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Jason Derulo Heads To “The Other Side” In New Video

Just a little over a week after releasing his latest single, pop star Jason Derulo has debuted a new music video.

“The Other Side” is Derulo’s most cinematic video effort to date. The clip opens with a monologue on regret and the desire for just one more chance to do it over again. How this plays into a song about meeting a girl at a club who wants to “take you to the other side,” I’m not sure, but it does develop a decent storyline for viewers to follow throughout the clip. Derulo still finds plenty of opportunities to dance, so fans of his older clips need not fret. Click here to view the video for “The Other Side.”

While the video definitely makes you want to dance, I can’t help feeling like “The Other Side” is Derulo’s weakest single in recent memory. Do you agree? Comment below and let us know!

Jason Derulo Returns With “The Other Side”

Pop singer and dancer extraordinaire Jason Derulo has unleashed the lyric video for his latest single, “The Other Side.”

Anyone following Derulo’s career has come to expect high-gloss, dance floor ready pop from the singer, usually with references to drinking and going all night long (in one way or another). “The Other Side” is no different, though it does start bit more subtle than the majority of his hits. Digital bass backs acoustic guitar while Derulo recounts young love, which may lead you to believe he’s setting up something sweet, but then things take a turn to the club and it’s back to well worn, drink it up and go all night territory that everyone from A to Z in pop is currently singing about. I wish I could say this one stands out as something special, but that would be a lie. It’s as forgettable as the ringtone on any teenager’s cellphone, which is coincidentally where this song will likely end up. You can stream the lyric video below.

Derulo has a new album on the horizon, but so far we’re not too excited to hear it. Comment below and let us know you thoughts on “The Other Side.” Continue reading ‘Jason Derulo Returns With “The Other Side”’

Sound and Vision: Is Gotye This Year’s Foster the People?

Here today, gone today, one-hit wonders make the world of pop go round—but never for long.

The late ‘70s gave us a plethora of short-term disco stars who lived—and quickly died—by the groove, while the Tacos, the Kajagoogoos and the After the Fires of the early ‘80s, arrived wielding synthesizers and tressed for fifteen minutes and less of success. More recently, in 2005 and 2006, sensitive singer-songwriter guys Daniel Powter (“Bad Day”) and James Blunt (“You’re Beautiful”) helped usher out the pre-Rihanna/Katy Perry/Lady Gaga phase of pop.

In 2009, as a higher number of headlining newcomers than usual ascended to the summit (Lady Gaga, Jay Sean and Jason DeRülo, among them), at least one, Owl City—the act behind “Fireflies”—was bound to never fly anywhere near those heights again. And last year, with dance music dominating the airwaves more dramatically than it had since the aforementioned disco age, we got indie-pop with a beat for exactly one massive hit single, courtesy of Foster the People, who went all the way to No. 3 with “Pumped Up Kicks.”

Which of 2012′s first-timers so far are most likely to not still be succeeding by their next single? fun., the rock trio that recently spent six weeks at No. 1 with “We Are Young”? Or Gotye, who rode a quirky song and an even more oddball video all the way to the top?

At a quick glance, Gotye seems to have all of the trappings of a one-hit wonder. Interesting name that one might need a pronunciation key to get right? Check. Song that sounds unlike anything else on the radio? Check. A colorful video that jumps off the screen for reasons that have as much to do with the high concept as the song itself? Check.

Continue reading ‘Sound and Vision: Is Gotye This Year’s Foster the People?’

Exclusive Q&A: Jason Derülo Looks Ahead To ‘Future History’

Jason Derülo’s meteoric rise to the summit of pop stardom has been anything but simple luck. In the two years since the release of his debut single “Whatcha Say,” Derülo has proved a tireless entertainer, writing over 150 songs for his sophomore album, touring with Lady Gaga and and enduring a seemingly endless array of press appearances. Lucky for us, he hasn’t tired of all the attention yet. We caught up with Derülo to talk about his new album Future History, his writing process in the studio, and the answer to the burning question that all the ladies want to know.

OS: The title of your new album Future History also appears in a tattoo that you have. Which came first, the album title or the tattoo?

JD: The tattoo came first. I got it about two years ago. Future History represents where I came from and where I see myself going. I called my album Future History because it bridges the two.

OS: You’ve mentioned that you grew a lot between releasing your first album and recording Future History. What experiences specifically stick out as having the greatest impact on you?

JD: Falling in love, falling out of love, traveling the world, my cousin passing away and being away from my family are all some of the things that helped me grow over the past two years.

