I already posted these Britney Leotard in Concert pics…. But they are the highlight of the day…a highlight that brought together the Britney Spears and fat chicks in an office cubicle remembering their teenage idol, gay men trying to be fabulous, and chronic masturbating perverts who like a nice fat celebrity ass on stage in a leotard….Britney’s most recent performance, substantially better in pictures than video, cuz you don’t need to get distracted by her shitty music, and allows you to take it all in and I figured I’d post some more of the pictures…. I’m just sad there were no vagina slips….even though I’ve seen Britney’s vagina and know it’s on some crusty mom pussy shit that’s not all that awesome to look at but still better than not lookin’ at hit poking out of her costume…If you know what I mean… Here’s her thickness performing in video…complete with gay guys in the audience singing along…
A tremendous week of news deserves no less a finale than this: The Weinstein Company is going into the video-game business . “The TWC Games label will utilize The Weinstein Company and Dimension Films’ strong and recognizable properties, and work with external partners to develop and publish video games for mobile, social, and console platforms,” announced a press release, punctuated by Bob Weinstein’s observation: “With all of the digital platforms, there are so many opportunities to broaden our audience with compelling, high quality, cost-efficient, video game entertainment.” No kidding! But what should come first?
Lusk’s command performance of Marvin Gaye and Tammi Terrell’s ‘You’re All I Need to Get By’ earns praise on Motown night. By Adam Graham Jacob Lusk performs on “American Idol” Wednesday Photo: FOX On Wednesday’s (March 23) Motown-themed episode of “American Idol,” there was Jacob Lusk, and then there was everyone else. The 23-year-old Compton, California, native stole the night with a stirring rendition of Marvin Gaye and Tammi Terrell’s 1968 smash “You’re All I Need to Get By,” and lived up to the promise he showed earlier this season when, during Hollywood Week, he wowed judges and audiences with his take on “God Bless the Child.” That earlier performance was immediately praised as one of the best in “Idol” history, and Lusk’s performance Wednesday may earn that designation as well. By no means a subtle singer — as his performances in past weeks have demonstrated — Lusk was able to control the song, never drowning it in over-the-top vocal gymnastics or “fireworks,” as Jimmy Iovine described them in a video package on Wednesday’s show. Instead, he showed total mastery of the tune, experimenting with his vocal phrasing and playing with his facial expressions like Jim Carrey at his most rubber-faced. With an assist on bass from Funk Brother Bob Babbitt, Lusk, looking dapper in a white sportcoat and jeans, was the most comfortable onstage he’s been all season, and like Adam Lambert did during Motown week back in season eight, he pulled apart from the rest of the pack with his performance. Steven Tyler was so moved he walked onstage and embraced Lusk just as he hit his final note. A pan of the audience showed Kirsten Dunst was on her feet and cheering Lusk, as well. The judges, who gave Lusk a standing ovation, were effusive in their praise. Jennifer Lopez complimented the way Lusk held back in the song, saying he made the audience “beg” for the big notes. Referring to Motown’s founder, Randy Jackson said, “the great Berry Gordy is somewhere saying, ‘Oh my God!’ ” He went on to say Lusk commanded the song “like a true professional,” before offering the following critique: “You know what was wrong with that performance, guys? Absolutely nothing!” The judges weren’t the only ones who were moved: Lusk’s grandmother was in the audience, and the singer stepped off the stage to give her a big ol’ hug. After that embrace, Ryan Seacrest made the unprecedented move to invite members of the audience onstage to wrap their arms around Lusk, and more than a dozen fans made their way onto the stage to offer their praise. Prior to performing, Iovine said there was nobody in the competition more suited to sing Motown songs than Lusk. Lusk proved him right, and suddenly he’s back to being in the “Idol” power position. What did you think of Jacob Lusk’s performance? Let us know in the comments! Don’t miss “Idol Party Live” every Thursday on MTV.com, following the “American Idol” results show, for analysis, celebrity guests and even some karaoke — get in the conversation by tweeting with the hashtag #idolparty ! In the meantime, get your “Idol” fix on MTV News’ “American Idol” page , where you’ll find all the latest news, interviews and opinions. Related Photos ‘American Idol’ Season 10 Performances
During an appearance on The View that will air today, Billy Ray Cyrus made a startling announcement: he said he’s called off his divorce from wife Tish. “I want to put my family back together,” he told the hosts and the audience, adding: “Things are the best they’ve ever been.” That’s quite the departure from how things have been recently, considering the interview Billy Ray gave to GQ last month in which he blamed Hannah Montana for destroying his family and said Satan was attacking Miley. But Billy Ray claims things are much better now: “I feel like I got my Miley back in a way,” he said during yesterday’s taping. “I feel like we are the daddy and daughter that we were before Hannah Montana happened.” In October, Billy Ray and wife Tish issued a joint statement announcing plans to end a 17-year marriage. Miley has often been seen out with her mom since then – often defending her from paparazzi – but sources say she hasn’t spoken to her dad in months. We’d be very happy for the family if that’s changed, but we also must be a bit hesitant to believe anything Billy Ray says. The man has proven to often be full of it.
