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Justin Timberlake, Jimmy Fallon Bring House Down With ‘History of Rap 2’

Duo hit on songs by Vanilla Ice, Cypress Hill and 50 Cent on ‘Late Night With Jimmy Fallon’ on Tuesday. By Gil Kaufman Jimmy Fallon and Justin Timberlake Photo: NBC We already know Justin Timberlake can do funny on “Saturday Night Live,” and serious in “The Social Network.” He can obviously sing (though he doesn’t seem that interested in doing it lately), and now he’s top-lining his first motion picture with “Friends With Benefits.” But the dude can also rap, which he proved again on Tuesday night when he visited old pal Jimmy Fallon on “Late Night With Jimmy Fallon” and dropped a blazing sequel to their first road trip through hip-hop with an equally head-spinning “History of Rap 2.” Though he made it seem like he was once again reluctant to pick up the mic, it took very little convincing to get Timberlake to lace up. “No, no, no stop. It’s not gonna happen, we can’t do it again, we can’t top …” Timberlake told the cheering crowd before locking eyes with Fallon and grabbing a conveniently hidden microphone from behind his chair and strutting to the stage. Over the next five minutes, he and Fallon ripped through two dozen classics, opening with Kurtis Blow’s legendary “The Breaks,” before segueing into another early rap totem, Grandmaster Flash and the Furious Five’s “The Message,” complete with both men busting out their best robot dance moves. It’s easy to sound great when you’ve got the Roots backing you up, and the band was more than up to the task, hitting the right bass-heavy tone for N.W.A.’s “Express Yourself,” as Fallon and Timberlake traded off on a verse, then nimbly pivoting into a peek at Public Enemy’s “Bring the Noise.” Curiously, it was Fallon who did most of the heavy vocal lifting, taking on the chorus to Rob Base and DJ EZ Rock’s “It Takes Two” as Timberlake jived behind him and added the song’s indelible yelps. From there they busted through a variety of hip-pop standards: Salt n’ Pepa’s pelvic-thrusting “Push It,” a tiny taste of Vanilla Ice’s “Ice Ice Baby,” Black Sheep’s “The Choice Is Yours,” Cypress Hills’ “Insane in the Brain” and a hip-swiveling throwdown of DJ Kool’s party anthem, “Let Me Clear My Throat.” The pair had clearly rehearsed the bit to a T, because neither stumbled even for a moment during the routine. Whether it was their thuggish ruggish take on DMX’s thudding “Up in Here,” Timberlake’s swishing falsetto break on Nelly’s “Hot in Herre” (which lead to an awkward moment where both men seemed to question their sexuality for a brief second), or their intertwined duet on 50 Cent’s “In da Club,” the music just flowed seamlessly. Timberlake gave the crowd a bit of sugar during Outkast’s “Hey Ya,” shaking his booty while Fallon sang the verse, before both men took on the falsetto chorus. They then teased Lil Wayne’s “A Milli” and got their Auto-Tune on for DJ Khaled’s “All I Do Is Win.” While Fallon needs a bit of work, clearly nobody has to school Timberlake in the finer art of Cali Swag District’s “Teach Me How to Dougie,” though the former boy-band star did have to ease his co-star back a bit when Jimmy got a tad too into character and in the cameraman’s face during a menacing trip through Rick Ross’ “Blowing Money Fast.” “Jimmy, Jimmy, stop … why do you always do that?” a concerned Timberlake said as he pulled his pal back. The whole shebang ended with the boys trading lines on Biz Markie’s “Just a Friend” and then rolling out into the studio and getting the audience to help them sing the chorus. “Clap your hands, everybody, if you got what it takes, cuz I’m Justin, I’m Jimmy and we want you to know that these are the breaks,” they chanted as they brought it all home. Related Photos The Evolution Of: Justin Timberlake Related Artists Jimmy Fallon Justin Timberlake

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Justin Timberlake, Jimmy Fallon Bring House Down With ‘History of Rap 2’

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Soundgarden Triumph At Red Rocks Reunion Show