OS: What would you tell people to expect from the new album if this was their first time listening to Jason Derülo?

JD: I’m a music lover and I love all kinds of music, so in my songwriting you will get influences from a bunch of different genres. Music should be made with no limitations. To keep myself from limiting my material, I don’t use a pen. I just go in the booth and sing whatever comes to my mind and heart.

OS: You’ve got a very strong musical theater background and even scored a gig in the Broadway production of Rent. If you could star in one musical theater production,which would it be?

JD: Ragtime.

OS: What’s it like for somebody who’s so passionate about songwriting to work with a team of producers who have different visions for your music?

JD: Collaborating is a lot of fun. I have a clear vision of who I am and what my music should sound like and what I want it to be. The people I work with help me bring that vision to life and take it to the next level. I’ve been blessed to work with some of the most talented people in the world.

OS: By now you’re a certified sex symbol, so the ladies have got to know: what’s your status?

JD: Single and ready to mingle.

OS: You’ve got a great sense of style, and in your videos you’re always wearing fresh kicks or cool studded jackets. What’s your favorite item in your wardrobe to wear?

JD: I like white t-shirts and high top sneakers.

Check out Jason Derülo’s latest album Future History out now!

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Sound And Vision: Best And Worst Performances In Pop Music Videos — Who’s Hot And Not?

Though we’re at least two decades removed from MTV‘s prime, never underestimate the enduring power of music videos. They can send singles zooming up the charts (Katy Perry’s latest jumped from No. 31 to No. 4 the week after the video hit YouTube), make intolerable songs must-hear and must-see (as Ke$ha‘s “Blow” recently did) and drum up just enough controversy to make fairly mainstream acts seem edgy (take a bow, Lady Gaga). But unlike the days when Michael Jackson and MTV ruled, for the most part, they’re no longer trying to change music or do much more beyond promoting the artists whose names are attached to them.

Lady Gaga and Beyoncé still take the art of making videos seriously; Ke$ha, who owes her entire career to a carefully cultivated video image, put an MTV VMA-worthy effort into “Blow” (my pick for the best pop clip of 2011 so far); and Katy Perry shines brightest onscreen. Still, when it comes to videos, most of today’s pop stars offer little more than what’s expected of them. They show up, look fantastic and lip-sync to the best of their ability.

It’s been years since the once always-dependable Madonna has given us the wow factor. Annie Lennox and Björk are from a now-bygone era. Michael Jackson is dead. And Adele, who could have done so much with “Rolling in the Deep,” didn’t even bother to get off her ass!

Which pop stars are making the biggest impressions—for better and for worse—on MTV and on YouTube these days? I like Nicki Minaj, but she’s all styling—without the bells and whistles, she’d probably blend into the woodwork. And Jennifer Lopez has never been sexier than she is in “I’m Into You,” but the video is only about how great she looks. The song is throwaway, and the video doesn’t make it sound any better. So who are video’s latest MVPs? Here are my picks for who’s Hot and Not.

HOT!

Debbie Gibson in Katy Perry’s “Last Friday Night (T.G.I.F.)” The fifth video from Katy Perry’s Teenage Dream album really pulls its weight, doing precisely what a good video should do: It sells the song. It’s a true transformer, turning “Last Friday Night (T.G.I.F.)” from a mediocre album track into a Teenage Dream highlight. Interestingly, the best moment involves neither the song nor the star. The usually dependable Perry overplays her geek alter-ego throughout, but toward the end, when ’80s teen queen Debbie Gibson shows up as her mom, the clip morphs from Glee meets Party Girl and Can’t Hardly Wait into a sort of video roast of Sandra Bullock in The Blind Side. Gibson does the perfectly pressed upper-crust glamour mom/wife with confidence and humor. Hollywood! Quick! Get this woman her own sitcom!

Rihanna in “Man Down” Music videos rarely require acting chops. If you’ve got the look—and Rihanna certainly does—three-quarters of the battle is won. In “Man Down,” a controversial gothic drama about the ripple effect of sexual abuse, Rihanna creates a complete character without uttering a single word of dialogue. Watching her tragic response after she’s sexually assualted outside of a club, I find myself wishing that she were making her film debut next year in a dramatic showcase that would require more from her than Battleship, a Hollywood wannabe-blockbuster set for release next Memorial Day weekend.

