Nick Cannon, being his playful and goofy self, was joking around on his WXRK 92.3 NOW New York based radio show last week when he “accidentally” ended up blurting out his home phone number ON AIR to listeners. After the incident it seemed like Nick immediately realized that it was a bad idea and tweeted: ”My wife is going to kill me over this. Sometimes I get a little too carried away on the radio … ” And then, “Just gave out my home phone # on air and my pregnant wife picked up the line OOPS!” C’mon Nick, what were you thinking?! Of course, Nick and Mariah’s humble abode was flooded with phone calls by fans who listened to Nick give out the phone number on his radio show. One fan even got the chance to speak with Mariah when she picked up the phone. Nick then took to Twitter to acknowledge Mariah for being such a good sport about the whole ordeal, tweeting: “Thanks to my amazing wife for being a good sport and allowing me to make good radio. @MariahCarey you are the best!” How cute! Nick and Mariah, who have been married since 2008, are in their last trimester of pregnancy and are expecting twins (a boy and girl) any day now. Nick is known for being public about his relationship and feelings for his wife, especially on his radio show, and as we told you before, recently expressed to listeners that he regretted taking nude photos with his wife for the OK! magazine spread. Can’t wait to see their twins!! Read more here. Mariah Carey’s Baby Nursery Cost How Much?!? [PHOTO] Pregnant Mariah Carey & Nick Cannon Get Naked For OK Magazine Mariah Carey’s Topless & Pregnant Shoot [PHOTO]
‘We can’t believe our luck,’ Elton tells MTV News at red-carpet premiere of Cameron Crowe musical documentary. By Eric Ditzian Elton John Photo: MTV News Ten years on, the Tribeca Film Festival is going on as strong — and as unpredictable — as ever. Last spring, the fest kicked things off in midtown Manhattan with the premiere of “Shrek Forever After.” This time around, Tribeca returned to its roots, settling into the Winter Garden at the World Financial Center (just steps from Ground Zero) for the debut of “The Union,” Cameron Crowe’s documentary about the Grammy-nominated musical collaboration between Elton John and Leon Russell. “We can’t believe our luck,” Elton told MTV News Wednesday on the red carpet as paparazzi flashbulbs popped around him. Joining the music legend on the carpet were Martin Scorsese, Mary-Kate and Ashley Olsen, Anna Kendrick, Rainn Wilson, Denis Leary, Mayor Michael Bloomberg, Zoe Kravitz, ?uestlove, David O. Russell and others. Elton himself confessed he was initially nervous to invite Crowe’s cameras into the recording studio, but was very happy with the results and the opportunity to debut the film in New York. “I’ve never had a song filmed when I’m writing it, but Cameron’s such a friend, I trusted him,” he told us. “New York City is my favorite place to play. I’ve played 62 shows at Madison Square Garden, I’ve played at Radio City, Central Park, Shea Stadium, Fillmore East. It’s been a very important city in my musical career and probably the most exciting city in the world.” “The Union,” then, provides a singular window into Elton’s artistic process, and folks like ?uestlove couldn’t wait to see what it was all about. “The ’70s icons that we worship, they came before the information age,” the Roots drummer told us. “Now, you can watch Kanye make beats, but I would love to see how Elton collaborates. Who does the music, who does the lyrics, how that all works out.” And as the celebs glided down the red carpet on their way inside the theater, many couldn’t help but marvel at how the festival, born in the aftermath of the September 11 attacks, continues to thrive a decade later. “People forget that after 9/11, this neighborhood was devastated,” Denis Leary told us. “People were afraid to come down and some people were moving out. [Robert] De Niro and [festival co-founder] Jane Rosenthal brought people back down. They brought culture back down and real spirit, which is much to their credit.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com . Related Artists Elton John
Os dejamos a continuación una nueva entrevista a Robert Pattinson en la emisora de Radio Kyle y Jackie o: Fuente: 2dayfm Vía RobstenLust Gracias a TodoTwilightSaga Suscríbete al RSS de Twilighters Paraguay Broadcasting platform : YouTube Source : Twilighters Paraguay Discovery Date : 21/04/2011 00:55 Number of articles : 2
