Dancing With the Stars viewers who tuned in last night probably didn’t do so in hopes of seeing a Nancy Grace nipple slip , but that’s reality TV for you. She was clearly spilling out of her dress, although she sought to downplay it today. The 51-year-old told Us Weekly backstage after Monday’s show: “Tonight, when we were doing our hopscotch portion of our dance, there was a little bit of movement but it did not rise to a wardrobe malfunction.” The buxom Casey Anthony hater showed more than she bargained for. As ABC quickly cut away to a static shot of the audience, Grace readjusted her dress and buried her face in partner Tristan MacManus’ shoulder. “On the European version that would be perfectly fine,” host Tom Bergeron joked. “We took every precaution known to man in this dress right here,” Grace said. “I’m talking industrial size precaution. There may have been, as Tristan said, a little bit of jiggling but there was absolutely not a wardrobe malfunction.” Riiight. You be the judge: Nancy Grace on Dancing With the Stars (Week 2)
‘I’m as excited about this script as I was about the ‘Casino Royale’ script,’ he tells MTV News. By Eric Ditzian Daniel Craig Photo: Ian Gavan/ Getty Images This summer in Montana, while Daniel Craig was promoting “Cowboys & Aliens,” the actor steered clear of any casting news relating to “Bond 23,” declining to confirm to MTV News long-standing rumors that Ralph Fiennes and Javier Bardem were getting set to join the action flick. A few months later, while promoting “The Adventures of Tintin,” Craig was in more of a giving mood, letting us know that he’s keeping his fingers crossed that Fiennes and Bardem are on set when production on “Bond 23” kicks off in early October. “I hope so,” he said about the two actors. “I hope so.” Bardem confirmed back in February that he was in talks to play a villain in the flick, while rumors have been floating since early in the year that Fiennes was looking to take on an unspecified role. In July, MTV News shot down reports that “Amazing Spider-Man” villain Rhys Ifans had also signed up for “Bond 23,” with the actor telling us, “No, I just have a license to kill.” According to Craig, the way “Bond 23” is coming together has him the most excited about the franchise since he took on the iconic spy role years ago. “We’ve got a great script this time,” he told us. “I’m as excited about this script as I was about the ‘Casino Royale’ script. I think in Sam [Mendes] we’ve got the perfect director. The cast is coming together now. I can’t wait to get going on it.” Check out everything we’ve got on “Bond 23.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com .
Electric Daisy Carnival, A-list residencies and mega-venues solidify Sin City’s global appeal to dance-music community. By Adam Stewart Photo: Las Vegas News Bureau For as long as most dance-music aficionados can recall, Miami has been the Stateside destination for sun, fun and the hottest music year-round. But in just a short period of time, a new player has emerged. In the blink of an eye, America’s Playground has morphed into America’s Dance Music Capital. Consider the 200,000 electronica fans who descended on Las Vegas International Speedway for the Electric Daisy Carnival in June, or the billboards up and down the Strip plastered with dance-music superstars such as Ti
Hey man, girls have nipples. Sometimes, when we’re lucky they fall out of their shirts, especailly when they are trying to recruit votes on a show that pretty much coincides with the end of a motherfucker’s career… Sure, who want’s to see Nancy Grace’s nipple by choice, I mean other than me, but in my defense whenever I watch news, courtTV, anything, I think it’d be better with nipple…and here’s Nancy Grace proving my theory true on Dancing with the Stars…cuz if I knew there was nipples when all these hasbeens try to lean up and get noticed, I’d consider watching it…but only for a minute, cuz waiting for it to hit the internet is less painful… Here’s the dance….