After reuniting last year, the grunge gods prove they can still shred. By Mary J. DiMeglio Chris Cornell (file) Photo: Bill McCay/ Getty Images MORRISON, Colorado — An ecstatic-looking Chris Cornell gazed over the Red Rocks Amphitheater on Monday night and declared, “We’re Soundgarden , and we’re back.” Setting off the night with “Searching with My Good Eye Closed” from 1991’s Badmotorfinger and the Grammy-winning “Spoonman,” one of their first big hits, the recently reunited grunge gods quickly cleared any doubts about whether they still had it, even after 14 years apart. “We’re doing this because of you,” Cornell professed. After the frontman encouraged the crowd to “smoke it all so you don’t get busted on the way home,” the band unleashed “Jesus Christ Pose,” with Matt Cameron’s pummeling of the drums reminding everyone that while he’s served as drummer for Pearl Jam since Soundgarden’s 1997 breakup, it was his work with tonight’s headliner that made him sought after. The band then allowed the audience to take a breath, slowing down the already-sleepy “Blow Up the Outside World.” The song’s fade out had the sold-out crowd of 9,400 chanting in unison. Cornell reveled at the venue his reformed group had taken on. “We played here before, and maybe a little bit was lost on us,” he said. “It’s f—ing amazing.” Between songs, he coaxed attendees to shriek just for the hell of it, giving props to the amphitheater’s legendary acoustics. “This big rock over here and this one over there,” he said, referencing the two giant stones that flank the seating area, “it acts like a speaker, funnels down to my head. It’s trippy.” The Seattle foursome revisited their breakthrough album, Superunknown, for three in row, following “The Day I Tried to Live” with “My Wave” and “Fell on Black Days.” They went all the way back to their Screaming Life/Fopp EP for “Nothing to Say” and shredded eardrums with “Rusty Cage.” For “Outshined,” Cornell dropped his guitar in favor of a microphone stand as his temporary weapon of choice, alternately waving it and pounding it into the stage. As seasoned bands often do, Soundgarden changed up some of their biggest hits when most fans probably would have preferred the radio version. And while Cornell shied away from some of the notes on the choruses of “Black Hole Sun” and “Pretty Noose,” it seems he was saving his pipes for the set-ending fan favorite “Slaves & Bulldozers.” Having admirably conquered the night’s 20-plus selections, Cornell explored the heights of his iconic wail without hesitation. The band — which released its first-ever live album, Live on the I-5, earlier this year — is currently crafting its first studio LP since 1996. Though nothing new was debuted during Monday night’s hit parade, fans can be hopeful that they channel the passion they displayed for their old material. Have you seen Soundgarden on their reunion tour? Share your review in the comments below! Related Artists Soundgarden

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Soundgarden Triumph At Red Rocks Reunion Show

Han Seung-yeon Discography Filmography

Discography Kara Main article: Kara discography Singles * “Nolleowa” – Nassun (Feat. Han Seungyeon) (2009) * “Gijeok” – Han Seungyeon (Soundtrack for Welcome to my House) (2009) * “Dugeunduguen Tomorrow” – 4 Tomorrow (with Uee, Hyuna, Ga In) (2009) * “Super Star” – Han Seungyeon (Soundtrack for Mary Stayed Out All Night) (2010) Filmography Broadcasts Informations Dates MBC Game MSL Break * October 17, 2007 – August 27, 2008 KMTV Boys and Girls Music Guide * June 30, 2008 – May 8, 20

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Han Seung-yeon Discography Filmography

