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Oh No They Didn't! - LiveJournal.com

older | 1 | .... | 172 | 173 | (Page 174) | 175 | 176 | .... | 4163 | newer

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  • 03/21/13--19:52: How Justin Became King
  • Timberlake is the only male pop star worth talking about, so why has it taken so long to acknowledge his genius? In Newsweek, Andrew Romano on the man preternaturally in tune with the times.



    Justin Timberlake is our biggest male pop star. I realized this for the first time the other day. It hit me during the final leg of Timberlake’s dizzying campaign to promote The 20/20 Experience, his first LP in nearly seven years, which comes out March 19. He’d just hosted Saturday Night Live and was about to begin a weeklong stint on Jimmy Fallon; at that point I half-expected him to burst forth from my recycling bin with a winning smile and stack of CDs under his arm. I’m not sure why it took me so long to size up Timberlake’s stardom. Beyoncé, Taylor Swift, and Rihanna are bigger, of course, but they are very much not boys. Usher is a bore these days. Bruno Mars could evaporate at any moment. And Justin Bieber is still trapped in Tiger Beat territory. Timberlake is all we have.

    And yet for some reason we have been slow to acknowledge his place in the pop cosmos—not just me, but the culture at large. Most of the talk about Timberlake still centers on his improbable transformation from *NSYNC puff pastry—tight blond curls, paint-splattered jeans, matching diamond studs—to a credible, grown-up R&B artist. But the metamorphosis itself is old news. What hasn’t been adequately examined is the position he now occupies as our era’s equivalent of a Michael Jackson or an Elvis Presley, as strange as that sounds. I’m not just referring to the 17 million records Timberlake has sold, or the seven inventive, unshakable singles he’s released since the start of the 21st century. Every star reflects the generation that produces and sustains him: its character and its neuroses, its needs and its wants. So why have we settled on Justin Timberlake?

    First things first: his talent is undeniable. At 2, he was singing along to the radio. “Is anyone listening to him?” his uncle asked. “He’s singing f--king harmony parts!” Later, Timberlake locked himself in his room, switched off the lights, and listened to Queen’s “Bohemian Rhapsody” for 48 hours straight. “I’d only come out for food or water,” he recently recalled. “I wanted to dissect every part of it.” He may have been the youngest member of *NSYNC, but he was also the most musical; as Pharrell Williams of the Neptunes told Rolling Stone in 2000, “to say that he’s got soul is something you expect me to say, but it’s true.” Timberlake proved Williams right. His first two albums were remarkably consistent, and remarkably good, and the new one extends the streak: inventive production; precise, supple vocals; relentless hooks. “Pusher Love Girl,” with its strutting beat, Curtis Mayfield falsetto, and crafty central metaphor (lover = drug dealer), will sound particularly excellent on the car stereo this spring.

    That said, plenty of contemporary performers—like Robin Thicke, for one—were blessed with talent. None of them are Timberlake. The reason, I think, is that his persona, and his taste, are preternaturally in tune with the times. At root, this has as much to do with biography as anything else: the contours of Timberlake’s life mirror every Millennial trend line. An estimated 40 percent of us are children of divorce, Timberlake included; his mother, Lynn Harless, split up with his father, Randy Timberlake, a bluegrass bassist, when Justin was 2. She and her second husband, Paul, went on to co-manage their son’s career—the ne plus ultra of helicopter parenting. By all reports, Timberlake and his mother have one of those peculiarly Millennial relationships in which the line between parent and pal is blurred. He lived with her even after his solo debut, and the two have been seen smoking pot together. “I had Justin when I was 20, and he seemed about 20 when he was born, so we’ve pretty much shared everything,” Lynn has said. “We’re weird like that. But there’s a lot of stuff he starts telling me about ... Some things you are not supposed to say to your mother. Sexual things. And his response is usually, ‘Oh, Mom, just listen.’”

    Timberlake has handled his career like a stereotypical Millennial as well, accepting the system as it is and making it work for him—unlike the baby boomers of the late 1960s, who relished their own anti-authoritarianism, and the Generation Xers of the late 1980s and early 1990s, who struck an alt-everything pose. First came the Baptist choir in Millington, Tenn., at age 8; then Star Search in Orlando at 10; then The All New Mickey Mouse Club at 12; and (finally!) a corporate record contract with *NSYNC at 14. He is the Organization Kid as pop star, and like many of his peers, he has multitasked his way through his 20s, diversifying into comedy (the SNL “Dick in a Box” sketch), film (The Social Network, Friends With Benefits), fashion (his William Rast clothing line), food (his Southern Hospitality BBQ restaurant), and media (his $35 million investment in MySpace). In a subtle, subconscious way, these familiar tendencies make Timberlake seem “real” to us—like someone we know.

