Watch: Beyonce reveals how she created '4' and what terrifies her

Watch: Beyonce reveals how she created '4' and what terrifies her

Short documentary chronicles her struggles and growth

Want to see what it’s like to live in Beyonce’s rarified air? Take 20 minutes and watch “Year of 4,” a mini-documentary about the time Bey took off and saw the world without having to perform. The doc is airing in its entirety on MTV.

If nothing else, you’ll see her without any make-up and definitely more emotionally revealing than we usually see her. Of course, if she had cameras rolling during her whole year off, I don’t know how much of a break she really got. As she points out, she have been performing for a very long time and you get the sense that this is the first time, especially since she split with her father as her manager, that she has really been aware of her own power. She also reveals some behind-the-scenes at the creation of "4," including the difficulty it took choreographing the video for "Run the World (Girls)" and the extraordinary measures she took to get the dancing right.

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Watch: Owl City's video for 'Deer in the Headlights'

Watch: Owl City's video for 'Deer in the Headlights'

Go back to the future with Adam Young

Adam Young, aka Owl City, goes back to the future for his trippy video for “Deer in the Headlights, “ the current single from his new album, “All Things Bright and Beautiful.”

When a Delorean magically appears while he’s skateboarding, OC has no choice but to climb, in. Wouldn’t you? Sadly, there’s no Doc or Marty, but there is a stop at the Quickie Mart--or equivalent--where his eyes are constantly playing tricks on him or maybe he’s just landed in Area 51.

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<p>Pitbull</p>

Pitbull

Does Pitbull finally push Adele out of No. 1 on the Billboard Hot 100?

Christina Aguilera and Maroon 5 make beautiful chart music together

After weeks of holding at No. 2, Pitbull’s “Give Me Everything” breaks free to topple Adele’s “Rolling in the Deep” out of the No. 1 spot on the Billboard 100.

The tune, which features Ne-Yo, AfroJack and Nayer, is the Cuban-American rapper’s first trip to the top. Billboard notes that he first debuted on the Hot 100 more than seven years ago with “Culo,” making his trek from first appearance to the top the longest for a solo male since Lil Wayne took almost nine years.

Check out our interview with Pitbull here. It was taped before he went to No. 1.

Christina Aguilera also has reason to be very happy this week as well: “Moves Like Jagger,” her duet with Maroon 5, moves like a rocket onto the Hot 100, entering the chart at No. 8. It’s Aguilera’s first appearance in the top 10 sine 20089’s “Keeps Gettin’ Better” (nothing from her last album “Bionic” reached the Top 10).  It has been even longer for Maroon 5, which last entered the Top 10 in 2007 with “Makes Me Wonder.”

Back to Adele, her “Rolling in the Deep” spent seven weeks at No. 1—the longest o any song this year. It falls to No. 2 with only a slight dip in airplay.

LMFAO’s “Party Rock Anthem” holds at No. 3, while Katy Perry’s “Last Friday Night (T.G.I.F.)” stays at No. 4.

“Super Bass” from Nicki Minaj leaps 8-5, jumping right over Lady Gaga’s “The Edge Of Glory,” which remains at No. 6. Perry’s former charttopper, “E.T” featuring Kanye West slips 5-7.

Rounding out the Top 10, Bruno Mars’ “The Lazy Song” stays at 9, and Lil Wayne’s “How To Love” moves 13-10.

Outside of the Top 10, Britney Spears’ “I Wanna Go” soars on the strength of her tour and the video, zooming 89-29.

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<p>Jeff Bridges</p>

Jeff Bridges

Concert Review: Jeff Bridges brings Bad Blake with him to The Troubadour

Oscar winner debuts songs from his forthcoming self-titled set

Jeff Bridges turned West Hollywood’s legendary nightclub the Troubadour into his living room last night as he previewed songs from his Aug. 16 self-titled album, as well as delved into Bad Blake’s catalog.

