Bella Heathcote plays a maid who gets her prince in The Killers’ new video for “Shot At The Night,” the first single from the band’s best-of collection, “Direct Hits," out Nov. 11.
Faster than you can say “Blackjack,” she ditches her cleaning cart for an evening out with her dark and mysterious Romeo, played by Max Minghella, and his friends, who are all perfectly fine with the Cinderella-in-the-making crashing their evening. She returns to the hotel before she turns into a pumpkin, but keeps her magic slipper.
Ever see the Jennifer Lopez/Ralph Fiennes movie, “Maid In Manhattan?” It’s kind of like that but shorter and cuter and there’s no “happily ever after”...as far as we know.
Filmed at The Cosmopolitan, the clip serves as a love letter to the Killers’ hometown, Las Vegas, with the city lovingly shot.
Bella Heathcote plays a maid who gets her prince in The Killers’ new video for “Shot At The Night,” the first single from the band’s best-of collection, “Direct Hits," out Nov. 11.
Elton John’s “The Diving Board,” his 30th studio album, came out this week and it’s a beautiful, often complex, piano-led album.
In this HitFix exclusive, John’s longtime lyricist, Bernie Taupin, explains the meaning behind “Oceans Away,” the album’s poignant opening track, which features only John’s vocals and piano playing. Producer T Bone Burnett looks on, adding a few comments at the end.
“Oceans Away” is about Taupin’s father and his service as a soldier during WWll.
“My dad’s pretty much been soaked into so many of my songs. I got to the point where I thought I wanted to do one thing that was just a penultimate song about my father and the Great Generation,” he says. As “the last of those people who fought in the second World War are disappearing and dying that they not be forgotten.”
See Britney Spears pose through this 15-second trailer for her “Work Bitch” video. See her crouch in a two-piece outfit. See her stand still as a Lamborghini drives behind her eight other women. See her admire herself in the mirror. See her flick her hair.
That’s basically it for the teaser to the Ben Mor-directed clip for Spears’ current single, which debuted at No. 12 on the Billboard Hot 100 this week.
Mor had this to say to MTV News about Britney Spears video: "It's about creating iconic backdrops for her and really letting her create iconic moments that represent the theme of the song...And she's definitely letting people know that if you want to achieve the status that she has, it comes with a lot of work and effort."
E! offers a little more insight with this still from the shoot that feature Spears hitting a woman on all fours with a riding crop.
Has Jimmy Kimmel gotten the last word in Kanye West’s feud with the late-night TV host? In case you missed it, earlier this week Kimmel ran a sketch with children saying the exact lines that West said in his high-profile interview with the BBC, including claiming, “I’m the No. 1 rock star on the planet.”
West didn’t appreciate that Kimmel was poking fun at him and took to Twitter to insult Kimmel eight ways to Sunday in 10 tweets that were slightly schizophrenic: in one he’s putting down Kimmel, another he’s telling Kimmel that he likes him. He posts tweets that feature Spongebob Squarepants. Really?
Here’s Kimmel’s response during his monologue for Thursday night’s show and he seems more bemused than anything else. Kimmel says West also called him right before the so and demanded that he apologize publicly and compared himself to 2Pac. Kimmel laughed that he’s at “Def Kanye Five.”
Since the last pre-show tweet Thursday night, West had been silent on Twitter, but just now West posted a link to a Slate piece that agrees that West has a right to be mad, but mainly because Kimmel is ignorant about fashion and lacking in understanding that rap artists are 100% supposed to be their own hype men.
What do you think about the feud?
Get a glimpse of what went into creating Pearl Jam’s new album, “Lightning Bolt,” in this 9-minute short promo piece directed by famed photographer Danny Clinch.
The five band members—Eddie Vedder, Matt Cameron, Stone Gossard, Mike McCready and Jeff Ament—field questions from Clinch, director Judd Apatow, “Portlandia” star/musician Carrie Brownstein, surfer Mark Richards and paralyzed NFL safety Steve Gleason.
“If you’re paying attention to what’s going on on the planet, I feel like I can find something to be angry about pretty quick,” Vedder says, addressing the album’s sometimes confrontational tone (as exemplified in first single, “Mind Your Manners.” “Everyone’s kind of playing out of their minds on this record,” he says.
Ament talks about writing “Sirens,” current single (and, in my mind, one of the most beautiful songs ever written by Pearl Jam) and the reaction to hearing Vedder’s stirring lyrics. “He’s got a lot of words right now,” Gossard says.
