Schoolboy Q’s ‘Floating’ Video Does The Impossible — And Gets A Camera Drunk

Schoolboy Q is one of rap’s most imaginative minds when it comes to music video concepts, but you knew that already. Just look at the sheer wittiness of the visual for “Numb Numb Juice” and you’ll be, well, numb. “Floating” is his latest creative masterpiece and it’s kind of hard to explain. It’s manic, that’s the word. Manic. Fast and furious like the franchise, and, unapologetically Q. If you get dizzy, however, this might be something to consider before watching it.

The star is “Floating” isn’t Schoolboy Q or 21 Savage (who actually isn’t in the video). It’s the camera. The constantly changing, vibrating, and withering camera. The video looks like parts of it are shot in real-life stop-motion as if characters are being cut out of scenes and placed into manipulated backdrops around Los Angeles. Save for a bouncing car that gets its own scene, endlessly going up and down, up, down, up. Then the camera wooshes to the next and never stops throughout the video. Whether it’s showing Schoolboy Q with a blank face inside of a night club, or a person getting shaken upside down on a tall building’s background, the camera constantly moves as if it’s afraid of what it’s seeing. There’s nothing like it out to compare it to. You’ll just have to see it for yourself.

“Floating” appears on Schoolboy Q’s recently released album Crash Talk that dropped on April 26. The LP features the previously released singles “Numb Numb Juice,” “Crash,” and “Chopstix” which features Travis Scott.

Watch the one-of-a-kind video up above.

Selena Gomez Cautions Against Spending Too Much Time On Social Media

Selena Gomez is one of the most-followed celebrities on the internet, but she just put social media on blast.

Speaking out during the 72nd Cannes Film Festival, Gomez took a moment during a press conference to air her grievances with what the descent of social media has done to the youth of today – herself included.

“I think our world is going through a lot,” said Gomez. “I would say for my generation, specifically, social media has really been terrible. It does scare me when you see how exposed these young boys and young girls are. They are not aware of the news. I think it’s dangerous for sure. I don’t think people are getting the right information sometimes.”

The thoughts Gomez shared on social media are obviously referring to the “fake news” phenomenon that’s swept up users across Facebook, Twitter, and just about every other online community you can think of. It’s something that even the platforms themselves are quickly working to combat – people being misinformed and consuming incorrect informational an alarming rate.

The singer has over 150 million followers on Instagram and around 57 million on Twitter. Still, despite her enormous platforms, she’s very quiet when it comes to sharing posts on any of her accounts. As it turns out, that’s on purpose. She believes it’s “pretty impossible” to make social media “safe,” and as such she’s careful with the content she uploads.

“I’m grateful I have the platform,” she clarified. “I don’t do a lot of pointless pictures. For me, I like to be intentional with it. It just scares me. I’ll see these young girls at meet and greets. They are devastated, dealing with bullying and not being able to have their own voice. It can be great in moments. I would be careful and allow yourself some time limits of when you should use it.”

She’s absolutely purposeful – in fact, if you look at her Twitter account, her most recent tweet is actually a link to Taylor Swift’s new single “ME!,” along with words of encouragement: “So proud @taylorswift13,” Gomez wrote.

It’s interesting to see inside Selena’s head like this, and it’s great she’s using her influence to spread words of caution like this to her young fanbase as well as those who might need to hear that social media can be dangerous. We stan a responsible queen, TBH. Now let’s hear more of those opinions, Selena!

BTS Brought Songs Of Ice And ‘Fire’ To Good Morning America

BTS fans have been camping out for days near Central Park in New York City to watch the Korean boyband perform on Good Morning America. It’s a special kind of commitment, a microcosm of the larger fanbase that supports “the boys” — as ARMY affectionately call them.

And those fans were as much a part of BTS’ performances of “Boy With Luv” and “Fire” this morning (May 15) on GMA‘s SummerStage, bringing hot chaos to the synchronized moment. The band and the fans themselves can finally rest. Well, at least until they take the stage this weekend at New Jersey’s MetLife Stadium.

