignited. Rihanna's world tour continues Thursday with a show in Istanbul and takes her throughout Europe for most of the summer before hitting Australia in September. The next scheduled US date is on November 11 at the American Airlines Center in Dallas, Texas.

Reblog Here’s a history of rockers who have burst into flames | New York Post Here’s a history of rockers who have burst into flames 5 Seconds of Summer guitarist Michael Clifford performs in London Saturday before a pyrotechnic accident gave him second-degree burns. Jo Hale/Redferns via Getty Images Sometimes a band is so hot, they’re literally on fire. Bands have many vaunted voluntary traditions — smashing guitars, fussily walking off the stage like a prima donna — and one involuntary one that keeps popping up: accidentally catching on fire. The latest victim of flame-on rock ’n’ roll happened Saturday night: Australian American Apparel mannequins 5 Seconds of Summer were playing a show in London when guitarist Michael Clifford wandered too close to a burst of pyrotechnics onstage, causing his hair and shirt to briefly catch fire . Happily, the 19-year-old singer is recovering well — and seems to have a good sense of humor about it .

That aside, musicians seem to have a penchant for setting themselves on fire, as if the real performing world were a series of deleted scenes from “This Is Spinal Tap.” Here’s a brief history: KISS, 1973 The famously elaborate glam-rock band is no stranger to pyrotechnics in its shows, and the band doesn’t seem too fazed by the danger they present, either. At a New Year’s Eve show in New York City in 1973, frontman Gene Simmons attempted a fire-breathing stunt by spitting mouthfuls of kerosene onto a flaming torch while the band played the song “Firehouse.” One of those bursts caught Simmons’ signature long locks and started to burn before someone ran onstage to smother the flame. This was just the first time, though: In a 1999 online chat, Simmons guessed he’d set his hair on fire “probably six or seven times” over the years — who knows how many times he’s done it since then. Michael Jackson, 1984 We were all heartbroken when Michael Jackson died suddenly in 2009 — but just imagine if Pepsi had killed the pop icon in his prime.

That was nearly the case when the then-25-year-old Jackson was singing “Billie Jean” as part of a Pepsi commercial in Los Angeles in 1984. A fireworks display erupted, showering him in sparks, which set his hair on fire. Jacko didn’t notice at first and kept dancing down the stairs, so studio audience members thought it was part of the show. Eventually, friends ran onstage to put out the flames. “All his hair was gone and there was smoke coming out of his head,” a witness recalled in 2013, according to the LA Times . Instead of suing Pepsi, however, the singer asked the cola maker to build a burn center at Brotman Medical Center in Culver City, Calif., where he was treated for second-degree burns. Metallica, 1992 One of the most infamous fire accidents in rock history started during what should have been one of the most badass tours on the planet. In 1992, heavy rockers Metallica and Guns N’ Roses teamed up for a concert tour that looked good on paper — but just ended up being fodder for a prolonged “Behind the Music” segment.

During the Montreal show, Metallica was playing “Fade to Black” when a prop exploded, engulfing lead singer James Hetfield in a column of flames. He suffered second-degree burns to his face, arms and hands. Instead of taking the stage right after the incident to defuse the situation, Guns N’ Roses came on late and refused to play their whole set — angering the sold-out audience of 53,000, who promptly rioted and caused property damage and about a dozen injuries. Stars, Set Yourself on Fire, 2004 As far as we can tell, no one was actually set on fire during the making of this album by Canadian indie pop band Stars. It’s just a really good album you should listen to. It might set your ears on fire, but your hair is probably safe. Share this: Pepsi Commercial ( HD ) Michael Jackson Hair catches fire - YouTube Pepsi Commercial ( HD ) Michael Jackson Hair catches fire Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later.

Uploaded on Jul 17, 2009 Pepsi commercials In 1984, Pepsi sponsored The Jacksons' Victory Tour. In return, Michael and his brothers were to star in two commercials for the company. Jackson had reworked "Billie Jean" for the commercial and entitled it "Pepsi Generation". The song was used as the official jingle for the commercials and released as a 7" promo single. The launch of "The Choice of a New Generation" campaign in February 1984 was attended by 1,600 people who were issued with a programme and a 7" single. During the filming of the second commercial a firework exploded and Jackson's hair caught fire, leaving the singer needing reconstructive surgery.The commercials were premiered at the Grammy Awards, with Jackson wearing a hairpiece to cover his burns as he collected a record eight awards Michael Jackson RIP KING OF POP beat it billy jean man in the mirror black or white im bad thriller we are the world Michael Joseph Jackson (August 29, 1958 June 25, 2009) was an American recording artist, entertainer and businessman.

The seventh child of the Jackson family, he made his début onto the professional music scene at the age of 11 as a member of The Jackson 5 in 1969, and began a solo career in 1971 while still a member of the group. Jackson was referred to as the "King of Pop" in subsequent years; his 1982 album Thriller is the world's best-selling record of all time and four other solo studio albums are also among the world's best-selling records: Off the Wall (1979), Bad (1987), Dangerous (1991) and HIStory (1995). In the early 1980s, he became a dominant figure in popular music and the first African American entertainer to amass a strong crossover following on MTV. The popularity of his music videos airing on MTV, such as "Beat It", "Billie Jean" and "Thriller" — widely credited with transforming the music video from a promotional tool into an art form — helped bring the relatively new channel to fame. Videos such as "Black or White" and "Scream" made Jackson an enduring staple on MTV in the 1990s.

With stage performances and music videos, Jackson popularized a number of physically complicated dance techniques, such as the robot and the moonwalk. His distinctive musical sound and vocal style influenced many hip hop, pop and contemporary R&B artists. While Jackson was a member of Generation Jones,] he had an impact on multiple generations. Jackson donated and raised millions of dollars for beneficial causes through his foundation, charity singles and support of 39 charities. Other aspects of his personal life, including his changing appearance and behavior, generated significant controversy, damaging his public image. Though he was accused of child sexual abuse in 1993, the criminal investigation was closed due to lack of evidence and Jackson was not charged. The singer had experienced health concerns since the early 1990s and conflicting reports regarding the state of his finances since the late 1990s. Jackson married twice and fathered three children, all of which caused further controversy. In 2005, Jackson was tried and acquitted of further sexual abuse allegations and several other charges.

