The Jonas Brothers Go Back to the ’80s in Fun New Music Video for ‘Only Human


They’re only human — in the best way!

Complete with disco lights, grainy footage, colorful outfits, and synchronized dancing, the Jonas Brothers went back to the ’80s for their new “Only Human” music video.

The video opens up with the trio on stage, with sunglasses on, surrounded by clubgoers head-bopping to the beat of their hit reggae-pop song. Perfectly edited to mimic a music video produced in the ’80s, the camera zooms in and out of scenes, flipping through colorful lights and footage of the audience shimmying to the music.

During the first chorus, the entire club joins in to sing with Joe Jonas, before the venue is filled with bubbles as Nick Jonas begins his vocals.

They even take the scene outside in an iconic ’80s-esque moment when Joe and Kevin Jonas dance on top of a vintage taxi cab. The clubgoers jog and dance in unison around them.

The music video dropped just one week after the Jonas Brothers kicked off their worldwide Happiness Begins tour on August 7, with a show at the American Airlines Arena in Miami, Florida.

The tour marks their first in nearly a decade and follows their highly anticipated reunion earlier this year. It’ll take them across the U.S., Canada, Mexico, and Europe, before coming to an end in February 2020.

This article was originally published by: People

Cardi B Can’t Swim — So Rapper Jokes That She Bought Breast Implants to ‘Float’ Instead


Cardi B is back with yet another hilariously candid confession — and this time, it’s about her breast implants.

On Sunday, the “Press” rapper captioned a photo of herself rocking colorful braids, a cut-out black long-sleeved crop top (which exposes most of her chest) and neon pink pants on Instagram, “I can’t swim so I bought these titties so I can float.”

In the comments section of the post, Cardi, 26, received love from several stars, including DJ Diplo, who wrote, “Your [sic] a genius.” Supermodel Naomi Campbell also commented, “I know the feeling can’t float,” with two hearts.

Though it has been a longstanding urban myth that breast implants can help people float, it has been proven that saline implants have little to no impact on swimmers as they are neutrally buoyant. Silicone implants, which are denser than water, might even have a slight sinking effect.

During an interview with Entertainment Tonight in May, Cardi revealed that she underwent a second breast augmentation surgery following the birth of her 13-month-old baby girl, Kulture Kiari, whom she shares with husband Offset, 27.

“I just got my boobs redone,” she said. “I feel good, but then sometimes I feel like not, you know? [When] your skin is stretched out.”

“Yes, my daughter f—ed me up,” she joked. “She did. She so did.”

Cardi B

Last September, Cardi — who had her first breast enhancement surgery at 19 — posted a candid clip to her Instagram page explaining that she wanted to go under the knife to make her chest appear more lifted.

“I don’t give a f—. If y’all mothaf—ers see me gone in November, December I’m getting my tits done! I don’t give a f—. Matter of fact, I’m not even gonna call it surgery. I’m just gonna say a titty renovation cause I gotta renovate these s—s!” she said. “Kulture did me filthy!”

In May, Cardi confirmed that she also had liposuction after denying it for months. During her performance at the Beale Street Music Festival in Memphis, Cardi told the crowd that she did, in fact, get the plastic surgery.

“I have some news for y’all. I should have canceled today,” she said at the festival. “I shouldn’t really be performing because moving too much is gonna f— up my lipo. But bitch I’m still gonna get my motherf—ing money back, let’s go!”

Cardi B

Cardi went on to cancel and postpone a series of her concerts as she recovered from the surgery. To critics who said she should exercise instead of opting for surgery, Cardi said during an Instagram Live later that month, “I do whatever the f— I want with my body.”

“My job as an entertainer is a 24-hour job, bro. So, no, I don’t have time to work out,” she said. “And I wanted specific things that I know that no matter how much I work out, is not going to get fixed. Like my boobs, no matter how much I work out, they’re not going to lift themselves. So yeah, I have to get f—ing surgery. That’s right. All right?”

This article was originally published by: People

Drake Is Officially the First Solo Artist to Have More than 200 Appearances on Billboard Hot 100


Drake has «more slaps than the Beatles,» but not more Billboard Hot 100 charting songs than the cast of Glee

Started from the bottom and now he’s here!

Drake has officially made Billboard history. This week, the “Started From the Bottom” rapper became the first solo artist to have more than 200 appearances — a number that trumped legends like Elvis Presley, Aretha Franklin, James Brown, and Ray Charles.