Watching a BTS performance is like watching ice skaters match each other’s movements tit for tat, each leg, arm, and body swing contrasting with its equal and opposite. Their performance of “Boy With Luv” found a rhythm in its funk that the band members followed, silkily bouncing their shoulders as they sang the number — sans Halsey, who is featured on the track. They later performed their older hit “Fire” with an explosive dance routine to compliment “Boy With Luv”‘s svelte one. Throughout the two-song experience, the crowd’s deafening roars and passionate screams grew louder and louder.

At the Billboard Music Awards earlier this month, BTS performed “Boy With Luv” with Halsey, marking their first time playing the Top 10 record together. The band’s latest album Map of the Soul: Persona came out in April and topped the Billboard 200 chart.

Take a look at the enchanting performances that had the crowd going nuts up above.

How Logic’s New Album And Debut Novel Are Connected In Their Own Universe

Logic took a classic split-personality story trope, told it from a first-person point of view, and added welcome snippets of millennial blue-collar existence into it — then he slapped a name on the front: Supermarket. In March, the rapper became the first to have a debut novel top the New York Times Best Sellers list and released a soundtrack to accompany the reader’s journey. But while the soundtrack is a collection of pop songs expounding on the oohs and aahs of young love, Logic used another recent release to go even deeper into Supermarket‘s story.

His fifth studio album, Confessions of a Dangerous Mind, arrived this past weekend after a Supermarket-like trailer featuring buckets of blood. As Confessions ventures into the mind of Logic, and therefore, his novel’s protagonist, Flynn, it’s more of a companion to the book than the official soundtrack ever was.

Supermarket follows three characters: protagonist Flynn; his mysterious anarchist coworker, Frank; and his love interest, Mia. Ultimately, the novel is the story of Flynn. But the accompanying soundtrack is a maelstrom of love and lust, seemingly dedicated to Mia — which leaves Logic’s new album and its dark title (possibly a reference to the 2002 film of the same name that chronicles game-show host and fabled CIA “agent” Chuck Barris’s life) to be the word of Frank. Because of that, certain connections between the novel and the album are hard to ignore.

  • Main characters with drastically different personalities

    Supermarket has one narrator: Flynn. But Frank often seems to be center of the attention. About halfway through, we find out why: Frank is Flynn. The two are opposites housed into one — Flynn is easygoing, happy, and determined, while Frank is an anarchist, the kind of guy who just wants to watch the world burn.

    Confessions of a Dangerous Mind treats Logic’s personality as clearly split between Flynn’s two selves. There’s the thoughtful, charismatic, straightforward goof on the title track and “Mama/Show Love,” where he briefly opens up about struggles with emotional health, and then there’s the argumentative instigator who says the controversial statement that doesn’t need to be said on “Clickbait.” These two selves, like Flynn and Frank, exist outside of each other and never come in contact. As Logic’s past work has shown, it’s almost like we’re listening to two different artists on one LP.

  • “Confessions” that echo the protagonist’s own wants

    Flynn works at the supermarket because he’s trying to finish writing a book that he got an advance for. But, of course, we learn this isn’t true: He’s actually in a psychiatric hospital reliving the experiences that got him there, and his book, in fact, has already been published. When hit with the news, he’s astounded, but not necessarily excited to reap the fruits of his labor: fame.

    Confessions of a Dangerous Mind‘s “Wannabe” is about this feeling of fleeting fame, that attaining it is all that matters. “I wanna be famous, I wanna be famous / Why can’t I be famous?” is the song’s literal chorus. It takes what we know about fame and grafts it onto Flynn, but not knowingly. It’s as though the song was made with him in mind, sung from the perspective of someone inside his head, removed from the situation, to speak his truth. Does that sound like anyone in particular?

  • Plot twists and more

    Supermarket holds its twist close to the chest. Logic starts the story with a mysterious death from Flynn’s point of view, taking us into the mindset of a man relaxed after a murder. But when the twist is finally revealed, it comes from left field: Flynn struggles with an emotional condition and has an imaginary personality, Frank, who says and carries out his darkest desires.