    For all the futurism of Timbaland’s productions—the bleeps and blips, the percussive mouth noises, the zippery loops—Timberlake’s music also strives to keep it real, mainly by anchoring itself in the organic sounds of the past. As Simon Reynolds recently wrote in Retromania, pop culture is increasingly feeding on its own history. And so “Suit and Tie” borrows its gentle ninth chords and sparkling piano glissandos from the cosmopolitan soul that Marvin Gaye was putting out in the 1970s, and Timberlake acknowledges the debt by quoting the “hot just like an oven” line from Gaye’s “Sexual Healing.” “Senorita,” the fourth single from Justified, is a direct descendent of Stevie Wonder’s “Don’t You Worry ’Bout a Thing,” from its spoken intro to its Latin beat. And the only thing more Jacksonesque than Timberlake’s debut release, “Like I Love You”—which he performed at the 2002 MTV Music Video Awards in black pants, a red shirt, and a fedora—was his third single, “Rock Your Body,” an actual rejected Jackson track. Fearing inauthenticity—the inevitable side effect of a dematerialized digital society—Millennials gravitate toward styles that have been authenticated by the passage of time. When Timberlake sings about getting “all pressed up in black and white,” then appears at the Grammys in a Tom Ford tuxedo—his hair neatly parted, his band arrayed behind Art Deco podiums, the screen tinted like an old sepia-tone photograph—he is satisfying this desire, both in himself and his audience.

    Race has also played a role in Timberlake’s rise. It’s fair to attribute some of his success to the same dynamic that propelled Elvis Presley to the top of the pop charts: white boy plays black music, makes it “safe” for mainstream America, and outsells the originators in the process. But Timberlake’s relationship to race reflects our world more than Presley’s. Elvis was a rebellious figure: a white Southerner tapping into black culture at a time when black culture was taboo. For that reason, among others, he’ll always be a much more revolutionary artist than Timberlake. (So will Jackson, who melded black and white music and united two previously segregated audiences.) But in 2013, African-American culture is no longer forbidden. It’s mainstream. It’s cool. Timberlake takes this for granted—he’s never known otherwise—and so do his fans. As a teenager, Timberlake wanted to be black, basically. He learned to sing from Brian McKnight, Al Green, and Donny Hathaway; early profiles describe his “homeboy delivery” and “hip-hop flavoring.” As Pharrell Williams once put it, “Justin could’ve been raised in the black church.” And so, unlike Elvis, Timberlake isn’t challenging the status quo by singing R&B. Instead, he is embodying our deeper, postracial aspiration—a desire that didn’t exist in Elvis’s day—to be at ease in black and white culture simultaneously. If he can pull it off, perhaps we can, too.

    Ultimately, the heart of Timberlake’s appeal may be this comforting, consensus quality. The past is still part of the future. Race isn’t as problematic as it seems. And lest I get too carried away: we can all shine on the dance floor. That was the point, after all, of “SexyBack,” Timberlake’s twitchy 2006 masterpiece, which celebrated the singer’s valiant efforts to resurrect “sexy” itself—to save it from “them other boys [who] don’t know how to act.” “I don’t really think I’m bringing sexy back,” Timberlake once confessed. “But when a 28-year-old male or female is standing in a club in New York City at 2:30 in the morning and that f--kin’ song comes on, I want them to feel like they are.” For a self-regarding generation—the stars of Twitter, the celebrities of Facebook—what fantasy could be more intoxicating than that? Justin is just like us—and for the next few minutes, we are just like Justin.

    Source: http://www.thedailybeast.com/newsweek/2013/03/18/how-justin-timberlake-became-america-s-top-pop-star.html

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    Tina Fey dusted off her impersonation of former vice presidential candidate Sarah Palin to answer some questions on Bravo’s “Inside the Actors Studio,” offering hairstyling tips for women in her Palin persona.

    MSNBC

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    After Kelly Clarkson scored another Top 20 hit with "Catch My Breath," the pop star is set to release another single from her "Greatest Hits: Chapter 1" collection next month. The equally inspirational "People Like Us" will impact pop and adult pop radio on Apr. 8, as the second official single from the album.

    "Greatest Hits: Chapter 1" contains three previously unreleased tracks: "Catch My Breath," "People Like Us" and the Vince Gill collaboration "Don't Rush." "People Like Us" reunites Clarkson with producer Greg Kurstin, who recently worked with artists like P!nk and Tegan and Sara, and who helmed Clarkson's latest No. 1 hit, "Stronger (What Doesn't Kill You)."

    "Catch My Breath" is still holding strong on the Hot 100, clocking in at No. 24 on last week's tally after peaking at No. 19 and becoming her 14th Top 20 hit. The single has sold 1.2 million downloads, according to Nielsen SoundScan.