One of the few artists to have been inducted into the Rock and Roll Hall of Fame twice, his other achievements include multiple Guinness World Records—including one for "Most Successful Entertainer of All Time"—13 Grammy Awards, 13 number one singles in his solo career, and the sale of 750 million records worldwide.[6] Jackson's highly publicized personal life, coupled with his successful career, made him a part of popular culture for almost four decades. Michael Jackson died on June 25, 2009, aged 50.The specific cause of death has yet to be determined. Before his death, Jackson had announced a 50-date sell-out This Is It comeback tour, in London, England Jackson stated in his autobiography, Moon Walk, that the song was based on the groupies he and his brothers encountered while part of The Jackson 5. "There never was a real Billie Jean. The girl in the song is a composite of people my brothers have been plagued with over the years. I could never understand how these girls could say they were carrying someone's child when it wasn't true."[5][6] Jackson biographer J.

Randy Taraborrelli promoted the theory that "Billie Jean" was derived from a real life experience the singer faced in 1981. The Magic & The Madness documents how a young woman wrote a letter to Jackson, informing the singer that he was the father of one of her twins.[7][8] Jackson, who regularly received letters of this kind, had never met the woman in question and ignored it. The woman sent more letters to Jackson, claiming that she loved him and wanted to be with him. She wrote of how happy they would be, bringing up the child together. She pondered how Jackson could ignore his own flesh and blood. The letters disturbed the singer to the extent that he suffered nightmares. Category Watch the unseen footage of Michael Jackson's hair on fire in horrific Pepsi accident | Daily Mail Online comments Unseen footage has emerged of the moment Michael Jackson's hair was engulfed in flames when a stunt went badly wrong as he filmed an advert for drinks company Pepsi in 1984. The distressing images show the moment a pyrotechnic stunt caused Jackson's hair to set alight, and the singer continue dancing with his hair on fire as he failed to realise that anything was wrong.

As a result Jackson's scalp was left severely burnt and he was prescribed painkillers to treat his agonising injuries - leading to an addiction it is alleged he never managed to kick. SCROLL DOWN TO WATCH THE SHOCKING FOOTAGE... Enlarge Stunt gone bad: Michael Jackson is seen here for the first time in the 1984 Pepsi advert filmed in Los Angeles which went horrifically wrong after his hair was set on fire by the theatrical pyrotechnics The footage, which surfaced on the website of Us magazine in the U.S., was filmed in Los Angeles on January 27, 1984. Three thousand fans watched as a firework display erupted behind the superstar, showering him in sparks and setting light to his hair. It shows Jackson's afro catch alight on the sixth take of the video in Los Angeles. At first, unaware of the danger, Jackson continues to dance as he sings Billie Jean. Some studio audience members said he was so calm, they thought the incident was part of the act. But seconds later dozens of assistants and stage hands reach him, and he disappeared inside the crowd as they battle to put out the flames.

Enlarge The show must go on: A completely unaware Jackson continued to dance down the stage set of stairs in his trademark sequinned jacket, and socks with the fire rapidly taking hold in his afro hair Engulfed: Jackson's head was swamped by the flames. At the time he wore a popular 'wet-look' hairstyle which was kept moist with the help of hair sprays which would have acted as an accelerant to the fire Enlarge Keep on moving: Jackson kept on dancing doing his trademark turns which actually helped to put out the fire before production staff realised what was happening and rushed to his aid But by then the damage is done, and when Jackson raises his head a large bald patch, with the skin badly scorched, can be seen. When he received the burns 25 years ago Jackson was at the height of his career, but the accident had disastrous consequences. To relieve the second and third-degree burns on his scalp and body, and later to help him tolerate multiple surgeries on the scorched spot on his head, Jackson was prescribed several medications. Jackson's lawyer, Brian Oxman, recently told Channel 4 news: 'He has been on medication for a great long time.

If you will remember back to the time when he burnt his hair at the Pepsi commercial - he started using pain killers then'. By the time he died last month it was claimed that the star was spending up to £30,000 a month on prescription drugs. The website TMZ, which broke the news of Jackson's death, reports that the initial police investigation pinpointed the anesthesic Propofol as the primary cause of death. Helping hands: Jackson is swamped by worried assistants who realised too late that the singer was in danger Enlarge Distressed: The singer instinctively reached to touch his head where a patch of his afro hair has been burnt off leaving the singer's scalp exposed. He suffered second and third degree burns Trauma: Onlookers said Jackson was surprisingly calm despite the high drama and it looked as if the incident was part of the advert Vials of Propofol were found in Jackson's home after he died. The website also revealed that the 50-year-old's death is now being treated as homicide by LA police. 'Law enforcement sources say there is already "plenty of powerful evidence" linking Dr Conrad Murray as the person who administered the drug to 50-year-old Jackson,' it reported.

'The evidence includes various items found in Jackson's house, including the Propofol, an IV stand and oxygen tank.' Dr Murray's lawyer would neither confirm nor deny if his client administered the Propofol. The website also reports that the LAPD has had 'multiple conversations' with the L.A. County District Attorney's office, although the case has not been formally presented to the D.A. Paramedics wheel Michael Jackson into hospital after the accident 13 Dark Facts About Dead Rock Stars 13 Dark Facts About Dead Rock Stars Pigeons By Chris Davis and Graham The music industry isn’t all fun and games. It’s a cutthroat business, one that can require heavy travel, complicated business deals, and raw emotions. For as much joy and happiness music brings to the world, sometimes its greatest purveyors can’t take the endless strains of success, succumbing to drug abuse and drunken fits of rage. Other times your hair just lights on fire for no reason. Or you just want to do some laundry during a long tour and it ends up killing you. What we’re trying to say is, it’s hard out here.

Life can come around and deliver a body blow just when things are looking up, so here are 13 morbid facts about dead rock stars to keep you on your toes. Cliff Burton chose the wrong bunk. Cliff Burton chose the wrong bunk. More Image via Flickr An unlucky draw: Cliff Burton, Metallica’s original bassist, drew his own demise. While on tour, Burton and band mate Kirk Hammett drew cards to see who would choose where they wanted to sleep for the evening. Cliff won by drawing the ace of spades and chose to sleep in Hammett’s bunk and sent him to the front of the bus. The next morning, the bus hit a patch of black ice, sending Burton from the top bunk through the window. The bus overturned and he was crushed underneath. Metallica was on top of the world before this tragic incident, and there was some investigation as to whether there was actual black ice on the road. Frontman James Hetfield walked the road in socks and underwear and said that he found no signs of black ice and suggested that drugs, alcohol, or the driver falling asleep behind the wheel could be the true cause of Burton’s death. Sid Vicious overdosed from drugs provided by his mother.