Kristin Cavallari, 24 – whose engagement to Chicago Bears star Jay Cutler just ended – has no problems with people speculating that she and Ballas have more going on than fancy footwork. “I kind of expect [the dating rumors], to be honest,” she says. “But that#39;s what happens when you put two people together.” Kristin Cavallari and Mark Ballas are both young, newly single and have great chemistry on the dance floor – otherwise known as the perfect recipe for a juicy dating rumor. “That s––t
‘I could go on and on with what I feel for hip-hop,’ the dance music producer tells MTV News of roping in all-star rap features on new album. By Akshay Bhansali Eve Photo: Jason LaVeris/ FilmMagic After a stint in Texas, electronic dance music producer Wolfgang Gartner moved back to his native California, where resumed recording in a new studio. Now that he’s all settled in, Gartner’s got a treat for his fans too: a band-new album that boasts so much hip-hop star power he may become to rap what superstar EDM producer David Guetta is to pop. But longtime fans of Gartner that have been devoted to him for hits like “Undertaker” and “Animal Rights” need not worry: Even with the big collabos, the Wolfgang product sounds no less underground. Weekend in America, which dropped on Tuesday (September 20), features 11 tracks. Thematically, it’s an effort borne of “life on the tour,” according to Grammy-nominated Gartner . “There is definitely a sense of patriotism there,” Gartner (born Joey Youngman) told MTV News recently. ” ‘Illmerica,’ the track came far before I knew the album was going to be called Weekend in America. Once [‘Illmerica’] became a song, I started having these mental images of when you’re flying over the center of the U.S., you see the little houses and you see America. “And for some reason, that’s what this song made me see: the soul of America, which is the bad part and the good part and all of the messed up stuff and the good stuff combined,” the producer continued. “For some reason, that’s just how it made me feel. ” Weekend in America was more alluding to going out on the weekends playing these shows, [where] I’m playing these tracks that I’ve been making. I’m playing other people’s tracks, too, but it’s kind of a culmination of what I see and what I hear out there that influenced the making of this album.” Even before its official release, America tracks like “Space Junk,” “Menage a Trois,” and “818” have already taken off as singles on the EDM scene. But with Tuesday’s album release, Gartner emphasizes what his hard-core fans already knew: He’s got a serious love for hip-hop. Rap princess Eve is featured on the party-hard “Get Em.” Dipset’s Cam’ron and Jim Jones jump on “Circus Freaks.” Omarion belts on “Still My Baby” and as WG fans know, will.i.am gets busy on “Forever,” which was released earlier this year. “I definitely listen to hip-hop more than I listen to dance music,” Gartner confessed to us. “When I’m in my car, all I listen to is rap. Obviously, I’m really into the Dipset crew — that’s like half my playlist right now, the new Jim Jones album. I listen to a lot of old Snoop and West Coast. A lot of old Biggie and the classics. Kanye. I really like Drake, Lil Wayne, that whole [YMCMB] crew. I could go on and on with what I feel for hip-hop.” Of course, with that many hip-hop features on tap, many will draws comparisons to Guetta’s pop crossover success, which has helped to bridge the dance and mainstream music worlds. But while their styles may be different, it’s a comparison Gartner welcomes. “David Guetta has been instrumental in creating the climate that we have now, where I can work with Eve and I can work with will.i.am, and they are receptive, the public is receptive and radio is receptive,” Gartner explained. “He played a role in opening the door up for people like me to do the same thing and have success. I think the dance music community, including myself, owes something to him for sort of paving the way for that.” Weekend in America is available at Beatport.com Next up for Gartner is the video for “Get Em,” with Eve. Related Videos Wolfgang Gartner: The ‘Weekend’ Trip Related Artists Eve The Diplomats Wolfgang Gartner