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    DOCTOR Who bosses are lining up Matt Smith’s exit for Christmas — when he will regenerate into the 12th Time Lord.

    Insiders say the festive special will be Matt’s last outing as The Doctor, after a triumphant four years in the role.

    The actor has made no bones about his ambition to crack Hollywood and has filmed new movie How To Catch A Monster with Ryan Gosling, which is released next year.

    Sources say bosses already have an idea of who they want to replace him, with work on the special due to get under way later in the year.

    Matt’s contract is understood to expire in November but we understand he doesn’t want it renewed.

    Filming on the 50th anniversary episode, airing in November, will begin next month.

    Matt refused to commit to a Doctor Who future beyond Christmas when interviewed on Jonathan Ross’s show last week.

    He said: “I am very happy doing it. I do the anniversary special, then the Christmas special. At the moment it’s 2013 and we will see what 2014 holds.” An insider said: “Matt has told bosses he wants to bow out at Christmas.”

    Matt was little known when he signed up for the role in 2009, bagging a £200,000-a-year deal. It’s thought he now earns £1million a year — the same as previous Time Lord David Tennant when he left.

    Last night, the BBC said in a statement: “Sorry folks but even we don’t know what’s going to happen at Christmas. It’s not been written yet! But Matt loves the show and is to start filming the unmissable 50th anniversary, and the new series starting on Easter Saturday.”

    Source
    I'm not surprised if this true, I honestly think the only reason Matt is still here this year is for the 50th anniversary. But he also literally just said in an interview that he wasn't leaving, but I believe the same thing more or less happened with David, so it could still be true. We did this same song and dance with David, so. Still, I'mma need some more concrete receipts. Also TAKE MOFFAT WITH YOU, MATT, PLZ LORD. and yes i know the pic has nothing to do with doctor who but it was the first pic of matt that came up on google where his hair didn't bother me or the pic was too small DEAL WITH IT

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    Wait, THAT'S what “ride it, my pony” really meant?!

    1. Spice Girls, "2 Become 1"


    WHAT WE OVERLOOKED: I need some love like I never needed love before / Wanna make love to ya baby / I had a little love, now I'm back for more / Wanna make love to ya baby

    2. Third Eye Blind, "Semi-Charmed Life"


    WHAT WE OVERLOOKED: Doing crystal meth / Will lift you up until you break...How do I get back there to / The place where I fell asleep inside you

    3. 50 Cent, "Candy Shop"


    WHAT WE OVERLOOKED: If you be a nympho, I'll be a nympho / In the hotel or in the back of the rental / On the beach or in the park, it's whatever you into / Got the magic stick, I'm the love doctor
    Via: 50centsbestfriend



    Madonna, "Like A Prayer"


    WHAT WE OVERLOOKED: I'm down on my knees / I wanna take you there

    Ginuwine, "Pony"

    WHAT WE OVERLOOKED: Girl when I break you off / I promise that you won't want to get off / If you're horny, let's do it / Ride it, my pony


     TLC, "Ain't Too Proud To Beg"


    WHAT WE OVERLOOKED: Two inches or a yard rock hard / or if it's saggin' / I ain't too proud to beg

    More @ Source

    LLLOOOLLLL I remember getting into so much trouble for singing Ain't Too Proud To Beg

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  • 03/21/13--20:59: American Idol Top 9 Results!

  • Bottom 3:

    Devin Velez


    Amber Holcomb


    Paul Jolley



    Eliminated:


    Paul Jolley

    Good riddance tbh. Jessica Sanchez was amazing! I had no idea she was modeling. A girl is definitely winning this season.


    source

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    For all the hype and buzz Game of Thrones gets, it’s a little surprising to realize how little of our time we spend actually watching the show. Each season consists of a measly ten one-hour episodes, aired over ten weeks. And while those individual installments are jam-packed with drama and action, that still leaves 42 other weeks of the year with no Game of Thrones at all.

    No doubt that means plenty of fans would be eager to spend a lot more time in Westeros if only they had the chance. And HBO is apparently considering giving it to them. In a recent interview, author George R.R. Martin revealed that there have been some talk about the possibility of a Game of Thrones prequel series, maybe based on his Dunk and Egg novellas.

    At the recent Game of Thrones premiere event, IGN got to ask Martin about the other shows he was developing with HBO under his overall deal. While he kept things pretty vague for the most part (“I can’t spill them here on television, but they’ll be dramas”) he was able to chat about the possibility of a Game of Thrones prequel series.

    Well, I have been writing for a number of years a series of novellas set in the same world, the world of Westeros, but a hundred years earlier, about two characters called Dunk and Egg. And I published three of those novellas, The Hedge Knight, The Sworn Sword, and The Mystery Knight, and I have in mind about nine or ten more novellas about the adventures of Dunk and Egg.