Not surprisingly, avid surfer Vedder compares writing a song to surfing. “The wave is actually the sound, the words are the board. Surfing is pretty easy once you’re on the wave and so is songwriting, but you can spend a lot of days out there paddling around and not getting anything.”
In addition to “Mind Your Manners” and “Sirens,” fans can also hear snippets of four other songs from the album: “Lightning Bolt,” “Future Days” and “Getaway.”
“Lightning Bolt,” the band's first album since 2009's "Backspacer," comes out Oct. 15.
Never has a town so little been responsible for such a big sound. The story of Muscle Shoals, Ala., a rural burg whose name signifies a swampy R&B and southern rock sound, plays out in “Muscle Shoals,” a music documentary that opens Friday (27).
Among the artists who recorded legendary sides at FAME Studios and its rival, Muscle Shoals Sound Studios, were Aretha Franklin, Wilson Pickett, Percy Sledge, The Rolling Stones, Lynyrd Skynrd, Bob Dylan, Paul Simon, Otis Redding, Rod Stewart, Elton John, Eric Clapton, and The Allman Brothers. Many of them are on hand to talk about their experiences in Alabama, as well as such talking heads as Bono, Alicia Keys, Jimmy Cliff, and Steve Winwood.
The movie centers on Rick Hall, the conflicted, troubled founder of FAME Studios. He and his brother grew up “like animals” in abject poverty in Alabama (his little brother later dies after falling in a pot of scalding water and his mother, in her grief, abandons him and becomes a prostitute). “I wanted to be somebody,” he says. And he certainly succeeds. After an initial falling out with some business partners (the beginning of a pattern), and his new wife dying in a car accident, driven by vengeance and bitterness Hall launches FAME and wills it to succeed. Luckily, he has an ear for talent and before long, he and his artists are creating magic, whether it’s Percy Sledge, a former hospital orderly, recording “When A Man Loves A Woman” or Arthur Alexander with “You Better Move On.”
After FAME’s initial success, Atlantic Records co-founder/legendary producer Jerry Wexler decides to start recording at FAME, following a spat with Memphis’s Stax Studios. Perhaps unintentionally, the film makes a good case for how many magical moments happened simply because feuding partners were too egotistical to apologize and the principals would rather haul up and move to another city or start another company rather than say “I’m sorry.” Wexler brings Wilson Pickett and Aretha Franklin to FAME. The footage of Franklin in the studio, as well as much of the other vintage footage from the ‘60s and ’70, helps make the movie. Watching her surrounded by some of the most amazing studio musicians ever collected— Spooner Oldham, Roger Hawkins, Dan Penn, Barry Beckett— as they rework “I Never Loved A Man (The Way I Loved You)” is to witness a song being pulled out of the ether in all its majesty and glory.
But Hall and Wexler have a fight (are you sensing a theme yet?) and Wexler yanks Franklin back to New York and takes the fabled studio musicians with him as they record Franklin’s Atlantic debut, which also included a little song called “Respect.”
And so it goes as the film chronicles Hall and his battling of his demons as various tragedies, some of his own doing, come in and out of his life (the dude has Shakespearean-level bad luck), while it also portrays him and the studio musicians, all white, as trailblazers during the civil rights movement. They worked with black artists while segregation was in full force (studio scenes are juxtaposed against Gov. George Wallace vowing to keep black students out of schools) with no regard for anything other than talent. They were proud brothers in arms.
The movie does its best to cultivate an air of mythology about Muscle Shoals, including invoking Native American legend, as a way to explain how it became such a vaunted musical hotspot. Or as the imminently quotable Bono says, the music “seems to come out of the river; out of the mud.” Clarence Carter, who cut most of his hits at FAME, including “Patches,” simply says, “Every time someone came to Muscle Shoals, they came out with a hit record.” What doesn’t work so well is director Greg “Freddy” Camalier’s efforts to tie in Hellen Keller, who was from Alabama, and her ability to communicate, though deaf and dumb, with Muscle Shoals’ mysticism.
It seems inevitable that the studio musicians, collectively known as the Swampers, leave Hall to start their own studio, Muscle Shoals Sound Studios, taking with them some pretty choice talent. “It was war, total war,” Hall says. Through much of the ‘70s, MSSS captured the bigger names, plus Hall misses the mark on the Allman Brothers. “I just didn’t hear it,” he admits, leaving them to go to MSSS, where Lynyrd Skyrnd also recorded its legendary album. (Any fan of “Sweet Home Alabama” knows the line “Now Muscle Shoals has got the Swampers/And they’ve been known to pick a song or two”).