Lil’ B & Just Blaze phoned up Green Lantern ‘s radio show and discussed the topic on everyone’s minds right now – Lil’ B’s new album title. Lil’ B maintains that the I’m Gay title is meant to force people to look deeper into the meaning of the lyrics on his album. Just Blaze, who was on the phone with Lil’ B, says it took him awhile to understand the rationale for the title, but he’s on board and we can probably expect at least one beat from the producer on Lil’ B’s album. Take a listen to the interview below! Spotted @ VladTV RELATED: Terrance Dean Speaks On Lil’ B “I’m Gay” Album & Mister Cee Gay Sex Scandal RELATED: GLAAD Responds To Lil’ B’s “Gay” Album Title
In honor of 4/20 here is something that you should read under the influence but is just as insightful sober. DJ Quik, the Compton California OG producer and MC, has just released his eighth album The Book Of David. If you haven’t ingested the female-friendly sonics of “Real Women” or “ Luv Of My Life” head over to your favorite online retailer and make it happen stat. When Mr. David Blake spoke with hip-hop production site Nodfactor.com about the musical inspirations behind his latest work he took the time to explain how we see music as well as hear it. Take a look. There are more sonic colors on this record than I’m used to using. They’re complex, they’re moody, they’re emotive but they’re fun at the same time. It sounds like…I think of records like Donny Hathaway ….they have real red tones in them. And puce. They’re minor 9ths so they’re colorful and they make you feel something as soon as you hear em. As opposed to a C major or C minor chord, those are like blue notes in a sense. B Flats. In hip-hop “ Sweet Black P*ssy” is a red record. “Tonight” i s a bluish record it’s a like a burgundy bluish. “ Born And Raised In Compton ” is brown. It’s Isaac Hayes , his skin color and his record label. Just brown because that groove is so funky. The first Barkay’s band did that. The ones that crashed in that plane with Otis Redding . They were the house band for Stax. That’s where I sampled that sh*t from. Records like “ Luv of My Life” are reddish, greenish, orange. “Real Women” is clear, it’s colorless. It’s a white diamond. I sampled that from Dave Grushen and Angela Bofill . Don’t you love my range and my diversity? Quik also explains why he made the songs and the reason they were released first: Who doesn’t love John B? The last record we’ve heard him on was Tupac’s “Are You Still Down?” That’s not fair. John B means more to R&B than that, so why wouldn’t I support my brother and put him back on the radio where he belongs. It’s an ode to the women we really admire. I admire Sylvia Rhone . She’s beautiful to me. Debra Lee at BET. Cathy Hughes. We did it for women like that. Even though they’re a little out of my range, they got me in cougar town, but I still look up to fine women. DJ Quik’ s The Book Of David is out now! RELATED POSTS: DJ Quik & Ice Cube “Boogie Til You Conk Out” [NEW MUSIC] DJ Quik Reminisces On Working With Nate Dogg [VIDEO]
Bassist was recently diagnosed with lung cancer. By Kara Warner TV On The Radio’s Gerard Smith Photo: Michael Lavine TV On The Radio bassist Gerard Smith died Wednesday (April 20) at age 34 after his battle with lung cancer , the band announced on its website . “We are very sad to announce the death of our beloved friend and bandmate, Gerard Smith, following a courageous fight against lung cancer,” the band’s statement reads. “Gerard passed away the morning of April 20th, 2011. We will miss him terribly.” Smith’s death comes just over a month after it was announced that he was battling cancer; TV on the Radio had just completed recording sessions for their latest album, Nine Types of Light. At the time, the band said that while Smith would not be able to participate in the upcoming tour, they were hopeful that he would be able to fight the disease entirely, citing promising results from treatment and Smith’s “legendarily willful disposition” as reasons for their optimistic outlook. Smith had been in the band since 2005 and was a contributor to their third and fourth albums, the acclaimed 2006 effort Return to Cookie Mountain and 2008’s Dear Science. The group has canceled its concerts for the next few days, starting Wednesday in Detroit. According to their website, the band will release more information when it becomes available. Nine Types of Light, which has been receiving great reviews since its release last week, marks a return to action for the experimental rock group, which announced a yearlong hiatus in late 2009 in order to decompress from nearly a year on the road promoting Science. Share your condolences for the band and Smith’s family in the comments. Related Artists TV On The Radio
