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Claude Kelly says he envisioned Spears as ‘a man-eater’ when he wrote the track for her. By Jocelyn Vena Britney Spears Photo: Eric Charbonneau/ Le Studio/ Wireimage Britney Spears’ Femme Fatale album, due out on Tuesday, is a sexy, dark dance record meant to be played heading to the club, at the club and at the post-party after the club. One of the tracks that exemplifies this is the fiery, Claude Kelly-penned “Gasoline.” Kelly conceived of the searing dance tune while thinking of Britney’s sexiest moments. “The picture that I envisioned in my mind was ‘Toxic,’ ‘Slave 4 U,’ ‘Boys,’ like that kind of [thing where] it’s sexy and it’s hot, sweaty and she’s in a club and she sees a guy,” he explained to MTV News. “That mysterious, exotic look, that whole imagery and that era where she’s a man-eater and all the girls want to be her and all the guys would kill to be with her. I think she pulled it off for sure.” Kelly also wrote the title track off of Spears’ 2008 album, Circus , but this time around he wanted to take things to a new level. “I’m super happy with the way it came out. She sounds fresh and exciting,” he said of the track, which was recorded in L.A. while Kelly was busy working on other projects elsewhere. “For this time, she’s in a place where she wants to be edgier again, so I was like, ‘How am I going to make the word gasoline a cool song?’ ” he recalled. “That’s really the challenge for me and I tried to play off what I know of Britney from the past, from the Blackout era, when she was more mysterious and dark. “The one thing that kind of strings all of [the songs] along is that feeling of edginess and mysterious and sexy and a little bit playful but a little bit dangerous,” he continued. “If you can tap into what she’s in the mood for, which is what happened with ‘Gasoline,’ clearly her mind was in the zone that ‘I want to be edgy.’ ” The party never stops on Femme Fatale , and Kelly is sure that the fans will be happy about that. “The most common thing I hear people say about Britney is ‘I want to dance.’ Girls love to dance to Britney,” he said. “I think people missed that and wanted that … This one was like, ‘Let’s her in the clubs again.’ ” Related Photos Britney Gets Angelic In These Femme Fatale Promo Shots Related Artists Britney Spears
Lil Wayne’s upcoming The Carter IV album is one of the most hyped up albums of the year, and in an upcoming issue of Rolling Stone, Weezy brings they hype levels up even more. Weezy previewed a song called “Wayne’s World” for the magazine that the Young Money leader believes will change the game. “There’s a lot of rapping on this,” said Weezy. “I want other rappers to hear it and say, ‘I quit. I better start making club songs.’” Rolling Stone describes “Wayne’s World” as “three machine-gunning minutes of adenoidal wordplay topped with a triumphant hook.” Uhhh… okay. The Carter IV is due out on May 16th. Spotted @ Rap-Up.com RELATED: Lil Wayne & Rick Ross “If I Die Today” [NEW MUSIC] RELATED: Lil Wayne Sued For $20 Million By “The Carter III” Producer RELATED: Woman Says She Was Raped During Lil’ Wayne Recording Session RELATED: Lil Wayne Reveals “The Carter IV” Release Date RELATED: Girls Who Denounced Lil Wayne: “We Were Mad” RELATED: 10-Year-Old Girls Calls Out Lil Wayne In “Open Letter” [VIDEO] RELATED: VIDEO: What Set Is Lil Wayne Claiming? RELATED: Dear Lil Wayne, Stop Promoting The Bloods
Lil Wayne’s upcoming The Carter IV album is one of the most hyped up albums of the year, and in an upcoming issue of Rolling Stone, Weezy brings they hype levels up even more. Weezy previewed a song called “Wayne’s World” for the magazine that the Young Money leader believes will change the game. “There’s a lot of rapping on this,” said Weezy. “I want other rappers to hear it and say, ‘I quit. I better start making club songs.’” Rolling Stone describes “Wayne’s World” as “three machine-gunning minutes of adenoidal wordplay topped with a triumphant hook.” Uhhh… okay. The Carter IV is due out on May 16th. Spotted @ Rap-Up.com RELATED: Lil Wayne & Rick Ross “If I Die Today” [NEW MUSIC] RELATED: Lil Wayne Sued For $20 Million By “The Carter III” Producer RELATED: Woman Says She Was Raped During Lil’ Wayne Recording Session RELATED: Lil Wayne Reveals “The Carter IV” Release Date RELATED: Girls Who Denounced Lil Wayne: “We Were Mad” RELATED: 10-Year-Old Girls Calls Out Lil Wayne In “Open Letter” [VIDEO] RELATED: VIDEO: What Set Is Lil Wayne Claiming? RELATED: Dear Lil Wayne, Stop Promoting The Bloods
