It was hard to narrow down just a few of Justin Bieber's swaggest GIFs, but we managed to do it. Read the original post: The Swaggest GIFs of Justin Bieber
ludacris and justin bieber perform a show in the dark at nyc's apollo theater. Go here to see the original: Justin Bieber, Ludacris Blackout NYC's Apollo Theater
Surprise, surprise. Royce Says Relationship With Dezmon Briscoe Is Over We all watched as Royce got her cougar on and fell head over heels for 22 year old baby baller Dezmon Briscoe of the Tampa Bay Buccaneers on this most recent season of VH1′s “Basketball Wives”. However, just when Royce seemed to think her relationship with Dezmon was ready to go to “the next level,” it was revealed that Dirty Dog Dez was still very much involved with his child’s mother in addition to another woman while also involved with Royce. Though we never got to see the drama play out on this season, Royce recently took to her Twitter to clear the air and let everyone know that she and Dezmon are no more. We’re glad she came around. Hit the flip to read what Royce had to say and Dezmon’s response.
Waka Flocka Says Rick Ross Stole His Sound Waka Flocka is going hard on these rappers! In an interview with Complex , everyone’s favorite screamer decided to air out some steam over how people perceive him. “What are y’all gonna say now? Jay-Z stupid as hell? My sound is wack? You gonna say that? They love the sound. They can’t run away from it. That shit re-sparked n—as’ careers. My sound put life into a lot of people’s careers. I feel like my sound changed hip-hop. Period,” Waka told the magazine. “It’s crazy when I came out with it, everybody laughed at it, but the next year everybody’s doing it. They getting credit for the sh– you started. You be like, ‘Damn, how is this n—a a genius for doing something I started?’ Then he decided to go in on Rick Ross: “This n—a out here making 30 f—ing songs with your sound,” Flocka charged. “He watering it down, just putting words together that sounded good. Sh– would be harder if it was the truth.” We can’t wait to hear Rozay’s response. This could get interesting.
‘I kill one of them,’ the Belgian action icon told MTV News about his role as a bad guy in the upcoming ‘Expendables’ sequel. By Josh Wigler, with reporting by Josh Horowitz If “The Expendables” brought the pantheon of action-movie heroes together for one balls-to-the-wall R-rated epic, then the amounts of badassery that “The Expendables 2” promises to bring to the table is even further off the charts. Bruce Willis and Arnold Schwarzenegger are upping their game from cameos to full-fledged co-stars this time around, with Chuck Norris roundhouse kicking his way into the fray as well. And then there’s Jean-Claude Van Damme, who won’t be just another mercenary following Sylvester Stallone’s lead, either. Quite the opposite, in fact: The Muscles from Brussels is going to be the movie’s villain. “I play Mr. Vilain,” the actor told MTV News during a recent interview. “And I kill one of [the Expendables].” Which Expendable will meet his maker at Vilain’s hands? Van Damme wouldn’t spill the beans. But he did explain why he wanted to go the villainous route for “Expendables 2” rather than join Stallone’s rag-tag group of good-guy mercenaries. “They asked me if I wanted to be an Expendable guy, and they said it’s going to be a big franchise. But I don’t want to be in ‘Expendables 20,’ ” he said. “I want to play a villain to make a good impression. When you play a villain, you get more from Stallone. He gives you more screen time, and then we’ll see what happens. I think him and I did a good job together.” It’s not just his dynamic with Stallone that Van Damme enjoyed, either. The Belgian actor got to work with a healthy portion of the action icons on the “Expendables” cast, folks he already knew from various encounters over the course of his storied career. “You have all those guys: Chuck Norris, Arnold, Bruce Willis, and there’s lots of testosterone,” he said of the vibe on set. “In ‘Expendables,’ you have all of those guys with their trailers and bodyguards. I knew them all. I knew Chuck when I came [to Hollywood] years ago, Arnold with ‘Last Action Hero.’ Bruce Willis, I met him once on Sunset [Boulevard] while driving and racing together. Since I’d met all of them … I was the guy going there in a very friendly way. It was cool. For me, it was cool.” Of course, even with all of those stars in the mix, it’s Van Damme versus Stallone that fans will want to look out for. With Stallone set as the series’ protagonist and Van Damme in the mix as the main baddie, it’s bound to get explosive when these two titans finally clash on the big screen. “It’s like [George] Foreman versus Muhammad Ali,” he grinned. Are you looking forward to “Expendables 2”? Let us know in the comments section below! Check out everything we’ve got on “The Expendables 2.” For breaking news and previews of the latest comic book movies — updated around the clock — visit SplashPage.MTV.com .