Cali trio who created the ‘cat daddy’ tell MTV News they’re more than just dancing MCs — they’re ‘renaissance artists.’ By Alvin Blanco, with reporting by Steven Roberts Rej3ctz Photo: Getty Images MTV News’ New West Week coverage obviously entails focusing on the music coming out of the surging L.A. hip-hop scene, but the movement’s fashion and dance culture also deserves special attention too. That’s where Cali trio the Rej3ctz — Mowii (South Central), Pee Wee (Inglewood) and Bounce (Compton) — glide into the picture. The trio already have a fan in Chris Brown, who appeared in their video for “Cat Daddy,” also the name of their latest dance, which has been spreading like wildfire thanks to a viral video that has banked more than 21 million YouTube views. The Rej3ctz aren’t just dancers moonlighting as rappers though. They insist they have too many talents to limit themselves to just those titles. They’re also prominent members of Cali’s party scene. “We created something called ‘renaissance artist,’ ” Mowii told MTV News. “So for all those who like to tell people [no] and destroy their dreams. Nah, we are the renaissance artists. It means you have the art, the life, the style of fashion, to do what you want, no matter what anybody says. That’s why we’re renaissance artists. That’s why we’re directing, that’s why we’re choreographing, that’s why we’re making up our own dances, our own lane, our own style.” Dances have always been a part of hip-hop culture — from the running man to the Soulja Boy dance — and the Rej3ctz are embracing their dance-floor talents. In recent years, dances with accompanying songs have become hugely popular, including Cali Swag District’s “Teach Me How to Dougie” and the New Boyz ‘s “You’re a Jerk.” (Cali natives Audio Push also dropped “Teach Me How to Jerk.”) Besides the cat daddy dance and its accompanying song, off their TheFUNKtion vs theKICKback mixtape, the Rej3ctz also claim to have created all the fancy moves coming out of the West Coast like jerkin’ or whatever spastic motion kids in colorful gear are performing. “Currently, all the dances that came from the West, the Rej3ctz have made them up. Period,” Mowii said. “We were doing music and dancing at the time. And the New Boyz called us over and were like, ‘Yo, bro, we realized we was using your dance and we respect y’all enough to invite you all out, so please show some support,’ so I was like, ‘Ben J and Legacy, man, you got it.’ So, we hopped up that morning and went out to support their video.” For now, the Rej3ctz are continuing to spin their popularity into bigger opportunities. They’re set to be featured in the forthcoming Mario Van Peebles-directed film “We the Party.” The acclaimed director also helmed their video for “Cat Daddy 2.0,” which is based on the group’s audition for “We the Party.” No matter how busy their schedules get, the always dazzlingly dressed Rej3ctz plan on having a good time. “I think people are at a point where they’re like, ‘Let’s have fun,’ ” Mowii said. “Let’s have fun, let’s stop doing too much, man. There’s too many killings going on right now, too much violence around the world,” he added. “It’s too serious right now. People aren’t talking about something real. Let’s have fun … thank you.” Stick with us all week as MTV News turns the spotlight on the New West, including a special edition of “RapFix Live” with Cali’s own Tyga on Wednesday at 4 p.m. ET on MTV.com. We’re bringing you the next wave of hip-hop acts helping restore faith in the L.A. rap scene. From groups like Odd Future to rising MCs like Dom Kennedy, we’ll bring you up close and personal to these artists as they carve their own lanes in the post-gangsta rap era. Keep it locked here for the next week for more on the West Coast up-and-comers! Related Videos The New West: An In-Depth Look At L.A. Hip-Hop
With their new film set to premiere at midnight, Bigger Than the Sound looks back at the Beasties’ authentic but odd history. By James Montgomery Danny McBride, Seth Rogen and Elijah Wood in the Beastie Boys’ “Fight For Your Right Revisted” video Photo: Capitol Back in the summer of 1992, I wasn’t really concerned with the Beastie Boys’ legacy. I wasn’t aware of the seismic shift they had undergone with Check Your Head or the to-the-brink-and-back journey they’d taken just to make the album. Instead, I was focused on getting my Dickies to sag just so and tracking down a pom-pom beanie like MCA wore on the album’s cover. So deep was my Beastie-mania that I was willing to wear a knit cap and khakis in July. In