Sid Vicious overdosed from drugs provided by his mother. More Image via Wikipedia Sid Vicious is one of the biggest names in punk rock history, not just because of his contributions to the genre or his “ability” as a musician, but because of his notorious behavior that defined the punk aesthetic, and the cult following that grew in the wake of fights, drugs, and destruction. Read More It all came to a head at the end of his life. First, Sid’s live-in girlfriend Nancy Spungen was found dead in the couple’s Chelsea Hotel room. Vicious was interrogated and held briefly, but was eventually released on bail. To celebrate his newfound, possibly short-lived freedom, Vicious had a party while awaiting trial. Unfortunately, he invited his mother, an established drug addict. Mom brought some heroin to the party, and while that probably wouldn’t have phased Sid before his prison stint, he had been clean while behind bars and the detoxification had left him unprepared for the hit to come. The drugs provided by his dear old mum ended up killing the rock star when he was just 21 years old. Les Harvey is the only person in rock's history to be killed by a microphone.

Les Harvey is the only person in rock's history to be killed by a microphone. More Image via Stone the Crows Leslie Harvey, the bassist for Stone the Crows, died in front of a crowd of 1,000 people at the age of 27 when he was electrocuted while tuning up for a show. It was a rainy day, with puddles on the stage, and the electrocution was caused by a poorly grounded mic. While there have been two other deaths by incorrectly wired guitars, Harvey is the only person on record to go by way of the microphone. Oddly enough, Harvey had already escaped the rock and roll mortuary once, as his former bandmates—Fraser Calder and bassist James Giffen—died in a car accident that Harvey himself escaped without harm. This time around unfortunately, it was his turn to go. Michael Jackson's horrifying Pepsi accident happened at the exact mid-point of his life. Michael Jackson's horrifying Pepsi accident happened at the exact mid-point of his life. More Image via Wikipedia In 1984, Michael Jackson was filming an elaborate commercial for Pepsi, with whom he had signed a $5 million endorsement deal.

The commercial was a huge production, involving a lot of choreography and pyrotechnics, but everything was going well until the sixth take. That’s when trigger got pulled too early, and Michael Jackson’s head burst into flames. Jackson was rushed to a nearby hospital and was treated for second and third-degree burns on his face and scalp. It also (debatably) sparked a lifelong addiction to the painkiller Demerol. The accident happened on January 27, 1984, 9,282 days after MJ was born. He died June 25, 2009, 9,282 days after the Pepsi commercial. Whether this means MJ is actually alive or not, I cannot say. But probably not. The 27 Club is packed. The 27 Club is packed. More Image via Wikipedia The names Janis Joplin, Jimi Hendrix, Jim Morrison, Kurt Cobain, and Amy Winehouse read like a who’s who of musical innovation in the last 40 years. Unfortunately, they’re also all members of the infamous 27 Club, a not-too-exclusive collection of musicians who died at the age of 27.

Here’s an exhaustive list of the members and the reason behind their untimely demises: Alexandre Levy, a composer, pianist and conductor, died of unknown causes in 1892. Louis Chauvin, a ragtime musician, died of neurosyphilitic sclerosis in 1908. Robert Johnson, a blues singer and recording artist, died of poisoning in 1938. Nat Jaffe, a swing jazz pianist, died of high blood pressure complications in 1945. Jesse Belvin, a pianist, R&B singer and songwriter, died of a car crash in 1960. Rudy Lewis, a vocalist with the Drifters, died of a drug overdose in 1964. Joe Henderson, an R&B and gospel singer, died of a heart attack in 1964. Malcolm Hale, guitarist for Spanky and Our Gang, died of carbon monoxide poisoning in 1968. Dickie Pride, a rock n roll singer, died of an overdose of sleeping pills in 1969. Brian Jones of the Rolling Stones died of drowning in 1969.

Alan “Blind Owl” Wilson of Canned Heat died of drug overdose or suicide in 1970. Jimi Hendrix died of asphyxiation in 1970. Janis Joplin died of a drug overdose (possibly heroin) in 1970. Arlester “Dyke” Christian of Dyke and the Blazers was murdered in 1971. Jim Morrison of The Doors died of heart failure in 1971. Linda Jones, a soul singer, died of diabetes complications in 1972. Leslie Harvey died of electrocution in 1972. Ron “Pigpen” McKernan of the Grateful Dead died of hemorrhage in 1973. Roger Lee Durham of Bloodstone died from a horse fall in 1973. Wallace Yohn of Chase died in a plane crash in 1974. Dave Alexander of the Stooges died of a pulmonary edema in 1975. Pete Ham of Badfinger died by suicide in 1975. Gary Thain died of a drug overdose in 1975.

Cecelia, a singer, died of a car crash in 1976. Helmut Kollen of Triumvirat died of carbon monoxide poisoning in 1976. Chris Bell of Big Star died on a car crash. Jacob Miller of Inner circle died of a car crash in 1980. D. Boon of Minutemen died of a car crash in 1985. Alexander Bashlachev, a singer, songwriter, died from a fall, possibly suicide, in 1988. Jean-Michel Basquiat of the Gray died of a drug overdose in 1988. Pete de Freitas of Echo and the Bunnymen died of a car crash in 1989. Mia Zapata of the Gits was murdered in 1993. Kurt Cobain of Nirvana died of suicide in 1994. Kristen Pfaff of Hole and Janitor Joe died of a drug overdose in 1994. Richey Edwards of Manic Street Preachers disappeared in 1995 and was declared dead in 2008.

Fat Pat of Screwed Up Click was murdered in 1998. Freaky Tah of Lost Boyz was murdered in 1999. Kami of Malice Mizer died of Subarachnoid hemorrhage in 1999. Rodrigo Bueno, a Cuarteto singer, died of a car crash in 2000. Sean Patrick McCabe of Ink and Dagger died of Asphyxiation in 2000. Maria Serrano of Passion Fruit died of a plane crash in 2001. Jeremy Michael Ward of The Mars Volta and De Facto died of a drug overdose in 2003. Bryan Ottoson of American Head Charge died of a drug overdose in 2005. Valentín Elizalde, a Mexican band singer, was murdered in 2006. Amy Winehouse died of alcohol poisoning in 2011. Richard Turner of Friendly Fires died of cardiac arrest in 2011. Nicole Bogner of Visions of Atlantis died of an undisclosed illness in 2012.