‘He watering it down, just putting words together that sounded good,’ Waka tells Complex magazine. By Rob Markman Waka Flocka Flame Photo: Getty Images Waka Flocka Flame doesn’t dabble in rap politics. The outspoken Atlanta rap star hasn’t yet mastered the art of being diplomatic and he most likely never will. In his most recent interview with Complex magazine, Waka weighed in on Jay-Z, Kanye West, Rick Ross and other rappers he feels have capitalized off of his rowdy, down-bottom sound. “What are y’all gonna say now? Jay-Z stupid as hell? My sound is wack? You gonna say that? They love the sound. They can’t run away from it. That shit re-sparked n—as’ careers. My sound put life into a lot of people’s careers. I feel like my sound changed hip-hop. Period,” Waka told the magazine. “It’s crazy when I came out with it, everybody laughed at it, but the next year everybody’s doing it. They getting credit for the sh– you started. You be like, ‘Damn, how is this n—a a genius for doing something I started?’ ” Flocka first emerged in 2009 with “O Let’s Do It,” a riot-starting jam fueled by a mix of sporadic horn stabs and thumping bass. His next single, the Lex Luger -produced “Hard in the Paint,” would introduce rap fans to a refreshing-yet-schizophrenic sound. By 2010, the horrific synth lines and kinetic drum patterns became rap’s hottest sound and Luger one of the most in-demand producers. Kanye tapped Waka’s sound scientist on the Throne’s “H.A.M.” single. Rick Ross, who first collaborated with Waka on his “O Let’s Do It” remix, went on to make a number of hits with Lex, most notably “B.M.F. (Blowin’ Money Fast).” In just two years, Luger has crafted tracks with Wiz Khalifa, Juicy J, 2 Chainz, Wale, Mac Miller and Ace Hood. Waka, who will release his new album Triple F Life on Tuesday, doesn’t mention Ross by name, but suggests that the Maybach Music boss swiped his signature sound. “This n—a out here making 30 fucking songs with your sound,” Flocka charged. “He watering it down, just putting words together that sounded good. Sh– would be harder if it was the truth.” Thirty songs may be a stretch, but still Waka is not flattered by what he sees as imitation. “That sh– made me tight. N—as built labels off our sound — like, literally. You know how many n—as sound like Lex Luger and Southside?” he asked rhetorically, referencing his second in-house producer Southside. “I go in n—as’ studios, all their beats sound like my producers. I be like, What the f—?” Do you believe Rick Ross swiped Waka Flocka Flame’s sound? Share your opinion in the comments! Related Artists Waka Flocka Flame Rick Ross
‘She definitely is one of those iconic people when it comes down to the dance scene,’ Flo tells MTV News of late disco singer. By Kara Warner, with additional reporting by Rob Markman Donna Summer Photo: Getty Images The surprised, sincere and heartfelt reactions continue to roll in as the news of Disco Queen Donna Summer’s untimely passing Thursday (May 17) spreads far and wide. Summer influenced the music industry as a whole, but her influence is especially felt in today’s electronic dance music — which includes current club-anthem king Flo Rida. “I was just looking at something with her months ago,” the “Wild Ones” singer told MTV News. “Today, when I got a text message [about her passing], I thought, ‘Wow, she passed away.’ She definitely is one of those iconic people when it comes down to the dance scene and all that. My condolences go out to all her family. She definitely influenced what I do.” Speaking to Summer’s genre-bending influence, house-music forefather Frankie Knuckles called her unforgettable hit “I Feel Love” one of the most commercial electronic pieces of music ever written. “Today you can hear its influence on all popular Dance music, House, Techno, Trance,” he told MTV News in a statement. “She was deemed ‘The Queen Of Disco.’ She’s been sampled and ideas of her songs have crept into today’s popular dance music by everybody. Her association with [legendary record producer] Giorgio Moroder set the tone for what Dance Music is all about.” “Donna Summer RIP I FEEL LOVE FOR YOU,” Swedish dance-pop princess Robyn tweeted , adding a link to a Summer performance of “I Feel Love.” The reception of Summer’s iconic 1977 anthem essentially revolutionized music, not to mention the rest of her chart-toppers that would soon follow. “One day in Berlin, [Brian] Eno came running in and said, ‘I have heard the sound of the future,’ ” David Bowie famously wrote in the liner notes to Sound and Vision. “He puts on ‘I Feel Love,’ by Donna Summer. … He said, ‘This is it, look no further. This single is going to change the sound of club music for the next 15 years.’ Which was more or less right.” Share your condolences for Donna Summer’s friends, family and fans in the comments or on Facebook . Related Videos Donna Summer: 1948 – 2012 Related Photos Donna Summer: The Queen Of Disco Related Artists Donna Summer Flo Rida
