Little Big Town’s The Breaker touches on a wide array of human emotions: sadness, loss, joy, sensuality, freedom. The title track, which closes the album, is perhaps the most indicative of the vulnerability that laces through all twelve tracks.

For a group of people who are happily married, they sing the heartbreak songs so well.

We won’t even talk about the Taylor Swift penned-“Better Man.” Country music enthusiasts already know the tune and are loving it (it recently hit #1 on the country charts).

Related: IMPACT: Little Big Town’s ‘The Breaker’

“Happy People” – Written by Lori McKenna, Hailey Whitters, could almost be a hippie anthem. It contains the moral truths reminiscent of Tim McGraw’s “Humble and Kind” (also written by McKenna) with a gentle gypsy band vibe.

“We Went to the Beach” – Written by Matt Jenkins, Chase McGill and Laura Veltz, this is a nostalgic track about the memories you might make at the shore. The family trip, the party, the honeymoon. The vibey percussion almost makes you feel like you’re sitting on a wooden deck in the Florida panhandle with your feet in sugar sand.

“Free” – Written by Barry Dean, Natalie Hemby, Luke Laird and Lori McKenna; this song reminds us that the important things in life are things that you can’t buy. The vibe of the song almost makes you feel like you are flying free over a field.

“When Someone Stops Loving You” – Written by Hillary Lindsey, Chase McGill and  Lori McKenna. This song talks about all the things you still have to do, even when your heart is broken. Everyone else goes along just like nothing has changed, while you are struggling to get through the day.

“The Breaker” – Written by Connie Harrington and TJ Osborne, it’s the album’s closer and they saved the best for last. This melancholy track finds its setting in the aftermath of a love that has ended. “I thought I was the hero of your heart, but I turned out to be The Breaker.”

Over the years, Star Trek has been one of the few franchises to mostly avoid using contemporary music, either as a theme song, or in the context of the show or movie, and has never used modern music to sell itself.

Call it the “Fast and Furious” effect, but that has changed today, with the release of the first trailer for Star Trek Beyond, directed by Justin Lin (of the Fast and Furious franchise) which is soundtracked by the Beastie Boys‘ 1994 classic, “Sabotage.”

Watch the trailer below.

This isn’t the first time that song has surfaced in the world of Trek; in the 2009 franchise reboot, a young Captain Kirk was seen stealing his mother’s boyfriend’s vintage car, and when he put on the stereo, “Sabotage” was playing.

Apparently, that moment made a big impression on Kirk; in the next movie, 2013’s Into Darkness, he’s seen listening to a remix of “Body Movin’.”

The love goes both ways: the Beastie Boys have referenced Trek through the years as well, namely in their underrated classic “Ch-Check It Out,” from 2004’s To the Five Boroughs, which has the lyrics, “All you Trekkies and TV addicts…” and “All you Klingons in your Grandma’s house…” The video, meanwhile, sees the Beasties wearing old-school Trek uniforms and also beaming down to Brooklyn, transporter style.

On the same album, “The Brouhaha” has the lyrics: “Communicator check one two one two/This is Bones McCoy on a line to Sulu/Set the bull—- to warp factor one/Check your tricorder set your phaser to stun!”

And, of course, in “Intergalactic,” they namedrop the franchise’s most famous Vulcan: “I’ll stir fry you in my wok/Your knees’ll start shaking and your fingers pop/Like a pinch on the neck of Mr. Spock!”

What other Beastie Boys easter eggs will pop up in the next Trek? Find out when Star Trek Beyond opens on July 22.

Rapper Young Thug is making sure you never forget his name or music. He recently released a brand new song titled “No Joke.” The song is produced by Chopsquad and Metro Boomin’.

An incomplete version of the track was leaked over the summer, along with a host of other music.

Related: Young Thug Talks Relationship With Lil Wayne

In normal Young Thug fashion, he shows off his unique rapping style when spitting verses about how his fashion game, his significant other, and hustle are no joking matters. Although he recently delivered a mixtape called Slime Season, there’s speculation he’s already working on the sequel.

There’s no word on whether “No Joke” will appear on the alleged forthcoming project. For right now, fans will have to tide themselves over with this joint. Check out “No Joke” below.

Throughout the history of popular music, songs have boasted double entendres or used metaphors to veil steamy messages while sounding squeaky clean. That’s because singing about fun subjects (like sex) or dangerous ones (like drugs) has often been considered socially taboo (and more importantly, could prevent songs from being played on the radio).