Soroush “Looloosh” Farazmand of the Yellow Dogs was murdered in 2013. Monkey Black, a rapper and singer, was murdered in 2014. Jimi Hendrix, John Lennon, and Brian Jones wanted to form a supergroup. Jimi Hendrix, John Lennon, and Brian Jones wanted to form a supergroup. More Image via Wikipedia All three legends were dissatisfied with their bands, so a plan was hatched to join forces and make lemonade out of lemons. They allegedly got as far as a trial recording—this from Nicholas Fitzgerald’s 1985 biography of Brian Jones, claims the Rolling Stones founder said : “Towards the end of 1968, four musicians made a trial recording for Apple, the Beatles’ label. They played under the group name of Balls. One of them was John Lennon and one of them was me. The other two swore me to secrecy, so I can’t tell you about them, except to say one was a lead guitar and the other was a drummer. We recorded one track called ‘Go to the Mountains.'” “Alexis [Korner] brought the subject up.

He said a band with John Lennon and Brian Jones together could be bigger than either [Beatles and the Rolling Stones]. But on top of that, add the name of Jimi Hendrix. In the same outfit. That’s right. He’s falling out with Noel Redding and Mitch Mitchell—his bass guitarist and his drummer. He doesn’t want to carry on with the old stuff, wants to play something new. So it could be all three groups could fall apart and a new one be born. John, Jimi and me.” No recording of “Go to the Mountains” currently exists online, but could it be out there? Praying… Weezer bassist Mikey Welsh predicted his own death. Weezer bassist Mikey Welsh predicted his own death. More Image via Wikipedia Mikey Welsh left Weezer in 2001 to pursue a career in painting. He died ten years later at age 40 in a Chicago hotel after an apparent drug overdose. And while Welsh’s death certainly came too soon, the man himself seemed to know it was coming—he literally tweeted about it. The prediction (see below) came true, down to the cause of death.

And while some have speculated it was a planned suicide, Welsh’s friends and family take issue with that reading. He was in Chicago to rejoin Weezer onstage at RIOTfest, an event he had been looking forward to for a long time. Weezer remembered their fallen friend thusly: “Mikey was never one to shy away from the absurd, dangerous or strange, and he did so with a gusto few others had. No one had quite the stage presence of Mikey, nor have there been many who pulled the types of shenanigans he did at shows. If it rocked, he had to try it—and he always found a way to pull it off.” Jerry Lee Lewis once showed up wasted to Elvis' house with a loaded gun. Jerry Lee Lewis once showed up wasted to Elvis' house with a loaded gun. More Image via Smoking Gun You think Drake vs. Meek Mill was good beef? Imagine if Drake had got a gun, driven wasted through the streets of Philadelphia, and crashed his car into the gates of Meek Mill’s house. That’s essentially what happened in 1976, when Jerry Lee Lewis rolled up to Elvis Presley’s Graceland mansion in Memphis.

It was 2:30 A.M., and Jerry was hammered. He was also bleeding—the rock star had tried to throw an empty bottle of champagne through his (closed) driver-side window, and both bottle and window had shattered, resulting in the nose gash visible in Jerry’s mugshot. The mugshot came after Elvis’ security guard called up to Elvis to let him know Mr. Lewis was outside waving a gun around and demanding to see him. Elvis declined the invitation, and security called the cops instead—they found a Derringer pistol cocked and loaded, resting in Jerry’s seat. Here’s Jerry’s side: Buddy Holly's decision to fly had everything to do with laundry. Buddy Holly's decision to fly had everything to do with laundry. More Image via Wikipedia “The day the music died” is a reference to the plane crash that ended the short, prolific careers of Buddy Holly and Richie Valens. The rock pioneers were performing in the American Midwest during a brutal winter, and their plane went down in an Iowa cornfield amidst swirling snows. From Time : “The musicians had been traveling by bus for over a week and it had already broken down once.

They were tired, they hadn’t been paid yet, and all of their clothes were dirty. With the airplane, Holly could arrive early, do everyone’s laundry, and catch up on some rest.” Tragically, he never got the chance. But as is often the case, Holly’s death catapulted his music career to new heights—he was, among other things, immortalized on wax as the inspiration for Don McLean’s “American Pie.” Otis Redding never heard the final mix of "Sittin' on the Dock of the Bay." Otis Redding never heard the final mix of "Sittin' on the Dock of the Bay." More Image via Wikipedia More reasons to stay away from planes in the Midwest: Otis Redding’s remarkable career was cut short when his planed crashed over Wisconsin in 1967. The tragic turn of events came soon after he had finished vocals for what would become his first number one hit and biggest song ever, “Sittin’ On The Dock of the Bay.” Legend has it that Otis composed the song while looking out on San Francisco’s waters from his houseboat. Wherever you are now, Otis, thank you.

Janis Joplin died the night before she was scheduled to record a song called "Buried Alive in the Blues." Janis Joplin died the night before she was scheduled to record a song called "Buried Alive in the Blues." More Image via Wikipedia The song appears on Joplin’s Pearl album (which came out three months after her death and remains an immortal record), but she never got the chance to record the vocals. “Buried Alive in the Blues” was left on the track list as an instrumental homage to the band’s fallen leader. Gram Parsons' body was stolen and burned (in accordance with his wishes). Gram Parsons' body was stolen and burned (in accordance with his wishes). More Image via Wikipedia The brief, bright life of Gram Parsons was dominated by music. In his 26 short years on Earth, he produced timeless country and rock classics as part of The Byrds and The Flying Burrito Brothers. Unfortunately, Parsons also spent his twenties in the arms of spiraling drugs and alcohol problems. It came to a head at Joshua Tree, where the musician had spent many a night and day tripping with his manager, Phil Kaufman.