    So we have been playing with the idea of doing those as prequels. They would be prequels, in a sense, they’re a hundred years earlier but in the same world. They’re somewhat lighter in tone than the main series, a little more adventurous. But my fans love them and I love the two characters too, and it all ties into Westeros history. So maybe that will be what we’ll do.


    IGN made sure to clarify that Martin was talking about the prequels “in terms of a series,” to which he responded “Yeah. Yeah.” It’s not confirmation that a Dunk and Egg series will actually happen, but it’s interesting to see that HBO is even considering it. Would you watch a Game of Thrones prequel on HBO?

    Source

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    This episode looks so good. It's based on Sarah Chalke's son. Today's episode was really good, too. I loved Meredith's patient, she reminded me of Meryl Streep.

    Source

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    Using the fingers of only one hand, take a moment to count the number of lesbian or gay seniors you see on television each week. When finished, you'll probably find that you still have enough free digits to smoke a cigarette and sext your boyfriend. The longstanding invisibility of LGBT seniors in the media is no accident, as I discovered when one of the world's largest talent agencies tried to turn my "scandalous" memoir, Postcards From Palm Springs, into a scripted television series. There were lots of hosannas about my skill as a writer, but the axe always fell on the side of "no deal."

    The Hollywood equation is this: Old + gay = doubly niche. There is simply no market for that. The Zeitgeist has spoken: "Buh-bye now." So like any good, slightly miffed writer, I decided to put the whole sordid, saddening story down in black and white in Hollywood or Lust, my newly released sequel to Postcards. Yet while I was diligently kicking the desert sands, typing my way toward a dénouement of defeat, redemption arrived like Dudley Do-Right in the form of an open-call audition for a Canadian reality series.

    You know Canada. It's that country to the north that actually provides universal health care for its citizens, is socially progressive and has sufficient petroleum resources to avoid pandering to potentates while uttering platitudes in Farsi. My audition ultimately led me to the 13-episode reality series Golden Gays, which debuts on the Canadian network Slice on Friday, March 22, at 10 p.m. ET. Filmed entirely on location in Palm Springs (which may be the gayest city in America), the show has it all: lipstick lesbians, butches, drag queens, authors, bears and leather men acting out their own psychodramas under the desert sun. As the show's Carrie Bradshaw and self-described "trophy geezer," I provide the voiceover narration that keeps the cast's out-of-the-box shenanigans from descending into chaos.

    Regardless of the show's ultimate success, the significance of Golden Gays lies in the fact that it is the first television show in history to focus on the lives of lesbian and gay seniors. By definition, this is groundbreaking television. Lesbians and gay men who came out of the closet in the early '70s, as I did, had no role models. Although we probably didn't realize it at the time, we not only took on the task of defining a new way of being in the world but had to reshape society and force the culture at large to make room for us. Until now, no generation of individuals could say that they spent an entire lifetime leading an openly gay lifestyle. It just wasn't possible. After decades of pioneering by being, we must now define what "old and gay" looks like; we never had role models for that. Golden Gays finally puts a face on gay aging. Win, lose or draw, gay seniors have a place at the table at last.

    It's too soon to tell exactly where this is headed, but personally, I have my sights set on shooting my own gay geezer rap video. That Gangnam Style stuff is so last year. And at 62, I can still bust a move.

    Source

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    On this week's Ask Amy, Poehler discusses how to cope with moving on and saying good-bye in life. Also, ginger prince Abel makes an appearance.



    Source

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    lohan

    Earlier this week, my editor assigned me the task of seeing a movie called InAPPropriate Comedy. At that time, I had never heard of this movie and I had no idea why the third, fourth and fifth letters in the first word of the title were capitalized. Since that discussion, I have learned two disturbing facts about this movie: (1) Lindsay Lohan is in it and (2) it is not being screened for press. So, late Friday morning, I went to the AMC Empire in Times Square and bought a ticket for InAPPropriate Comedy. Along the way, I kept a live diary. Here's how that went.

    11:38 a.m. I feel that it's a bad omen when the only escalator up to the theater playing InAPPropriate Comedy looks like this. I feel that AMC might be trying to warn me.

    esc

    11:38 a.m. I was just informed that the gentleman from the ShamWow commercials directed this movie. I honestly can't decide how I feel about this news. On one hand, it's nice to see people branching out. On the other, I'm about to see a movie directed by the gentleman from the ShamWow commercials.


    11:39 a.m. I can confirm that there are at least ten other people in the world who woke up this morning and thought, InAPPropriate Comedy? Sure. Why not?. Then, later, An emergency elevator ride at a movie theater? Sure. Why not?

    11:47 a.m. The trailer for Frances Ha, a movie that I saw at the Toronto International Film Festival and loved, just played. I worry that this might be my favorite moment of the day.