I don’t watch Dancing With The Has-Beens and the Never Was….It’s all media hype, I’m convinced targeted to middle America Wal Mart employees and trailer park dwellers with their wide screen tvs. I just can’t imagine anyone giving a fuck about watching nobodies in dance…but it’s popular and my twitter was blowing up with the shit all night…so I guess I’m wrong about the show… I’m just not wrong about it being some long hanging fruit people hoping for a second wind in the flacid penis that is their career… So the two breakout nobodies are Kristen Cavalair and Elisabetta Canalis in terms of sex appeal, and the rumor is that you can judge a girl’s fuck by her dance moves, so here they are….saving you the headache of watching the shit on tv… Kristen Cavalari Elisabetta Canalis Chaz Bono
Chynna Phillips and J.R. Martinez tie for top score on season 13 premiere. By Kelley L. Carter Kristin Cavallari Photo: ABC Networks In a brand-new ballroom, the 13th season of “Dancing With the Stars” kicked off Monday night (September 19). The newest stars walked down a new, elegant series of stars to the ballroom and waved at the crowd in the ornate — and significantly larger — ballroom and shimmied as live singers hummed the reality-show competition’s now-familiar theme song. The mix of reality stars, athletes, actors, TV journalists and talk-show hosts took to the dance floor to attempt to impress the judges and legions of TV fans who will be tuning in to vote to keep them dancing week-after-week. To the scores! Ron Artest and Peta Murgatroyd A newly blond Artest (though we may soon be calling him Metta World Peace, the name he legally adopted last week) failed to impress the judges. “It’s a new season, we’ve got a new set, but it’s the same old shimmying-about stuff,” head judge Len Goodman told the Lakers star. “Your footwork was atrocious. It was all sizzle, no sausage. It was … not my cup of tea.” His comments were booed by the audience (Artest’s teammate Lamar Odom was in the audience with wife Khlo
Cee Lo Green, Chiddy Bang and many others also featured at weekend’s Austin City Limits Festival. By Gil Kaufman Kanye West performs at ACL on Friday Photo: Flanigan/ Getty Images AUSTIN, Texas — It was a weekend of epic beginnings and endings at the 10th annual Austin City Limits Festival, among them: Kanye West shut the lid on the operatic My Beautiful Dark Twisted Fantasy tour (http://www.mtv.com/news/articles//kanye-west-essence-festival-performance.jhtml), Coldplay played one of the final American festival dates in the run-up to the release next month of Mylo Xyloto and perhaps most importantly for locals, Texans danced in ecstasy as the worst drought in Lone Star history got a brief reprieve thanks to some intermittent showers. Yes, there were three days of amazing music, ranging from folk to house, blues, rock, soul and hip-hop, but along with crowd-pleasing headline sets from such legends as Stevie Wonder and rockers My Morning Jacket and festival-closers Arcade Fire , what a lot of people will remember is the blessed rain. Friday The weekend got kicked off in style on Friday with electro rapper Theophilus London , who charmed the early afternoon crowd with the rolling pop of “Why Even Try,” the hard-spitting “Last Name London” and a brand-new trunk-rattler, “Big Spender.” Most fans show up to a festival like ACL looking to rock, but fey British ambient/dubstep king James Blake made them take a chill pill, sitting at his electric piano and keyboards and crooning wordless sounds amid droney synth washes and minimal, machine beats. Just after parched, wildfire-licked Austin got its first taste of rain in as long as anyone can remember, the Smith Westerns played some mellow humidity rock, with just enough energy to make you sway and bounce so a trickle of perspiration drips down your back during tunes like “End of the Night.” Outkast’s Big Boi had no such problem, fronting a 10-piece ATL soul rap revue that got asses shaking to “Rosa Parks,” a Parliament-Funkadelic-thick “Ms. Jackson,” and the triple-time sprints of “Ghetto Musick” and “B.O.B.” A short time later, dynamic duo Nas and Damian Marley wound up their main-stage set with a dancehall-spiced take on papa Bob’s iconic “Could You Be Loved,” which spread some loving vibes as the sun finally began to set. And with a psychedelic, pulsing cityscape backdrop, DJ Pretty Lights dropped some gut-shaking deep bass samples, mixing in stoned reggae beats and looped blues wailing for a soul-soothing set of head-bobbing “dance” music you didn’t have to sweat to. Kanye didn’t disappoint either, holding down the stage during all three