One of MSSS’ biggest moments is when the Rolling Stones record “Wild Horses” and “Brown Sugar” there instead of cutting in France, as they normally did. To see them in their youth, recording two now classics, alone make the movie worthwhile. Looking back, Keith Richards muses, “Those sessions are as vital to me as any I’ve ever done.”
The movie unspools as artists come and go and the studios’ fortunes rise and fall, with both of their heydays ending by the ‘80s. The stories are the stuff of legend when it comes to fighting and feuding, but the real star is the music. A staggering amount of classic hits came out of those two studios, despite all the chaos, and the tale of two studios is told is such a way to draw any lover of music in.
Unlike some movie docs that focus only on one subject, "Muscle Shoals" covers such a wide array of music and artists that like "Twenty Feet From Stardom," it will appeal to anyone with a song in their heart or anyone who wants to root for the underdog.
It’s been a Circus (every pun intended) ever since Britney Spears confirmed her two-year residency at Las Vegas’ Planet Hollywood starting Dec. 27 last week. Will she by lip-syncing? Are tickets tanking or flying out the door (as TMZ reported yesterday).
It seems, as far as tickets go, the answer is somewhere in between, and as far as lip-syncing, the answer is open to interpretation.
Spears’ manager, Larry Rudolph, told Billboard that tickets were selling well: the VIP packages for the first 16 shows sold out rapidly, and that in terms of regular tickets, at least 40% had sold since they went on sale Sept. 20. For shows that don’t begin for another three months, that is a very healthy, strong start, especially in Vegas, which relies on walk-up business. In the media, we tend to get breathless press releases when shows sell out within 10 minutes of going on sale, but that is extremely rare: the vast majority of shows never sell out. A quick visit to TicketMaster today shows there are still tickets available for every performance although TicketMaster cautioned that there were “not many left” in the 4,600-seat theater for the Dec. 27, Dec. 28 and Dec. 31 shows.
Rudolph said that sales were so strong that Caesars (Planet Hollywood’s parent) wants to put the next flight of shows on sale earlier than planned.
As far as the rumors the Spears will be lip-syncing (as she’s certainly been known to do and seemed to do so heavily on portions of her last tour), Rudolph said she will be singing live as much as possible and that she is receiving vocal and dance coaching daily. “The idea is to try to get her pretty close to 100%,” Rudolph said about live singing. “There might be some numbers where she's full out dancing with a (vocal) track underneath her, but there won't be any lip-syncing across the board on anything.”
Rudolph calls Spears’ new album, which comes out Dec. 3, her ‘Ray of Light’ album, a reference to Madonna’s 1998 electronic-oriented set. “[First single] ‘Work Bitch’ is a great example of a song that's from this album, but I don't know that it necessarily defines the album,” he said. “There's a lot of other material on here that is really rich. There's a ballad called "Perfume" that she recorded recently. Britney wrote it with Sia. It's a breakup song that's about wanting the next girl to smell your perfume on the guy afterwards...There are a couple other songs that have a really modern EDM vibe. I really think of this as Britney's 'Ray of Light' album -- it's kind of like that in a lot of ways. She wrote everything on the album with collaborators. There's one or two she wrote herself. That's something she wanted to do coming in. She wanted to make it very personal. They're all custom made for her, based on what's going on with her life and in her head.”
"Work Bitch" debuted on the Billboard Hot 100 yesterday at No. 12.
Are you excited for Spears' new album and Vegas show?
Miley Cyrus is Rolling Stone’s current cover girl, and unlike the last two covers, which featured close-ups of Macklemore’s (of Macklemore & Ryan Lewis) and Michael J. Fox’s faces, Cyrus, is, of course shown nude with her tongue sticking out. (Adele and Taylor Swift are the only female Rolling cover subjects that we can remember in recent years who weren’t in some state of undress, but that’s a different topic).
Here are the seven most interesting things revealed in the Cyrus interview:
1. She gets Rolling Stone tattooed on the soles of her feet during the interview. It is her ninth tattoo. She also has a quotation from Teddy Roosevelt. Go figure.
2. She lives in Touluca Lake, in the San Fernando Valley. Her neighbors include “Diddy’s baby mama,” Steve Carrell, who often gives her disapproving looks for her reckless driving; and her parents, who live down the block.
3. Miley is shocked, SHOCKED, she says, by the reaction to her VMA performance of “We Can’t Stop/Blurred Lines.” Miley thought there was a chance the network might pull the plug on her mid-performance, but she didn't expect so much shock and vitriol. "Honestly, that was our MTV version," she says. "We could have even gone further, but we didn't. I thought that's what the VMAs were all about! It's not the Grammys or the Oscars. You're not supposed to show up in a gown, Vanna White-style" – a little dig at Taylor Swift. "It's supposed to be fun!"