The Josh Homme-fronted band played its entire self-titled debut album and assorted other favorites at the SXSW festival on Wednesday. By Zachary Swickey Queens of the Stone Age’s Josh Homme performs at SXSW on Wednesday Photo: Zachary Swickey AUSTIN, Texas — Walking onstage sporting a red, slicked-back mohawk mullet, with bottle of vodka in hand, the riff factory known as Josh Homme was ready to get down to business with his old pals on Wednesday night. While he was a little busy last year working with a few guys you may have heard of — Foo Fighters’ Dave Grohl and Led Zeppelin’s John Paul Jones — in the side project Them Crooked Vultures, Homme is now waxing nostalgic by playing the Queens’ eponymous 1998 debut in its entirety on a new tour . What better place to kick off said trek than the tiny, 1,200-capacity La Zona Rosa at the South by Southwest music festival? The band wasted no time kicking into “Regular John,” which set the tone for the night as Queens pulled the tune off flawlessly. The Queens must have had fun rehearsing the old record, because there were no audible technical mishaps, and no small subtleties were left out as the keypad sounds that began “You Would Know” were heard. After the intense instrumental “Hispanic Impressions,” Homme calmed things down — lighting himself a cigarette and taking a swig of his bottle — before serenading the women in the audience with “You Can’t Quit Me Baby.” Soon, we were all ordered to dance to the thundering drumbeat of “Give the Mule What He Wants.” After performing their whole self-titled album, start-to-finish, Queens of the Stone Age came back with an encore full of hits that was nearly as long. Homme asked the audience for any song requests, and a lucky woman got hers fulfilled when they played the sexy fan-favorite “Make It Wit Chu,” from Era Vulgaris. Homme’s banter was livelier than ever as he mimicked one concertgoer who sounded like Sammy Hagar (“Paaaaarty!”), and then proceeded to chastise a security guard for spotlighting another fan. “Hey, turn your light off and let the guy film the show if he wants,” the singer/guitarist commanded. “Let him do whatever he wants.” The comment could not have seemed more appropriate considering that after the next song, Homme handed his bottle of vodka (now half-empty) to the front row of fans. The audience’s fervor and intensity was at its highest during “Go With the Flow,” which started a small ruckus in the crowd for first time in the night. As Homme shredded away to “Little Sister” from Lullabies to Paralyze came the sad realization that the night was coming to a close. Sobriety may work for Eminem, but it has no place in the music world in where Josh Homme lives. Rest assured, if Elvis were alive today, he and Homme would be drinking buddies. Leave it to Queens of the Stone Ago to let the world know that rock and roll is alive and well. Have you caught Queens of the Stone Age in concert? Share your experiences in the comments. Related Photos 2011 SXSW Music Festival Related Artists Queens of the Stone Age
Video was shot in Japan one week before the earthquake and tsunami. By Jocelyn Vena The Black Eyed Peas Photo: Chris Gordon/WireImage It seems that all of Hollywood and the music community are banding together to help those affected by the tsunami and earthquake in Japan. Lady Gaga and Katy Perry are just two examples, with Gaga and her little monsters raising more than $250,000 for relief efforts, and fellow pop star Katy Perry donating funds from her tour merchandise. Now the Black Eyed Peas are getting in the game. They hope that their music video for their track “Just Can’t Get Enough” will raise awareness and funds for those who need help. The guerilla-style video was shot over three days in Japan one week before the country was hit by the natural disaster. “It was the easiest video I ever shot because it was us living our lives,” Fergie told ” Entertainment Tonight .” “I love that it’s showing a true perspective of how it can sometimes be lonely on the road away from our loved ones. It also demonstrates the love and connection we have with Japan. Our heart goes out to all of the Japanese people who have been affected by this natural disaster.” The video will reportedly display the message, “This video was filmed in Japan one week before the earthquake. Our thoughts and prayers go out to all the people of Japan. We love you,” according to AceShowbiz.com . The clip closes with a call to arms and a request to donate to the Red Cross. “It was an amazing moment in time because Japan has always been my favorite place on the planet,” group member Taboo explained about the video, which will premiere Thursday. The band will also perform on “American Idol” that same day to premiere the track. “It was great to do our video there. God bless the Japanese. Our love goes out to them,” Taboo said. Related Artists Black Eyed Peas