parts of his relationship power-play ballet. He commanded the dramatically lit stage for 90 minutes, tearing through a roster of hits including “Runaway,” “Power,” “Jesus Walks,” “Monster,” Flashing Lights” and “Good Life,” occasionally joined by a troupe of ballet dancers, but mostly stalking the boards alone. Saturday Day two dawned hazy and new wave with New York band Twin Shadow’s guitar-heavy New Romantic psychedelia. VMA performers Young the Giant got an extra dose of energy from above when the skies opened up for a brief, torrential sun storm, making the most of it by pumping out their radio-friendly, impassioned rockers “Guns Out” and “Cough Syrup” to the soaked audience’s delight. Los Angeles’ Fitz and the Tantrums kept the sweaty audience raindancing during such Motown-esque jams as “Rich Girls” and “Don’t Gotta Work It Out,” and the gut-quaking bass of wildly popular DJ Skrillex sounded like thunder across the way, as he shouted along to the party-pumping refrain of his signature tune, “My Name Is Skrillex,” while mixing in bits of Robyn and Rob Base and DJ E-Z Rock. Cee Lo Green, known for his outrageous stage costumes, kept it tame, dressing down in a black Adidas track suit with red piping while his all-female band modeled skintight red jumpsuits and minidresses. He didn’t dial down the funk, though, blasting through “Bright Lights, Big City” and “Freak” as the setting sun blazed away on the main stage. He also did some gender reassignment with the Pussycat Dolls’ signature hit “Don’t Cha,” dedicated “Satisfied” to the victims of the recent Texas wildfires and played a slow, beat- and turntable-heavy version of the Gnarls Barkley hit “Crazy.” Elastic talkbox freak funkers Chromeo dedicated “I Am Somebody” to their recently passed collaborator, DJ Mehdi . And with a large portion of the sold-out crowd down at the other end for a rare festival set from soul icon Wonder, My Morning Jacket cranked their energy up a notch, blasting off with the slowly building “Victory Dance,” then segueing into the fierce reggae rock jam “Off the Record” and the majestic interstellar overdrive anthem “Gideon.” As usual, lead singer Jim James was in fine falsetto wailing voice, working the whole stage as he shook his mound of neon-lit curly hair. The fierce Southern gospel rock set included such favorites as “Wordless Chorus” and ended with a three-song mini-set featuring former tourmates New Orleans’ Preservation Hall Jazz Band. One of the givens at ACL is that you will get a chance to see a legend (or two), and this year’s Hall of Famer was Wonder, who soothed an exhausted crowd’s mind with a velvety lounge take on “Ribbon in the Sky” and a slow-dance grand piano stroll through “Overjoyed.” Then he picked it up like nobody can, pivoting into the sing-along “Signed, Sealed, Delivered I’m Yours” and the rubbery disco groove of “Sir Duke,” his keening vocals seemingly unchanged after half a century. They boogied hard to “Do I Do” and “My Cherie Amour” and lost their minds when he busted out the harmonica during “For Once in My Life.” Sunday Graffiti6 had the unenviable task of opening the final day, trying to draw a crowd with their Maroon 5-meets-Crosby, Stills and Nash blue-eyed acoustic pop soul, while downtown punkers-turned-rancheros Mariachi El Bronx cooked up some authentic really down South jams on tunes like “Cellmates.” But with their embroidered black suits, they won the race for the weekend’s most weather-unfriendly stage wear. Festival vets the Airborne Toxic Event pumped out muscular arena rock, including fiddle-assisted covers of Bruce Springsteen’s “I’m On Fire” and the Bobby Fuller Four’s “I Fought the Law.” Philly’s Chiddy Bang proved their freestyle skills once again, as rapper Chidera “Chiddy” Anamege took requests from the audience and strung together verses about Texas, “Saved by the Bell” and, shockingly, weed. Canadian collective Broken Social Scene just had to play their syncopated rocker “Texico Bitches,” but the weekend’s most intense visual spectacle was courtesy of Australia’s Empire of the Sun. Lead singer Luke Temple emerged in a blue glittery tunic and towering feathered headdress, along with four dancers in pink catsuits and frilled masks accented by oversize light-up cardboard guitars. Pounding new-wave dance rock tunes like “Standing on the Shore” amid multiple increasingly outrageous costume changes, the set felt like the