With a guitar strap emblazoned with BAD, Bridges easily swung back  and forth between his new alt country tunes and songs fans first heard delivered by his alter ego, “Crazy Heart’s” Blake, including the Oscar-winning “The Weary Kind.”

Given that the bulk of the sloping songs—whether for Blake or Bridges—were penned by John Goodwin, the late Stephen Bruton and T Bone Burnett, there’s no real demarcation between either.

In fact, Bridges opened with “Hold On You,” one of “Crazy Heart’s” more uptempo numbers.  Bridges, who won an Oscar for his portrayal of the wash-up country crooner, shares with Blake an easy-going, sly stage presence. He’s a natural in front of a live audience and he seemed bolstered by the presence of his wife, sister, brother Beau, and a number of other friends, included Burnett, some of whom go back to elementary school.  There were some newer friends there as well, including Ryan Reynolds and Pierce Brosnan.

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<p>Nicki Minaj in David Guetta's new video</p>

Nicki Minaj in David Guetta's new video

Watch: David Guetta's video for 'Where Them Girls At' with Nicki Minaj and Flo Rida

Watch girls in bikinis make fools of themselves

Beware of seemingly innocent bubbles floating in the New York sky. They may appear harmless, but touch one or come too close to its orbit and the next thing you know, you’ll be spasticly dancing out of control...perhaps in your skimpy  bikini.

That’s the take away from David Guetta’s video for his global smash “Where Them Girls At” featuring Flo Rida and Nicki Minaj. And, oh yeah, Minaj continues on her trajectory to prove she really is just a monster-eyelashed robot. And the video has a major product placement pact with Renault that practically stops the clip dead.

High atop a building rooftop in New York City, French DJ Guetta is hard at work cranking out beats, while his assistants pour a  mix into funnels that blow bubbles far and wide. Guetta has the best job ever in all of his videos. Looking like he just rolled out of bed and grabbed whatever clothes were on the floor, he throws on his shades, manipulates a few turntables and done.

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<p>Pittbull</p>

Pittbull

HitFix Interview: Pitbull on life on 'Planet Pit'

Rapper talks collaborations and future plans

It’s good to be Pitbull. The Cuban-American rapper is sipping white wine in a all white hotel suite in Los Angeles, flanked by a few members of his posse, as he runs through a string of interviews to promote his new album, “Planet Pit.”

The set, which debuts in the Top 10 on this week’s Billboard 200, is the party project of the summer—chock full of club bangers featuring Pit and his friends, Ne-Yo, Marc Anthony, Kelly Rowland, Chris Brown, Enrique Iglesias and T-Pain.

The massive success of first single, “Give Me Everything” featuring Ne-Yo, Afrojack and Nayer, has come quickly on the heels of Pitbull’s raspy raps appearing on a number of the past year’s hottest tunes:  Iglesias’s “I Like It,” Usher’s “DJ’s Got Us Fallin’ In Love” and Jennifer Lopez’s comeback single, “On the Floor.”

Although not dressed in one of his trademark fancy suits, Pitbull, nevertheless, cuts a dashing figure, full of easy charm and swagger, as he talks about the making of the new album and life on Planet Pit in the embedded video in this post.

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Album Review: 'American Idol' champ David Cook's 'This Loud Morning'

Album Review: 'American Idol' champ David Cook's 'This Loud Morning'

HitFix
C-
Readers
A+
Does he make a beautiful noise?

What happens when you take an extremely gifted, Grammy-winning producer and top songwriters and pair them with an “American Idol” winner? You get an album that somehow ends up feeling like the synthesis of all their efforts, but with no defining personality at all.

On “This Loud Morning,” the second album from season seven “AI” winner David Cook (out today), he has clearly tried to dig deep. He’s tackling major themes here about faith, love, loss and  navigating one’s way through this world, but they have the depth of a rain puddle.