    Confessions pulls a similar turn. While the album’s title suggests an exploration of a complex, misunderstood mind, Confessions is really an LP about the destructive presence of social media. “Clickbait” is the center here, a hyper-focused portrait of faux-perfection online. “I always post that I’m having a good time / So my life looks perfect online,” he raps.

Supermarket and Confessions are such similar creations that they feel as if they’re in conversation with each other. Logic’s recently announced North American tour in support of Confessions will also likely feature material from Supermarket’s soundtrack. If he acknowledges their similarities and shared thematic concepts, it’ll be interesting to see the conversations he continues to generate between the bodies of work.

Charli XCX And Lizzo Join Forces For Your New Fave Pop Song, ‘Blame It On Your Love’

Forget “New Music Friday” — we’ve got a mid-week pop emergency right now.

After a few days of hyped-up teases, Charli XCX has delivered “Blame It On Your Love,” a collaboration with her Atlantic Records labelmate/UglyDolls co-star/fellow bad bitch, Lizzo. The U.K. pop star visited Radio One with Annie Mac on Wednesday (May 15) to premiere the track and to reveal that she’s had it on the back burner for “three or four years.”

“Until Lizzo was on it, it wasn’t perfect,” Charli explained. “She just pulled it together. I mean, her energy is just so amazing.”

The song itself is a complete overhaul of “Track 10,” the beloved closing cut off Charli’s 2017 project Pop 2. Here, the warped vocals from that track get smoothed out over a handclap-driven beat, as Charli sings about a dizzying love. The always-reliable Lizzo, meanwhile, comes through for a brief but charismatic verse, claiming, “I’m trying to catch millions, not trying to catch feelings.”

In her interview with Mac, Charli confirmed that “Blame It On Your Love” is the lead single off her upcoming third album. “I think this will probably sit on the more pop spectrum of what I’m doing with the record,” she teased, further revealing that she’s trying to nail down more collaborations with artists she admires, including Christine and the Queens.

Charli also revealed that she and Lizzo shot a video for the bop last week, which fans surmised from the photos Charli’s been posting of them. In one, she wrote in her typical all-caps, slang-heavy style, “IMAGINE IF I MADE A SONG WITH @LIZZO AKA THE QUEEN OF EVERYTHING – WOULD U DIE??? I WOULD DIEEEEEEEE!!! PREP MY GRAVE ASAP WE GOT A BOP COMING THIS WEEK.”

R.I.P. Charli, I guess!

Stray Kids On Growing Up, Taking More Creative Risks, And Dealing With Self-Doubt

Stray Kids are following their own path. And that reluctance to play by anyone else’s rules is precisely what makes this group of teens and young adults stand out. They’ve been releasing some of the boldest tracks in K-pop since making their debut with the blistering “District 9” a year ago, a song that harnessed their teen angst into a dizzying mix of hip-hop, rock, and EDM and quickly established them as rookie group to watch.

It’s their ability to channel that raw emotion into their music that has resonated with fans all over the world, many of whom are on the cusp of adulthood themselves. As such, the group’s signature sound can’t be contained in a single genre; it’s more of a state of being — a deeply earnest one.

“Stray Kids music is music that’s relatable and can help you out when you’re having a hard time,” leader Bang Chan tells MTV News over the phone from Seoul, where the group is preparing to embark on their first solo U.S. tour. Though, he quick to add, “It’s got a lot of energy, doesn’t it?”

And nowhere is that empathy and energy more apparent than on their latest single, “Miroh.” Inspired by the word miro, or “maze” in Korean, the boisterous track — produced by members Bang Chan, Han, and Changbin, otherwise known as 3racha — is a cacophony of sounds, rhythms, chants, and animal noises. The hook is massive, a perfect stadium-sized banger that shows off the group’s grit and potential. “It’s not hard / in this rough jungle,” Bang Chan sings. “It was me who ran into it / I’m okay.”

“‘Miroh’ was a really big attempt,” the 21-year-old singer and producer said. “It shows that as we’re getting older we tend to take more risks and try out new experiences, challenge ourselves.”

