Justin Timberlake managed to pull off one of the better makeovers in pop culture history, going from wearing cheesy matching denim outfits with then-GF Britney Spears, to being one of the most nattily dressed guys around. But it took a lot of hard work, people. And a lot more advice from Tom Ford.
Today Guy Trebay wrote a pretty gushy feature for the New York Times about JT’s sartorial evolution, and Tom Ford–a big Timberlake fan and collaborator–weighed in on his role in it all.
The designer first started dressing Timberlake regularly in 2011, and he was flattered that the pop star came to him. “When you’re someone in your early 50s, and a major global pop star who’s barely 30 identifies with your style and wants you to make all his clothes, you think, ‘I’m still valid,’” Ford said. (How humble!) The pair’s most recent collab is for Timberlake’s new album “The 20/20 Experience,” which the singer is promoting now.
But it sounds like the “collaboration” is mainly just Tom Ford telling Timberlake what to do–at least when it comes to his appearance.
“I happen to like the hair straighter,” Ford said of JT’s naturally curly fro. And indeed, Timberlake has been wearing a sleeker, more blown-out coif of late, and a definitely more grown-up wardrobe. Ford has a tendency of speaking about Timberlake as if he were a piece of artwork rather than a person, and NYT even goes so far as to call the performer a “Tom Ford creation.”
“These kids grew up in a generation of baggy shorts and baggy athletic clothes, and now they want some kind of little formal touch to something,” Ford told Trebay. “They want the glamour of suits and ties.” …Buh-dum bum!
And how would Ford describe JT’s overall look? Not quite Frank Sinatra, but “Justin was identifying with a sort of young, Rat Pack fantasy in some way, and that is a terrific look for him,” Ford said. Cary Grant is also thrown around a lot in the article.
There was one point on which we wish Ford would have elaborated a bit: “Have you ever seen the body?” Ford asked Trebay. (We’re assuming it was said admiringly.)
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.
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.
Much like Justin Timberlake’s acting career, his clothing line William Rast hit its peak in 2010. That year, the label got a deal with Target, won a “Brand of the Year” award, and drew celebrities to its fashion show like sorority girls to bartops when “SexyBack” comes on. But since then, its prestige has waned: It stopped showing at New York Fashion Week, and Timberlake no longer appeared in their ads. Now its clothes are sold at J.C. Penney and a few places online. To be fair, the label probably works best as a mass-market line, but it has all but disappeared from the spotlight.
Today, rumors emerged that Timberlake himself may abandon the label, which he co-founded in 2005 with his best friend Trace Ayala, who still oversees it. The Post reports:
Sources said Timberlake is still involved in the brand for now, “But by the end of the year, he won’t be anymore.”
A spokesperson for the label didn’t deny Timberlake’s departure, but said that he was “eternally” connected to the brand because its title is “a combination of Justin’s grandfather’s name and Justin’s best friend [Ayala]‘s grandfather’s name.” Well at least now Timberlake won’t have to wear it on his tour this summer! Here’s to all Tom Ford, all the time.
Alec Baldwin Wants Justin Timberlake to Stay Focused on Movies: “What a Shame He’s a Musical Superstar”
Alec Baldwin thinks that if Justin Timberlake stuck to only acting, he’d be one of the biggest movie stars in the business. “I just think that Justin is one of those rare birds where it’s, like, what a shame that he’s such a musical superstar, because he really could have a great career as a movie star,” Baldwin told VF Daily at the Roundabout Theatre Company gala on Monday. “He could be doing Hangover movies and crazy rom-coms to his heart’s content. I mean, he can do anything,” added Baldwin, who appeared on Saturday Night Live over the weekend, when Timberlake hosted for the fifth time. “But you always see those musicians, it’s like they have that little side job that they’ve got to go do.”
He says that Timberlake is a lovely guy. “I loved seeing him. He’s a sweetie.”
Baldwin’s wife, Hilaria, seconded that. “I’ve met him a couple of times, and he’s lovely. He’s funny!” she said. “And talented. Did you see him dressed up like the tofu? I was hysterical; I was crying, it was so funny.” She spent the evening on the S.N.L. set, but, since she’s pregnant, they coddled her. “Because I fall asleep at, like, 8, usually—they put me in a room where I’m, like, all curled up with a blanket, and I watched it on the TV in there,” Hilaria said.
