Justin Timberlake’s new album The 20/20 Experience is now on a pace to sell a whopping 800,000 copies during its first week on sale, which ends March 24th. Billboard reports that 20/20 is expected to top its albums chart, which would make it Timberlake’s second Number One solo album. (His first solo album, 2002′s Justified, peaked at Number Two.)
Justin Timberlake Confirms Second ’20/20 Experience’ Album
The growing sales count will also score Timberlake his best sales week ever, topping the 684,000 copies his previous LP, 2006′s FutureSex/LoveSounds, moved during its debut week. The biggest sales seem to be coming through iTunes, with Target – the only retailer carrying a deluxe version of the album with two exclusive bonus tracks – also quickly moving its stock.
With original estimates placing sales at around 500,000, the album is now on track to become 2013′s best selling record, surpassing Mumford & Son’s Babel, which despite its 2012 release, has sold 631,000 copies so far. (Coincidentally, Timberlake and Marcus Mumford recently collaborated on new music for the Coen brothers’ upcoming film about the 1960s folk scene, Inside Llewyn Davis, which co-stars Timberlake.)
Should 20/20 live up to these new estimates, it would mark the biggest sales debut for a male artist since 2010 when Lil Wayne’s Tha Carter IV pushed 964,000 its first week. Taylor Swift was the last artist to sell more than 750,000 copies, when her 2012 effort Red bowed at Number one with 1.2 million sold its first week.
this is what i miss…. Justin usually does a handful of magazine spreads , and this time we got nothing
but here is that scan from rollingstone that i promised the other day …
view the full version : http://wojpictures.com/displayimage.php?album=3033&pid=90893#top_display_media
As the title implies, there are plenty of reflective surfaces in the new video for Justin Timberlake’s song “Mirrors.” Timberlake himself doesn’t appear until about two-thirds of the way through the eight-minute clip, in which mirrors serve as reflections on the lives of three couples – or perhaps one couple at three different stages of their lives. The scene shifts between an elderly pair approaching their twilight, a younger woman whose face is streaked with mascara as she sits on a bed next to a prone man, and a still-younger man and woman living it up on the town.
Timberlake shows up in the song coda, drifting through a hall of, er, mirrors where he’s eventually surrounded by dancers and their reflections. The song comes from Timberlake’s new album, The 20/20 Experience, which is the first of two releases the singer plans this year. He’s had a busy March, hosting Saturday Night Live for the fifth time, spending a week on Late Night With Jimmy Fallon and performing last weekend at SXSW in Austin.
I’m ridiculously excited for the release of Justin Timberlake‘s The 20/20 Experience and while I’m completely loving his current sound and look, I find myself reminiscing about the JT of yesteryear. The Justin who wore a denim-on-denim suit and a cowboy hat to match then-girlfriend Britney Spears’ denim gown. The Justin who made over-the-top curly hair on guys look good. Even the Justin with the heavily bleached caesar cut. Let’s face it, from his early days on the Mickey Mouse Club to the phenomenon that was ‘N Sync to the hit-making solo artist and actor he is today, the Memphis, Tenn. native has already had quite a career in his 32 years, and almost as many different looks as Madonna (I said almost). So without further adieu I bid you a photo retrospective on the man of the hour—Justin Timberlake! – OK MAGAZINE
Justin Timberlake is our biggest male pop star. I realized this for the first time the other day. It hit me during the final leg of Timberlake’s dizzying campaign to promote The 20/20 Experience, his first LP in nearly seven years, which comes out March 19. He’d just hosted Saturday Night Live and was about to begin a weeklong stint on Jimmy Fallon; at that point I half-expected him to burst forth from my recycling bin with a winning smile and stack of CDs under his arm. I’m not sure why it took me so long to size up Timberlake’s stardom. Beyoncé, Taylor Swift, and Rihanna are bigger, of course, but they are very much not boys. Usher is a bore these days. Bruno Mars could evaporate at any moment. And Justin Bieber is still trapped in Tiger Beat territory. Timberlake is all we have.