The Canadian artist and Degrassi: The Next Generation alum, 32, hit the major milestone on the Aug 17-dated charts thanks to his new album, Care Package — a compilation of never-released singles.

The LP, which dropped on Aug. 2, yielded six tracks on the Hot 100, upping Drake’s grand total to 203 entries, according to Billboard. Only the Glee cast has accumulated more on the charts with 207 songs.

Care Package also hit No. 1, making it Drake’s ninth LP to top the charts. The songs from the album that pushed him to his new record are “Trust Issues” (No. 58), “How About Now” (No. 60), “The Motion” (No. 61), “Dreams Money Can Buy” (No. 68), “Club Paradise” (No. 85) and “Days in the East” (No. 95).

Other rappers that have come close to Drake’s Hot 100 record include Lil Wayne, who has 163 entries, Nicki Minaj who has 103, and JAY-Z, who has 100.

Presley is the highest of the legendary musical acts on the list, with 109 tunes, while iconic artists like Franklin boasts 73 — just two more than the Beatles, who have 71 entries.


Last year, Drake set another record for the highest number of top 10 songs on the Hot 100 chart in a single calendar year — surpassing The Beatles, who earned 11 top 10 songs in their breakout year of 1964. The rapper beat the legendary band by one song.

The artist recently celebrated his history-making record, proving that he’s “got more slaps than The Beatles”  with a tattoo inspired by the group’s iconic Abbey Road album cover. The unique tatoo features Drake walking ahead of John Lennon, Paul McCartney, George Harrison and Ringo Starr on the famous road.

Drake has been releasing music for more than 10 years with his breakthrough track, “Best I Ever Had,” charting in May 2009.

Of his 203 Hot 100 charting singles, he’s seen 35 hit the top 10 and six hit No. 1 — including “One Dance,” “God’s Plan,” and “In My Feelings.”

This article was originally published by: People

Katy Perry Drops New Single ‘Small Talk’ with Lyric Video


Katy Perry is over small talk.

The pop star, 34, dropped her newest single on Thursday night with a lyric video for the track, titled “Small Talk,” which is all about the awkward distance that happens between ex-lovers after a breakup.

Perry wrote the song with Jacob Kasher Hindlin, Johan Carlsson and Charlie Puth, with the latter two producing, and Peter Karlsson producing the vocals.

Perry teased the song earlier in the week with a sequence of photos shared on Instagram that included snippets of the song.

The Instagram posts included notes “from the desk of Katy Perry,” that featured lyrics from the song, her second single of 2019.

“Isn’t it weird / That you’ve seen me naked / We had conversations about forever / Now it’s about the weather okay,” read the first lyric.

The second note followed, “Isn’t it wild / That I know your weakness / And everybody at the party thinks / That you’re the best since sliced bread.”

“I just can’t believe / We went from strangers to lovers to / Strangers in a lifetime,” read the third revealing note. A fourth note, posted Wednesday morning, read, “Acting like we never met / Faking like we’d just forget / We were lovers.”

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Perry and her collaborators slammed the decision in a statement obtained by Variety.

“The writers of ‘Dark Horse’ view the verdicts as a travesty of justice,” the statement said. “There is no infringement. There was no access of substantial similarity. The only thing in common is unprotectable expression — evenly spaced ‘C’ and ‘B’ notes — repeated. People including musicologists from all over are expressing their dismay over this.

“We will continue to fight at all appropriate levels to rectify the injustice,” the statement concluded, indicating that Perry’s team will likely be appealing the decision.


This article was originally published by: People

Priyanka Chopra, Sophie Turner and Danielle Jonas Celebrate the Jonas Brothers’ Tour Kickoff


The “J Sisters” are reunited!

Sophie Turner, Priyanka Chopra Jonas and Danielle Jonas celebrated their respective husbands Joe, Nick and Kevin Jonas at the first night of the Jonas Brothers‘ Happiness Begins tour, which kicked off Wednesday at the American Airlines Arena in Miami, Florida.

On Wednesday night, Chopra Jonas, 37, shared photos of the women rocking Jonas Brothers t-shirts and posing in front of a sign that reads “J Sisters.”

“#wivesontour,” Chopra Jonas captioned the snap of her with Turner, 23, and Danielle, 32.