And as members Bang Chan, Woojin, Lee Know, Changbin, Hyunjin, Han, Felix, Seungmin, and I.N grow and mature, so does their music. Their previous I Am… series focused heavily on the theme of identity through the teenage perspective. Who am I? Who am I trying to be? And does everyone feel scared and aimless like I do sometimes? With their most recent release, Clé 1: Miroh, it’s clear that these questions are still at the forefront of their minds — and they’re facing them head-on, charging into adolescent uncertainty with newfound confidence and perspective that comes when you enter your twenties. And of course, a bit of bravado. Their song “Boxer” opens with a cheeky declaration: “Hello, I’m a young man who can fly anywhere.”

Within that “long but short kind of period” since their debut, Stray Kids have released four EPs and one pre-debut mixtape, all of which have been primarily written and produced by the members themselves. While 3racha have shaped the majority of the group’s discography, all nine members are credited writers and encouraged to contribute to the production.

“The fact that we make our own music is one of [our] biggest weapons because that way it’s a bit more genuine,” Bang Chan said. “It’s the message that we form and want to send everyone.”

“It’s much easier to express ourselves and express how we feel to the fans,” rapper, and fellow Aussie, Felix added. “It’s way more honest as well,” Bang Chan concluded. “It’s really important to Stray Kids.”

Getty Images

Members from left to right: Bang Chan, Hyunjin, I.N, Han, Changbin, Seungmin, Felix, Lee Know, and Woojin

That creative ethos starts with Bang Chan, who put the group together when they were trainees under Korea’s JYP Entertainment. (The Stray Kids logo is even written in his handwriting.) Fans were first introduced to the Australia-raised leader on the group’s survival program, aptly titled Stray Kids. Over the course of 10 episodes, Stray Kids — then teenagers with big dreams  — underwent teamwork challenges and regular evaluations for the chance to debut together as a group. The series documented the nine individuals as they prepared their blustery pre-debut song “Hellevator,” producing and practicing around the clock for a dream that was never very certain. In fact, members Felix and Lee Know were originally eliminated from the project but were ultimately brought back in the final episode, giving even more meaning to the phrase “nine or none.”

The group’s nonstop pace didn’t slow down after their debut, either. If anything, the desire to create and funnel their questions into their music got even stronger because of their fans (called STAY).

As such, they’re always creating. And when they feel stuck, they resort to the kinds of distractions you might expect from a group of young men: fresh air, movies (Creed), and anime (One Piece) for Bang Chan; video games and EDM music for Felix, who added, “I’ve been listening to ‘My Pace’ a lot.”

“I’m always on my laptop trying to make new stuff, whenever we have free time,” Bang Chan said. “On the plane as well. I make a lot of music on the plane. I remember I worked on ‘I Am You’ on the plane to New York last year. And we did use a bit of it, so it was pretty good.”

Of course, with that comes its own unique kind of pressure. “There’s that feeling of, ‘Will people like this music? Will our fans like this music? Will STAYs like this music?’ Sometimes, that can get into our heads,” he said. “Trying to satisfy everyone is going to be an eternal challenge.” Trying to do so while keeping up with the furious pace Stray Kids’ set in their first year is also challenging.

JYP Entertainment

Bang Chan (left) and Felix (right)

So it makes sense that time (examining it, questioning it, running away from it) is a running theme throughout Miroh. Album closer “19” is a moody and personal song, written and produced by member Han, that finds him navigating that age between adolescence and adulthood. “Maze Of Memories” is a hip-hop track in which the cadence matches the various twists and turns one might encounter while chasing your dreams. It starts off slow and foreboding, then evolves into something darker and more sinister — a nightmarish soundscape — before ending with a confident refrain of “never give up.” And then there’s “Chronosaurus,” an atmospheric song that associates time with something to be afraid of.

“While I was writing ‘Chronosaurus’ I did think a lot that time is something that has a lot of pressure attached to it. Even when you’re taking a test there’s always a time limit, or when you’re working there’s always a deadline,” Bang Chan said.

“I would love to have a superpower that could control time because then I could do whatever I want,” he added, laughing. “But time being something that no one can stop, because it’s something that’s always going to be with me anyway, you might as well get comfortable with it. Try to take some of the pressure off it.”