When Timberlake sings about getting “all pressed up in black and white,” he expresses the Millennial desire for the authenticity of time tested classicism. (Christie Goodwin/Redferns, via Getty)
And yet for some reason we have been slow to acknowledge his place in the pop cosmos—not just me, but the culture at large. Most of the talk about Timberlake still centers on his improbable transformation from *NSYNC puff pastry—tight blond curls, paint-splattered jeans, matching diamond studs—to a credible, grown-up R&B artist. But the metamorphosis itself is old news. What hasn’t been adequately examined is the position he now occupies as our era’s equivalent of a Michael Jackson or an Elvis Presley, as strange as that sounds. I’m not just referring to the 17 million records Timberlake has sold, or the seven inventive, unshakable singles he’s released since the start of the 21st century. Every star reflects the generation that produces and sustains him: its character and its neuroses, its needs and its wants. So why have we settled on Justin Timberlake?
First things first: his talent is undeniable. At 2, he was singing along to the radio. “Is anyone listening to him?” his uncle asked. “He’s singing f–king harmony parts!” Later, Timberlake locked himself in his room, switched off the lights, and listened to Queen’s “Bohemian Rhapsody” for 48 hours straight. “I’d only come out for food or water,” he recently recalled. “I wanted to dissect every part of it.” He may have been the youngest member of *NSYNC, but he was also the most musical; as Pharrell Williams of the Neptunes told Rolling Stone in 2000, “to say that he’s got soul is something you expect me to say, but it’s true.” Timberlake proved Williams right. His first two albums were remarkably consistent, and remarkably good, and the new one extends the streak: inventive production; precise, supple vocals; relentless hooks. “Pusher Love Girl,” with its strutting beat, Curtis Mayfield falsetto, and crafty central metaphor (lover = drug dealer), will sound particularly excellent on the car stereo this spring.
As Pharrell Williams once put it, “Justin could’ve been raised in the black church.” (Christie Goodwin/Redferns, via Getty)
That said, plenty of contemporary performers—like Robin Thicke, for one—were blessed with talent. None of them are Timberlake. The reason, I think, is that his persona, and his taste, are preternaturally in tune with the times. At root, this has as much to do with biography as anything else: the contours of Timberlake’s life mirror every Millennial trend line. An estimated 40 percent of us are children of divorce, Timberlake included; his mother, Lynn Harless, split up with his father, Randy Timberlake, a bluegrass bassist, when Justin was 2. She and her second husband, Paul, went on to co-manage their son’s career—the ne plus ultra of helicopter parenting. By all reports, Timberlake and his mother have one of those peculiarly Millennial relationships in which the line between parent and pal is blurred. He lived with her even after his solo debut, and the two have been seen smoking pot together. “I had Justin when I was 20, and he seemed about 20 when he was born, so we’ve pretty much shared everything,” Lynn has said. “We’re weird like that. But there’s a lot of stuff he starts telling me about … Some things you are not supposed to say to your mother. Sexual things. And his response is usually, ‘Oh, Mom, just listen.’”
Timberlake has handled his career like a stereotypical Millennial as well, accepting the system as it is and making it work for him—unlike the baby boomers of the late 1960s, who relished their own anti-authoritarianism, and the Generation Xers of the late 1980s and early 1990s, who struck an alt-everything pose. First came the Baptist choir in Millington, Tenn., at age 8; then Star Search in Orlando at 10; then The All New Mickey Mouse Club at 12; and (finally!) a corporate record contract with *NSYNC at 14. He is the Organization Kid as pop star, and like many of his peers, he has multitasked his way through his 20s, diversifying into comedy (the SNL “Dick in a Box” sketch), film (The Social Network, Friends With Benefits), fashion (his William Rast clothing line), food (his Southern Hospitality BBQ restaurant), and media (his $35 million investment in MySpace). In a subtle subconscious way, these familiar tendencies make Timberlake seem “real” to us—like someone we know.