    11:59 a.m.InAPPropriate Comedy starts with a 127 Hours parody. I can only assume this is in honor of127 Hours' three-year anniversary.

    12:02 p.m. Lindsay Lohan is now on my movie screen.

    12:03 p.m. Lohan is dressed as Marilyn Monroe, recreating Monroe's famous subway-grate moment. Only the gentlemen from the ShamWow commercials is sitting below her, aiming a video camera at her genitals.

    12:04 p.m. This just may be Lindsay Lohan's lowest moment.

    12:04 p.m. Come to think of it, this may be my lowest moment, too.

    12:05 p.m. Adrien Brody is playing a character named Flirty Harry, a parody of Dirty Harry. He just said, "Go ahead, make me gay." I am not making this up.

    12:06 p.m. OK, so, Flirty Harry speaks exclusively in sexual innuendos. Most of them about some form of oral sex. I should take this time to point out that Adrien Brody has an Oscar.

    12:06 p.m. So, I finally get why the APP is capitalized in the title. There's a person with a tablet of some sort and he picks from an assortment of apps that take us to different comedy sketches.

    12:07 p.m. The next sketch is called "Blackass."

    12:07 p.m. The "Blackass" team -- a parody of "Jackass," I assume - just rode a dumpster into a vat of sewage. That's it.

    12:09 p.m. The next sketch is called "The Amazing Racist."

    12:10 p.m. The "Amazing Racist" is wearing a Ku Klux Klan outfit.

    12:10 p.m. I feel very uncomfortable right now.

    12:10 p.m. This movie has only been playing for 11 minutes. How is that possible?

    12:12 p.m. A man just walked into the theater late. I'm considering catching him up on what's transpired so far.

    12:13 p.m. The "Blackass" sketch is back. Two men are jousting in shopping carts using giant penises. I feel really uncomfortable right now.

    12:14 p.m."Though I've enjoyed my time writing for The Huffington Post ..." Oh, sorry, that was just me dictating my resignation letter in my head.

    12:16 p.m. In a sketch called "Porn Review," Rob Schneider and Michelle Rodriguez watch a porn movie while a guy behind them rates it on the level of semen in his popcorn bucket. I honestly have nothing else to add to that.

    12:20 p.m. And there is your obligatory self-referential ShamWow joke. Of course, it's set during a parody of an Asian porn movie that makes sure to use every Asian stereotype that has been ever invented. But, see, that's the point! It's inappropriate comedy! (I am very miserable right now, I want to add.)

    12:21 p.m. I am barely 20 minutes into this movie.

    12:22 p.m. I want to correct myself. Not every Asian stereotype was mentioned, because I am currently watching something called "Driving School For The Round-Eyed Impaired." The driving teacher is The Amazing Racist.

    12:23 p.m. Would it be terrible if I walked out of this movie?

    12:24 p.m. Seriously, life is too short for this.

    12:30 p.m. So this driving-school sketch is set up like some sort of Borat-type situation in which the reactions of the "offended" are real. Only the other participants in this sketch are actors, too. So I just don't understand what the point of any of this is supposed to be.

    12:33 p.m. And with that blood-in-semen joke, I'm going to go ahead and stop writing things down for a while.

    12:38 p.m. Someone in the theater just said under his breath, "Oh, for fuck's sake, will this just end?" (OK, that person was me.)

    12:40 p.m. Adrien Brody's Flirty Harry just shot a man, and the bullet traveled from the man's anus into the man's mouth.

    12:40 p.m. Adrien Brody has an Oscar.

    12:41 p.m. For Best Actor. It's not even one of those Supporting ones.

    12:42 p.m. I feel sorry for everyone in this movie.

    12:44 p.m. Here's another faux-guerrilla-comedy sketch in which a man dressed as a priest attempts to get people at a Jewish market to sign a petition apologizing for the death of Jesus. Again, everyone is an actor. I should add, these sketches go on forever. Just babbling and more babbling.

    12:50 p.m. A character that Rob Schneider is playing just wrote down the word "boring." In turn, I, too, wrote down the word "boring."

    12:53 p.m. Oh, good, an abortion sketch.

    12:55 p.m. And, yep, there's your coat hanger joke.

    12:55 p.m. I miss you, jokes about 127 Hours. Why did you leave me?

    12:57 p.m. I hate work meetings. However, at this precise moment I wish my boss would call me in for an emergency work meeting about how to make a nifty slideshow or something. Anything.

    1:05 p.m. A man just let a mouse eat cheese off of his penis.

    1:06 p.m. That same man just got his penis caught in a mousetrap.

    1:11 p.m. This movie seems to, mercifully, be ending. Spoiler alert: all of this nonsense was taking place inside of Lindsay Lohan's vagina. I swear I am not making this up.