In another photo, the “J Sisters” cuddled with Kevin and Danielle’s daughters Valentina Angelina and Alena Rose. “The #jsisters” for life,” Chopra Jonas wrote underneath the image.

“Crushed it! So proud of u guys!” she captioned a third Instagram post where she and Turner posed with Nick, 26, and Joe, 29.

The actress also shared footage of the concert on her Instagram Story on Wednesday, as she danced along in the front row.

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😍 #wivesontour @daniellejonas @sophiet

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Happiness Begins marks the Jonas Brothers’ first tour in nearly a decade and follows their highly anticipated reunion earlier this year.

The tour also comes less than a year after Nick and Chopra Jonas tied the knot in India in December 2018. Turner and Joe also walked down the aisle in France in June of this year.

Since the nuptials, the women have lovingly referred to each other as the “J Sisters” and spent time together on group dates, supported their husbands at awards shows, and posted numerous photos together on social media.

Priyanka Chopra Jonas


Chopra Jonas said that while she had “a crazy summer coming up,” she still planned on squeezing in time with her in-laws.

“The only time that I’m going to take a break is when I go to the tour with the boys for at least a couple of cities,” she said.

And while she wasn’t sure her schedule would match up with Turner’s or Danielle’s, the three women cherish whatever time together they get.

“We never end up spending as much time together because we are never in the same place together. All three of us have such busy lives,” Chopra said. “Sophie travels so much. I’m traveling so much. Danielle has the girls, and then for her to come out is so hard.”

“But when we do, we don’t need each other’s time,” she added. “We’re always giggling and joking and hanging out and it’s just so great to have my family extend into just amazing good people. I love that.”


This article was originally written by: People

Billie Eilish Declares ‘Anything Is Possible’ After Collaborating with Childhood Crush Justin Bieber


Billie Eilish is living out her childhood dream of singing with Justin Bieber!

On Thursday, Eilish, 17, and Bieber, 25, released their newest collaboration — a remixed version of the teen’s alternative/Indie song, “Bad Guy.”

While fans were thrilled with the new project, it appears Eilish may have been the most excited one of all, as she’s been a longtime fan of the “Sorry” singer.

In a post on Instagram following the song’s release, Eilish shared her excitement by posting a throwback photo of herself wearing a rainbow sequined dress while standing in front of her bedroom wall covered in posters of the pop singer.


Knowing how much the collaboration meant to Eilish, Bieber also shared the exciting news on his Instagram and Twitter by writing a sweet message to the young star.

“So proud of you @billieeilish,” he wrote beneath the same fangirl photo that Eilish had shared, before attaching their new song’s link.

In the newest version of “Bad Guy”, which was first released by Eilish in March as part of her debut studio album WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, the 17-year-old sings the first verse like normal.

After the first chorus, Bieber comes in with new lyrics in the second verse, singing “Gold teeth, my neck, my wrist is froze/I got more ice than, than the snow/That guy, don’t act like you don’t know/That guy, so critical.”

“Tattoos on both my sleeves/Yeah, I don’t sleep, please don’t wake me/Loosen my tie up so I can breathe/It ain’t political, oh no,” he continues before the pair team up on the second chorus, which also includes new lyrics of Bieber singing about being a bad guy.

Justin Bieber and Billie Eilish

It’s no secret that Eilish has been a major Belieber for years.

During a November 2018 radio interview with KROQ’s Kevin and Bean Show, the “Ocean Eyes” singer referred to Bieber as “my first love.”

“When I was, like 12, I was not a fan of him….That was, like, my first love,” she said. “That was the person I was in love with. In my head, he was in love with me. It was, like, a relationship with a person.”

In March, Eilish told Ellen DeGeneres she still has a soft spot for the singer. “He’s amazing. He’s so sweet and, like, I feel — just, honestly, I feel for him, man. He’s been through a lot, dude.”

Billie Eilish and Justin Bieber

That same month, Eilish revealed Bieber had followed her on Instagram — and even slid into her DMs with a throwback!

“The first thing he sent was a screenshot of a DM I sent him in 2014,” she told Entertainment Tonight. “You know how when you follow somebody, you can see everything they DM’d you in the past? It, like, it felt good and it felt bad at the same time.”

But perhaps the highlight of her fandom was in April after Eilish performed at Coachella and eventually crossed paths with the “Sorry” singer. During the annual music festival, Bieber commented on her Instagram with a “Yooo check ur dm gurl.”

