Hollywood Boulevard is where legends leave their names. All along the Hollywood Walk of Fame, entertainment icons share the same stretch of concrete: Michael Jackson; Diana Ross; Billy Joel. Just a stone’s throw away, an artist by the name of D. Hollywood (the D is for dirty) is plotting his own rise. A multi-instrumentalist, daredevil, and eccentric, Hollywood’s bombastic personality is inextricable from his rakish style of west coast rock. My Name Is Love is made up of lurching, low-throttle guitars, synths, and Hollywood’s wild child lyricism. My name is love and I’m a liar he sneers. Drums and vocals provide the meat of Chutes and Ladders. It’s lo-fi, extra dirty rock delivered in lashes. But Hollywood’s greatest moment comes in On Fire, an impossibly catchy anthem with big, swaggering guitars. I’m going out tonight, gonna set the world on fire, he promises. We believe him.
Taylor Swift has yet to top Billboard’s Hot 100, but who needs a No. 1 pop single when you’ve sold more than 20 million albums (as of March of 2011), been named Entertainer of the Year twice in a row by the Academy of Country Music (in 2011 and 2012), been awarded the 2010 Hal David Starlight Award by the Songwriters Hall of Fame (an honor previously bestowed upon John Mayer and Alicia Keys) and won an Album of the Year GRAMMY (in 2010, for Fearless, her second album)? She makes every princess of pop this side of Adele seem like an underachiever.
At the age of twenty-two, Swift has accomplished what it takes some icons entire careers and then some to achieve. (Neither Bruce Springsteen, nor the Rolling Stones, nor Aretha Franklin, nor Madonna, nor Eminem, has yet to win an Album of the Year GRAMMY.) But it’s Swift’s latest honor, being the frontrunner for the role of Joni Mitchell in the upcoming film Girls Like Us, a biopic based on Sheila Weller’s book about the lives of Mitchell, Carly Simon and Carole King in the late ’60s, that has her detractors”and some fans even”protesting “Too soon!” and wondering “Who? Her?” (more…)
Beyoncé is having a rough 2011. I don’t know how she felt about turning thirty on September 4, but if she’s as career-obsessed as I suspect she is, it was probably the least of her concerns. Yes, 2011 has not been without a few triumphs: She rocked the Glastonbury Festival in June, and she set a Twitter record for “most tweets per second recorded for a single event” (8,868) when she announced at the August 28 MTV Video Music Awards that she is expecting her first child with husband Jay-Z.
But by October, even that bright spot was mired in controversy when Beyoncé’s baby bump seemed to collapse as she sat down for a couch chat during an Australian TV appearance. A faked pregnancy? Stranger things have happened”like an underperforming Beyoncé album. Despite debuting at No. 1 with 310,000 copies sold its first week in June, Beyoncé’s fourth solo album, 4, has sold below expectations while failing to launch a major hit single.
But collapsing baby bumps and album sales might be small-time woes compared to the accusations of theft and copyright infringement that continue to dog the singer.
In the past, she’s been accused of contributing minimally to the creation of some of the songs for which she receives songwriting credit, and in 2005, she was sued (albeit unsuccessfully) for copyright infringement for her 2003 No. 1 hit “Baby Boy.” Then in 2006, Destiny’s Child‘s “Cater 2 U,” for which Beyoncé and her group mates were listed as co-writers, was at the center of another copyright infringement suit, which was settled out of court.