    1:12 p.m. Lohan, as Marilyn Monroe, just ... you know what? It doesn't matter. Nothing matters anymore.

    1:14 p.m. This movie is 75 minutes long and it felt like three months. I would not be surprised to walk outside and see people celebrating Independence Day. I'm also questioning the wisdom of a war that made us free to make movies like InAPPropriate Comedy.

    1:14 p.m. There are actually blooper outtakes for the people who want to stay in the theater and watch those. I am not one of those people.

    1:15 p.m. If only I'd listened to that escalator barricade.

    Source


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    James McAvoy & Claire Foy - Macbeth


    Macbeth isn't such a bad guy after all, or at least not when James McAvoy plays Shakespeare's scheming Scot.

    The 33-year-old X-Men: First Class star switched into real-life hero mode during a performance of Macbeth at London's Trafalgar Studios when he halted the action midscene to see about an audience member who, according to eyewitnesses, had fallen ill.

    "Saw James McAvoy stop mid culmination scene in #Macbeth to help a collapsed audience member..." tweeted a theatergoer,continuing,"crack a joke or 2, then continue with the same intensity. Top guy."

    SOURCE


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    Courtney Love swagger-jacks Britney Spears for promo




    It's Fall Out Boy and Courtney, bitch. Yes, as the video above all but confirms, Courtney Love will be a guest performer on the reunited alt-pop band's fifth album, Save Rock and Roll. And also, the former (?) Hole frontwoman has no problem swagger-jacking Britney Spears. The six-second clip features Love sassily declaring, "It's Courtney, bitch," over a hail of clacking drumsticks before the band shouts, "Rat-a-tat-tat!"


    It's too soon to tell whether Fall Out Boy will accomplish their titular goal with this April 15 release, but first taste "My Songs Know What You Did in the Dark (Light 'Em Up)" certainly feels promising. Plus, when Patrick Stump and Pete Wentz aren't busy writing essays about Nickleback or being mistaken for Twilight fan fiction figureheads, they're wrangling rock giants like Love and Elton freaking John to guest on the album.


    And, of course, 2 Chainz appears in the "My Songs Know" video (below). For more on FOB, check out our gallery and report from the band's February reunion gig in Chicago, and our explanation of the new album's unusual cover art. Save Rock and Roll is available for pre-order.



    source

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    After experiencing a health scare that sent the web in a frenzy, Lil Wayne decided to record a video to officially let everyone know that he is indeed in good health. The Young Money founder partnered up with his good friend, T.I. after his release from Cedar Sinai hospital to shut down rumors about his alleged life threatening event:

    "Tunechi in this b***h. I just wanna say thank you to all y’all for your prayers and y’all concerns and all that. I swear to God I felt that love when I was laid up in that mother f***in’ hospital bed. But I want all y’all to know that I’m good. A ni**a more than good."


    Aside from clearing the air, the two southern rappers announced that they’ll be touring together for the America’s Most Wanted tour. So far rapper/singer Future has been added to the line-up, but more info will be released about the upcoming tour dates after his 10th studio album, I Am Not A Human Being II drops on March 26th.

    Source

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    1.1

    Frank Ocean, Tyler, The Creator, Earl Sweatshirt and Rita Ora have been added to the T In The Park bill.

    The festival, which takes place in Balado, Kinross between July 12-14 will be headlined this year by Mumford & Sons, Rihanna and The Killers. Also included in the raft of artists set to appear are Foals, Haim, Phoenix, Snoop Dogg, Kendrick Lamar, Calvin Harris and Beady Eye, along with Yeah Yeah Yeahs and Dizzee Rascal and Kraftwerk.


    T in the Park 2013 tickets will go on sale on Friday, February 22. To check the availability of T In The Park tickets and get all the latest listings, go to NME.COM/TICKETS now, or call 0871 230 1094.


    A selection of artists announced for T In The Park so far include:
    Adam Beyer
    Alt-J
    Azealia Banks
    Bastille
    Beady Eye
    British Sea Power
    Calvin Harris
    Chase and Status
    CHVRCHES
    Claude VonStroke
    The Courteeners
    Daughter
    David Guetta
    Deacon Blue
    Disclosure
    Dizzee Rascal
    Eats Everything
    Editors
    Emeli Sandé
    Everything Everything
    FOALS
    Frank Turner
    The Fratellis
    Frightened Rabbit
    Haim
    The Heavy
    Hot Natured
    Imagine Dragons
    Jackmaster
    Jake Bugg
    Joy Orbison
    Kendrick Lamar
    Kraftwerk
    Labrinth
    Laurent Garnier
    The Lumineers
    Miles Kane
    Modest Mouse
    Modestep
    Nina Kraviz
    Nina Nesbitt
    Noah and the Whale
    Ocean Colour Scene
    Of Monsters and Men
    The Original Rudeboys
    Palma Violets
    Paloma Faith
    Peace
    Phoenix
    The Proclaimers
    Richie Hawtin
    Rudimental
    Snoop Dogg
    The Script
    Seth Troxler
    Silicone Soul
    Slam
    Stereophonics
    The Strypes
    Tom Odell
    Tribes
    Twin Atlantic
    Two Door Cinema Club
    The View
    Villagers
    Yeah Yeah Yeahs
    The 1975