This candid exploration is something that means a lot to their fans, many of whom are also navigating their own everyday struggles — running into their own mazes and up against deadlines. “We wanted to spread the message that you guys aren’t the only ones,” the leader told the passionate crowd of fans at the New Jersey Performing Arts Center on Tuesday night (May 14), the first of two sold-out nights and the first stop of the U.S. leg of their Unveil world tour. The two-hour set traces the group’s young discography, telling the story of Stray Kids from the beginning.

Earlier singles “Hellevator” and “District 9” are full of angst and aggression — teens who balked at societal pressures and followed their own rules — while the energetic “My Pace” is uplifting and anthemic, and b-side “Voices” exposes their deep-seated insecurities. “I Am You,” a song written for their fans, packs an emotional punch (“You shined on me when I didn’t even know myself,” Hyunjin raps) and “Get Cool” is a playful ode to living in the moment (“Doesn’t matter if the world is a cold place ’cause I’m getting cooler,” Bang Chan sings). By the end, it’s clear: Their music is a mirror to their fans, reflecting their innermost thoughts and anxieties — and intertwining their stories in the process.

“At events where we get to meet up with our fans they talk to us about what they’re feeling or what’s on their minds,” Bang Chan said. “Knowing that, we can tell that our fans are changing and getting older with us. It’s really cool to experience that.”

But it’s not just the themes in their music that connect with fans; it’s the members themselves. Despite the number of rappers in their arsenal and their powerful stage presence, Bang Chan jokingly insists: “We’re a mess!” And anyone who’s seen even one episode of their weekly web series or tuned into one of their live streams would probably agree. After all, teenage boys are still teenage boys, regardless of whether or not they’re idols.

Take, for example, their main rapper, who spits bars at a breakneck speed. “Changbin-hyung is different on-stage,” Felix said. “When people see him on stage, they think he’s this dark rapper. But at the end of the day, when it’s just us, he’s a big brother that plays around a lot.”

And then there’s baby-faced Felix, whose deep voice and effervescent personality hardly seem like an obvious pairing at first but are essential to the group’s sonic identity.

“I now know how to use my voice a bit more. As we record for new songs, I’m able to improve and learn from 3racha on how to record,” he said, reflecting on the past year. “And not only that. Since being in the group, I’m learning more about myself as well and who I really am. Being with Stray Kids has made me feel more confident. It made me who I really am. I feel brave these days.”

When asked about the biggest change he sees in himself since being part of Stray Kids, Bang Chan was quick to note that he still doesn’t have any answers. “I have always been on a quest to find who I really am,” he said, pausing. “Honestly, I don’t think I’ve figured it out 100 percent yet.”

“But I have learned a lot about how to be on stage and how to communicate with my members and STAYs,” he added. “Even producing our music, every time I make a new song, I learn something new. And I’m still learning. I’m excited thinking about that now — there’s so much more to learn.”

This perspective — approaching life as a series of shared experiences, not obstacles — is what makes Stray Kids voices for their generation. By opening up, they’re encouraging others to do the same, to forge their own paths and perhaps learn something new about themselves along the way.

Maluma Makes His Spectacular Debut On Fallon

Colombian artist Maluma made a splash when he appeared on Madonna‘s lead single for her forthcoming album, Madame XMedellín.” Last night (May 14), Maluma made his performance debut on The Tonight Show Starring Jimmy Fallon. He performed “HP” from his forthcoming album, 11:11. The neon performance made for a magical introduction to the show.

Maluma made use of brilliant pink and blue lights that put the crowd at ease as he bounced on his feet, belting the bouncy number. What was best about it was the cool, all-knowing smile that never left his face. A constantly zooming and moving background gave it an ethereal atmosphere that he grounded on Earth. There aren’t that many that can bring this energy to Fallon.

Maluma spoke to MTV News about the video for “HP” in March. “We wanted to do a very, very colorful video because that’s what I’m doing with my next album, 11:11, is showing a lot of happiness, a lot of positive energy,” he said.

Take a look at his magical Fallon debut up above.