New episode with ‘Black and Yellow’ rapper airs Saturday at 11 a.m. By Alvin Blanco Wiz Khalifa on “When I Was 17” Photo: MTV News When Wiz Khalifa (born Cameron Thomaz) was 17 years old, hip-hop stardom was still only a pipe dream. But the kid was serious about his craft, and he displayed it by getting his rap moniker tattooed on his arm on his 17th birthday. “The story behind my name is: I would always hang out with older guys, and I was good at everything I do, so they would be like, ‘He’s a young wiz,’ so that’s where that came from,” the “Black and Yellow” rapper reveals on the next episode of MTV’s “When I Was 17,” airing Saturday at 11 a.m. “And ‘Khalifa’ is Arabic for ‘successor’ and ‘leader,’ and my granddad is Muslim, so he gave me that name; he felt like that’s what I was doing with my music.” Of the now-thoroughly inked-up Wiz’s early tattoo, Benjy Grinberg, CEO of Rostrum Records, said “That pretty much solidified his direction and was a symbol of his commitment to his craft.” It was Rostrum, the Pittsburgh-based label Wiz is still signed to, that released the hip-hop wunderkind’s first official project, Show and Prove . “It was my first street album,” Wiz says. “That album got me out there.” But Wiz didn’t settle for just saying he had a record in stores. “When he was 17, he knew that he couldn’t just make an album and that’s it,” Grinberg says. “You have to do more things, you have to help promote it, you have to help sell it, and he really took to it.” While Wiz currently hawks his music by appearing on the covers of magazines like Rolling Stone , XXL and Complex , and performances like his recent stop at the South by Southwest festival, as well as relentless airplay, back in high school, he was making his moves on a more grassroots level. “It became a little craze around school,” Wiz says of pushing Show and Prove . “I had flyers, and I had little T-shirts that I was wearing. The girls wanted T-shirts, and I used the girls to promote everything. I would bring, like, 25 to school, and I’d probably give five out to some girls.” The savvy marketing quickly paid off — literally. “I sold CDs in the hallways,” Wiz remembers. “I sold them for 10 bucks. I was making, like, a good grand a week. It wasn’t every week that I was making that, though. It was like, when it was hot, I made like a grand a week, for like, a week,” he said, laughing. With his major label debut, Rolling Papers , out Tuesday, Wiz is going to be laughing all the way to the bank. “When I Was 17” airs Saturday at 11 a.m. ET/PT on MTV. Related Videos Check Out A Sneak Preview Of ‘When I Was 17’
‘It’s a club banger, but it sounds different than ‘Toot It and Boot It,’ ‘ rookie rapper tells MTV News. By Jayson Rodriguez YG Photo: MTV News YG scored a big hit with “Toot It and Boot It” and found an even larger audience once 50 Cent and Snoop Dogg joined the Los Angeles native for the remix . But the newly minted XXL cover star — he’s joined by 10 other upstarts for the magazine’s annual Freshman issue — intended to impress with much more than his breakout number. His track “Patty Cake” has been gaining air play. “I got another song on the radio on [L.A.’s] Power 106. It’s a club banger, but it sounds different than ‘Toot It and Boot It,’ ” YG told MTV News. “I’m just waiting on the label to get behind it. Everybody in L.A. is feeling it. “I got some songs. I got some hits,” he added. “I just got to get my label behind me. I’m all the way on the West Coast. So they gotta feel it, they got to get the buzz. So I got to go through the same thing I did with ‘Toot It and Boot It.’ ” Currently, the inked-up rapper is working on his next mixtape, the forthcoming Just Re’d Up, featuring guest spots by Chris Brown, Tyga and Nipsey Hussle, among others, and hosted by DJ Ill Will and DJ Mustard. Mustard doubles as YG’s personal DJ and one of his producers; he helmed the boards for “Patty Cake.” With “Patty Cake,” YG said he’s trying to get the club cracking once again. “To me, it’s something the ladies and the dudes want to hear when they get in the club,” he explained. ” ‘Cause it’s gonna get the girls dancing. And that’s what I like to see when I get in the club.” Are you excited for new music from YG? Let us know in the comments!