They decided to make one last trip out to the desert park in 1973, before Parsons was scheduled to begin another tour. The rock legend subsequently went too hard and was pronounced dead in a hotel room. But the story doesn’t stop there: Parsons’ stepfather arranged for the body to be flown back and buried in Louisiana. Unfortunately for Bob, Gram Parsons had told his close friend Kaufman that he wanted his ashes scattered over Joshua Tree’s Cap Rock. Kaufman and a friend rented a hearse and stole the body from Los Angeles International Airport. They drove the coffin all the way out to the desert and lit it on fire. El Duce passed a lie detector test after claiming Courtney contracted him to kill Kurt. El Duce passed a lie detector test after claiming Courtney contracted him to kill Kurt. More Image via YouTube Eldon Hoke was part of the legion of shock-rockers who made waves in the ’90s.

He went by “El Duce,” and was the singer and drummer for a band called The Mentors, and a self-described “king of sleaze.” They were an insane bunch, with a guitarist who played as “Sickie Wifebeater” and song titles like “Golden Showers.” In the 1998 documentary Kurt & Courtney, El Duce tells director Nick Broomfield that Courtney Love offered him $50,000 to “blow [Kurt’s] head off.” He had already passed a lie detector test claiming as much, but the documentary interview may have been a step too far: El Duce was struck and killed by a passing train just two days after speaking with Broomfield. He died in the middle of the night, with no witnesses present. Beyonce, Beyonce: Track-By-Track Review | Billboard Beyonce, Beyonce: Track-By-Track Review Album Review 4.5 "I see music," Beyoncé said in a video on her Facebook page, dubbed "Self-Titled, Part 1," just minutes after her surprise announcement of "Beyoncé," her fifth album. “It’s more than just what I hear.

When I’m connected to something, I immediately see a visual or a series of images that are tied to a feeling or an emotion, a memory from my childhood, thoughts about life, my dreams or my fantasies. And they’re all connected to the music.” The “Beyonce” Album: The Hottest Moments from the New Set’s 17 Videos Inspired in part by her childhood memories of watching music videos like Michael Jackson's "Thriller" as a shared experience with her family, "Beyoncé" was released Friday morning as a simultaneous audio and visual album, with full-length videos for each of the 13 tracks (plus a bonus video-only clip for "Grown Woman," a song she premiered in a Pepsi commercial earlier this year.) While many fans stayed up until the wee hours listening to it – over 80,000, to be exact, according to sales estimates from the first three hours on iTunes – many more were tweeting, Facebooking and Instagramming about it. How did she pull it off, and who's on it?

For starters, there's Boots, the virtually unknown producer/songwriter signed to Bey's hubby Jay Z's management company Roc Nation, who revealed on his Facebook page Friday morning that he produced 85% of the album and contributed four original songs. There's also several contributions from Pharrell, guest raps from Jay and Drake, a featured vocal from Frank Ocean and co-writing contributions from the likes of Justin Timberlake, Charlift's Caroline Polachek and Miguel. 'Beyonce' & Eight Other Unexpected Album Releases But once the initial novelty and shock wears off of Beyoncé's impressive stealth-release feat, the brilliance and creative audacity of the album itself can sink in. Though there are a few songs with traditional pop structures ("XO," "Blow" and "Drunk In Love" chief among them), many of the tracks are more experimental, half-rapped/half-sung songs with suites and interludes that pack more ideas (and more sexually explicit dialogue) than radio-friendly hooks at times.

Beyonce Unexpectedly Releases New Self-Titled 'Visual Album' on Itunes And yet that's exactly what "Beyoncé"'s aim is – to shift your perceptions and expectations about everything, from release dates to marketing launches to what "pop" should sound like. Much like her sister Solange's compilation "Saint Heron," which featured vocal-heavy, minimalist R&B compilation "Saint Heron," "Beyoncé" signifies where the future of R&B is heading, with less focus on beats and more emphasis on emotive falsetto, stream-of-consciousness ideas and the occasional burst of braggadocio ("Bow Down," the much-debated hype track she released in February, makes its return as an intro to the flossy "***Flawless," and "Yonce" rivals "Single Ladies" as her most quotable song ever.) It's as impressive an accomplishment creatively as it is for shifting the industry towards a more nontraditional take on the "single-album-tour" strategy. Which tracks on "Beyoncé" take the crown? Read on for our track-by-track review. 1.

"Pretty Hurts": “What is your aspiration in life?” a beauty pageant judge asks Bey, credited as “Miss 3rd Ward” (a reference to the Houston neighborhood where she grew up.) “My aspiration in life would be…to be happy.” What follows is a litany of expected beauty staples (“brush your hair / fix your teeth / what you wear / is all that matters”.) The song was penned by Sia, the go-to girl for pop divas who want to show their emo side (see: Rihanna “Diamonds,” Celine Dion “Loved Me Back To Life,” Christina Aguilera “Blank Page.”) But unlike those other vocalists, Beyonce doesn’t just re-sing a Sia demo – she fully makes this self-empowerment anthem fully her own, with a powerhouse “Halo”-esque vocal, and a bridge that could take you from Houston to Brooklyn in five seconds flat (“it’s my soul that needs surgery.”) 2. "Haunted": The spine-tinglingly glam Madonna-meets-“American Horror Story” video for this track is worth Beyoncé’s case for making this a simultaneous visual-and-audio experience alone.

But divorced from those powerful visuals, “Haunted” still emerges as one “Beyonce”’s strongest tracks – and most insightful in terms of how she chooses to run her own business. “I don’t trust these record labels / I’m tourin’,” she says in the spoken-word intro, making a chant out of “workin’ 9 to 5 / just to stay alive” as if her Mrs. Carter World Tour was some sort of tribute to the working class. (Which, have you seen it? No one worked harder for your applause on the road this year.) “I probably won’t make no money off this. Oh well,” she later says. Starkly minimal, with a spectral falsetto applied amid warped, ghost-ly vocal effects, “Haunted” is one of the album’s most staunchly non-commercial moments, but endlessly listenable just the same. 3. "Drunk In Love (Feat. Jay Z)": No single was released prior to the album, but if a case could be made for one to be pushed to R&B radio (or Top 40, with the right crossover momentum), it’s this duet with Hov.