U.K. Singer Mahalia Is Newly 21, Happily In Love, And Still The ‘Bad Bitch’ You Know

A week before Mahalia’s 21st birthday, she hadn’t yet decided how to celebrate. She would be in Cincinnati that day, she explained to MTV News over the phone, for a stop on Ella Mai’s headlining tour. She was “really, really, really excited” for the month-long U.S. trek to get underway, and that was presently taking priority over her big day — which perhaps makes sense when you consider turning 21 is a bigger deal for Americans than for a U.K. native like herself.

Birthday non-plans aside, Mahalia’s new year is shaping up to be her busiest and buzziest yet — and maybe her happiest as well. In her music, she often vents about heartbreak and shattered relationships; take her 2017 breakout hit “Sober” or the bitingly sarcastic “I Wish I Missed My Ex.” But her most recent single, “Grateful,” shows off another side: one that’s sweet, sensual, elatedly in love, and wholly reflective of her life at the moment (to drive the point home, she recently got the word “grateful” tattooed on her arm).

“I spent a long time writing about the people who hurt me; I guess because I find it easy to draw inspiration from pain,” she explained. “But with [“Grateful”], I am in a situation where I met somebody and — for the first time in ages — I was like, oh my god, I want to write about how much you make me feel good. I just wanted people to see that side of me, as well as the ‘independent woman, bad bitch, no-one-can-fucking-hurt-me’ side.”

That side of Mahalia is what you hear on her other released single of 2019, the defiant “Do Not Disturb,” which finds her reflecting on a relationship that likely ended in a blocked number, and vowing not to give her ex the satisfaction of reaching her again. In it, she sings, “I’m putting myself on do not disturb,” intentionally choosing “myself” instead of “my phone.”

“The phone thing isn’t timeless; saying ‘I’m putting my phone on silent’ in 10 years might not be relevant anymore,” she said. “For me, I was just like, it should be about me saying, you don’t get to contact me, you don’t get to be in my life anymore. I want to take time for myself, basically. I think that was a really important message to convey and for people to sing.”

That’s definitely proven to be true — when she performs the song live, she sees fans screaming the lyrics along with her. It’s still “surprising” to her that people are relating to it in such a fervid way, but perhaps it shouldn’t be. Between “Do Not Disturb” and “Don’t Call Me Up,” a song from her R&B peer Mabel that was also released this year — not to mention, Dua Lipa’s viral smash “New Rules” — a growing number of women in pop are asserting their will to hang up on exes and move on fabulously.

“It’s so universal, right? I used to love screaming, ‘One, don’t pick up the phone / You know he’s only calling cause he’s drunk.’ I used to fucking love singing that in the car because it’s like, we can all relate to that,” Mahalia said. “I remember when Mabel’s ‘Don’t Call Me Up’ dropped just before ‘Do Not Disturb,’ I was like, this is so funny and we are literally all on the exact same wave.

“And I think there’s definitely a thing with women going, ‘No, I’m not just at your disposal,'” she continued. “My whole thing is, I have young girls looking at me going, ‘How do I go through life and be cool?’ And I think for me, it’s just about saying the right message. How do we get young women to grow up in a world where they are inspired to feel strong? And it’s totally not about hating men. It’s just about saying, ‘I need to be in control of my life and myself.'”

Control is something Mahalia has a lot of these days, and she’s spent years working for it. The Leicester, England, native signed a deal with Atlantic Records when she was just 13, and she’s since released one full-length and three EPs, including 2018’s critically adored Seasons. She’s become a magnetic performer who’s toured alongside Ed Sheeran and Mai, and this summer, she’s booked more than a dozen festival dates across the U.S. and Europe. It’s all leading up to her as-yet-untitled debut album, which she says will come around the “end of summer.”

“For me, it was such a slow and steady climb and build,” she said of the journey toward her new release. “It had been seven years being signed and working in the music industry, and I just thought, I can’t spend all this time working towards this and, now that things are taking off, rush an album in six months.

“As I’ve got older, I realized that a lot of the time I was putting pressure on myself more than anybody,” she continued. “Even now, finishing this album, it’s like, fuck… I think I’m just putting pressure on myself to make the best record that I can.”