sexy psychedelic space musical Duran Duran never mounted. Like a lot of bands, Canada’s Arcade Fire said Austin is their second home, and they were welcomed to the festival’s closing spot like favorite sons and daughters by a massive crowd that seemed to spread to the horizon. Their cinematic tour through the stations of teenage rebellion — complete with movie theater marquee showing black-and-white flicks — included stops at such ravers as “Ready to Start,” “No Cars Go,” the widescreen shout-along rouser “Wake Up!” and the live rarity, “Speaking in Tongues.” They were not going to send them home gently into that good night, though, instead charging through “Neighborhood #3 (Power Out)” as a goodbye memento worth keeping more than that wicked farmer’s tan and nasty heat headache. Beginnings, endings and one hell of a middle, ACL had plenty of all three. Related Artists Kanye West Arcade Fire
Cee Lo Green, Chiddy Bang and many others also featured at weekend’s Austin City Limits Festival. By Gil Kaufman Kanye West performs at ACL on Friday Photo: Flanigan/ Getty Images AUSTIN, Texas — It was a weekend of epic beginnings and endings at the 10th annual Austin City Limits Festival, among them: Kanye West shut the lid on the operatic My Beautiful Dark Twisted Fantasy tour (http://www.mtv.com/news/articles//kanye-west-essence-festival-performance.jhtml), Coldplay played one of the final American festival dates in the run-up to the release next month of Mylo Xyloto and perhaps most importantly for locals, Texans danced in ecstasy as the worst drought in Lone Star history got a brief reprieve thanks to some intermittent showers. Yes, there were three days of amazing music, ranging from folk to house, blues, rock, soul and hip-hop, but along with crowd-pleasing headline sets from such legends as Stevie Wonder and rockers My Morning Jacket and festival-closers Arcade Fire , what a lot of people will remember is the blessed rain. Friday The weekend got kicked off in style on Friday with electro rapper Theophilus London , who charmed the early afternoon crowd with the rolling pop of “Why Even Try,” the hard-spitting “Last Name London” and a brand-new trunk-rattler, “Big Spender.” Most fans show up to a festival like ACL looking to rock, but fey British ambient/dubstep king James Blake made them take a chill pill, sitting at his electric piano and keyboards and crooning wordless sounds amid droney synth washes and minimal, machine beats. Just after parched, wildfire-licked Austin got its first taste of rain in as long as anyone can remember, the Smith Westerns played some mellow humidity rock, with just enough energy to make you sway and bounce so a trickle of perspiration drips down your back during tunes like “End of the Night.” Outkast’s Big Boi had no such problem, fronting a 10-piece ATL soul rap revue that got asses shaking to “Rosa Parks,” a Parliament-Funkadelic-thick “Ms. Jackson,” and the triple-time sprints of “Ghetto Musick” and “B.O.B.” A short time later, dynamic duo Nas and Damian Marley wound up their main-stage set with a dancehall-spiced take on papa Bob’s iconic “Could You Be Loved,” which spread some loving vibes as the sun finally began to set. And with a psychedelic, pulsing cityscape backdrop, DJ Pretty Lights dropped some gut-shaking deep bass samples, mixing in stoned reggae beats and looped blues wailing for a soul-soothing set of head-bobbing “dance” music you didn’t have to sweat to. Kanye didn’t disappoint either, holding down the stage during all three parts of his relationship power-play ballet. He commanded the dramatically lit stage for 90 minutes, tearing through a roster of hits including “Runaway,” “Power,” “Jesus Walks,” “Monster,” Flashing Lights” and “Good Life,” occasionally joined by a troupe of ballet dancers, but mostly stalking the boards alone. Saturday Day two dawned hazy and new wave with New York band Twin Shadow’s guitar-heavy New Romantic psychedelia. VMA performers Young the Giant got an extra dose of energy from above when the skies opened up for a brief, torrential sun storm, making the most of it by pumping out their radio-friendly, impassioned rockers “Guns Out” and “Cough Syrup” to the soaked audience’s delight. Los Angeles’ Fitz and the Tantrums kept the sweaty audience raindancing during such Motown-esque jams as “Rich Girls” and “Don’t Gotta Work It Out,” and the gut-quaking bass of wildly popular DJ Skrillex