“So, this happened… Long and bright future ahead for you,” Bieber captioned a photo of him and Eilish standing side-by-side during Ariana Grande’s headlining set on April 14.

Bieber’s manager, Scooter Braun, also captured the meeting, which he shared on Instagram the following day. “Beautiful moment. She finally met the kid! @wherearetheavocados @justinbieber,” Braun wrote along with a video that showed Eilish’s shocked reaction.

Also in the footage, Bieber and Eilish shared a long hug, which Braun later called “magic” on his Instagram Story.

The feelings may be mutual: Bieber tweeted, “Proud of you @billieeilish,” following her late night set.

The day after her long-awaited encounter, Eilish alluded to her meeting with Bieber on Instagram Story with a lengthy message about her Coachella experience.

“Part of me feels like I need to post about all the things that happened yesterday… but right now I think I’m gonna keep it all as my own for now,” she wrote. “These are my memories.”

Eilish added, “Some of the most life-changing things I’ll ever experience happened over the weekend. And I don’t want a bunch of pictures to have to prove that to anybody. Understand how moved I am. I don’t know how to process and relay the love I feel for the people I feel it for. I feel full thank you.”

This article was originally written by: People

Taylor Swift ‘Has No Regrets’ About Speaking Out Against Scooter Braun and Scott Borchetta


Taylor Swift received plenty of support — and backlash — when she publicly called out Scooter Braun and Scott Borchetta after news of their $300 million deal went public.

But despite any negativity she may have received over the last week-and-a-half, Swift isn’t backing down from her claims.


“She has no regrets expressing her thoughts about Scooter acquiring her music catalog,” says the source. “She wanted to share her truth with her fans.”

After Swift claimed she learned of the sale of Big Machine to Braun, 38, with the rest of the world and accused the manager of “manipulative bullying” over the years via a Tumblr post, it’s been a game of he-said, she-saidbetween the singer, Braun and Big Machine Label head Scott Borchetta, who first signed the superstar when she was a teen.

Last week, the singer doubled down on accusations she made via her post that she “wasn’t given an opportunity to buy” her “life’s work.”

Scott Borchetta, Taylor Swift and Scooter Braun

“Scott Borchetta never gave Taylor Swift an opportunity to purchase her masters, or the label, outright with a check in the way he is now apparently doing for others,” her lawyer Donald Passman told PEOPLE in a statement.

A source previously told Variety that Swift had to sign a deal that would bind her to Big Machine or its new owner for another 10 years in order to buy her masters or the label.

Hours after Swift said she was “grossed out” by Braun’s acquisition of Big Machine Label Group and her catalog, Borchetta responded with his own lengthy statement on the label’s website, essentially accusing Swift of bending the truth.

In his letter, Borchetta, 57, claimed the deal he offered Swift gave her “100% of all Taylor Swift assets … to be transferred to her immediately upon signing the new agreement.”

He also denied having any knowledge of bullying by Braun. “As to her comments about ‘being in tears or close to it’ anytime my new partner Scooter Braun’s name was brought up, I certainly never experienced that,” he wrote. “Scooter was never anything but positive about Taylor.”

Big Machine Label declined to comment, and neither Swift nor Borchetta have commented further about their failed contract negotiations — including the specifics of any offers that were made from either side — last year.

For all the details on why Taylor Swift spoke out and what’s next for the singer, Braun and Borchetta, pick up the latest issue of PEOPLE, on newsstands Friday.

“We were working together on a new type of deal for our new streaming world that was not necessarily tied to ‘albums’ but more of a length of time,” he added.

In her Tumblr post, the Grammy winner, 29, said the deal she was offered involved earning one album back for each “new one I turned in.”

“I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future,” she added. “I had to make the excruciating choice to leave behind my past.”

Swift, whose new album Lover hits shelves Aug. 23, said learning that it was Braun who had ultimately purchased her masters from Borchetta was her “worst nightmare.”

This article was originally written by: People

Shawn Mendes and Camila Cabello Hold Hands While Out in L.A. as Romance Rumors Continue


On Sunday, Mendes, 20, was all smiles while he held hands with the former Fifth Harmony member, 22, as the two spent time together after grabbing brunch in Los Angeles.

The rumored couple was snapped showing off some more PDA, as the “In My Blood” singer put his arms around Cabello, who seemed happy and comfortable with the pop star.