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    farrah-ugly-cry
    "Teen Mom" star Farrah Abraham's recent DUI arrest was totally not her fault, you guys.


    In a new In Touch interview, the best-selling author (what, you haven't bought "Passy Perfume" yet?) blames her St. Patrick's Day bust on 1) her sister, 2) boredom, 3) being sick and 4) super irritating cops.


    "I did not plan to drink because I was sick, so I took the role of being in charge and making sure my sister and I would return home together and safely," she told the tabloid. "At 10 p.m., I tried to leave, and at that time, my sister was not ready to leave, so I had been sipping on drinks to pass the time."

    That must have been quite a wait and a lot of sips, because Farrah registered a blood alcohol level of .147 -- nearly twice the legal limit.


    Also, instead of nearly hitting a police cruiser as has been reported, the 21-year-old single mom insists she was merely parking her own car.


    "When I was parked, a police officer asked me what I was doing, so I told him I was worried about my sister and I was trying to go home," Farrah told In Touch. "They insisted on the regular questions and asked me to get out of the car. I got out of the car, and because I was upset, I yelled."


    (It should be noted that the "Teen Mom" star has a healthy disrespect for other people's eardrums even when she's sober.)


    However, a source close to the situation told us that Farrah's version of the night's events is actually far from the truth. Despite Farrah's claim that it was her sister and friends who wanted to stay late and drink, the source said that Farrah's companions were actually already back home by the time Farrah was arrested!


    "She can say what she wants, but the truth is that her sister Ashley and her friends were miles away by the time Farrah got arrested," said the source. "A friend of Farrah's offered to give her a ride home before they left, but Farrah didn't take it."


    On top of that, the source said that several local businesses were offering free cab rides all night to ensure St. Patty's Day partiers made it home safely, something Farrah was well aware of and declined to utilize.




    Farrah also disputed the accuracy of the breathalyzer results and accounts that she sabotaged the test by biting on the tube.


    "Because I'm sick, I could not give an accurate breathalyzer test, due to coughing and shortage of breath," she told In Touch. "I have a lawyer and all will work out with my ticket."


    Farrah's no stranger to the legal system. Both of her parents, who guested on "Teen Mom" alongside their daughter, have also been arrested in the past: her father for threatening her baby daddy with a knife, and her mom for choking Farrah during an argument over babysitting.

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    From bikini waxes to vampire facials, the Kardashians will do anything to get ratings, but RadarOnline.com has learned that the numbers show that their fan base is rapidly declining.

    kim-kourt-khloe-smell-test

    The Keeping Up With Kardashians spin-off reality shows starring Kourtney, Kim and Khloé Kardashian have gone from blockbuster hits to less than half of their original ratings numbers in just a few short years.
    The outrageous sisters used to be on the top of their game, commanding huge salaries and drawing in record numbers.

    According to TV By the Numbers, Kourtney & Kim Take New York premiered in January 2011 with three million viewers.

    And before that, at the height of their fame, the spin-off, Kourtney & Khloé Take Miami set a record for E!, with the season finale of season two in 2010 pulling in a whopping 3.7 million viewers .

    Even a January, 2012 Kourtney & Kim Take New York episode had nearly 4.5 million viewers.

    Fast forward to March, 2013, and the Kardashian clout on television seems to be falling fast.

    The most recent episode of Kourtney & Kim Take Miami from March 17, 2013 had a paltry 1.3 million eyeballs watching as the girls tried to shock viewers but instead just turned them off.

    In comparison, Duck Dynasty pulled in a 2.8 million viewers and both The Walking Dead and The Bible had a whopping 10 million viewers!

    The matriarch of the family, Kris Jenner , is begging her Twitter followers to tune in to the low-rated show, writing to her 2.8 million followers: “Omg!!! Less than an hour east coast for funniest episode ever!! Tune in to watch Kourtney and Kim Take Miami at 9/8c on E! so excited!! Yay!”

    With Kim’s 72 day marriage to Kris Humphries becoming a court circus where depositions have been given claiming the show is fake, to Kourtney and Scott’s incessant fighting, the shine may have worn off the Kardashian gloss.

