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Rita Ora recently released the third single for her long awaited second album 'Girls', and not everyone is happy about it. 'Girls', which is a collaboration with Cardi B, Bebe Rexha and Charli XCX, is an ode to girls kissing girls, with a chorus that reads, "Sometimes I just wanna kiss girls/Red wine, I just wanna kiss girls". The song, which Ora has described as an "empowering anthem", seems to be as much a celebration of femininity in general as it is about actually falling in love with girls. "These past few years I've been so inspired by all the strong women I've seen who aren't afraid to be themselves. For those who aren’t afraid to rule the world, this is our anthem," she said. "And of course, thank you to all the fellow boss women who so kindly graced this song with me — each representing who they are and where they are from." Despite Ora's words, however, it seems that not everyone has taken the song in the vein in which it was intended. Kehlani (aka the girl famous for attempting suicide) and Hayley Kiyoko (aka the girl from The Stunners who isn't Tinashe) both took to Twitter today to express their dissatisfaction with the song, with both artists appearing to think that the song set the LGBTQ community back by years. In typical SJW fashion, Kehlani made a series of Tweets that were not only vague and incomprehensible but also pretentious and holier than thou. "every artist on the song is fantastic, and very much loved and supported by me… by all of us. but this isn’t about talent. it’s about choice," she stated. When a follower pointed out that she'd written a similarly themed song called 'Distraction', she seemed to state that she was above criticism. "let’s get into it my love. i didn’t write distraction about needing a woman to be a distraction because i wouldn’t take a woman seriously because i am not queer. i wrote about wanting a distraction from my career, but not having enough time for a relationship. and don’t make this personal." In a lengthy Twitter tirade, Kiyoko echoed Kehlani's statements in a similarly obnoxious tone. As someone who was pretty against Katy Perry's 'I Kissed A Girl', I have to say that for me the only offensive thing about 'Girls' is the quality of the lyrics. But what do you think? Check out the song and sound off below!

From that Christmas forward, and for every one after, God claimed one thing to be true: the holidays would not begin until Mariah Carey sang 'All I Want For Christmas Is You'. - (Corinthians, 16:2) It wasn't her all time best performance of the classic - she was clearly struggling to hit some of the higher notes, even with a prominent backing track which she harmonised with during her infamous falsetto moment in the final chorus - but Mariah Carey's performance still achieved it's yearly goal of bringing Christmas cheer to the masses when she performed it on the VH1 special Divas: An Unsilent Night recently. Divas Holiday: Unsilent Night After opening the show Mariah was happy to share the spotlight, and let some other girls do the dirty work of entertaining the crowd for her. Professional flops JoJo, Bebe Rexha and Serayah realised that they couldn't book a solo gig and so instead teamed up to perform a Motown-inspired cover of Darlene Love's 1993 'All Alone on Christmas', made famous internationally by the classic holiday film Love Actually. JoJo breezed through the track in a low-cut gown while Bebe and Serayah let their nerves get the best of them and struggled to sing their solos, only just managing to turn out for the harmonies. Divas Holiday: Unsilent Night Fresh off her star turn in JoJo's newest single 'FAB.', Remy Ma turned out for a brief but fun performance of Run-DMC's 'Christmas in Hollis'... Divas Holiday: Unsilent Night While elsewhere, Grammy-award winner Patti Labelle made a grand entrance in orange singing her festive hit 'When You've Been Blessed'. Divas Holiday: Unsilent Night And for a grand finale, a gothic-styled Chaka Khan performed her timeless hits 'Ain't Nobody' and 'Natural Woman', before bringing out a selection of the other ladies - Labelle, JoJo, Rexha, Taylor and more - to back up Labelle during a soulful chorus of 'I'm Every Woman'. Divas Holiday: Unsilent Night Sadly, Mariah had a pair of sparkly red Louboutins that needed polishing and was unable to make time for her godmother Labelle's spot. Which was your favourite Divas performance of the night? Did Mariah steal the show with her impressive direction, or did Patti upstage her with those incredible vocals? Let us know your thoughts in the comments below!