For all the futurism of Timbaland’s productions—the bleeps and blips, the percussive mouth noises, the zippery loops—Timberlake’s music also strives to keep it real, mainly by anchoring itself in the organic sounds of the past. As Simon Reynolds recently wrote in Retromania, pop culture is increasingly feeding on its own history. And so “Suit and Tie” borrows its gentle ninth chords and sparkling piano glissandos from the cosmopolitan soul that Marvin Gaye was putting out in the 1970s, and Timberlake acknowledges the debt by quoting the “hot just like an oven” line from Gaye’s “Let’s Get It On.” “Senorita,” the fourth single from Justified, is a direct descendent of Stevie Wonder’s “Don’t You Worry ’Bout a Thing,” from its spoken intro to its Latin beat. And the only thing more Jacksonesque than Timberlake’s debut release, “Like I Love You”—which he performed at the 2002 MTV Music Video Awards in black pants, a red shirt, and a fedora—was his third single, “Rock Your Body,” an actual rejected Jackson track. Fearing inauthenticity—the inevitable side effect of a dematerialized digital society—Millennials gravitate toward styles that have been authenticated by the passage of time. When Timberlake sings about getting “all pressed up in black and white,” then appears at the Grammys in a Tom Ford tuxedo—his hair neatly parted, his band arrayed behind Art Deco podiums, the screen tinted like an old sepia-tone photograph—he is satisfying this desire, both in himself and his audience.
Race has also played a role in Timberlake’s rise. It’s fair to attribute some of his success to the same dynamic that propelled Elvis Presley to the top of the pop charts: white boy plays black music, makes it “safe” for mainstream America, and outsells the originators in the process. But Timberlake’s relationship to race reflects our world more than Presley’s. Elvis was a rebellious figure: a white Southerner tapping into black culture at a time when black culture was taboo. For that reason, among others, he’ll always be a much more revolutionary artist than Timberlake. (So will Jackson, who melded black and white music and united two previously segregated audiences.) But in 2013, African-American culture is no longer forbidden. It’s mainstream. It’s cool. Timberlake takes this for granted—he’s never known otherwise—and so do his fans. As a teenager, Timberlake wanted to be black, basically. He learned to sing from Brian McKnight, Al Green, and Donny Hathaway; early profiles describe his “homeboy delivery” and “hip-hop flavoring.” As Pharrell Williams once put it, “Justin could’ve been raised in the black church.” And so, unlike Elvis, Timberlake isn’t challenging the status quo by singing R&B. Instead, he is embodying our deeper, postracial aspiration—a desire that didn’t exist in Elvis’s day—to be at ease in black and white culture simultaneously. If he can pull it off, perhaps we can, too.
The heart of Timberlake’s appeal may be this comforting, consensus quality. The past is still part of the future. Race isn’t as problematic as it seems. (Christie Goodwin/Redferns, via Getty)
Ultimately, the heart of Timberlake’s appeal may be this comforting, consensus quality. The past is still part of the future. Race isn’t as problematic as it seems. And lest I get too carried away: we can all shine on the dance floor. That was the point, after all, of “SexyBack,” Timberlake’s twitchy 2006 masterpiece, which celebrated the singer’s valiant efforts to resurrect “sexy” itself—to save it from “them other boys [who] don’t know how to act.” “I don’t really think I’m bringing sexy back,” Timberlake once confessed. “But when a 28-year-old male or female is standing in a club in New York City at 2:30 in the morning and that f–kin’ song comes on, I want them to feel like they are.” For a self-regarding generation—the stars of Twitter, the celebrities of Facebook—what fantasy could be more intoxicating than that? Justin is just like us—and for the next few minutes, we are just like Justin.
Justin Timberlake and Jay-Z are planning a major stadium tour this summer, sources involved in the negotiations tell Rolling Stone. While talks are still ongoing, the tour as currently planned would include 11 to 13 stadium dates.
Timberlake hinted Saturday on Twitter that something was in the works, writing, “Big news coming after Justin’s Grammys performance.” According to the New York Post, Timberlake said, somewhat vaguely, on the red carpet before the Grammys, “We’re definitely going to go on tour . . . I don’t know how much I should say. . . . It’s going to be a lot of fun, I know that.”
The two stars have appeared on stage together a few times recently for performances of Timberlake’s Hov-assisted comeback single “Suit & Tie.” Jay joined Timberlake during a show in New Orleans over Super Bowl weekend, the pop-star’s first live show in nearly five years; and the duo also joined forces for a rendition of the cut at this weekend’s Grammy Awards.