Matt Serletic, best known for his work with Matchbox Twenty, Collective Soul and Santana, hits all the right musical marks here, which is what he’s hired to do.  Cook’s co-writers, David Hodges, Ryan Tedder, Kevin Griffin, and Marti Frederiksen, have more hits between them than would seem humanly possible. So why does this album not resonate?  Even a profession of faith, such as on “We Believe,” fails to ignite, despite a spirited delivery by Cook.

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Watch: Gavin DeGraw gets the hot chick in video for 'Not Over You'

Watch: Gavin DeGraw gets the hot chick in video for 'Not Over You'

How long does it take them to reconcile?

In the new video for “Not Over You,” Gavin DeGraw models a lot of different hats, while his ex-girlfriend, a Fiona Apple look-alike, who appears to be about 16, pouts in all manner of short shorts, tight jeans, and sweaters with her ass cheeks hanging out, until they reconcile with a long, passionate kiss. And that, my friends, is why boys make music. To get to make out with the actresses in their videos...and sometimes marry them (See Rob Thomas and his wife Marisol and Josh Kelley and Katherine Heigl).

We especially like the line where he sings “Still, you’re magnificent,” as the camera lingers on her butt in a pair of Daisy Dukes as she looks longingly out over the East River--or it could be the Hudson. I’d totally lost interest by that point.

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<p>Lady Antebellum</p>

Lady Antebellum

Credit: AP Photo

Watch: Lady Antebellum's 'Just A Kiss' video takes you on a trip

Can't afford a summer vacation? Lady A's got you covered

Lady Antebellum’s saccharine-y sweet “Just a Kiss,” the first single from its Sept. 13 album, “Own the Night,” gets a similarly sugary video.

The clip for the  ballad, which is already top 10 on Billboard’s Hot Country Songs chart, follows two young backpackers who meet in Europe. The video starts as they’ve already parted and the girl is revisiting their trip (on an iPad) including gorgeous stops in London and Paris. 

They are clearly meant for each other and quickly fall in love, but decide to take it slow as the members of Lady Antebellum slowly look on, like the angels in “City of Angels” (although I don’t think they’re dead).

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Review: Beyonce's new album '4'

Review: Beyonce's new album '4'

HitFix
B-
Readers
A-
Can a deeply personal album resonate with the masses?

One day, history will look back at Beyonce’s “4,” out June 28, and view it in much more favorable light than it’s going to get now.  In some ways, like Lady Gaga with “Born This Way,” Bey’s made her least accessible album.

Unlike Lady Gaga, however, who tends to take big anthems and make them even bigger through her dramatics and persona, Beyonce is focused primarily on the smaller, deeply personal romantic relationships that mark our lives. They’re the ones the first unite us and then later blow our hearts apart. The girl who was blithely, giddily “Crazy in Love” has now found that love can drive you insane.

Beyonce signals that she is not traveling down her usual sassy, beat-laden, catchy musical path by opening the album with “1 (Plus) 1.” It’s an intimate Alicia Keys-type ballad, despite the rock guitar solo, but with a weird vocal up-hollar at the end of several of the lines that are slightly jarring. The first track of an album is usually an invitation to come on a journey, to ride shotgun with the artist through the next 10 songs or so. Instead, we get a deep album track about realizing the depth of her romantic bond (I’m guessing to Jay-Z) that sounds like it would normally be in the later half of a set.

Rhythmically, she gets back on a pop track, somewhat, with “I Care.” It’s a wide-open, straight from the ‘80s, production with big, echo-y drums and reverberating synth keys. She’s still clinging to a relationship, though her partner has turned his back...so much so that he revels in her pain. By the third song, “I Miss You,” ; they’ve parted, but she still can’t let go and her needs are vexing her.

It feels like Beyonce wrote a mission statement for this album with three goals that she passed out to her raft of producers and co-writers:  1) Show she is grown up and is dealing with the complexities of love and life and is much more than  a one-dimensional dancing doll  2) Prove that she really can sing by overloading the album with repeated emotional wallops that allow for full-on belting  and 3) Make an highly percussive album that sonically combines rhythms and synths from the ‘70s and ‘80s with modern technology.

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