Florida. And I wasn’t alone (at least not in my high school). Because in 1992, everyone I knew lived and breathed the Beastie Boys, and their fantastically rattling comeback album Check Your Head. Of course, at the time, none of us really knew it was a comeback album; we just thought it was the coolest thing we’d ever heard — a fuzzy, funky think that sounded like nothing else on the radio — and, by proxy, the Beasties were the coolest guys on the planet (or, at least, the coolest guys in suburban Orlando). They dressed like skaters, they were obsessed with the ABA and creaky badasses like Richard Holmes and the Ohio Players, and they channeled the swagger of everyone from Columbo to Dolemite. They were, whether they knew it or not, the underground railroad of hip. If you wanted to know what was cool, and you wanted to know before anyone else, you went to the Beastie Boys. It’s only years later that I realize that prescient coolness is what has made the Beastie Boys what they are today: a band whose career rivals any other. They have been together in their current incarnation for nearly 30 years and have released a slew of albums, the overwhelming majority of which are very good (their latest, The Hot Sauce Committee Part Two, is due May 3), but it’s not their longevity or their back catalog that have earned them respect; it’s their unerring ability to continuously reinvent themselves, seemingly at will, and without ever getting snagged the way so many of their contemporaries have. In 1986, with License to Ill, they were party-hearty terrors. On 1989’s epochal Paul’s Boutique, they were stony sample-meisters. Check Your Head saw them zigging at a time when others were zagging; rather than join the debate over just how the ’90s would sound, they decided to head back to the ’70s ( Head remains a decidedly lo-fi thing to this day). Sure, 1994’s Ill Communication was in the same vein, but there also emerged a newfound consciousness, one they’d explore more fully with their series of Tibetan Freedom Concerts. In ’98, with Hello Nasty (and the accompanying “Intergalactic” video), they got a jump on the Kid Robot “designer toy” fetish that broke through to the mainstream late in the 2000s. And on 2004’s To the 5 Boroughs, they returned to their hip-hop roots and celebrated the city in which they live (though, to be honest, the less said about this album the better). In between all that, they released EPs that saw them dabble in hardcore punk and jazzy instrumentals (to name just a few), but never once did anyone bring up the question of authenticity. And there’s a reason for that — the same reason they’ve become the revered act they are today. No matter how they reimagined themselves, it always came from the same place: the heart. There is an unquestionable authenticity to everything the Beastie Boys do, because they’re not doing it to be contrary or successful; they’re doing it because it’s what they want to do. And it’s only now that people seem to realize just how influential that authenticity really is. At midnight Wednesday — on MTV2, mtvU, VH1 Classic and Palladia — they’ll premiere “Fight for Your Right Revisited,” a short film/ career retrospective that includes plenty of nods to their past — it tells the wholly imagined story of what happened after 1987’s legendary “(You Gotta) Fight for Your Right (To Party)” video — but also features cameos by a whole lot of “f— it, let’s do something funny” actors like Will Ferrell and Danny McBride, who were 19 and 11, respectively, when the original video premiered and probably couldn’t help but have been influenced by its sublimely stoopid sentiments, not to mention everything that came after. So, in a lot of ways, Ferrell and McBride are a lot like you or I. They were drawn to the Beastie Boys because they sensed in them something revelatory and real, and they stuck around because neither of those things ever changed. Of course, leave it to the Beasties to turn the convention of career retrospection on its ear. Rather than release some deluxe edition of License, they’ve instead made an incredibly insular short film that rewrites history with each frame. It’s deceptively brilliant, really. And the same can be said for the B-Boys themselves. Without really trying, they’ve fashioned the kind of anti-career that many aspire to, yet few ever attain. And no matter where they go from here, you’ll know it’ll be someplace else entirely. Even if they’re just doing it for themselves. Don’t miss “Fight for Your Right Revisisted” on Wednesday at midnight on MTV2, mtvU, VH1 Classic and Palladia.