Timberlake’s highly anticipated new album The 20/20 Experience is set for a March 19th release. Be sure to check out our exclusive interview with the pop star, where he talks about his return to music and how he and long-time producer Timbaland put together the new LP: “We encapsulated ourselves in the studio and I didn’t tell anybody,” Timberlake said. “I was just like, ‘Let’s make some music without all the hoopla of, like expectations. Let’s just make something that feels genuine from us.’ And I’m glad we were able to do that way because, for me, it’s the best stuff I’ve ever done.”
another source :
Justin Timberlake and Jay-Z are packing up their suits and ties for a 10-city tour, according to several media reports.
The Pop/Rap duo have taken to the stage twice in the past month — once during Super Bowl weekend in New Orleans and most recently at Sunday night’s Grammy Awards in Los Angeles, both times performing Timberlake’s comeback track “Suit and Tie,” off his upcoming album “The 20/20 Experience.”
According to People.com, Timberlake and Jay-Z are said to be lining up stops in at least 10 cities during a stadium tour together.
While neither artist’s camp could be reached for comment, the New York Post said Timberlake made the admission on the Grammy red carpet.
“We’re definitely going to go on tour . . . I don’t know how much I should say . . . It’s going to be a lot of fun, I know that,” Timberlake reportedly told the Post.
Timberlake would not elaborate on who makes up the “we” but several media reports claim it will be Jay-Z.
Sunday’s Grammy performance marked Timberlake’s return to the music scene after a nearly seven year hiatus. Timberlake spent the past few years developing his movie career with starring roles in “The Social Network” and “Friends With Benefits.”
“Suit & Tie,” to be released on March 19, is part of Timberlake’s third solo album.
(Ed note: During Grammy week, Justin Timberlake sat down with two high school students, Cameron Capers from Atlanta and Allison Spice from San Diego. The two students are alumni of Grammy Camp, a music industry program for students from around the nation. Timberlake, a big proponent of music education, spoke with Spice and Capers for 35 minutes following his Grammy rehearsals on Friday at L.A.’s Staples Center.)
You could do any interview, why speak with us?
Because I like talking to people who love music. I don’t necessarily do a lot of interviews anymore because a lot of times, a writer will interview you for an editorial piece and – this happened to me when I was younger – you end up reading the article and it becomes more about them than it even is about the subject. So you feel them projecting those thoughts on you or whatever objective they have. Sonia [his publicist] brought it up and I said, “Yeah, I’d much rather talk to somebody who is younger than me that was excited about music and wanted to talk about music rather than have to sit around and answer questions that have nothing to do with even the Grammys or anything.” It’s like, “So what’s your favorite pasta? What you do in your free time?” “Stuff that I don’t want to tell you, like private stuff; you know what private means, right?” I come from a humble beginning, but when you spend that much time in the business, you realize that there’s a whole other thing going around you that really has nothing to do with you.
And for me, it’s always nice to talk with young people who really love music and are interested in the expression of it or the art of it. You’ll see; the older you get, the more you realize people come in and out of your life and you realize that person changed or that person wasn’t exactly who I thought they were. And I found with friends, close friends that have come and gone in my life, they’re like, “Oh, you changed.” Everything else around you changed, you’re still the same person. If you want to say that I didn’t have to worry about a paparazzi following me around in my car has made me change, then yeah, sorry, I’ve changed, but I didn’t know what that was like before. I was just a young person trying to express myself. It’s just a crazy world that we live in. I don’t want to paint a picture that’s jaded or anything because I’m super happy to be back and doing it and I have a great time wherever I go. But the things around you change the older you get and that’s just life.
12 Albums We’re Looking Forward To In 2012: Justin Timberlake, ‘The 20/20 Experience’
What made you come back now?
This is one of those times when stuff gets projected onto you. I would have taken a break regardless of if I would’ve done films or not because my last record was all-consuming and to go on tour like that, for me, I will not be the type of artist that puts out 10 to 15 albums. That’s just not who I am. They’re really special to me. I write music all the time, but until you really feel that desperate need to shout from the rooftops and express yourself in that way, I just kind of keep it to myself. I enjoy making music so much that if it doesn’t come out, that’s okay. If I get to listen to it in my car by myself, I’m just as happy because I get to hear something that I made. I’m not so caught up in the fact that you have to be in the center of attention. For me, when I do have something that I’m ready to express, I’m gonna burrow through whatever to get it heard. But for me, the journey along the way is really the most fun part; it’s not about the outcome. It’s really about making something that feels authentic. That’s the one place you can do that.