4. She admits that she says “Molly” in the “We Can’t Stop” lyrics, instead of “Miley,” which she coyly pretended she sang when the song first came out. She does it in a backhanded way, as she’s questioning why “Breaking Bad” can show how to cook meth, yet she gets bleeped. “They killed a guy, and disintegrated his body in acid, but you're not allowed to say 'fuck'? It's like when they bleeped 'molly' at the VMAs. Look what I'm doing up here right now, and you're going to bleep out 'molly'? Whatever."
5. Kanye West helped quell her nerves for the VMA performance: Kanye West had seen her rehearsals and wanted to talk to her before she went onstage. "He came in and goes, 'There are not a lot of artists I believe in more than you right now.” Those kind words led to the two heading to the studio to record a remix of “Black Skinhead.”
6. Cyrus is not a racist just because she twerked or because she had black back-up singers: "I don't keep my producers or dancers around 'cause it makes me look cool," she says. "Those aren't my 'accessories.' They're my homies." Meanwhile, she argues, the idea that she's somehow playing black is absurd. "I'm from one of the wealthiest counties in America," she says. "I know what I am. But I also know what I like to listen to. Look at any 20-year-old white girl right now – that's what they're listening to at the club. It's 2013. The gays are getting married, we're all collaborating. I would never think about the color of my dancers, like, 'Ooh, that might be controversial.' What do you mean?" she says with a laugh. "Times are changing. I think there's a generation or two left, and then it's gonna be a whole new world."
7. She sees herself as Justin Bieber’s mentor: I'm not much older than him, so I never want it to feel like I'm mentoring him. But I do mentor him in a way. Because I've been doing this shit for a long time, and I already transitioned, and I don't think he's quite done it yet. "He's trying really hard," she adds. "People don't take him seriously, but he really can play the drums, he really can play guitar, he really can sing. I just don't want to see him fuck that up, to where people think he's Vanilla Ice.
A director's cut of Cyrus's "Wrecking Ball" has also been released and it is one long cut of Cyrus's face, completely redolent of Sinead O'Connor's "Nothing Compares 2 U," which we've also embedded below, and, which came out before Cyrus was even born.
Miley Cyrus’s “Wrecking Ball” holds off a challenge from former chart topper, Katy Perry’s “Roar,” to remain at No. 1 on the Billboard Hot 100 for a second week.
“Ball” gains in airplay, while it falls in three other chart indicators: streaming songs, on-demand songs, and digital songs. While “Roar” holds at No. 1 on the Hot 100, it rises to No. 1 on Billboard’s Radio Songs chart, making Perry’s sixth No. 1 on the chart.
Lorde’s “Royals” holds at No. 3 for the third week on the Hot 100, while she jumps 3-1 on the Digital songs chart. The song also remains at No. 1 on the Alternative Songs chart fro a seventh week, the longest No. 1 by a solo female in the chart’s 25-year history.
EDM DJ Avicii’s “Wake Me Up!” rises 5-4, trading places with Robin Thicke’s “Blurred Lines,” featuring T.I. and Pharrell.
Rounding out the Top 10 are Jay Z’s “Holy Grail,” featuring Justin Timberlake, at No. 6 for a second week, while Drake’s “Hold On, We’re Going Home,” featuring Majid Jordan, rises 8-7.
Lady Gaga’s “Applause,” the first single from “ArtPop,” falls 7-8; Lana Del Rey & Cedric Gervais’ “Summertime Sadness” rises 10-9, and Capital Cities’ “Safe and Sound” moves back into the Top 10, inching 12-10.
Britney Spears’ “Work Bitch” just barely misses bowing in the Top 10, coming in at No. 12, according to Billboard.
Even though Justin Timberlake was feeling under the weather, he still managed to throw a heck of a party for 10,000 who crowded Los Angeles's Hollywood Blvd. last night to see him perform for “Jimmy Kimmel Live.”
“You guys are going to have to help me out tonight. I’m a little sick,” he said before showing what a trouper he is.
To be sure, his six-song set was roughly one-third the length of Paul McCartney’s 15-song set the night before, but he still delivered an energetic performance and sounded great. Fans watching on television saw “Take Back The Night” and new single, “TKO,” both from “The 20/20 Experience 2 of 2,” which comes out next week.
He also performed “Cry Me A River,” “Rock Your Body,” “Mirrors,” and “SexyBack.”
Below is Timberlake’s live version of “TKO." For a stream of the full set, go here.