Blink-182’s Mark Hoppus Reveals Neighborhoods Inspiration

‘We’re each like different neighborhoods in a city,’ Blink bassist tells MTV News of his bandmates. By James Montgomery Mark Hoppus Photo: Frazer Harrison/ Getty Images Last week was a big one for Blink-182 … and their fans. Not only did the band debut “Up All Night,” their first new song in almost eight years, but they revealed the title of their much-anticipated new album, too: Neighborhoods. Of course, while all of this was happening, Blink bassist and vocalist Mark Hoppus was e-mailing MTV News , first to express his excitement about the new music, and then to reveal just how “Up All Night” went from being a rehearsal favorite to Blink’s official comeback single . And now he’s at it again, this time talking about the inspiration behind the album’s title. As is the case with everything involving Blink these days, it seems the Neighborhoods name owes much to the long road Blink have taken since going on indefinite hiatus back in 2005. “As Blink-182 reformed, we came to realize that, as close as Travis [Barker], Tom [DeLonge] and I are, we are all very different people. With very different tastes. Travis just released a hip-hop album, Tom always talks about U2, Coldplay and the Police, and I listen to obscure indie rock stuff,” Hoppus wrote. “We each bring a very different aesthetic, talent and sound to the band. And in the differences between our ideas, the struggle and edge of all the different directions, is where the good things happen when we write together. “So we’re each like different neighborhoods in a city. Everybody in the world thinks of something unique unto themselves when they hear the word ‘Neighborhoods,’ ” he continued. “To some it is a big city, others a small town, others suburbia, everything. The world is wide, exciting and very different. That’s what Neighborhoods means to me.” Blink-182 will return to the road alongside My Chemical Romance on the 2011 Honda Civic Tour, which kicks off August 5 in Holmdel, New Jersey. Neighborhoods is tentatively due in stores on September 27. Related Artists blink-182

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Lady Gaga Dishes On Sex, Drugs, Born This Way On Howard Stern

Gaga sang ‘Edge of Glory’ and talked about her difficult early years. By Gil Kaufman Lady Gaga visits SiriusXM July 18, 2011 Photo: Maro Hagopian/SiriusXM For months, Sirius radio host Howard Stern has been bellyaching about how Lady Gaga seemed to be talking to everyone except him. So, when the singer stopped in to chat on Monday morning (July 18), the notorious radio host made sure to make the most of it, indulging in one of his show’s longest celebrity chats in recent memory, a nearly 90-minute ramble in which he got Gaga to talk about fame, fashion, sex, drugs and rock and roll. For the most part, the interview hit many of the highlights of Gaga’s now-legendary rise to superstardom: her childhood fascination with piano, the first song she ever wrote, her move to Manhattan as a teenager and the one-year ultimatum her dad gave her after she dropped out of college. But she also revealed a bit more about her offstage self and the inspirations behind some of her most beloved tunes. “I really don’t give a f— about money at all,” Gaga said when Stern tried to get the singer to dish on how much money her album sales and tours have grossed . In fact, she said she still lives in a tiny Brooklyn apartment and has only bought two things with her newfound riches: heart surgery and a car for her dad. “The Monster Ball was really expensive and the next show will be really expensive and I will pay for it,” she said of the 2012 extravaganza that she’s planning. There was, however, one topic even the famously prying Stern couldn’t goad Gaga could into talking about: her love life. “What boyfriend? … Who’s Jean Luc?” she joked when Stern asked about what her closest friends call her offstage. (Even her parents call her Gaga at this point, she said, especially when they’re mad at her.) “It’s hard to find a boyfriend who doesn’t mind a good tuck,” she added, throwing more fuel on the fire of the absurdly tenacious Internet rumors about her gender. “My first love is music,” she explained, though when Stern asked whether she had been intimate with anyone recently, she laughed, “I got laid last night … the guys who are here are my best friends in the whole world. You’re talking about Luc Carl ; he’s been my best friend since I was 19.” Gaga stressed that Carl is still her best friend, sidestepping the boyfriend issue once again — and that he’s going to launch a Sirius satellite radio show soon. One of the stories Stern was predictably fascinated with was the fact that Gaga’s first piano teacher was a stripper who danced at one of the radio host’s favorite New York gentleman’s clubs, Scores, leading him to wonder if he’d ever gotten a lap dance from Gaga’s instructor. Back in the day, in fact, before she was famous, Gaga said she used to dance on fire escapes and pretend she was a star, an image she re-created for her “The Edge of Glory” video . But those pre-fame days were also difficult, as she toiled at waitressing jobs and turned to drugs when she felt lonely, something she now really regrets. “To any little sweethearts that are listening … don’t touch [cocaine], it’s the devil.” Though she’s best known for writing her own songs, Gaga discussed the two tracks she’s written for Britney Spears, “Quicksand” (which appeared on the Circus album), and “Telephone,” which Spears recorded, but never released. Asked if it bummed her out that “Telephone” was rejected by Spears, Gaga said, “Hell no! Frickin’ Britney Spears sang my record! I was doing back flips and ordering drinks!” After describing how she came up with “Born This Way” while in the shower, Gaga pulled out her BlackBerry and played a number of early demos of her songs, including the first, vocals-only take on “Highway Unicorn,” her first pass on the chorus to “Judas” and a snippet of a bouncy new song she wasn’t ready to unleash yet. She also described how “Marry the Night” was inspired by the moment when she decided that she was not willing to become another one of those California club people after spending some time on the Left Coast early in her career trying to fit in. ” ‘No thanks … see you later, it’s been nice in the sun,’ and I went back to New York and I married the night,” she said of why she would never move to Cali, preferring the divey, shots-and-pool-table bars in her native city. “Do I feel like a powerful person in show business? Yeah,” she said when Stern wondered if she will use her newfound powers in the industry for good or evil. The appearance also featured a performance of “Glory,” with Gaga prefacing with a story about how it was inspired by her grandfather’s passing, the first death of a close family member she’d ever experienced. “When my grandma was saying goodbye [to my grandfather], there was something so intense that happened for me that I saw … as sad as the moment was, they both were acknowledging that they had really won in life because they had each other,” she said of the 60-year marriage of her grandparents. On the day her grandpa died, Gaga said she and her father sat down at the piano in their home and traded shots of tequila and she told her pops, “Grandpa’s about to cross over into his glorious moment. It’s hard now because he’s on the edge.” Right then, Gaga said she began playing piano and the song just tumbled out of her. She recorded it and played the emerging tune for her grandfather that day over the phone, and she’s convinced he could hear it. He passed just hours later. “It’s about also knowing in your heart that you may never reach that glorious moment until you die, so live life on the edge — halfway between heaven and hell — and let’s all dance in the middle in purgatory,” she said before playing an affecting solo piano version of the tune. And, in honor of Stern’s notoriously luxurious locks, she also performed the Born This Way tune “Hair,” explaining that it was inspired by her rebellious teenage Grateful Dead phase, when her mother would sneak in and chop off her gross, dread-y hair in her sleep to keep her looking neat and clean. Related Photos The Evolution Of: Lady Gaga Related Artists Lady Gaga