Vanessa Hudgens teases MTV News at the film’s premiere, ‘Sucker punch means you don’t know what’s coming.’ By Kara Warner Emily Browning, Jamie Chung and Vanessa Hudgens at the L.A. premiere of “Sucker Punch” Photo: Alberto E. Rodriguez/ Getty Images For those who’ve seen the trailers, TV spots and highly stylized posters, you’re likely aware that “Sucker Punch” descends upon theaters on Friday. Zack Snyder’s estrogen-fueled flick has been billed as a curious, complex, action-adventure-fantasy, but despite the promotional push, it’s safe to say that plenty of people are still scratching their heads, wondering, “What the heck is ‘Sucker Punch’?” MTV News headed out to the film’s star-studded, slightly rain-soaked premiere in Hollywood on Wednesday night to find out. “Sucker punch means you don’t know what’s coming,” Vanessa Hudgens said simply. “It’s being knocked out by something unexpected,” co-star Jena Malone added. “Sucker punch is this idea of taking an unexpected blow,” Abbie Cornish said, adding in a brief plot summary to her definition as well. “A lot of the girls are totally unprepared for what’s about to happen to them. They’ve been living in this institution and Baby Doll [played by Emily Browning] comes along and changes their whole perception of freedom, of hope, of escapism,” she explained. “And so their ways of life are challenged, they’re sucker-punched with this whole idea of freedom.” Director Zack Snyder, who created the story along with co-writer Steve Shibuya, continued with the “expect the unexpected” theme. “I think it means two things: If you have preconceived ideas about what these girls are capable of, you’re going to get a sucker punch,” he said. “And also too, there’s actually a thing in the movie, a physical thing that supplies the sucker punch as well.” Carla Gugino said the title of the film and the idea itself are fun because there’s a lot left up to interpretation or theories. She also echoed the sentiments of her co-stars. “To me, a sucker punch is one of those things you least expect, that you’re unprepared for, but that hits you in the gut,” she said. “And I think that hopefully this movie is, and this movie embodies that.” Are you planning to go see “Sucker Punch”? Tell us in the comments! Check out everything we’ve got on “Sucker Punch.” For breaking news and previews of the latest comic book movies — updated around the clock — visit SplashPage.MTV.com . Related Photos ‘Sucker Punch’ Premiere In Los Angeles “Sucker Punch”
Lil Wayne’s “If I Die Today” is the second single from Weezy’s upcoming album, The Carter IV . Rick Ross joins Wayne on the song. Here’s hoping that this means we’ll be mumbling the sample from “6’7′” a little less in our heads… RELATED: Lil Wayne Sued For $20 Million By “The Carter III” Producer RELATED: Woman Says She Was Raped During Lil’ Wayne Recording Session RELATED: Lil Wayne Reveals “The Carter IV” Release Date RELATED: Girls Who Denounced Lil Wayne: “We Were Mad” RELATED: 10-Year-Old Girls Calls Out Lil Wayne In “Open Letter” [VIDEO] RELATED: VIDEO: What Set Is Lil Wayne Claiming? RELATED: Dear Lil Wayne, Stop Promoting The Bloods
James Durbin and Pia Toscano also nailed their takes on Motown classics. By Gil Kaufman “American Idol” Final 11 Photo: FOX Producers promised to shake things up this year on “American Idol,” but they were back to their predictable old tricks on Wednesday night (March 23), when the top 11 singers once again dipped into the Motown bag for some golden oldies. It was a critical week for a number of reasons, not the least of which was the fact that it would decide season 10’s top 10, i.e., the handful of singers who will go out on the road with the “Idol” tour this summer. Some (Thia, Lauren, Paul) stormed back after tough weeks, while others cemented their