Kelly Rowland in “Motivation” I’ve never listened to the first hit single from Rowland’s third album, Here I Am, without the benefit of the video visual, so I couldn’t tell you if it stands on its own. But for the first time in her solo career, Rowland does. I’d make some crack about how she’s bringing sexy back, but it’s the first time we’ve seen Rowland bring it period (ah, the wonders of a blue lighting and impossibly sculpted male dancers). After so many years of being a second banana in Destiny’s Child, living her pop life in Beyoncé’s shadow, Rowland at last is the star of her own show.

NOT

Jennifer Hudson in “No One Gonna Love You” Hudson proves that her Oscar win for Dreamgirls may have been a fluke, and her underwhelming follow-up performance in the first Sex and the City movie wasn’t. In her (flimsy) defense, the dialogue that begins her latest clip is as awkward as the song’s grammatically challenged title. But a great Academy Award-winning actress should be able to transcend a poor script. Hudson looks amazing, but her sass sounds forced, and she tries too hard to channel Beyoncé in too-the-left-to-the-left female-empowerment mode. Instead, she comes across as kind of cranky and annoyed. No wonder her man can’t get away from her fast enough! Next time Hudson should skip the pillow talk and just sing.

Britney Spears in “I Wanna Go” Where’s Britney Spears’s pop-star spark? Look closely at her in any video from her last three albums: She’s dead behind the eyes. The zombie act continues in the third clip from the Femme Fatale album. Being Britney Spears is hard work, so now she’s trying to be Ke$ha (the attitude at the press conference that kicks off the video is straight out of “Blow”) with a touch of Avril Lavigne (her purposeful strut as she stalks the streets seems to have been lifted from “What the Hell”). Instead, she comes across as a third-string pop star (Mandy Moore or Jessica Simpson back when Britney was on top). Though she gets bonus points for not falling back on the same dance routines that dominate her videography, if she wants to show us that it’s not easy being Britney (yawn, yes, there we go again), the least she could do is be Britney.

Enrique Iglesias in “Dirty Dancer” They don’t make male solo pop stars the way they did back when Michael Jackson and Prince ruled the world. Bruno Mars and Jason Derülo are nice to look at but hardly potentially iconic video stars. Then there’s Iglesias—gorgeous, talented and one of the nicest guys I’ve ever had the pleasure of sizing up face to face. But it’s time for him to do something new with his. You can take him out of any of the videos he’s made since his English-language breakthrough in 1999 with “Bailamos,” drop him into another one, and the videos all remain the same. I’m not saying those come hither looks don’t work—only the most justifiably confident pop star would dare to name a song “Tonight I’m F**kin´ You” and probably be right—but when I’m starting to tire of looking at Enrique Iglesias head shots (tilt it just so, look up slightly, smolder), we’ve got a serious problem.

Sound And Vision: Product Placement in Pop Videos — Good, Bad, Ugly Or Just Great Business?

—Art vs. Commerce. That was the declaration of war made by Neil Young in his controversial, confrontational 1988 single “This Note’s for You,” and he didn’t stop there. In the song’s scathing video, Young mocked stars like Michael Jackson and Whitney Houston for using their image and music to sell consumer goods. The clip was promptly banned by MTV, but it still went on to win the 1989 Video Music Award for Best Video of the Year. Art 1, Commerce 0.
Look who’s winning now. If Young were to relaunch the war with a 2011 sequel to “This Note’s for You,” the competition, no longer limited to such easy targets, would probably crush him. Shilling for corporations, particularly in music videos, has become as perfunctory to pop stardom as walking the red carpet, with more and more music acts seeking advertising dollars while mining for gold and platinum. For years, TV commercials have looked like MTV, and now it’s increasingly the other way around, too.
When Lady Gaga wore Diet Coke cans in her hair in the “Telephone” video, she wasn’t just making an offbeat fashion statement. She was earning a massive payday. And Coca-Cola, Virgin Mobile, Polaroid and Hewlett-Packard—to name a few of the brands that popped up in the video—were getting their money’s worth. If millions of video views on YouTube boosted Gaga’s album and single sales, imagine what they did for Diet Coke.
More recently, Britney Spears promoted her Radiance fragrance and reportedly made a cool half million for pitching Sony electronics, Make Up Forever cosmetics and the dating Web site PlentyOfFish.com and in her “Hold It Against Me” clip. Avril Lavigne endorsed Sony Vaio computers, Sony Ericsson HD digital cameras, her own Avril Lavigne perfume and Abbey Dawn clothing line as well as New York City taxis in “What the Hell,” while Jennifer Lopez advertised BMW, Swarovski crystals and Crown Royal whiskey in “On the Floor.”