Baldwin has done two shows with the Roundabout, and spoke highly of artistic director Todd Haimes. “Todd is so gracious, and he’s so open-minded, because it’s not-for-profit, he genuinely opens the discussion with, ‘What do you want to do?’” Baldwin explained. “And if you have any kind of cost-consciousness, where you don’t want a cast of 30 people and big, biblical sets and everything, they’re game.”
The evening’s host, Alan Cumming, agreed. “The thing about the Roundabout is it’s so fun, nobody gets paid any money, and it’s kind of this nice, leveling thing, where you’re all doing it because you really want to be there,” he said.
Cumming has physical reminders of his work with the company. “I’ve got the boots I wore in Cabaret. I’ve got the cane I had as Mack the Knife, when a dagger comes out of it,” he told VF Daily. He also had the dress he wore in Cabaret, but later donated it for a charity auction. “I wore it to Halloween, and then I gave it to an auction. I went as a dead flapper to Halloween.”
This reverence for the Roundabout drew a slew of high-profile actors and directors, like Carla Gugino, Maggie Grace, Dylan Baker, Alex Timbers and Walter Bobbie, to the gala at the Hammerstein Ballroom in Manhattan. Performers included Laura Osnes, currently starring in Cinderella on Broadway, Jane Krakowski, Laura Benanti and Stephanie J. Black.
Victor Garber is still basking in the glow of Argo’s award-season success. “We were at the Vanity Fair dinner, it was the most thrilling night,” Garber said before we could ask. “It was, like, a once-in-a-lifetime, extraordinary event for us. We loved it.”
Denis O’Hare was in the Cabaret production with Cumming, and recalled moving the show to Studio 54 after a building collapsed on the original venue. “We got to sort of creep around those hallways and look for, you know, Liza’s other hip, and other detritus and things like that,”he said. “And there was this safe, the famous safe, which is still in Studio 54. It was in Blair Brown’s dressing room, and we couldn’t get into it. No one’s gotten into it to this day—we don’t know what’s in there. Who knows? It’s probably condoms, nothing good.”
Justin Timberlake’s “Mirrors” became his first solo U.K. No. 1 single for six-and-a-half years on Sunday’s new sales charts, as Emeli Sandé’s “Our Version of Events” stayed atop the album survey.
Timberlake’s one previous chart-topping single in the U.K. was “SexyBack” in September 2006. That came after three of his releases peaked at No. 2 (“Like I Love You,” “Cry Me A River” and “Rock Your Body”), as would another straight afterwards, “My Love” featuring TI. He’s had two other singles bestsellers as a collaborator, on Timbaland’s “Give It To Me” in 2007, with Nelly Furtado, and Madonna’s “4 Minutes” in 2008, also featuring Timbaland.
“Mirrors” outstripped south London band Bastille’s “Pompeii” by some 13,000 sales last week, according to the Official Charts Company.
“Pompeii” follows Bastille’s No. 21 success last October with “Flaws,” and both tracks are on their debut album “Bad Blood,” released in the U.K. today (Monday). One Direction’s Comic Relief single “One Way Or Another (Teenage Kicks),” which topped the chart last week, fell to No. 3.
East London rapper Wiley scored a third top ten hit with “Reload,” featuring Chip (formerly known as Chipmunk), at No. 9. Pink’s “Just Give Me A Reason,” featuring Nate Ruess, climbed 16-10.
Sandé’s album sales had advanced to 1.66 million by last Saturday at midnight, as “Events” spends a 55th consecutive week in the U.K. top ten. That’s second only for a debut album behind the Beatles’ 62 weeks for “Please Please Me” in 1963 and ’64, a record Sandé is on course to overtake at the end of April.
Mumford & Sons held at No. 2 on the new chart with “Babel,” with the “Les Miserables” score album back up 5-3 and Island’s Ben Howard steady at No. 4 with “Every Kingdom.” Four new titles started inside the top ten, led by “Amok,” the debut album by Atoms For Peace, featuring Radiohead’s Thom Yorke, their producer Nigel Godrich and Flea of Red Hot Chili Peppers.
West End musical star and show tunes vocalist Michael Ball debuted at No. 8 with “Both Sides Now,” his 18th chart album and sixth top tenner in an album chart career dating back to 1992. Josh Groban, meanwhile, made the U.K. album top ten for the first time with “All That Echoes.”