frontrunner status (Pia, Jacob) and a few tripped up (Stefano, Haley). After squealing his way through Nirvana’s “Smells Like Teen Spirit” last week (and possibly scaring off his little-girl vote) Casey Abrams went for the big brass ring with Marvin Gaye’s “I Heard It Through the Grapevine.” He did some of his now-signature growling, mixing Gaye’s sweet soul with the swampy blues texture of the classic Creedence Clearwater Revival cover, pushing closer to the dreaded, white-soul belter territory blazed by “Idol” champ Taylor Hicks. “I think you’re the perfect entertainer,” Steven Tyler enthused. “Perfect pitch and perfect mix of crazy-ass out-of-control ego and that’s what makes an artist today.” Jennifer Lopez and Randy Jackson agreed, saying that Abrams has already carved his own totally unique lane. Trying to rebound from a rough week, the youngest singer in the contest, Thia Megia, 16, went with an uptempo number for once, Martha and the Vandellas’ “Heatwave.” Wearing a flirty, frilly pink skirt with a black bustier top, Megia showed an intriguing different side to her personality, a country/pop-ish tone with plenty of attitude, though she still sometimes comes off a bit cruise ship-y. Lopez loved seeing Megia let loose for once and encouraged her to dig even deeper and try to connect with her lyrics more, by acting if necessary. Randy was psyched to see her take a chance after a string of same-y ballads. With his gospel background, this should have been a slam-dunk week for Jacob Lusk. Choosing Marvin Gaye and Tammi Terrell’s legendary ballad “You’re All I Need to Get By,” Lusk leaned into the spare arrangement with a feathery contralto, hopping between his throaty and falsetto voices while putting on a divo-esque soul clinic of controlled runs. Tyler couldn’t contain himself, running up to hug Jacob and scream “hallelujah!” into the mic. The standing ovation inspired Jackson to say it was Lusk’s best performance yet, praising his easy way of leaning into the chorus and totally controlling the song by knowing when to give it all and when to hold back. “You know what was wrong with that performance?” he said. “Nothing!” The other 16-year-old, Lauren Alaina, dug into the Supremes’ classic “You Keep Me Hangin’ On.” Opening in a single spotlight and transforming the intro into a slow, soul kiss, Alaina once again tapped into her precocious charms and flirted with Jackson and sashayed all around the judges’ circle while singing a very good, sassy karaoke version of the disco-lite tune. “I don’t think you listen to anybody about anything and I like that about you,” Tyler said to his favorite Aerosmith fan, while Lopez praised L.A.’s flowy zebra-striped, floor-length skirt and neck-rolling attitude. Unlike Alaina, Stefano Langone grew up on Motown, though he chose not a classic, but the 1984 Lionel Richie schmaltz-fest “Hello.” Warned not to over-sing it, Langone gave it an odd operatic lilt, turning the tune into a Michael Buble-style, light FM show tune. She still thinks he’s a cutie with a good voice, but Lopez said the one-time wild card missed the emotion in the song and failed to connect, instead looking like he was trying too hard to perform. Giving some of her most coherent, cogent advice of the season, the multi-hyphenate judge said it’s critical for Langone to look at each song as an acting gig. “You sounded good, but there was no real connection,” Randy concurred. After hitting the bottom-three two weeks in a row, Haley Reinhart was hoping to avoid the walk of shame by singing Smokey Robinson & the Miracles’ “You Really Got a Hold on Me.” Her off-tempo, sissy strut version had the requisite soul mama growls and shouts, but the whole thing felt a bit awkward, shouty and Holiday Inn lounge. After a rough start, Randy said Reinhart’s Janis Joplin-esque