Band celebrate premiere of their new documentary, ‘Back and Forth,’ with a secret show on Tuesday night. By James Montgomery Dave Grohl performs at Stubbs on Tuesday Photo: Tim Mosenfelder/ Getty Images AUSTIN, Texas — Dave Grohl doesn’t do South by Southwest … too many bloggers and not enough headbangers for his liking. And really, at this point in his career, there’s no reason for him to change his mind. After all, he’s basically been one of the biggest rock stars on the planet for close to two decades now, first as the kit-smasher for Nirvana and then as the mastermind of the Foo Fighters, so there’s not much left for him to prove. Music industry schmooze fests aren’t exactly his kind of party. He prefers the company of Lemmy. Which is why it was sort of strange to see Grohl and the Foos stride onstage at venerable Austin BBQ shack/venue Stubb’s on Tuesday night to play a SXSW show. But then you realized that this was no ordinary South By showcase — it was the de facto post-party for the band’s new documentary, “Back and Forth,” which premiered earlier in the night as part of the SXSW Film Festival (which is probably why, after strapping on his guitar, Grohl bellowed into the mic, “We’re f—ing movie stars, yeaaaah!”). And in honor of the occasion, the Foos decided to play their forthcoming Wasting Light album in its entirety. Whether the folks in the audience liked it or not. So for the next hour, Grohl and Co. barreled through Light, taking nary a break to address the crowd. Starting with the slipstream guitars of “Bridge Burning” and chugging all the way through to album-closing “Walk,” the Foos delighted in not only exploring the crags of their latest effort — the surging squall of “White Limo,” the spiky fretwork of “Dear Rosemary,” the elastic drums and chords of first single “Rope” — but in wringing as much emotion as possible out of its softer moments, most notably on the standout “I Should Have Known.” It started out hushed, with Grohl delivering the opening lines like an expert dramaturge, then gradually built on wooshing surges of synth before finally growing into a growler, with guitarists Chris Shiflett and Pat Smear crunching chords and drummer Taylor Hawkins bashing away behind the kit. “And that’s the new record,” Grohl announced at the conclusion of the set, and whether or not the SXSW rabble truly got it is largely beside the point. There’s a reason Grohl declared last month to NME that the Foos’ new album is “sequenced like a setlist” … because it truly is. Of course, he wasn’t about to wait around and take the audience’s temperature. Because as soon as those words left his lips, Grohl spat “… And this isn’t!” and lurched into one of the band’s biggest hits, “One by One.” With the band thundering behind him and the crowd really, truly into it for the first time all night, Grohl took it upon himself to finally address the SXSW crowd (or as he called them, “You industry mother—-ers, you f—ing nerds”), and then spent the next hour trying his hardest to win them over. Or convert them. He bashed through hits like “Everlong,” “Learn to Fly” and “The Pretender,” attempted to coax a sing-along from the crowd during “My Hero” (and, unsatisfied with their efforts, declared, “You clearly need to do more shots”), headbanged majestically on “Times Like These,” and, finally, with set-closing “Best of You,” may have succeeded in his efforts. Because as the Foos left the stage, even the industry mother—-rs and the f—ing nerds were cheering. And Grohl smiled, knowing that, even though it’s not his kind of party, he and the Foos had not only kicked off the SXSW Music Fest, they’d conquered it too. Related Videos MTV First: Foo Fighters’ ‘Rope’ Related Artists Foo Fighters
One of the interesting ideas in the original graphic novel Watchmen is the notion that in a world where meta-humans actually existed, superhero comics would become obsolete. After all, why read about the fictional adventures of Superman or The Flash when Dr. Manhattan is in the newspaper every day? I thought about that while watching the Farrelly Brothers’ lackadaisical new comedy Hall Pass — one scene (involving a sneeze and an explosive bowel movement) was clearly meant to shock and amuse us, but the audience seemed unmoved. And it occurred to me that any fictional gross-out is destined to pale next to the real stuff you can see in Jackass 3 (out this week in a Blu-Ray/DVD combo pack from Paramount Home Entertainment).
After three summers in a row of Pixar movies that moved more than half of the audience to tears, the new trailer for Cars 2 seems to more or less guarantee that we’ll be able to leave the tissues at home this time. The plot setup seems even more convoluted in this trailer (something to do with international espionage and…racing), but that doesn’t mean you can’t kick back, relax and enjoy the pretty colors, wink-nudge one-liners and wacky antics of Larry the Cable Guy.
After three summers in a row of Pixar movies that moved more than half of the audience to tears, the new trailer for Cars 2 seems to more or less guarantee that we’ll be able to leave the tissues at home this time. The plot setup seems even more convoluted in this trailer (something to do with international espionage and…racing), but that doesn’t mean you can’t kick back, relax and enjoy the pretty colors, wink-nudge one-liners and wacky antics of Larry the Cable Guy.