Mendes was wearing a wearing black Nike long-sleeved shirt and black pants. Cabello, meanwhile, hung close to Mendes while wearing a white top under a light black jacket.

While romance rumors have long followed the duo, they were significantly heightened with their “Señorita” song partnership, which was released just days before Cabello’s split from Matthew Hussey was confirmed. Both singers have denied being a couple, with Mendes even doing so when asked directly by a fan following his Staples Center performance on Friday night.

The fan asked Mendes during a Q&A session, “Are you dating Camila?” He responded by shaking his head and putting his hands out, as seen in the YouTube video of the encounter.

Cabello, however, further ignited the romance rumors when she praised Mendes after attending his Los Angeles show on Friday.

“@shawnmendes you couldn’t be more amazing. Wow,” she wrote alongside one clip, which was taken from the audience, adding a red heart emoji.

Last Wednesday evening, Cabello was photographed walking hand-in-hand with Mendes, and the following day, the duo was also seen cozying up by an infinity pool as they celebrated the Fourth of July together.

Shawn Mendes and Camila Cabello

The two singers first met while opening for Austin Mahone on his Live Ontour, when Cabello was still a member of Fifth Harmony and Mendes was primarily known for his viral Vine videos.

When rumors first emerged that the pair were dating in 2015, they turned it into a joke.

“We can’t do that!” Mendes told E! News in September 2015. “I mean, Spanish and Canadian don’t really mix.”


This article was originally written by People

Justin Bieber ‘Felt the Need to Defend’ Scooter Braun in Taylor Swift Feud but ‘Doesn’t Want It to Escalate’: Source




Justin Bieber spoke out in defense of his longtime manager, Scooter Braun, after Taylor Swift accused him of «manipulative bullying»

Taylor Swift and Scooter Braun‘s ongoing drama has many of their fans and famous friends picking sides, including Justin Bieber.

The “Sorry” singer made it clear that he’s sticking by Braun — his longtime manager — when he issued a lengthy statement in defense of him on Instagram on Sunday after Swift accused him of “manipulative bullying” upon learning that he purchased her former record label, Big Machine Label Group, and ultimately, her master recordings. Now, there’s some insight into why Bieber decided to publicly weigh in — and open himself up to backlash.

Since Braun, 38, has supported Bieber, 25, throughout all of his ups and downs over the years — and particularly over the last several months as he took time off from music to focus on treating his mental health struggles including depression, anxiety and ADHD — Bieber “felt the need to defend” his “friend and mentor,” a source close to the star tells PEOPLE.

“[Scooter] has been very understanding and encouraging of Justin taking a break from making a new album and instead focusing on his mental health,” the source says. “Justin thinks Scooter has a big heart [and] thought Taylor’s bashing of Scooter was unfair.”

The source adds, though, that Bieber “doesn’t plan to make any more public statements defending Scooter.”

“He really just wants the whole thing to die down,” the source says. “It’s a small business, and he doesn’t want there to be hate.”

Upon learning that Braun had acquired Big Machine for $300 million on Sunday, Swift, 29, shared a Tumblr blog post expressing her disdain for Braun and claiming that he used Bieber and on-and-off client Kanye West to bully her on social media following her feud with the rapper over the lyrics of his song “Famous.”

“All I could think about was the incessant, manipulative bullying I’ve received at his hands for years,” Swift wrote. “Like when Kim Kardashian orchestrated an illegally recorded snippet of a phone call to be leaked and then Scooter got his two clients together to bully me online about it.”

Swift also shared a screenshot taken from Bieber’s Instagram account of an August 2016 post, in which he shared a FaceTime call between himself and Braun — who can be seen with West, whom Braun was not managing at the time of Bieber’s Instagram post. “Taylor swift what up,” Bieber captioned the post.

In response, Bieber wrote in the caption of a throwback photo of him and Swift on Instagram, “Hey Taylor. First of all I would like to apologize for posting that hurtful instagram post, at the time I thought it was funny but looking back it was distasteful and insensitive.. I have to be honest though it was my caption and post that I screenshoted [sic] of scooter and Kanye that said ‘taylor swift what up’ he didnt have anything to do with it and it wasnt even a part of the conversation in all actuality he was the person who told me not to joke like that.”

This Article was originally written by People



¿Por qué seguimos escuchando vinilos?