With their new film set to premiere at midnight, Bigger Than the Sound looks back at the Beasties’ authentic but odd history. By James Montgomery Danny McBride, Seth Rogen and Elijah Wood in the Beastie Boys’ “Fight For Your Right Revisted” video Photo: Capitol Back in the summer of 1992, I wasn’t really concerned with the Beastie Boys’ legacy. I wasn’t aware of the seismic shift they had undergone with Check Your Head or the to-the-brink-and-back journey they’d taken just to make the album. Instead, I was focused on getting my Dickies to sag just so and tracking down a pom-pom beanie like MCA wore on the album’s cover. So deep was my Beastie-mania that I was willing to wear a knit cap and khakis in July. In Florida. And I wasn’t alone (at least not in my high school). Because in 1992, everyone I knew lived and breathed the Beastie Boys, and their fantastically rattling comeback album Check Your Head. Of course, at the time, none of us really knew it was a comeback album; we just thought it was the coolest thing we’d ever heard — a fuzzy, funky think that sounded like nothing else on the radio — and, by proxy, the Beasties were the coolest guys on the planet (or, at least, the coolest guys in suburban Orlando). They dressed like skaters, they were obsessed with the ABA and creaky badasses like Richard Holmes and the Ohio Players, and they channeled the swagger of everyone from Columbo to Dolemite. They were, whether they knew it or not, the underground railroad of hip. If you wanted to know what was cool, and you wanted to know before anyone else, you went to the Beastie Boys. It’s only years later that I realize that prescient coolness is what has made the Beastie Boys what they are today: a band whose career rivals any other. They have been together in their current incarnation for nearly 30 years and have released a slew of albums, the overwhelming majority of which are very good (their latest, The Hot Sauce Committee Part Two, is due May 3), but it’s not their longevity or their back catalog that have earned them respect; it’s their unerring ability to continuously reinvent themselves, seemingly at will, and without ever getting snagged the way so many of their contemporaries have. In 1986, with License to Ill, they were party-hearty terrors. On 1989’s epochal Paul’s Boutique, they were stony sample-meisters. Check Your Head saw them zigging at a time when others were zagging; rather than join the debate over just how the ’90s would sound, they decided to head back to the ’70s ( Head remains a decidedly lo-fi thing to this day). Sure, 1994’s Ill Communication was in the same vein, but there also emerged a newfound consciousness, one they’d explore more fully with their series of Tibetan Freedom Concerts. In ’98, with Hello Nasty (and the accompanying “Intergalactic” video), they got a jump on the Kid Robot “designer toy” fetish that broke through to the mainstream late in the 2000s. And on 2004’s To the 5 Boroughs, they returned to their hip-hop roots and celebrated the city in which they live (though, to be honest, the less said about this album the better). In between all that, they released EPs that saw them dabble in hardcore punk and jazzy instrumentals (to name just a few), but never once did anyone bring up the question of authenticity. And there’s a reason for that — the same reason they’ve become the revered act they are today. No matter how they reimagined themselves, it always came from the same place: the heart. There is an unquestionable authenticity to everything the Beastie Boys do, because they’re not doing it to be contrary or successful; they’re doing it because it’s what they want to do. And it’s only now that people seem to realize just how influential that authenticity really is. At midnight Wednesday — on MTV2, mtvU, VH1 Classic and Palladia — they’ll premiere “Fight for Your Right Revisited,” a short film/ career retrospective that includes plenty of nods to their past — it tells the wholly imagined story of what happened after 1987’s legendary “(You Gotta) Fight for Your Right (To Party)” video — but also features cameos by a whole lot of “f— it, let’s do something funny” actors like Will Ferrell and Danny McBride, who were 19 and 11, respectively, when the original video premiered and probably couldn’t help but have been influenced by its sublimely stoopid sentiments, not to mention everything that came after. So, in a lot of ways, Ferrell and McBride are a lot like you or I. They were drawn to the Beastie Boys because they sensed in them something revelatory and real, and they stuck around because neither of those things ever changed. Of course, leave it to the Beasties to turn the convention of career retrospection on its ear. Rather than release some deluxe edition of License, they’ve instead made an incredibly insular short film that rewrites history with each frame. It’s deceptively brilliant, really. And the same can be said for the B-Boys themselves. Without really trying, they’ve fashioned the kind of anti-career that many aspire to, yet few ever attain. And no matter where they go from here, you’ll know it’ll be someplace else entirely. Even if they’re just doing it for themselves. Don’t miss “Fight for Your Right Revisisted” on Wednesday at midnight on MTV2, mtvU, VH1 Classic and Palladia.