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    Christina appears bewildered at the interviewer's mention of "Let There Be Love" as the next single, and opts to talk about her vacation instead.

    "I need moments to step away from the camera," she told Pacific Rim Press. "I have selected performances here and there right now. This is a sort of down time for me right now."

    "I'm going on vacation next week with my son, first time in Japan, which is such an inspirational place for me [to] get re-inspired, rejuvenated for what's to come... I can't say everything!"

    Asked if he hopes to release new music this year, she replied "We'll see, yeah, if it feels right," - then walks away to the next interviewer.

    srcyt


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    "Nikita" last saw Alex (Lyndsy Fonseca) captured by the cunning Amanda (Melinda Clarke), who proceeded to sow seeds of discontent between the young agent and her mentor, Nikita (Maggie Q). Then, after Nikita refused to alter her mission to help Alex rescue a friend in need, it seemed as though Alex had taken Amanda's manipulative words to heart and was starting to question Nikita's leadership. Is their relationship irreparably damaged?

    HuffPost TV caught up with executive producer Craig Silverstein to find out what's ahead for our heroines and for the future of Division. Although the show is preempted this week, hopefully the intel will be enough to tide you over until "Nikita" returns on March 29 ...

    We know that Amanda is a master of psychological warfare, so there was obviously far more to her capture of Alex than the simple desire for a trade for Ari [Peter Outerbridge]. Would Amanda say that her plan was a success?

    Well, the question is, "Did Amanda get what she wanted?" She wanted Ari back so she could unlock the black box and she didn’t get that, right? But Alex has been returned to Division. Did Amanda get what she wanted? There is a quick little shot in the episode that might hint towards something that’s been done by Amanda.

    Last week's episode seemed like a huge turning point for Alex, because Amanda clearly got inside her head in terms of her relationship with Nikita. Can you talk a little about her thought process and what it might mean for both Alex and Nikita in upcoming episodes?

    Well, what you see there is really just as taste of what’s to come as Amanda has essentially created a situation that is going to pit the two girls against each other, not necessarily directly, but in a way that ensures that the prophecies of what Amanda is saying to Nikita in the fire in Episode 13, Amanda brings about.

    Alex is now having doubts about Nikita, and all season long we've seen the other Division agents feeling suspicious about the promises that Nikita and Ryan [Noah Bean] have made them. Will those two threads tie together at some point?

    Yeah. I would say that it begins to explode, starting in Episode 15.

    Where is Nikita emotionally at this point in the season, since she's had both Michael and Ryan disagreeing with her strategies over the past few episodes? She must be feeling like the lone voice of reason right now.

    Yeah. I think that there is a line in Episode 15, where Birkhoff [Aaron Stanford] and Alex have a little bit of a storyline, which is great to see. In Episode 15 he says, “Say what you want about Percy, at least he was actively evil. He made the decision to cross the line. We just keep letting ourselves get pushed over it.” That’s sort of what I think has happened with Nikita. She is in between the line of doubt and thinking she’s doing the right thing. At some point, even she is going to make mistakes in terms of thinking she is doing the right thing, but doesn’t see that everyone else thinks that same way.

    How does she feel about Alex pulling away again? With everything else going on this season, they haven't had time to talk or address any issues that could be lingering between them.

    I think that’s a good observation; they haven’t had time to do that. That’s part of the thing that creates the problem. Something that started with just the two of them really has grown up to become this much larger family and now this much larger whole organization. Their relationship has gotten a bit diluted in the process. Really there is a consequence to that. That’s sort of what we begin to play. What I think Ryan says to them is, "Division can survive a lot, but not a war between the two of you.” That’s what becomes the dark expression, the reminder that their relationship is really at the center of the show.

    Thanks to Ari, Amanda just lost her black box. Does that mean that their importance will take a backseat for a while?

    Oh no. In fact, the next episode, 15, will show that the last one -- as long as there is one there is just badness.

    Now that Division is no longer government funded, I'd imagine that will present its own set of problems ...

    Yes it does. It means that they have a finite amount of money and if that is compromised, they’re running on fumes. The operating budget is the pillar that keeps everything going. If you remove that, things begin to crumble.

    I love that you've brought Sean [Dillon Casey] more fully into the fold at Division now. How will he play into Alex's current predicament?

    I think that Sean, being so close to Alex, is really the first one to begin to pick up on signs that she hasn’t come back fully right from [her encounter with Amanda]. So he becomes a canary in the coal mine about what’s growing inside of her.

    But if it came down to choosing between Alex and Division ...

    He would choose Alex. But I think it’s like the Meatloaf song: I would do anything for love, but I won’t do that. There are some boundaries he won’t cross, but that’s the area we think where good drama lies.

    Source

    "[Sean] becomes a canary in the coal mine about what’s growing inside of her."

    But...those canaries died...

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