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Lady Gaga Dishes On Sex, Drugs, Born This Way On Howard Stern

Blink-182 Roar Back With ‘Up All Night’

Band’s new single recalls their past, while pushing towards the future. By James Montgomery Blink-182 Photo: Jeff Kravitz/ FilmMagic Back in January 2010, Mark Hoppus was struggling to describe the new songs he was working on with Blink-182 — about the best thing he could come up with was “weird” — when all of a sudden, almost by accident, or perhaps because he was tired of searching for adjectives, he switched gears and began discussing the myriad of outside projects he and his bandmates were involved in, and how they were influencing Blink’s new direction. “I think that everything that everyone works on outside of Blink comes back to Blink. And being involved in all these different projects allows us to go off and try different ideas and bring those ideas back home to what we do every day. And I think it’s a really positive thing,” Hoppus said. “I know it’s confusing for people, because everyone’s like, ‘Tom’s doing this, and Travis is doing this, and Mark’s producing … why aren’t you guys focusing on Blink?’ But I think what people need to understand is that, that’s how we focus on Blink. We go off, and we bring all these different pieces and ideas back, and we get inspired by other artists and get inspired by working with different people, and then when we come back to Blink, it just helps us. “Everybody listens to such different stuff. Tom is really into, like, ’80s stadium rock; huge, monumental ’80s rock bands. Travis is all over the place musically, and he always comes up with beats and drum parts that are so way out that I would never think of them,” he continued. “And I’ve just been listening to a lot of weird indie rock. So somewhere between amazing hip-hop beats, stadium rock and indie rock, you’ll find Blink.” And now, we know exactly what he meant. Because on Thursday night — something like 12 hours ahead of schedule — Blink premiered “Up All Night,” the first single off their much-anticipated new album. And for all the hype surrounding it, it is very much the way Hoppus described it: a booming, skittering mix of beats, arena-rock and yes, maybe even a little indie. In short, “Up All Night” (which debuted on the band’s website and Los Angeles radio station KROQ ) is the perfect synthesis of everything Blink’s three members have been doing in the eight years since their last record. The boom-bap backbeat recalls Travis Barker’s solo album (and umpteen hip-hop remixes ). The fluttering electronics bring to mind Hoppus and Barker’s Plus-44 project . The widescreen chorus reflects the scope of Tom DeLonge’s Angels & Airwaves . And the air-tight production reminds me of Hoppus’ work with Motion City Soundtrack . Of course, the song also drums up memories of Box Car Racer, the late, lamented DeLonge and Barker band (it sounds very much like a muscled-up version of “Elevator”), and Blink’s decidedly darker self-titled album, too. But at the same time — and in a testament to the band’s talents — it never really feels like a retread … it represents a new Blink for a new millennium, one capable of combining slipstream sonics with ripping chords and an absolute corker of a chorus. So now, finally, Blink are back. With “Up All Night,” they not only prove that they’ve learned from the past but that they’re willing to embrace the future. And by doing so, they may have also proved an old adage wrong: Perhaps you can teach old dogs new tricks. Related Artists blink-182