An ode to raunchy love-making with a dedicated partner, “Drunk In Love” delicately dances around TMI territory with its asides like “grainin’ on that wood” (she’s supposedly talking about a “surfboard.”) But an infectious, wailing of “loooove” on the chorus, a sassy half-rapped second verse from Bey and a memorable rap from Jay (“your breastesses my breakfastesses”) make this a potential smash. 4. "Blow": The dream-team from Justin Timberlake’s “The 20/20 Experience” – JT, Jerome “J-Roc” Harmon, James Fauntleroy and Timbaland – bring on Pharrell as producer and a sexy vocal Bey for this slinky club banger, that recalls previous “B Day” collabs with Pharrell like “Kitty Kat” and “Green Light.” Just don’t try and explain this one to the kids too much, as there’s cunnilingus references aplenty (it’s called “Blow” for a reason.) 5.

"No Angel": “Would you rather I be a machine who doesn’t notice when you late or when you lyin’?” Beyoncé says, admitting she’s far from perfect herself. Queen Bey gets breathy and pleading on this throwback track. Once again, that lovely “Halo” falsetto makes a welcome return, but with some heavy bass and a brief interlude to move things to the bedroom. If there’s a recurring to this album, it’s that being happily married life takes a lot of work – but also lots and lots of sex. 6. "Partition": The track opens with the call-and-response Beyoncé asks of her crowd every night on tour (“Lemme hear you say “Hayyy Ms.

Carter!”) and quickly turns into a lady-thug anthem called “Yonce” “(every girl on here gotta look me up and down / All on Instagram cake by the pound,” she boasts, adding even more memorably, “I sneezed on the beat and the beat got sicker.”) “Partition,” the full-length song within this interlude, is yet another “gettin’ freaky with my baby” jam, with some of Bey’s most frankly sexual lines yet (“oh he Monica Lewisnky’d all over my gown.”) 7. "Jealous": One of several self-referential moments on the album, Beyoncé takes her “Freakum dress out my closet” to make an ex “she used to flex in Texas” envious of how bodacious she’d become. A brooding beat amid distant yelps gives the track a Lana Del Rey/Jeff Bhasker/Emile Haynie vibe, but then that chorus kicks in and suddenly you can see Beyonce singing this from the stage surrounded by smoke machines. An uncanny mix of tones and styles, often within the same song, is felt throughout. 8.

"Rocket": “Let me sit this ass on you,” Beyoncé announces from the jump. “Let me take this off while you watch me / that’s my’ass appeal.” It’s a Roger-and-Zapp style slow-jam, baby-making anthem, and Beyonce is fully equipped for the occasion. 9. "Mine": Beyoncé continues to reveal everyday doubts that haunt her ("I'm not feeling like myself since the baby, are we even going to make it? If we are, we're taking this a little too far"), bringing in Drake to turn the darkness into hope. 10. "XO": The magical "XO," co-written and produced by Ryan Tedder and Terius Nash, is the most radio-friendly song on "Beyoncé," and finds the hopeful singer in tranced with love. 11. "***Flawless": When we first heard the Hit-Boy produced track in March it didn't contain the content of the full-version, only to come off abrasive. "***Flawless" though, with the insightful commentary of feminism by Nigerian writer Chimamanda Ngozi Adichie, carries power and highlights camaraderie amongst women. 12.

"Superpower": Pharrell lends Beyoncé a cinematic gift, in the form of song. "Superpower" amplifies Pharrell's musical genius, producing a magical bed for Bey' and Frank Ocean's sweet duet of an imaginable force. 13. "Heaven": Mysterious producer and writer, Boots, assists Beyoncé in letting go of a lost love. Boots, whose name appears everywhere on the album, has a way of bringing out the softer, compassionate side of the singer. 14. "Blue" (feat. Blue Ivy): Bey' flexes her vocal prowess for her daughter, Blue Ivy on the angelic Boots-produced song. She dives into the seemingly indescribable love that she feels for her baby girl, whose giggles close the song. Baby Blue made her musical debut on Jay Z's "Glory," which he released shortly after her birth. The accompanying video features Bey' strolling the bright streets and sandy beaches of Brazil with Blue in her arms.

The 50 Best Music Videos Of 2015 - Stereogum The 50 Best Music Videos Of 2015 Tom Breihan @tombreihan | December 16, 2015 - 11:08 am Share < br />this article: When I put this list together last year , the big story was the emergence of auteurs in the online era of the music video. For the past decade, music videos have mostly lived online, far away from the cable networks that once nurtured the art form. Back in the ’90s, when cable networks were starting to find excuses not to show music videos anymore, we still saw these great directors who were using music videos like playgrounds: Spike Jonze, Hype Williams, Michel Gondry. And we’ve begun to see those again. Last year, the list was dominated by Nabil and Hiro Murai, both of them in a knife-fight to determine who the best music-video director in the world was. Well, that time is over. Nabil and Murai had four videos apiece on last year’s list. This year, the two of them together only have one appearance on the list.

This year’s MVP is Grant Singer, who also did well on last year’s list and who has four videos on this year’s countdown. Last year, Singer was sneaking up behind Nabil and Murai. This year, thanks to an unlikely alliance with a fast-rising pop star, he’s completely eclipsed both of them. But then, Singer wasn’t the big story this year. Instead, the big story was the partnerships we’ve seen forming between musicians and directors: Colin Tilley and Kendrick Lamar, Paul Thomas Anderson and Joanna Newsom, Bob Gallagher and Girl Band, Allie Avital and Autre Ne Veut, FKA twigs and FKA twigs, Grimes and Grimes. These artists are figuring out that these directors understand their visions and aesthetics, that their music and these people’s visual sensibilities just make sense together. (And when the artist and the director are one and the same, they’re just that much more symbiotic.) So Grant Singer is both the greatest director of this age and the greatest beneficiary of it. He started out the year working with Ariel Pink, and he ended it working with the Weeknd. With Ariel Pink, he worked up a sticky, Kubrickian sense of transgression.

Everything in his Pink videos seemed somehow wrong, in all these compelling ways that you couldn’t quite parse. And with his videos for the Weeknd, he’s turned evil and chaos and self-destructive urges into these seductive widescreen things. He’s made darkness work as pop, which is not easy to do. But Singer didn’t have the best video of the year. And there were plenty more voices involved in this year’s videos — people who had their own singular visions and who made those visions intertwine with music in fun and fascinating ways. This list — which reflects my opinion and my opinion only — has so many great videos, and each one is entirely unlike the one before or after it. We’re living through a great time for music videos, and there are 50 pieces of evidence of that below. 50. Despot – “House Of Bricks” (Dir. Evan Mast) Things that should appear in more rap videos, an incomplete list: (1) Falcons, (2) warm and humanistic portrayals of the rapper’s family members, (3) iguanas, (4) gold rings shaped like apartment complexes, (5) falcons. 49.