With the death of MCA last week, Bigger Than the Sound looks back at the amazing connection the Beastie Boys shared. By James Montgomery The Beastie Boys Photo: Paul Natkin/ Getty Images After the death of Adam Yauch last week, I am almost 100 percent sure that the Beastie Boys are no more. And while that’s a shame, it’s also fitting: After all, it is impossible to imagine them existing without him. Of course, how the Beasties choose to honor Yauch’s legacy — or carry on with their careers — is ultimately up to them, which is why I can’t say with total certainty that we’ve heard the last of them. And, to be honest, it’s probably too early to even think about it. So instead, I’ll just say that if they truly are done, there will never be another group like them. And I’m not just saying that because of their legacy, creativity or consistency, all of which have been lauded at length in the days since MCA died (and rightfully so). No, what made the Beastie Boys so unique — and so undeniable — was the magic that the trio possessed, an indefinable quality that can only be honed over decades, and never duplicated. Part of it was pure skill; the way they bobbed and weaved through verses, often completing each other’s sentences, literally passing the mic. In a lot of ways a great Beasties song was a lot like a Globetrotters’ routine — they’d sling passes into the ether, always knowing that someone would be there to catch it, never letting the beat skip or the ball drop. And you’d just sit there and marvel at it all. But there was always something deeper about the connection: The Beasties were brothers in arms. From beer-guzzling partymeisters to stony thrift enthusiasts to pop-cult obsessives to downright deep doyens, they grew up together — grew old together — but never lost the joy of youth. And because of that, there was a genuine sense of camaraderie that accompanied them every step of their career. No matter what they were doing, you got the sense that there was no one else they’d rather be doing it with. The Beastie Boys truly loved each other, in that unerring, unwavering way that only old friends can. You know it from the heart-wrenching statements the two surviving members have released since Yauch’s death, but more importantly, you feel it in their music. It’s there in the goofy boasts of Paul’s Boutique tracks like “Shake Your Rump” and “Egg Man” (not to mention album-closing mega-mix “B-Boy Bouillabaisse”) and the all-in surge of “So What’cha Want,” from the follow-up, Check Your Head, where they took the leap together, expanding their sonic palette with instrumentals … and their collective consciousness on tracks like “Namaste.” You feel them becoming closer — not to mention a tighter band — on Ill Communication and The In Sound from Way Out! , having a blast on stuff like “Intergalactic” or “Three MCs and One DJ” off Hello Nasty, getting contemplative on To The 5 Boroughs. And on last year’s Hot Sauce Committee Part Two, they paused to look back on how far they’ve come … not to mention let it all hang out. It’s the kind of growth that’s inevitable, given their closeness; yet it’s also the kind that cannot be forced in any way, shape, or form. And while there certainly have been other great hip-hop groups in the decades since the Beastie Boys first blasted onto the scene (Run-DMC, Public Enemy, the Wu-Tang Clan, etc.), none were able to sustain the kind of career — or the connection — that MCA, Mike D and Ad-Rock had. Their contemporaries were pulled apart, imploded, faded away or simply lost focus … the Beasties did none of those things. To the end, they were one team, one dream; they were never greater than the sum of their parts. Which is why I say it’s impossible to imagine the Beasties existing without MCA, and why I’m certain we’ll never see the likes of them again. Many will try to replicate it, of course, assembled by shadowy Svengalis to feign friendship, but they’ll never beat the B-Boys, because they were actually friends. No group will share the kind of bond they did, no group will be as selfless or as tightly knit. And if this really is the end, then all of that is worth noting, not to mention celebrating. The Beastie Boys were one of the all-time greats, regardless of genre; they went deeper than all that. Theirs was the kind of connection we all strive for and, if we’re lucky, maybe find once in our lives. Do you think there will ever be another group like the Beastie Boys? Share your thoughts in the comments. Related Videos Adam Yauch: Remembering A Beastie Boy Beastie Boys’ Adam Yauch: 1964-2012 Related Photos The Beastie Boys’ Adam ‘MCA’ Yauch: A Life In Photos Related Artists Beastie Boys