sounded like thunder across the way, as he shouted along to the party-pumping refrain of his signature tune, “My Name Is Skrillex,” while mixing in bits of Robyn and Rob Base and DJ E-Z Rock. Cee Lo Green, known for his outrageous stage costumes, kept it tame, dressing down in a black Adidas track suit with red piping while his all-female band modeled skintight red jumpsuits and minidresses. He didn’t dial down the funk, though, blasting through “Bright Lights, Big City” and “Freak” as the setting sun blazed away on the main stage. He also did some gender reassignment with the Pussycat Dolls’ signature hit “Don’t Cha,” dedicated “Satisfied” to the victims of the recent Texas wildfires and played a slow, beat- and turntable-heavy version of the Gnarls Barkley hit “Crazy.” Elastic talkbox freak funkers Chromeo dedicated “I Am Somebody” to their recently passed collaborator, DJ Mehdi . And with a large portion of the sold-out crowd down at the other end for a rare festival set from soul icon Wonder, My Morning Jacket cranked their energy up a notch, blasting off with the slowly building “Victory Dance,” then segueing into the fierce reggae rock jam “Off the Record” and the majestic interstellar overdrive anthem “Gideon.” As usual, lead singer Jim James was in fine falsetto wailing voice, working the whole stage as he shook his mound of neon-lit curly hair. The fierce Southern gospel rock set included such favorites as “Wordless Chorus” and ended with a three-song mini-set featuring former tourmates New Orleans’ Preservation Hall Jazz Band. One of the givens at ACL is that you will get a chance to see a legend (or two), and this year’s Hall of Famer was Wonder, who soothed an exhausted crowd’s mind with a velvety lounge take on “Ribbon in the Sky” and a slow-dance grand piano stroll through “Overjoyed.” Then he picked it up like nobody can, pivoting into the sing-along “Signed, Sealed, Delivered I’m Yours” and the rubbery disco groove of “Sir Duke,” his keening vocals seemingly unchanged after half a century. They boogied hard to “Do I Do” and “My Cherie Amour” and lost their minds when he busted out the harmonica during “For Once in My Life.” Sunday Graffiti6 had the unenviable task of opening the final day, trying to draw a crowd with their Maroon 5-meets-Crosby, Stills and Nash blue-eyed acoustic pop soul, while downtown punkers-turned-rancheros Mariachi El Bronx cooked up some authentic really down South jams on tunes like “Cellmates.” But with their embroidered black suits, they won the race for the weekend’s most weather-unfriendly stage wear. Festival vets the Airborne Toxic Event pumped out muscular arena rock, including fiddle-assisted covers of Bruce Springsteen’s “I’m On Fire” and the Bobby Fuller Four’s “I Fought the Law.” Philly’s Chiddy Bang proved their freestyle skills once again, as rapper Chidera “Chiddy” Anamege took requests from the audience and strung together verses about Texas, “Saved by the Bell” and, shockingly, weed. Canadian collective Broken Social Scene just had to play their syncopated rocker “Texico Bitches,” but the weekend’s most intense visual spectacle was courtesy of Australia’s Empire of the Sun. Lead singer Luke Temple emerged in a blue glittery tunic and towering feathered headdress, along with four dancers in pink catsuits and frilled masks accented by oversize light-up cardboard guitars. Pounding new-wave dance rock tunes like “Standing on the Shore” amid multiple increasingly outrageous costume changes, the set felt like the sexy psychedelic space musical Duran Duran never mounted. Like a lot of bands, Canada’s Arcade Fire said Austin is their second home, and they were welcomed to the festival’s closing spot like favorite sons and daughters by a massive crowd that seemed to spread to the horizon. Their cinematic tour through the stations of teenage rebellion — complete with movie theater marquee showing black-and-white flicks — included stops at such ravers as “Ready to Start,” “No Cars Go,” the widescreen shout-along rouser “Wake Up!” and the live rarity, “Speaking in Tongues.” They were not going to send them home gently into that good night, though, instead charging through “Neighborhood #3 (Power Out)” as a goodbye memento worth keeping more than that wicked farmer’s tan and nasty heat headache. Beginnings, endings and one hell of a middle, ACL had plenty of all three. Related Artists Kanye West Arcade Fire