The Mountain Goats – “The Legend Of Chavo Guerrero” (Dir. Scott Jacobson) A cartoonish tribute to professional wrestling, that most cartoonish of great American art forms. Check out 66-year-old Guerrero, out here throwing scoop slams and moonsault presses. 48. Chris Brown & Tyga – “Ayo” (Dir. Colin Tilley) Both of these guys are loathsome human beings who had terrible years. But if you can resist the charms of a bulldozer dumping a load of $50 bills into a swimming pool, or a tiger casually sauntering through a mansion, then maybe you don’t like music videos that much. 47. Royal Blood – “Out Of The Black” (Dir. David Wilson & Christy Karacas) If you’re going to do psychedelic hyperviolent animation, do it right, you know? 46. Autre Ne Veut – “The Age Of Transparency” (Dir. Allie Avital) Shout out to any artist willing to portray himself as a terrifying narcissistic self-Googling supervillain sociopath. 45. Flight Facilities – “Down To Earth” (Dir.

Rhett Wade-Ferrell) You have to love the idea that someone would watch Moon and think, “You know what that Sam Rockwell really needs? His own ‘Weapon Of Choice.'” 44. Royal Headache – “Carolina” (Dir. Damian Sawyers) Dynamic, wiry, exciting, weird rock frontman are absolutely crucial for so many reasons. But one of those reasons is that without them, you don’t get any videos like this. My favorite part: All the other guys in the band legitimately cracking up when Shogun comes careening back into the frame at the end. 43. FIDLAR – “40oz On Repeat” (Dir. Ryan Baxley) One of the great things about being a music-video nerd: Being able to giggle with delight everytime this video launches into another parody. My favorite is the “Virtual Insanity” moment, but they’re all great. 42. Run The Jewels – “Close Your Eyes (And Count To Fuck)” (Feat. Zach De La Rocha) (Dir.

AG Rojas) The funny thing about the way this video depicts police brutality: If bloody, intense one-on-one fistfights were the norm, we’d be in a much better place as a society. 41. The Weeknd – “Tell Your Friends” (Dir. Grant Singer) Who was the last pop star who regularly put visions this bleak and heavy onscreen? DMX? Marilyn Manson? Has there ever even been one? 40. Childish Gambino – “Sober” (Dir. Hiro Murai) Donald Glover is so good at playing a creepy, intense alien-stalker type that I wonder if this hasn’t always secretly been his rap persona. It would explain a lot. 39. Girl Band – “Paul” (Dir. Bob Gallagher) The whole “wouldn’t it be funny if the people on kids’ TV?” thing doesn’t much appeal to me. But this is a video with vivid, surreal imagery and a cogent narrative. And it works with the music. And it has an oddly encouraging conclusion. These things are not easy! At least 60% of the videos I’ve watched this year don’t have a single one of those things. 38.

Action Bronson – “Baby Blue” (Feat. Chance The Rapper) (Dir. Lil Chris) Coming To America is a perfect movie. You can’t improve on it. What you can do is you can pay tribute to it by making it into an antic, warmhearted rap-video romp. You can do that all day. 37. GENER8ION & M.I.A. – “The New International Sound (Part II)” (Dir. Inigo Westmeier) This one is sort of a cheat, since it’s composed entirely of clips from a documentary about China’s biggest fighting school for kids. But goddam, it is so full of incredible sights. I eagerly await the era when tiny Chinese girls utterly dominate the UFC. 36. Oneohtrix Point Never – “Sticky Drama” (Dir. Jon Rafman & Daniel Lopatin) Season six of Game Of Thrones turned out to be weirder than anyone could’ve anticipated. 35. Kelela – “A Message” (Dir. Daniel Sannwald) It’s like someone turned Sinead O’Connor’s “Nothing Compares 2 U” video into an experimental sci-fi short without skimping on its emotional force.

34. Twin Shadow – “I’m Ready” (Dir. Lance Drake) Top-shelf ’90s VH1 black-and-white sexiness, except with mobsters and a giant laser-sword. 33. Brodinski – “Us” (feat. Bloody Jay) (Dir. Jérémie Rozan) Judging by this video, it’s an absolute fucking crime that we don’t just film every music video in Shanghai. 32. Kanye West – “Only One” (Feat. Paul McCartney) (Dir. Spike Jonze) Arguably the greatest music-video director of all time returns to shoot this simple, moving mood-piece about how much Kanye West loves his daughter. 31. The Chemical Brothers – “Sometimes I Feel So Deserted” (Dir. Ninian Doff) The Chems are secretly one of the greatest music-video acts of all time. And this video, a Mad Max/Tetsuo The Ironman body-horror romp, is all the better for its stark simplicity and its refusal to explain a single goddam thing. 30. U2 – “Song For Someone” (Dir.

Vincent Haycock) The best reason for this U2 song to exist: It gave Woody Harrelson an excuse to spend eight minutes eloquently emoting about loss and regret. 29. FKA twigs – “Pendulum” (Dir. FKA twigs) When twigs sings, “I’m a sweet little lovemaker” on record, it means one thing. When she sings it while she’s staring down the camera and tied up and suspended over an undulating black CGI void, it means something else. 28. Grimes – “REALiTi” (Dir. Grimes) When most artists bring cameras on tour to document the proceedings, the results are interminable. But most artists don’t have Claire Boucher’s eye. Every frame of this thing glows. 27. Tame Impala – “Let It Happen” (Dir. David Wilson) The most cartoonish death-hallucination captured on film since Waking Life — which was, lest we forget, an actual cartoon. 26. Vince Staples – “Norf Norf” (Dir. Spike Jordan) A furious condemnation of the way the law treats young black men.