(Video Link) After creating more than 90 tracks, vocal performer Nick McKaig was able to duplicate the Star Wars main title theme. He merged the tracks, but insists that the sound is “100% vocals and 100% my own voice.” -via American Digest Broadcasting platform : YouTube Source : Neatorama Discovery Date : 04/05/2012 07:20 Number of articles : 2
First album in nearly three years expands on their roots while remaining as socially sharp as ever. By James Montgomery Gossip’s Beth Ditto Photo: MTV News Beth Ditto is definitely feeling her Trenta -sized coffee (which she pronounces “Trawn- tay, ” proof that, while you can take the girl out of Arkansas, you definitely can’t take Arkansas out of the girl). She bounded around the MTV Newsroom, proclaiming to no one in particular she’s “sweatin’ so much” and explaining the laundry list of names she weighed for Gossip’s upcoming album — Get a Job and Wrap being two particular favorites, the latter because she “loves Christmas and a good pun” — before finally settling on A Joyful Noise. And why? “It’s a Dolly Parton/ Queen Latifah movie, after all,” she explained. Of course, A Joyful Noise is also much more than that — it’s Gossip’s first album in nearly three years, a shimmering selection of house-tinged tunes (produced by Brian Higgins, who’s done work for Kylie Minogue and Girls Aloud) that, depending on whom you ask, either represents the next logical step in the band’s 13-year career or a complete reimagining of their sound. Of course, if you ask Ditto about it, she doesn’t think it’s either, really. “One time, I remember getting a Facebook post — I think it was actually MySpace, maybe even Friendster — from someone I knew in high school, and she was like, ‘You’ve really changed,’ ” she said. “And I was like, ‘Well, I hope to hell so. ‘ But you think about that, and a lot of questions in interviews have been like, ‘Well, do you feel like that’s selling out?’ And I’m like, ‘Well, I never really sold in, so I don’t know what you’re talking about.’ ” Then again, on Joyful Noise, Gossip are definitely embracing their shiny sides. “Move in the Right Direction” pumps like all of Kylie’s best tracks, “Into the Wild” struts on stiletto-heeled electro stabs, and first single “Perfect World” swirls on a starry bed of synths (and some downright disco backbeats). Call it evolution or call it reinvention — Ditto prefers to see it as the Gossip becoming all they can be. “It was so nice, because after 13 years, you start out so bare-bones and so stripped-down, and you don’t have a lot of money, so being at this point, we had time, and people trusted us, because they see we’re not just really crazy,” she said. “We got to experiment a lot, and it was like a little Hit Factory; there was music everywhere in this ancient house, and everybody was working on pieces of music. You’d walk in and you’d hear it being filtered through all these different ideas, which is what I’ve learned, over the years, is what production is. I used to be really against it, because I didn’t understand it. And now that I do, it’s just like having a stylist or asking someone to paint your house. It’s their interpretation of your work.” And though the sound may have morphed, the spirit remains the same. Just like they’ve always done, with Joyful Noise, Gossip are channeling the sexual politics — in this case, the openly gay ethos that charged disco and house music of the ’70s and ’80s, which they don’t see as all that different from the bracing, DIY aesthetic of the punk they’ve played for more than a decade now. “We listened to a lot of house music, I would say. House and disco and all that was really radical when it was first coming out, and I feel a connection to that, for sure,” drummer Hannah Blilie said. “The whole ‘disco sucks’ thing? They were burning disco records in the middle of a stadium. They hated the style and they hated the people making it too. It’s a hidden hatred.” “To me that was the most homophobic statement; it’s much easier to say, ‘I hate disco,’ rather than, ‘I hate f–s,’ ” Ditto added. “There’s always some kind of amazing connection in music. Like, country music, I feel really in touch about growing up in poverty and the struggle of that. House music, I really feel the need to break free and have a space of your own, where you can be really free and really crazy, and just like punk or hip hop, it’s about creating a space of your own. Safety zone. The safety dance.” Are you excited for the Gossip’s new music? Let us know in the comments! Related Artists Gossip
Breaking Sports Video