Not one to miss a bandwagon, especially one that’s so profitable, Ke$ha worked Revolucion tequila and—like Spears and Gaga in their aforementioned clips as well as Jason DeRülo, Natasha Bedingfield, 3OH!3 and Flo Rida in their own videos—PlentyOfFish.com into “We R Who We R.” The clip also hawks Baby-G watches, and in return, the brand’s Web site features the video and photos of the singer wearing various models on its home page. Taio Cruz, the Black Eyed Peas, Kylie Minogue, Calvin Harris, Justin Bieber, Rihanna and Katy Perry (who, thanks to a poorly-timed tweet, indirectly slammed Spears for her lack of imagination in product placing) are just a few of the others who’ve plugged for pay in videos.
Pretty much every star engages in some form of product placement, some in everyday life (though presumably, not for pay), so it’s not hard to see why more of them are giving in to the temptation to sell out. Those elaborate four-minute videos that you click to view on YouTube aren’t cheap to make—in some cases, the budgets could cover the price tag of a two-hour indie film—so the product-placing singers might argue that they’re just recouping expenses.
Anyway, there’s long been product placement in movies, on TV shows, even, occasionally, in song lyrics. Nearly a decade after Busta Rhymes‘s cognac plug/hit single “Pass the Courvoisier, Part II,” Ke$ha gave a shout out—and a billion dollars worth of free publicity— to Jack Daniels in her debut solo hit “Tik Tok.” In 2009, Jennifer Lopez’s flop single “Louboutins” touted the designer heels, and Jay-Z and Alicia Keys‘ “Empire State of Mind” gave the Big Apple its best free publicity since Frank Sinatra turned “New York, New York” into a standard.
As record sales continue to slip and artists seek other sources of income, it might not be too long before Madison Avenue starts slipping songwriters compensation for mentioning its products in their lyrics. Who’s to say it hasn’t already begun?
In the end, it’s the music business. When Chris Brown says, “Look at me now, I’m getting paper,” in his latest hit, he might as well be speaking for all of his fellow pop stars. They rake in that paper from album and single sales, touring and merchandise, so why should videos (which fans get to view for free on TV or online) be any different? Even before the current wave of product placement, videos were already advertisements for the artists, their singles and their albums, which are all, essentially, product. So in a sense, product placement has been happening all along. It just arrived at its logical—and instantly lucrative—conclusion.

Rock ‘n’ Roll Call: Punk Goes Pop, Volume 3

It’s been ten years since the release of Punk Goes Metal, the first of a nine-disc set of cover compilations released by Fearless Records. Today, the tenth installment in the series, Punk Goes Pop, Volume 3, hits shelves.

Upon first view of the tracklisting, you may be surprised to see which artists appear on this record. While the early Punk Goes… albums featured scene staples like Yellowcard, The Starting Line, Thrice and Taking Back Sunday, Punk Goes Pop, Volume 3‘s lineup includes few artists that the average music listener would know (and certainly no bands that truly qualify as “punk”). The question from here on out, then, is: Can the underdogs pull their weight?

The album starts off with a cover of Jay Sean‘s “Down” by “crunkcore” duo Breathe Carolina. Unfortunately for Breathe Carolina, the very mention of “crunkcore” will be enough to keep many from giving this track a chance.

Crunkcore duo Breathe Carolina open the record with their cover of Jay Sean's "Down"

“Down” does set the tone for most of the record, though, which reflects the hottest trend in pop rock: the electronic-meets-screamo style made famous by bands like Attack Attack! and 3OH!3. If this doesn’t sound like your cup of tea, be warned: you probably won’t like most of Punk Goes Pop, Volume 3.

The third track, a cover of Lady Gaga‘s “Bad Romance,” comes to us from OurStage band Artist Vs Poet. Though it’s been covered a million times already, this is a solid version of it and remains very true to the original.

Another highlight of the record is Mayday Parade‘s cover of Jason Derülo‘s “In My Head.” Vocalist Derek Sanders can hit all the high notes without relying on autotune, and the track as a whole is refreshingly straight forward and not overproduced.

We Came As Romans' cover of "My Love" might just give JT a run for his money

After the harmony-laden pop vocals of Sparks the Rescue‘s cover of “Need You Now” by Lady Antebellum fade out, you may be caught off-guard by the growls of We Came As Romans vocalist David Stephens. Romans’ cover of “My Love” actually ends the record nicely, though, with clean vocalist Kyle Pavone’s Justin Timberlake-like croon going head-to-head with breakdowns and synth riffs.