David Guetta’s ex-producer also talks to MTV News about teaming up with Perry Farrell for Lollapalooza. By Adam Stewart Joachim Garraud Photo: Getty Images If you’re familiar with David Guetta , then you’re probably already familiar with Frenchman Joachim Garraud — even if you didn’t know it. In fact, Garraud’s largely responsible for what is widely considered a house music primer for today’s aficionados: Guetta’s 2002 mega-smash album, Just a Little More Love. Guetta fans also may be unaware that Garraud co-produced and wrote many of the album’s marquee tracks, including the title cut and “Love Don’t Let Me Go.” But Garraud’s hits don’t stop there. Joachim is also responsible for the ’04 club smash “The World Is Mine” and, perhaps most notably, one of the first and biggest club-friendly tracks to hit mainstream U.S. radio, 2007’s “Love Is Gone.” Now, after spending nearly a decade as a key player on Guetta’s production team, Garraud has stepped out on his own, putting out his second studio album, Invasion 2011, and heading out on a world tour. “We made tracks on production for three of David Guetta’s albums, and that was a pretty long and very cool story,” Garraud told MTV News recently in Miami. “[But] we stopped working together a few months ago, as [Guetta’s] choice was to focus more on the U.S. market by working with a lot of vocal artists. I was not very excited about this choice as a DJ. I was thinking that it’s maybe moving a little too far away from [that] area. But his choice was good. I mean, look at how successful the David Guetta project is!” That’s not to say Garraud has left behind his original style and influence. When listening to Invasion 2011, one can distinctly hear what his contributions to the various Guetta projects have been. His edgy, stab synths, the bone-crushing low ends, his superb timing and use of a wide range of effects and filters, all with the surgical precision we would expect from a producer of his ilk, bring all of the elements together for a thumping, underground, infectious set of grooves meant to take the listener back into the club. “I’m very excited about this new album, Invasion 2011, because it’s very focused on the DJ thing; it’s really for the DJ,” he said. “It’s not really [meant] to be played on the radio, because all the tracks are meant to be massive on the dance floor.” Steering clear of the mainstream-radio crossover vibe, Garraud hand-selected vocalists and collaborators who would fit his signature sound. “I worked with Roland Clark on a track called ‘Stop’ and another, ‘Bang Bang,’ [and] a girl named Ze from Kuala Lumpur [on ‘I’m Invaded’].” (Clark is known for his vocals with acts like Fatboy Slim and Prodigy.) Garraud also paired up with Black Eyed Peas super producer and touring DJ, Poet Name Life, on “Everybody Is in the Place,” which was most recently remixed by AutoErotique. The quality of Garraud’s collaborators and remixers garnishes the album with an array of future sounds. However, his reach and ability extend beyond the studio and the DJ booth. Partnering with Jane’s Addiction frontman and Lollapalooza founder Perry Farrell, the duo are bringing electro to the big stage. “When Perry saw [my set] at Lollapalooza Chicago last summer, he was shocked. So [he] came to me and was like, ‘OK, I want exactly the same. You have to produce tracks for me and produce video and produce the show,’ ” he recalled. Garraud was humbled by the ask, and the wheels were soon set in motion. “We’ve produced 12 tracks together, and all the tracks are very cool, because the lyrics are so cool. He sings all of the tracks with his heart, so they’re very beautiful tracks, and on the dance floor, it’s very, very powerful.” Garraud and Farrell recently took the stage at Chile’s inaugural version of Lollapalooza, where the DJ/producer helmed Perry’s stage show, putting together the music, tracks, video and what he refers to as the overall “stage attitude.” Garraud said fans will get to see their set on the Chicago leg of his tour and, possibly, on a future iteration of the Lollapalooza festival in Europe. In the meantime, he can be seen next on Saturday at the increasingly electro-friendly Coachella music festival , alongside a flurry of other big name DJs, including Axwell, Steve Angello, Laidback Luke, Skrillex and many others. What do you think of Joachim’s Invasion 2011 album? Let us know in the comments below! Related Videos Pump Your Fist For Miami Music Week Related Photos Miami Music Week Related Artists Joachim Garraud