We got plenty of those this year, just as we should every year. But the thing that makes this one sing is how goddam bored Staples looks throughout. He’s been through all this before, and he’ll go through it all again. 25. The Weeknd – “Can’t Feel My Face” (Dir. Grant Singer) This video’s burst-into-flames climax is: (a) an extended metaphor about the demands of a larger audience, (b) a sly reference to what happened to Michael Jackson’s hair on the set of that Pepsi commercial, (c) a cool effect, or (d) all of the above. 24. Will Butler – “Anna” (Dir. Brantley Gutierrez) The best Emma Stone performance since, what, Easy A? Superbad? Could it seriously be the best Emma Stone performance ever? (Let’s not talk about Birdman. Fuck Birdman.) 23. Mark Ronson – “Feel Right” (Feat. Mystikal) (Dir. Bruno Mars & Cameron Duddy) Is it possible that Bruno Mars is a great music-video director? And if so, how do we feel about it?

If the Buffy reference here was his idea, I feel pretty goddam good about it. 22. Future Islands – “A Song For Our Grandfathers” (Dir. Jay Buim) A beautiful, earnest, happy little vision about returning to the place that made you and going to see the people who will always love you the most. How badly do you want to be at that barbecue? 21. Chvrches – “Empty Threat” (Dir. Austin Peters) On paper, “a trip to a Florida waterpark with a car full of drunk high-school goths” does not look like the best use of a day. This video makes it look absolutely idyllic. 20. Girl Band – “Why They Hide Their Bodies Under My Garage?” (NSFW) (Dir. Bob Gallagher) If your parents ever try to ask you why you didn’t go to medical school, just show them this video. 19. Rae Sremmurd – “Come Get Her” (Dir. Motion Family) I never thought I would see this happen, but all of a sudden, Master P’s “ Oooh Wee ” is not the most beautifully, absurdly stupid cowboy-themed rap video of all time. 18.

N.A.S.A. – “Meltdown” (Feat. DMX & Priyanka Chopra) (Dir. Ty Evans) If you ever want to convince me that it’s OK to hear DMX reduced to playing hypeman on a cheesed-out EDM tune, just show me these incredible, death-defying images of dudes skateboarding in Dubai. 17. Missy Elliott – “WTF (Where They From)” (Feat. Pharrell Williams) (Dir. Hype Williams) The triumphant return of an American hero, all her bugged-out theatrical weirdness fully intact. 16. Kendrick Lamar – “These Walls” (Dir. Colin Tilley & The Little Homies) There’s a moment in the IHeartMemphis “Hit The Quan” video when IHeartMemphis watches Kendrick Lamar and Terry Crews doing his dance in this video. He loses his mind. I did, too, for different reasons. 15. The Weeknd – “The Hills” (Dir. Grant Singer) It’s impossible to pinpoint this sort of thing exactly, but I’m pretty sure the moment the car blows up is the moment that Abel Tesfaye becomes a generational icon. 14.

BigBang – “Bang Bang Bang” (Dir. Seo Hyun-Seung) Lately, BigBang, the current reigning South Korean boy band, have been dropping hints that they might break up. And honestly, I hope they do. They won’t be able to keep topping themselves in the absurd-spectacle department much longer. It’s just not possible. 13. Kendrick Lamar – “King Kunta” (Dir. Director X & The Little Homies) Director X and Kendrick Lamar reimagine the classic G-funk video as a burst of kinetic energy, and they film it in the sort of aspect ratio that immediately recalls cell-phone police brutality videos. 12. Lana Del Rey – “High By The Beach” (Dir. Jake Nava) When Lana Del Rey dies, we should mount a framed photo of her with that grenade launcher on her tombstone. I can’t imagine she’s ever going to have a more iconic moment. 11. Slayer – “Repentless” (Dir. BJ McDonnell) See, this kind of thing is why Slayer don’t get booked to perform in prison yards very often. 10. Joanna Newsom – “Sapokanikan” (Dir.

Paul Thomas Anderson) A rare and valuable opportunity to watch a human being just glow. 9. Ariel Pink – “Dayzed Inn Daydreams” (Dir. Grant Singer) Rick Wilder, the aging and deeply distinctive-looking glam rocker, would spend most of 2015 as a lurking, demonic presence in Singer’s videos for the Weeknd. Here, he’s the star of a slice-of-life verite drama that’s freaky just for the sheer fact that he’s in it, interacting with everyday people. 8. Rihanna – “Bitch Better Have My Money” (NSFW) (Dir. Rihanna & Megaforce) One day, future societies will build statues of the blood-drenched Rihanna we see at the end of this video. And they will wonder, just as we wonder, what the fuck Rihanna’s accountant did. 7. M.I.A. – “Borders” (Dir. M.I.A.) At the exact moment that America’s shittiest politicians are attempting to capitalize on anti-immigrant hysteria, M.I.A. comes along and makes this visual poem about the struggle of people who are forced to move. And she makes it look fucking breathtaking. That matters, too. 6.

FKA twigs – M3LL155X (Dir. FKA twigs) Other people just make a video for one song and call it a day. Twigs makes videos for five songs, directs them all herself, and finds ways to loosely connect them, largely through ideas about objectification and pregnancy and femininity and dance. And they’re all varying degrees of incredible. That’s a high bar, you know? 5. Grimes – “Flesh Without Blood/Life In The Vivid Dream” (Dir. Grimes) Anyone can make a video with a bunch of weird shit happening. Only Grimes can give it this sort of style, can make it sing like this. 4. Vince Staples – “Señorita” (Dir. Ian Pons Jewell) The unforgettable final shot turns this into one hell of a visual metaphor for the way people like me watch rap videos. For the way we watch everything, really. 3. Kendrick Lamar – “Alright” (Dir. Colin Tilley & The Little Homies) We can, and probably should, talk all day about the layers of meaning flying around in this thing. But do you see the way it’s shot? It’s so beautiful.

2. Nicki Minaj – “Feeling Myself” (Feat. Beyoncé) (Dir. Nick Walker) I had a good time at Coachella this year, but I definitely did not have this good of a time. Maybe I was hanging out with the wrong people. (Watch this at Tidal , or, you know, Google around.) 1. Donnie Trumpet & The Social Experiment – “Sunday Candy” (Feat. Chance The Rapper & Jamila Woods) (Dir. Austin Vesely, Ian Eastwood, & Chance The Rapper) The best song Chance The Rapper has ever written is a love song for his grandmother, and to make a visual out of it, he staged this incandescently beautiful one-take high-school musical. There is enormous love in every second of this. Imagine being Chance’s grandmother and watching this for the first time.

Question: Whose hair burst into flames while making a Pepsi commercial?
Answer: Michael Jackson