Unfortunately, covers do not always do the original song justice (you’ll probably find yourself skipping The Ready Set‘s bland version of B.o.B and Hayley Williams’ “Airplanes”), but if you’re a fan of teen “popcore,” you’re likely to be pleasantly surprised with this collection.

Pick up Punk Goes Pop, Volume 3 in record stores and online today and check out Mayday Parade’s cover of “In My Head” below!

Tracklisting:

1. Breathe Carolina – “Down” (originally recorded by Jay Sean ft. Lil Wayne)
2. Woe, Is Me – “Hot ‘N Cold” (originally recorded by Katy Perry)
3. Artist Vs Poet – “Bad Romance” (originally recorded by Lady GaGa)
4. Mayday Parade – “In My Head” (originally recorded by Jason Derülo)
5. Asking Alexandria – “Right Now (Na Na Na)” (originally recorded by Akon)
6. This Century – “Paper Planes” (originally recorded by M.I.A.)
7. The Word Alive – “Heartless” (originally recorded by Kanye West)
8. Family Force 5 – “Bulletproof” (originally recorded by La Roux)
9. Of Mice & Men – “Blame It” (originally recorded by Jamie Foxx ft. T-Pain)
10. Miss May I – “Run This Town” (originally recorded by Jay-Z ft. Kanye West and Rihanna)
11. The Ready Set – “Airplanes” (originally recorded by B.o.B ft. Hayley Williams)
12. Cute Is What We Aim For – “Dead And Gone” (originally recorded by T.I. ft. Justin Timberlake)
13. Sparks The Rescue – “Need You Now” (originally recorded by Lady Antebellum)
14. We Came As Romans – “My Love” (originally recorded by Justin Timberlake ft. T.I.)


Q&A With Jason Derülo

Twenty-year-old Jason Derülo has certainly had an incredible year. It began with his first tour ever, where he found himself not only traveling across the country, but performing for thousands of fans as an opening act for pop megastar Lady Gaga. His hit singles, “Whatcha Say,” “In My Head” and “Ridin’ Solo” have topped the charts for months, and now he’s wrapping up a headlining world tour. OurStage got the chance to speak with Jason about adjusting to the star life and what’s in store for his undoubtedly bright future.

OS: Though you’ve always been a performer, you originally made a name for yourself in the industry as a songwriter for Lil’ Wayne, Cassie and Danity Kane, to name a few. How did you land that job at such a young age?

JD: I was 16 when I got my first placement, and I wasn’t chasing the writing dream. What I was doing was kind of tricking the producer that I was working with into thinking that I was a writer [laughs]. I just really wanted them to record records for me…but I was posing as a songwriter so I could get them to record me.  While I was doing this, I just so happened to get a placement and the ball just kind of started rolling. Once you get one placement, it just kind of snowballs…then Lil’ Wayne, Danity Kane, Cassie, for all these people…P. Diddy…all of them kind of fell in line. Once you start getting more and more, more come.

OS: You had over 300 songs recorded before the album was put together. How did you narrow down that huge list to the nine that eventually ended up on the CD?

JD: I think every song is special in its own way…and I wanted to have every song be totally different from the last. You can kind of tell from the singles… none of them were really in line with the others. Every single song can really spin on its own and be it’s own story. When I narrowed it down, I took the best in each category. Those were the ones that I felt were special.

OS: Your hit single “Whatcha Say” samples Imogen Heap’s song “Hide and Seek.” What made you decide to use that piece for the chorus of your own song?

JD: It was actually JR [Rotem, producer]‘s idea to sample that. When he brought it to me, I was floored because it’s just so different… I knew it would be something that would cut through and would catch people’s attention. It’s such a beautiful song…and when I wrote to it, it really meshed together and it just happened to be magical.

OS: You work with so many other artists as a songwriter but haven’t collaborated with any yet. Who would you most like to collaborate with on a future release?

JD: I’m not that person that’s going to have a million features on his album, because I think that your album is a representation of you. I don’t really need to hang on anyone’s coat tails, you know? If it is a collaboration, it would be a collaboration that’s right for the song. I wouldn’t sacrifice a song that I thought was good on its own to have a feature on it. But, I mean, if I had my first choice…I would choose Madonna! [laughs] She’s been able to reinvent herself time and time again and I have yet to be a part of another reinvention. I grew up listening to Madonna because my mom listened to Madonna.

OS: Earlier this year, you spent six weeks touring the country as an opening act for Lady Gaga’s Monster Ball. What was that experience like?