Here’s some examples: The Beatles’ “Got To Get You Into My Life,” allegedly is not about a woman, but about marijuana. Little Richard’s “Tutti Frutti” is about homosexuality (a big taboo in 1955 when it hit the airwaves). “Afternoon Delight?” sounds innocent enough. But look no further than the lyric “The thought of rubbing you is getting so exciting,” to get to what Starland Vocal Band was really singing about. Kelis’ “Milkshake?” That’s not about an ice cream based drink. When Robert Plant sings “squeeze my lemon,” it’s surely not about produce. Cyndi Lauper’s “She Bop?” Well, check the urban dictionary for that one, but it’s kind of about the same thing as Billy Idol’s “Dancing With Myself.” Rod Stewart’s “You’re In My Heart”? Actually, that’s pretty clean: it’s about his love for soccer. The point is: the songs that you sing along with often aren’t about what you think that they are about.

And the summer of 2015 proved to be a racy one in terms of popular songs that that weren’t about what you thought they were.

The five songs below were not only massive hits this summer, but were recited by pre-teens, played at weddings, high school dances, bar mitzvahs, professional sports games by people who probably didn’t know what they were singing about.

The Weeknd – “Can’t Feel My Face”

“And I know she’ll be the death of me, at least we’ll both be numb,” starts The Weeknd. “And she’ll always get the best of me, the worst is yet to come.” In the song, the 25 year-old Canadian singer illustrates his addition to what is likely cocaine, and sings about it as if it were a lover. The numbness is likely a reference to its medicinal qualities. Historically, cocaine was useful as a topical anesthetic for minor surgeries. It’s not the first time The Weeknd has written about drug use. He referenced his problem with substance abuse “Kiss Land,” singing “Goddamn I’m high/My doctor told me to stop/And he gave me something to pop/And I mix it up with some Adderall’s and I wait to get to the top.”

The Weeknd – “The Hills”

The track is primary about The Weeknd making a booty call, but admitting to the woman that he’s only only in the mood when he’s on drugs and he has no interest in getting involved beyond the sex. “I only call you when it’s half past five, The only time that I’ll be by your side,” he sings. He goes so far as to boast that he had two women before he even came over. As if that’s not enough, he’s built up such a tolerance for the drugs that they are “feelin’ like it’s decaf.”

Nicki Minaj featuring Drake and Lil’ Wayne  – Truffle Butter

Plain and simple. This song is about sex and the fluids the act produces, and, frankly, it’s pretty surprising that this one ever hit the airwaves. Lil’ Wayne’s portion of the song seems to take place in the bathroom, conveniently enough. “Put your hands on the toilet,” Wayne raps, “I’ll put one leg on the tub, Girl this my new dance move, I just don’t know what to call it.”

In terms of content, this song is rated X (and so is the term “truffle butter”). But for whatever reason, with a few lyrics muted, it passed under the public’s offensive content radar and went on to get onto pop radio. Check out the song’s very NSFW lyric video above.

Fetty Wap – Trap Queen

First and foremost, a trap is a place where drug dealers do their business. A trap queen is someone who takes care of the drug dealer. In the case of Fetty Wap song, he trusts his girl so implicitly that he’ll allow her to cook his cocaine for him, with the added benefit of not charging for her services. “Married to the money, introduced her to my stove,” he raps, “Showed her how to whip it, now she remixin’ for low.”

Future – Where Ya At

Future raps about selling crack cocaine. Like many seeking a career in rap, a financial jump-start is occasionally gained through the sale of drugs. “Where Ya At,” poses the question: Where were all Futures’s friends when he was struggling? Now people are coming around with their hands outstretched looking for a free handout.

Hunter Hayes and Sam Smith might not be total strangers. Back at the GRAMMYs earlier this year, Hayes hosted the pre-show awards and Smith won a ton of regular show honors, so their paths likely to have crossed as both were so involved in the broadcast.

But, if they weren’t connected then, clearly Smith has left an impression on Hayes, with the country singer releasing a live acoustic cover of Sam Smith’s top five hit “I’m Not the Only One” via PopShackTV. Hayes doesn’t countrify the tune, but rather embraces his pop sensibility, giving the song a straight-forward and emotional rendition.

Related: ACMs Presenters Include Hunter Hayes, Kelly Clarkson, Steven Tyler & More

We’ll see if Smith gets wind of this and returns the favor with a cover of “Wanted” or “Somebody’s Heartbreak.”

Hayes released his second studio album, Storylines, in 2014, and will be hitting the road with Sam Hunt and Lady Antebellum this spring.

Pixar has been toying with us for a while with the new release of Inside Out, an animated film about a young girl who wrestles with her emotions after being uprooted and moved to San Francisco.

If the film’s previous trailers weren’t enough to cull your interest, keep in mind that the movie stars some major actors, including Amy Poehler, Bill Hader, Mindy Kaling, Lewis Black and Phyllis Smith.