Still, as tracks like “Grateful” prove, Mahalia is finally letting herself exhale. Twenty-one is going to be a good year for her.

12 Essential Eurovision Performances To Prepare You For This Year’s Competition

By Amber Petty

An array of hopeful singers are warming up for their big break in the largest singing competition in the world. No, I’m not talking about the American Idol finale. I’m talking about the only singing competition you need to watch: the Eurovision Song Contest.

With American singing shows, you get a lot of similar (albeit very talented) voices belting out more straightforward pop covers. With Eurovision, you get a singer who starts his song in a piano coffin and a winner whose song is legitimately half chicken noises. The music ranges from dance to pop to rock to strange blends of folk music and house beats. The Eurovision performers themselves are everything from monster-masked punk bands to soulful drag queens. This year, Madonna‘s performing during the interval while all the votes are processed. When Madonna is your time-killing act, you know the show is worth watching.

The Eurovision Song Contest started in 1956 as a way to join Europe in literal and figurative harmony after World War II. The rules are simple: The song has to be under three minutes, not previously released, and sung live. Forty-one countries will compete in the semi-finals, beginning on Tuesday (May 14), but only 26 will make it to the live, three-plus hour Grand Final on Saturday. With a combination of audience voting and selected jury, a Eurovision winner is crowned, and the performer’s country gets the privilege of hosting the contest the following year. Really all you need to know is that a lot of countries participate every year, and there might even be a guy in a horse head dancing on a ladder.

As we get ready for the competition’s grand conclusion in Tel Aviv on May 18, here are some of the defining Eurovision highlights from its past 63 years.

  • Cezar: “It’s My Life” (Romania)

    A singer with heavy eye liner that recalls It’s Always Sunny in Philadelphia‘s stage-ready Mac, mostly naked male dancers running around the stage, a gigantic cape, and a falsetto that just keeps going up: Here, you have all the wonder of Eurovision in a single song. It’s something you’d never hear on American radio, yet it’s full of un-ironic spectacle that we should demand from all our live broadcasts. This 2013 performance was the moment I fell in love with Eurovision.

  • Dana: “All Kinds of Everything” (Ireland)

    Devoid of large capes and falsetto, this song is just an 18-year-old girl singing a happy song about “things of the trees.” Though it’s corny, the song provided a beautiful moment of unity. Due to the decades-long conflict taking place within Northern Ireland at the time, it was controversial to have a Northern Irish singer represent the Republic of Ireland in 1970, but the nation put the Troubles aside and the happy ballad brought Ireland its first Eurovision win.

  • Buranovskiye Babushki: “Party for Everybody” (Russia)

    Have you ever wanted to see a bunch of traditionally-dressed Russian babushkas dance and sing about partying around an ancient oven? Your weird wish was granted with Russia’s “Party for Everybody” in 2012. The strange mix of folk music and basic dance beats was a huge hit — these grannies got second place!

  • ABBA: “Waterloo” (Sweden)

    The biggest Eurovision success story, ABBA got their start by winning the 1974 contest with “Waterloo.” The jaunty song about military defeat brought them Sweden’s first win, and ABBA became a worldwide sensation.

  • Céline Dion: “Ne Partez Pas Sans Moi” (Switzerland)

    No, Céline Dion is not from Switzerland, but that didn’t stop her from singing the winning song in 1988. Confusingly, Eurovision rules stipulate that a singer does not have to be from the country they’re representing. (In 1997, the U.K. won with the partially American band Katrina and the Waves.) So why doesn’t every country try to buy off Beyoncé and guarantee a win? At the very least, Céline should make a return. Who doesn’t want to see the Canadian queen belt out some weird dance song in her Met Gala look?

  • Lordi: “Hard Rock Hallelujah” (Finland)

    In case you think Eurovision is all ballads, belting, and Eurodance beats, the competition broke the mold with this 2006 winner. The GWAR-esque band impressed the audience with their gravelly-voiced rock, and the lead singer’s moving wings and pyrotechnic axe probably sealed the deal.