A principios del siglo XXI el vinilo parecía un objeto propio de coleccionistas y aficionados a géneros y escenas musicales minoritarias. Y, de hecho, los datos más recientes sobre ventas de música, y algunos estudios académicos nos dicen que la gente consume, sobre todo, música en streaming. ¿Por qué, entonces, desde hace cerca de diez años, no deja de crecer la venta de vinilos??

Desde algunas disciplinas académicas, como la sociología, o los estudios sobre músicas populares, se están investigando estas cuestiones, tratando de averiguar por qué el vinilo es el único formato físico de la historia que ha sido capaz de revertir su caída en ventas. Veamos qué explicaciones son las que se están proporcionando.

Objetos, emociones y rituales

Algunos estudios nos explican que los aficionados a la música estamos unidos a los discos a través de sentimientos y emociones. No son simples objetos, cosas sin vida, si no que la música, las portadas, las canciones que contienen, están ligadas a nuestra memoria, a nuestra identidad. A veces escuchar un disco es como mirar un álbum de fotos. Cada canción está conectada con una época de nuestra vida, a personas concretas.

Portada del primer album de The Animals que incluye la canción ‘The house of the rising sun’ (1964).

La vuelta de vinilo podría ser englobada en eso que genéricamente se ha llamado “retromanía”, un rasgo de la cultura contemporánea que nos hace valorar excesivamente nuestro pasado, haciendo que nuestro consumo cultural, sobre todo en música, sea nostálgico.

Pero algunos autores sostienen que el revival del vinilo está influido por las características físicas del objeto más que por cuestiones nostálgicas, que hacen que muchos consumidores jóvenes descubran los rituales que rodean a este formato: desde el proceso de escarbar en las cubetas y encontrar joyas ocultas, al proceso de apertura, observación y audición del objeto.

A veces hemos interpretado mal que la música que escuchamos ya no esté en soportes físicos, que la consumamos en streaming y en MP3.

Algunos autores explican que el aumento del consumo de los formatos digitales, de la digitalización de la música, no implica que la música deje de ser un objeto. Es decir, que a pesar de que el consumo de música digital haya superado a los formatos materiales, eso no supone que la música no siga precisando de objetos físicos para su reproducción, como tabletas, móviles, ordenadores y reproductores de MP3/MP4. Los objetos siguen muy presentes en nuestro consumo de música.

Vinilo y autenticidad

Cuando escuchamos a alguien defender el formato vinilo frente a otros formatos, a veces da la sensación de que el vinilo es entendido como algo auténtico, real, creíble, cálido, mientras que el MP3 o el CD son formatos engañosos, fríos, distantes…

Por ejemplo hay aficionados que entienden que el vinilo fue apartado del mainstream, de las grandes ventas, por el CD, y quedó como un formato alternativo, más selecto, menos comercial.

Otras investigaciones apuntan a que lo que otorga un aura de autenticidad al vinilo son sus imperfecciones, su sonido rugoso, los arañazos en la superficie de los vinilos antiguos, los rastros de vida e historia insertos en ellos. Sus imperfecciones son las que le otorgan esa autenticidad, frente a la fría perfección del CD.

Las imperfecciones, el sonido rugoso, los arañazos, las huellas del pasado forman parte del encanto de los vinilos.
Sun_Shine / Shutterstock

De alguna manera estas afirmaciones llevan a pensar que los aficionados al vinilo humanizan este objeto. Los compradores de vinilo tienen la sensación de que este objeto se caracteriza por cuestiones como la falibilidad, la mortalidad, o por ser un objeto cálido. Las imperfecciones de este objeto, su sonido, sus portadas… todo ello hace que los aficionados lo humanicen y lo vean como un objeto más próximo y cercano, más real, que otras tecnologías.

El vinilo como pieza de arte

Portada de ‘In the court of the Crimson King’, (King Crimson, 1969), obra de Barry Godber.

Diversos autores coinciden en apuntar la importancia del “arte” –portada, fotos interiores, libreto– en el vinilo, como un extra que aporta elementos visuales a la escucha, así como elementos interactivos.