Plus, there’s some highly San Francisco lines. “I saw a really hairy guy,” Anger says. “He looked like a bear.”

Oh, Pixar. You know us so well.

Inside Out will be in theaters June 19.

Would you work with Kelly Clarkson? In a recent interview with Nick Grimshaw on BBC1, Clarkson revealed that she had some trouble in that department, particularly with finding collaborators for her new album.

“I honestly would collaborate with a lot of people, but everyone usually says no. I’m not kidding you,” she said.

She mentioned that she’d love to work with artists like Lady Gaga and Adele, but it hasn’t worked out just yet.

Related: Kelly Clarkson’s ‘Heartbeat Song’ Showcases the Cycle of Love: Watch

“I have legitimately asked several people who I’m not going to call out,” Clarkson said. “And that’s cool, but I don’t know.”

She did manage to lock down one high-profile collaborator for the new record.

“I got John Legend to say yes, so that’s cool,” she said. I ask good people, I don’t want to sing with crap people, so I ask people who are great vocalists, but I’m not going to point out anyone. I have asked several people, but sometimes I feel like I have the plague, or leprosy, they’re like, if I get too close… I don’t know. I feel like I am a very nice person that people would want to sing with. I can get country artists to sing with me.”

You can hear Legend’s collaboration, as well as Clarkson’s completely solo tracks, on her new album Piece by Piece, set for release March 3.

On Monday, Lady Gaga tweeted, “I will definitely NOT be at Mickys tonight, and I will definitely NOT expect you there to be in my lyric video.” This, of course, was a terrible lie as she was in fact at Micky’s Night Club in West Hollywood filming a lyric video for her latest single, “Applause.”

Some clever Little Monsters managed to decode Gaga’s riddle and arrived in their best drag to dance with their Queen in the video above, shot with handheld cameras and no small amount of makeup.

“We were just hanging out and we filmed the performers because they were amazing last night,” she explained earlier this week in an interview with AMP Radio. “My friend Courtney did a performance of ‘Applause’ with her friend. That’s where I started, in clubs like that, all over New York. Then I went all over the country and the world. I hadn’t been back in a while.”

Related: Cher Talks Lady Gaga Duet ‘The Greatest Thing,’ Pink Collaboration on New Album

“Applause” is the first single off Lady Gaga’s new album ARTPOP, out November 11. Catch Mama Monster performing the single August 25 at this year’s MTV VMAs.

“I remember being like ‘Oh my God, I love her voice! I love this lyric! I need to buy this album,” Rowland told Radio.com.

The singer admits it took her some time to truly understand Mitchell’s lyrics. And Rowland certainly isn’t the first person to have that problem. Most are still trying to figure out what the lyric, “It’s clouds illusions I recall/I really don’t know clouds at all” actually means. But once Rowland was in her twenties, it all seemed to make sense.

“I was like ‘Oh my gosh, I’m in love with her and everything she has to say and how strong she is,’” Rowland said. ”What she says matters. Completely.”

RELATED: Kelly Rowland Doesn’t Shed A Tear In NYC — But Does Empower The Ladies

With her latest album, Talk A Good Game, out June 18, Rowland also wanted to send a message, one that showed how far she’d come since her solo debut, Simply Deep, over ten years ago. “I had a lot to say this album,” Rowland said, noting “Dirty Laundry,” which talks about an abusive ex and living in Beyoncé’s shadow.

But it’s not just that one song that gives us a different side of the former Destiny’s Child singer. The whole album is a testament to the powerful woman Rowland has become. So it’s only fitting that Mitchell played a role in the singer’s artistic transformation and Rowland’s song “Gone,” one of her favorites on her new album.

Listen to the track, which just recently premiered and features Wiz Khalifa, below. The two performed “Gone” on Late Night With Jimmy Fallon just last night (June 10).

While in the studio, Rowland was having trouble coming up with a chorus for the song, which focuses on a guy who just can’t seem to understand that it’s over. Then one of the song’s writers, Courtney Harrell, stared singing the hook of Mitchell’s “Big Yellow Taxi”: “Don’t it always seem to go that you don’t know what you’ve got ‘til it’s gone.”

“[Harrell] started singing and I was like, ‘We can’t…wait, that’s hot,” Rowland explained. “It came together like that. It was just perfect how it happened.”

Rowland says “Gone” is a testament to how iconic Mitchell’s songwriting is. Besides a ton of covers ranging from Bob Dylan to the Counting Crows, “Big Yellow Taxi” has also been sampled by Janet Jackson on her track, “Got ‘Til It’s Gone,” off 1997’s The Velvet Rope.

“It stands the test of time,” she said. “The song is just timeless and I’m honored to have it on my record.”