What does making music mean to you?
[The studio] really is one place that you can still go to that you can be completely free, at least in my opinion. You can lock yourself in a room and make a whole other world. I’m 32 and I still love it as much as I did when I was 18, so that should tell you amazing how it is.
Can you give us a preview of the new album?
There are 10 songs on this one, but the average length of each song is seven, eight minutes. We made it to listen from top to bottom. It’s not so much a narrative or a story, but sonically we really made it to listen from top to bottom.
Would you say you and Timbaland have the same perspective?
My relationship with Tim is a relationship that I have with nobody else in the world. We’re like brothers, really. You have friends like that, friends you don’t have to say much to, but you know they just get who you are. That’s the relationship I have with Tim, where we go in the studio and kind of don’t even speak to each other. He’ll start tinkering around or I’ll start playing some chords and start tinking around with some loop of something and that’ll give him an idea and then we’ll start looping it and then I’ll start humming a melody and then we just ping-pong an idea back and forth. And I have that relationship with Pharrell a little bit as well. But my relationship with Tim is very unique; we share the same perspective that we always want to make something that reminds us of music that we love, but at the same time is something we’ve never heard before. You talk about making this record; we encapsulated ourselves in the studio and I didn’t tell anybody. I was just like, “Let’s make some music without all the hoopla of, like expectations. Let’s just make something that feels genuine from us.” And I’m glad we were able to do that way because, for me, it’s the best stuff I’ve ever done.
Let’s face it, gym time can be a drag! We’ve all agonized as we watch the minutes eek by on the elliptical.
But some celeb couples have found a solution to battle fitness boredom—they schedule their sweat sessions together!
Fitness magazine has just released their list of the 14 Fittest Celeb Couples who are managing to strengthen their bodies and their bonds simultaneously.
Some of the couples on the list included: Jessica Biel and Justin Timberlake (who do all kinds of athletic activities together—hey, keep it clean, people!), Vanessa Minnillo and Nick Lachey (who did a triathlon together in 2010) and Blake Lively and Ryan Reynolds (who often hit the gym together).
Of course, there was only one twosome who could take home the title of Fitness magazine’s “Fittest Couple.” Any guesses who was awarded the honor?
The couple who stole the coveted spot was Ryan Seacrest and Julianne Hough, whose beautiful bodies were recently on display when the pair went paddleboarding during a vacation in St. Barts.
We have to give all of these couples credit, though. They’ve clearly found their stride on the fitness front and in their relationships!
We can only wonder what some of these athletic lovebirds have lined up for Valentine’s Day.
Justin Timberlake doesn’t have much of a track record with album titles. His solo debut was a pun on his name, and the follow-up was a surreal word collage. His new record is called The 20/20 Experience, but what does it mean? Is he particularly driven by ABC news magazines? Deeply concerned about marksman-quality vision? Establishing a bar that is exactly half as awesome as Jay-Z’s 40/40? Is it a reference to the fact that the whole experience of creating the album consisted of 20 songs in 20 days?
Timberlake revealed the science behind the name this morning on Ryan Seacrest’s radio show. “It more or less came out of I was playing some of the stuff for my friends and they would come in and out of the studio and I’d say, ‘What do you think of this?’” Timberlake explained. “And my best friend said, ‘This is music that you can see,’ and for some reason that stuck with me.”
So there you have it: Justin Timberlake’s new album is a concept record about synesthesia.
Seacrest also got a few other details out of Timberlake. He also noted that the famous teaser video that Timberlake unleashed a few days before the unveiling of his new Jay-Z-assisted single “Suit & Tie” is actually from another project entirely. “That little piece of footage is from a documentary that we sort of started working on throughout the making of the album,” he told Seacrest.
Read More on EW.com:
Justin Timberlake performs new songs off upcoming album at pre-Super Bowl party
Happy birthday, Justin Timberlake! A musical look back — VIDEO
Justin Timberlake added to Grammy performance lineup
Justin Timberlake collaborates with fashion designer Tom Ford on ‘The 20/20 Experience’