  • DJ BoBo: “Vampires Are Alive” (Switzerland)

    From its first lyric (“Vampires are alive!”), this song wastes no time. What sounds like a forgotten B-side from Real McCoy is actually DJ BoBo bringing his questionable pitch and enthusiastic dancing to the Eurovision stage. If you ever wondered what Blade would have looked like if it were directed by Batman & Robin-era Joel Schumacher, this is it.

  • Salvador Sobral: “Amar Pelos Dois” (Portugal)

    Instead of awarding one of the crazy, campy numbers, judges gave the 2017 prize to this simple song. With Eurovision, you never know what’s going to win votes, but Salvador Sobral proved that a lovely tune is sometimes all you need.

  • Silvia Night: “Congratulations” (Iceland)

    Every few years, you get a satirical, meta entry, like “We Are the Winners,” where a group of the most fun guys from the accounting firm got together to sing a song about how they should win Eurovision, or “Ireland Douze Points,” where a turkey puppet sang about how Ireland should take the prize. But my favorite in this category is “Congratulations.” Sung by the Ali G-esque comedic character Silvia Night (played by Ágústa Eva Erlendsdóttir), “Congratulations” features lyrics like “The vote is in, I freaking win” and a moment where she answers a phone call from God and says, “What’s up, dog? It’s me, your favorite person in the world!” Sadly, this song never made it past semi-finals, but the actress later went on to voice Elsa in the Icelandic dub of Frozen. So really, she was the winner.

  • Bucks Fizz: “Making Your Mind Up” (United Kingdom)

    The 1981 winner is known more for a costume change than a memorable tune. Halfway through the song, as the band sings, “You wanna see some more,” the male members tear away the female singers’ midi skirts to reveal — slightly shorter skirts! Since then, the tearaway skirt has been mentioned in nearly every article about the competition’s legacy and consistently listed as a shocking moment in Eurovision history. It might not be controversial today, but it illustrates the power of a good costume reveal.

  • Verka Serduchka: “Dancing Lasha Tumbai” (Ukraine)

    This 2007 song seems like nothing more than a campy dance hit. But the lyrics “I want to see Lasha Tumbai” sound a lot like “I want to say Russia goodbye,” which some Russians took to be a political message about the country’s involvement in the Ukraine. Singer Verka Serduchka denied any attack on Russia and said the song was really about churned butter (the Mongolian translation of “lasha tumbai”). If this song sounds familiar, it might be because it prominently appeared in Melissa McCarthy’s Spy.

  • Conchita Wurst: “Rise Like a Phoenix” (Austria)

    In what might be the best Eurovision winner of all time, the bearded drag queen Conchita Wurst sang a song of transformation as digital flaming wings encompassed the stage. With Bond-theme horns and all the drama, this song put all the pageantry, art, and talent of Eurovision in a beautiful three-minute package. What more could you want from a singing competition?

Troye Sivan And Charli XCX Curated Their Own Pride Festival — See The Lineup

After dropping their nostalgic bop “1999” last year, Troye Sivan and Charli XCX are reuniting to make 2019 shine. On Tuesday (May 14), the duo unveiled the lineup for the first annual Go West Fest, a music festival hitting Los Angeles just in time for Pride Month.

Charli and Sivan will co-host and co-headline the June 6 event, which features a killer roster of artists that they curated themselves. Indie-pop icons Allie X and Pussy Riot will join them onstage at L.A.’s The Wiltern, as will Sivan collaborations Carlie Hanson and Leland. The rest of the lineup includes Gia Gunn, Quay Dash, Dorian Electra, and Chika.

Alongside an announcement video on Twitter, Sivan wrote that Go West Fest is “a new kind of pride festival… that celebrates the inclusivity, artistry, music, kinks, merchants, and creativity of the LGBTQ community, while really giving back to our community.”

The Bloom singer added that “everyone’s welcome” at the one-day festival, and that the “whole thing benefits GLAAD and local organizations.”

Charli added in an Instagram Story, “It’s gonna be amazing and I’m so happy to be a part of it with @troyesivan – who has really put so so so much hard work and love into this v special event!!!! EVERYONE IS WELCOME!!!!!”

Tickets for Go West Fest go on sale this Friday (May 17) — see ticket info here.