JD: Lady Gaga, she’s awesome…I had a great time on tour with her. She’s spectacular in terms of helping the process run smoothly. She was an absolute sweetheart and her staff were really helpful in making my first tour a success. It was my first tour, so I needed time to get acclimated to being on tour….living in a tour bus, performing in front of thousands of people everyday…it takes some getting used to. It’s a completely different life. But she was awesome throughout the whole thing. She’s inspiring. She said a lot of inspiring words to me. She’s a kind, kind girl.

OS: Your live show is very energetic. How do you prepare for weeks of touring?

JD: It’s crazy. My schedule is so crazy that I have minimal time to really, really prepare. I feel like every show is somewhat of a rehearsal. Because literally, before my tour, I had one rehearsal on my set. I was thrown on the stage in London, one of the biggest cities in the world…and I had to do my thing. And I think it makes for a better performer, being put on the spot, and to just go. I think that’s the beauty of performance…when you can just go and be yourself, without all the gimmicks…you can make a great show.

OS: In addition to being a singer, songwriter and dancer, you’re also an actor. Do you have any plans to return to the film set in the near future?

JD: It’s crazy, you know…I never thought I’d be turning down film roles left and right… it’s pretty crazy. I did this series online and it raised a lot of buzz in the acting world. It was the story of my life…I played myself, it was called “The Walk of Fame.” It raised a lot of attention. I’m getting offered film roles left and right, but I can’t—everything that I’m doing is taking up my time, in the music world. But I hope to in the near future, because I love it. It’s an amazing thing, also.

OS: You have an incredible work ethic and don’t seem to ever rest. Do you have any interest in working on the business side of the industry?

JD: Yeah, I actually have a girls’ group coming out in Australia, first…and I [am also mentoring] a young girl, Alyssa, she’s 15, as well. I’m really into fashion, too, so I’ll probably do that.

Don’t miss Jason Derülo at the last dates of his world tour:

10/20 – Arizona State Fairgrounds, Phoenix, AZ
10/21 – University of Kentucky, Lexington, KY
10/22 – Rider University, Lawrenceville, NJ
10/23 - Warehouse Live, Houston, TX
10/25 - House Of Blues, Dallas, TX
10/27 - Center Stage, Atlanta, GA
10/28 – The Ritz Ybor,Tampa. FL
10/29 – Alumni Hall, Fairfield, CT

Pop Goes Political

Following her record-breaking rack up of eight MTV VMA’s for her single “Bad Romance” and collaboration with Beyoncé on “Telephone,” Lady Gaga gave fans a taste of what’s to come when she belted out lyrics to her future single, “Born This Way” at the podium: “I’m beautiful in my way, because God makes no mistakes, I’m on the right track, baby I was born this way.” The reigning Queen of Pop was escorted by three discharged US soldiers to her big night, a move made to raise awareness for the repeal of the controversial Don’t Ask, Don’t Tell policy employed by the US armed forces. There’s no mistaking the pointed message of the song, but was it also a call to action to her fellow superstars?

The “It Gets Better” campaign, sponsored by the Trevor Project, has celebs rallying around the LGBT community, urging troubled teens to seek help and hope, not suicide.

Tyler Clementi

It comes at the heels of a national string of gay suicides, most recently Tyler Clementi, the 18-year-old Rutgers student who leapt to his death after his roommate used a webcam to film him having homosexual sex. Clementi’s suicide was the fourth time in four weeks that gay youth suicide made headlines, prompting big reactions from some serious stars.

Ellen DeGeneres, Cyndi Lauper, Wendy Williams, Aubrey O’Day, Ke$ha, Ashley Tisdale, Leanne Rimes, Jason Derulo, Joe Jonas, Jewel and Eve are just a few of the stars who have lent their time and their stories in personal video messages directed at teens struggling with their sexuality and its harsh repercussions. Also reportedly in the works is a special episode of hit show, Glee that will broach the subject of bullying and tolerance.

Cyndi Lauper's personal message. http://www.wegiveadamn.org/videos/

Rumors are swirling that Pink, this year’s recipient of the Ally For Equality Award at the Human Rights Campaign’s 14th annual National Dinner in Washington, DC, will actually marry a gay couple in her next video, “Raise Your Glass.

With today being National Coming Out Day, it seems that finally, the art reflects the time and artists and fans are uniting to be heard.

By Cortney Wills

Cortney Wills is a pop culture journalist born and raised in Los Angeles, California. She has lived in LA, Chicago and NYC and enjoys all things entertainment.

 


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