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Blink-182 Roar Back With ‘Up All Night’

Talkback: Should Friday Night Lights Be a Movie (Again)?

Peter Berg ‘s beloved TV series Friday Night Lights ends this week, capping its rollercoaster five-season run with an Emmy nomination and a fantastic oral history of the show by its creators and stars over at Grantland . But this might not be the end for FNL , if, as reports say, Berg and Co. are trying to get another Friday Night Lights movie off the ground, to pick up where the small-screen storyline left off.

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Talkback: Should Friday Night Lights Be a Movie (Again)?

Talkback: Should Friday Night Lights Be a Movie (Again)?

Peter Berg ‘s beloved TV series Friday Night Lights ends this week, capping its rollercoaster five-season run with an Emmy nomination and a fantastic oral history of the show by its creators and stars over at Grantland . But this might not be the end for FNL , if, as reports say, Berg and Co. are trying to get another Friday Night Lights movie off the ground, to pick up where the small-screen storyline left off.

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Talkback: Should Friday Night Lights Be a Movie (Again)?

Blink-182’s ‘Up All Night’: Mark Hoppus Tells The Story

First Neighborhoods single ‘harder and heavier than its original incarnation,’ Hoppus writes in email to MTV News. By James Montgomery Blink-182’s Mark Hoppus Photo: C Flanigan/ FilmMagic Sure, there’s already been a reunion tour , but Thursday, blink-182 officially returned with “Up All Night,” their first proper single in nearly seven years. And while the song recalls elements of Blink’s past (not to mention all those side projects), it’s by no means nostalgic. With its darkly undulating electronics, churning chords and Barker’s mighty mashing, it also represents a new Blink for a new millennium. And that’s even more impressive when you consider that the song’s actually been around for more than two years now, ever since Blink-182 first resumed jamming together in early 2009. During that time, it’s undergone some rather drastic changes, but it’s always remained core to what the band hoped to do on their new album, Neighborhoods. How do we know all this? Because Mark Hoppus told us, in an email Friday morning (July 15), just hours after “Up All Night” nearly broke the Internet. ” ‘Up All Night’ was the first song that we started writing when the band got back together,” he wrote. “The foundation of the song remains largely the same as when we first began, but over the past two years, as we’ve been recording others songs, coming back to this one, working on something else, coming back to this song, it’s gotten harder and heavier than its original incarnation. “Initially the chorus had much more air. It was a lofty, synth-y chorus, but we wanted the first song that people heard to be much more of a rocker. We changed a bunch of the instrumentation, recorded heavier guitars and bass, and Tom [DeLonge] wrote the progression that the guitars take on in the chorus,” he continued. “Then Travis [Barker] took it over and the drums really solidified the rock element of the track. The half-time intro of the last section was all him, and I think punctuates the song very well.” After all that work, you can imagine how thrilled the guys in Blink have been by the song’s initial reception. But that’s just the first part of their return. As Hoppus wrote, the next step is letting fans hear Neighborhoods itself. He’s beyond excited for that, too. “I’m so glad to finally have new music out, and cannot believe how well it has been received,” he wrote. “[Our website] crashed out several times, my Google-plus account crashed out twice, and blink-182 was a top trending topic worldwide. Totally amazing. Now, I can’t wait for the album itself to be released.” Share your review of “Up All Night” in the comments below! Related Artists blink-182

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Blink-182’s ‘Up All Night’: Mark Hoppus Tells The Story