Throughout the history of pop music, archetypes have remained a constant presence even while their specific classifications evolve or disappear. Whether it's the blue eyed soul crooner, the long haired rocker or the blinged out rapper, these archetypes are used in association with genre to identify and promote new artists and to set up expectations based on past successes. One of the newer archetypes which has only come to prominence in the last twenty years is the hook bitch, who's blown up with with the increase in hip-hop and EDM tracks pervading the charts. 2016's version of the video model, the hook bitch is defined as the female voice you hear on rap and dance tracks who creates the most catchy and memorable part of the song but who is generally credited last (if at all). Skylar Grey first epitomised the idea when she rose to prominence with her multiple features on big hip-pop tracks such as Diddy - Dirty Money's 'Coming Home', Dr. Dre's 'I Need A Doctor' and Nicki Minaj's 'Bed of Lies', but later struggled to establish a career outside of her features, even when calling in favours from her previous collaborators like Eminem and Big Sean. Although Skylar often performed the songs live, and later released solo versions on an EP called The Buried Sessions of Skylar Grey, she rarely appeared in promotional music videos, making her pretty much a non-presence for most of the general public who were singing along to her words. Now Bebe Rexha has stepped into her shoes, becoming one of the year's most sought after hitmakers for both her writing and singing abilities while remaining a relative unknown to the listening public. After writing songs for the likes of Selena Gomez, Eminem, Rihanna and Tinashe, Bebe began with a slight head start to Skylar when she was officially credited as a "duet" partner on her biggest single yet - the collaborative 'Me, Myself & I' with G-Eazy. She appeared in the track's music video, and in the clip for 'Take Me Home', her dance collaboration with Cash Cash; but her good luck didn't last long. Despite a high profile placement on David Guetta and Nicki Minaj's 'Hey Mama', Bebe's name wasn't mentioned when the music video for that song was uploaded to YouTube, and she was a no show for both that clip and her feature on Havana Brown's 'Battle Cry'. Word on the street is that she won't appear in the music video for her upcoming feature on Martin Garrix's much-hyped 'Name of Love' either. It's a shame, because even a cursory glance at one of Rexha's solo tracks would show she has huge potential. After collaborating with Pete Wentz on the short-lived dance-rock band The Black Cards, Rexha went solo in 2012, nabbing a record deal on the strength of her Eminem and Rihanna co-write 'The Monster'. But it wasn't until 2015 when her first EP, I Don't Wanna Grow Up, was released. Featuring a nice range of songs from the rock-tinged lead single 'I'm Gonna Show You Crazy' to the dancey 'I Can't Stop Drinking About You' and the dreampop 'Sweet Beginnings', the EP cemented Rexha as one to watch thanks to her ability to combine personal storytelling and catchy hooks. Rexha's leaked material is just as brilliant, whether it be the dance-floor ready 'Cry Wolf' (seriously, why wasn't that released as a single?) or the R&B-tinged 'Atmosphere', which sounds like the perfect joint for a crooner like Tinashe to jump on. Now, it seems as though Rexha is making motions to leave her past as a hook bitch far behind her. With a new choppy blonde hairdo and a set of A-list collaborators, Rexha has reintroduced herself to the public with 'No Broken Hearts', a "star studded collaboration" featuring her 'Hey Mama' buddy Minaj. Building on the sound she introduced with 'Atmosphere', 'Hearts' is Bebe's most urban song to date, an obvious attempt to cash in on the success she faced with 'Me, Myself & I'; but it received a mixed single from fans and the charts alike, failing to inspire the lovers of her previous music and struggling to chart on the Billboard Hot 100. Rexha might have nabbed 75 million views for the 'Hearts' music video, but it was at the expense of alienating a vocal portion of her core fanbase and discrediting most of the work she'd been doing for the past eight years. It's a timely reminder that not every rebranding is necessary or successful, and that not every hook bitch is meant to set the charts afire, regardless of how good their actual material is. What are your thoughts on Rexha's music? Do you prefer Black Cards-era Bebe, her foray into dance-pop or her urban reinvention? Let us know in the comments below!

It's been a big couple of years for newcomer Bebe Rexha, who first hit our radars in 2013 as co-writer of the smash hit Eminem and Rihanna collaboration, 'The Monster'. Since then, Rexha has skyrocketed to new heights with features on G-Eazy's 'Me, Myself & I' (which peaked at #7 on the Billboard Hot 100), David Guetta and Nicki Minaj's 'Hey Mama' (which hit #8 in the US) and Cash Cash's 'Take Me Home' (#5 on the UK charts), as well as through a truly stellar EP I Don't Wanna Grow Up, released in May of last year. Now, Rexha has teamed up with another big name for what is surely expected to be her breakthrough solo single - 'No Broken Hearts', which features go-to rap girl Nicki Minaj. First teased mid-way through last year when Rexha promised that fans could expect a "big female rapper" on her next single and Nicki tweeted a portion of the lyrics, the single has been long expected by fans of the up-and comer. But does it live up to the expectation? Check it out below and read our thoughts after the jump! Following the variations of dance-pop she's explored with past tracks like 'I'm Gonna Show You Crazy' and 'Pray', 'Hearts' is definitely intended to be the formal introduction of a new sound for the singer. Bebe first debuted her new R&B stylings a few months ago with the sultry slow banger 'Atmosphere', which was sneakily uploaded and swiftly deleted from her SoundCloud within hours. But 'No Broken Hearts' is a far cry from the slinky, sophisticated space-age stylings of that track, opting instead to play out like a slower version of 'Hey Mama' with it's pseudo-Caribbean snares and synths. In some ways, this is probably a smart move given the prevalence of this sound lately - check out tropical house tracks like Justin Bieber's 'Where Are Ü Now' and R&B jams like Rihanna's 'Work' for more on that - but it also makes the single feel somewhat redundant and definitely seems like a step back from Rexha's previous work. The lyrics themselves are pretty standard for a top forty song, with Rexha repeating "No broken hearts in the club, more drinks pour it up, cos we gonna get it popping tonight" to an almost annoying extent. She's definitely done better with the bittersweet ode to alcoholism 'I Can't Stop Drinking About You' or vengeful 'Cry Wolf'. Nicki's rap itself is pretty decent and perfectly radio-appropriate, featuring what surely must be a contractually obligated reference to her 'MYX Moscado' range of mixers, but after we've experienced some of her best work on features - namely, the legendary 'Monster' - we can't help but be a little disappointed. There's little to love here apart from a reference to Minaj giving them "MILF teas - they be sweating me head bands and gym tees". Minaj does her job well, but does little to go above and beyond the call of rent-a-rapper duty. All in all, the track's fairly decent, and we can see it being a hit in certain sections of The Bronx (no tea, no shade). But this is far from Rexha's best work, and definitely not the best way for her to introduce herself to the general public in a big way. To us, it almost seems like a waste of a Nicki Minaj feature which would have been equally as good on previous songs like 'Cry Wolf' or 'Gone'. What do you think of Bebe's new single? Did it live up to your expectations, or should she have stuck with her previous dance-pop sound? Let us know in the comments section down below!