growl and attitude brought it back around, giving them a glimpse of the singer they fell in love with. “I think you may have the most soulful voice of anybody in the competition,” J.Lo said, then amending that to just include the girls’ side. The singer facing the biggest challenge of the week was bullfrog-voiced country crooner Scotty McCreery. Though he didn’t grow up with Motown, he went with the Stevie Wonder version of “For Once in My Life.” Shockingly, he sang it with a twangy Glen Campbell vibe accompanied by a wheezing harmonica, acoustic guitar and giddyaup brushed snare beat. Tyler said Scotty Mac took a big chance and ripped it and Lopez agreed, saying Scotty made it his own, even if it wasn’t his strongest vocal performance. Either way, it’s those low notes he always throws in that continue to seal the deal for the judges and the audience. Motown week was no problem for Pia Toscano, who’s been singing the label’s songs her whole life alongside her dad. She chose the lesser-known Stevie Wonder hit “All in Love is Fair,” giving it the full diva treatment, complete with floor-length black gown, string section backing and a powerful series of crescendos delivered while standing nearly motionless behind the mic. Once again, Lopez said the vocals, beauty and feeling were all there and said Pia could have a Celine Dion-like career, but she needs to add more dynamic stage moves into her repertoire. And, c’mon girl, Randy pleaded, we get that you can sing ballads, but mix it up a bit, will ya! After a few seasons where singers frequently hid behind guitars and pianos, Paul McDonald busted out the first acoustic of the finals and did some picking and grinning on Smokey Robinson & the Miracles’ titanic “Tracks of My Tears.” Transforming the party tune into a down-home folk rocker, McDonald put on his best Rod Stewart rasp and remade the weeper as if he’d just written it before hitting the stage. Randy wasn’t sure where the song was going at first, but he loved the Stewart vibe and the soft, tender notes near the end. “Like Dylan, like Willie Nelson, your voice is that different,” Tyler said as Lopez referred to McD as the complete package in search of the right producer. She’s already proved her sick dancing skills, so Naima Adedapo’s decision to grab Martha and the Vandellas’ good time ditty “Dancing in the Streets” made perfect sense. Looking like she was having a blast, Naima worked the stage to the African percussion-tinged remake, mixing her strong, crisp vocals with an energized African dance breakdown at song’s end. For once Tyler was speechless, though he did inexplicably call the performance “E to the Z o twiddly dee,” blown away that she came up with the dance moves and the additional percussion. J.Lo said she got her first goose bumps of the night thanks to Naima’s stage savvy. The night’s pimp spot belonged to lone rocker James Durbin, who sang Wonder’s gritty urban anthem “Living for the City.” Busting out of the gate with his clean falsetto voice, Durbin strutted all over the stage and made the song a bit happier than the original, but managed to give it enough of his rock grit (and high screeches) to make it his own. Reduced to an “oh my Gawd”-ing valley girl, Jennifer was in awe of JD’s dance moves and vocals, admitting he left her speechless. Though it opened rough, Randy said James hit his stride during his dance-breakdown middle and brought it home with the Lambert-esque scream at the end. Thursday night’s results show will feature performances from season-three “Idol” finalist and Oscar winner Jennifer Hudson and country duo Sugarland. Who did you think nailed it on Motown night? Who blew it? Let us know in comments below! 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
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