A nivel histórico no hay que olvidar que fue en los años sesenta cuando las bandas de pop-rock comenzaron a prestar atención a las portadas de los discos, a entenderlas como parte del concepto de álbum. Desde entonces las portadas se han convertido en un elemento clave para entender los vinilos como piezas artísticas. En ese sentido es muy significativo prestar atención a las ventas de vinilos. Aunque no hay muchos datos oficiales, algunos artículos de prensaapuntan a que los discos de vinilo que más se venden son aquellos que forman parte de lo que podríamos llamar el canon del pop-rock: Beatles, Pink Floyd, Michael Jackson, Prince…

Portada de ‘My aim is true’ (Elvis Costello, 1977)

¿Y por qué son estos vinilos los que más se venden? Probablemente porque la idea del vinilo y de su diseño como pieza artística está muy ligada a los años sesenta y setenta, a la década en la que se afianza ese canon del rock. El formato LP está conectado históricamente con el concepto de álbum en el rock desde esos años.

El concepto de álbum implicaba que el pop-rock era una música seria, con poso artístico, a la altura del cine y la literatura y que el formato de single no tenía entidad suficiente para contener la profundidad del mensaje que se explicaba a través del formato álbum. Así, es en esas décadas cuando las bandas de rock comenzaron a utilizar las dos caras de los vinilos y a servirse de esa metáfora para componer álbumes con dos partes diferenciadas.

Por tanto, existe una conexión histórica entre el formato vinilo y los álbumes clásicos del rock. Cualquier disco de Beatles, Rolling Stones, Dylan, Hendrix, Who, Kinks… tiene más valor y entidad en formato vinilo que en otros formatos.

Vinilo y nostalgia

Ya hemos hablado de la idea de “retromanía”, un rasgo de la cultura musical contemporánea, absolutamente dependiente de las obras musicales del pasado, sobre todo en el terreno del pop-rock, en el que se vive en un revival continuo de géneros y escenas pretéritas, proceso a su vez acelerado por las nuevas tecnologías.

Portada de London Calling (The Clash, 1979).

En el caso del vinilo, podríamos aplicar esta idea a través del concepto de “tecnostalgia”, entendida como los sentimientos agridulces que aparecen al utilizar medios tecnológicos que formaron parte de la socialización de una persona y que estarían en clara obsolescencia en la sociedad actual. La “tecnostalgia” sería un elemento claramente generacional ya que miembros de una misma generación compartirían esos elementos tecnológicos de socialización.

Para las generaciones más jóvenes el vinilo no puede formar parte de un proceso nostálgico ya que estos jóvenes apenas han utilizado ese formato. Por tanto, podemos pensar que, si bien puede existir un consumo de vinilo “tecnostálgico”, habría que distinguirlo de otro tipo de consumo que en este caso sería más bien “aurático”, es decir, basado en una idealización o mitificación de un formato que no ha sido parte del repertorio cotidiano de formatos auditivos utilizados por esa generación.

Portada de ‘Nevermind’ (Nirvana, 1991).

En resumen, como vemos, las investigaciones académicas sobre el vinilo avanzan y proponen una serie de conceptos e ideas para explicar el retorno de este formato.

Pero sigue habiendo cuestiones sobre las que no se ha respondido claramente, o sobre las que no se ha estudiado. Por ejemplo, sabemos poco sobre quiénes compran vinilos, sobre todo dentro de las generaciones más jóvenes. Además, la mayor parte de los trabajos realizados se han centrado en el caso de Estados Unidos e Inglaterra, con pequeñas aportaciones desde Suecia y Portugal.

Sería de gran ayuda que futuros trabajos analizasen el mundo del vinilo en otros contextos, especialmente en aquellos como los del sur de Europa en los que las crisis económica y de la industria discográfica han sido muy duras.

A su vez, abrirse a nuevos contextos implicaría abrirse a otros géneros, como pueden ser el fado o el flamenco, las hibridaciones del pop-rock con músicas autóctonas o las escenas locales de Electronic Dance Music o rap. Eso permitiría ampliar nuestro conocimiento sobre las relaciones entre géneros y vinilo y plantear si ese revival es propio del pop-rock, o también está presente en otras escenas y géneros.

Por último, conviene plantear la necesidad de obtener datos fiables en cuanto a las ventas de vinilo en cada país. A pesar de la dificultad que eso conllevaría, arrojaría mucha luz sobre estos trabajos obtener cifras concretas en torno a estas cuestiones.


Fernán del Val, Postdoctoral fellow, Universidade do Porto

Este artículo fue publicado originalmente en The Conversation. Lea el original. Foto: Studio KIWI / Shutterstock