Former Smiths mainstay and widely-travelled collaborator Johnny Marr made his chart debut in his own name with “The Messenger,” a new entry at No. 10.
London indie band Palma Violets just missed out on a top ten debut at No. 11 with “180.” Further down the chart, there was a No. 24 start for “Lost In You” (Sony), a new studio set by 80-year-old veteran entertainer Petula Clark.
Modern-day progressive music figurehead Steven Wilson, of Porcupine Tree, entered at No. 28 with his solo set “The Raven That Refused To Sing.” UMTV/Universal’s “BRIT Awards 2013″ collection started a second week atop the compilation chart.
The ‘Suit & Tie’ singer dances up the chart with his new video.
This week’s Social 50 chart brings a new entrant into the top 10, as Justin Timberlake climbs 18-9 off the success of his “Suit & Tie” video that bowed on Feb. 14.
The two-year old Social 50 chart ranks the most popular artists on YouTube, Vevo, Facebook, Twitter, SoundCloud, Wikipedia, Myspace and Instagram. The chart’s methodology blends weekly additions of friends/fans/followers along with artist pageviews, song plays and reactions.
This is Timberlake’s first week in the top 10 after 88 weeks on the list. He jumps after adding over 456,000 fans to his overall fan base (up 2.4% over the previous week). 193,000 of these fans were added on Facebook alone, spurred by a 74% rise in conversation about the artist on the platform.
The views to the “Suit and Tie” official video prompted a 95% rise in weekly video views to Timberlake’s VEVO channel, which added 14 million new views during the charting week.
A gig listing which suggested that Beyonce and Justin Timberlake were set to play an intimate concert together in London has been confirmed as a fake.
Yesterday, the Songkick listings website posted details of a show to be held by the pair at London’s 500-capacity venue The Garage on March 31, but Ticketscript have now confirmed that that the event will not take place and was posted by mistake.
The listing was only set up to test their system, they said in a statement, and was never meant to be seen by members of the public. “There has been a lot of news and social media coverage generated today from an event that appeared on Songkick briefly yesterday morning,” they said. “The event in question listed Beyonce, Justin Timberlake and Toto as headliners at an event at The Garage. This is not a real event. Ticketscript would like to apologise for any confusion and inconvenience that this may have caused.
“This event was set up in the Ticketscript system as a test event. Unfortunately the data was then connected to Songkick and was published on the Songkick website,” they added. “Ticketscript would like to reiterate that this was a test of the functionality in our system and was never intended for the public domain. We are reviewing our procedures to ensure that this cannot happen again. The event does not exist. Songkick had no knowledge of this event and Ticketscript provided this information in error. ”
Earlier this week, Timberlake announced that he will play a surprise gig at The Forum in north London immediately after performing at the Brits next Wednesday (February 20). The singer will release his comeback album, ‘The 20/20 Experience’, will be released on March 18. The LP is the first new music from the singer-turned-actor and Myspace entrepreneur since his second solo effort ‘FutureSex/LoveSounds’ in 2006.
He’s idolized by fans across the globe, but according to Justin Timberlake his celebrity status has cost him numerous close friendships down the years.
The 32-year old singer and actor recently returned to the music scene after a seven year absence with the release of new single ‘Suit & Tie’ – the first track from forthcoming album The 20/20 Experience.
But while he celebrated his comeback with a rousing performance at the Grammy’s last weekend, the former N* Sync star admits life in the spotlight has damaged his ability to form new friendships – and ended plenty of old ones.
“The older you get, the more you realise people come in and out of your life and you realise that person changed or that person wasn’t exactly who I thought they were,” he told Rolling Stone. “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, I’m sorry, I’ve changed but I didn’t know what that was like before.”
He added: “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 where ever I go.
“But the things around you change the older you get and that’s just life.”
Justin – who tied the knot with actress Jessica Biel in Italy last October – also admitted that his lengthy hiatus from music had nothing to do with his desire to pursue a movie career in films such as ‘Bad Teacher,’ ‘Friends With Benefits’ and ‘In Time.’
“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,” he said.
“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.”
Anheuser-Busch announced Thursday that it had hired the actor and musician to be the “creative director” for its Bud Light Platinum brand.
What exactly does that mean? It’s not entirely clear, but the company said in a statement that Timberlake would “provide creative, musical and cultural curation for the brand,” and will appear in a Bud Light Platinum commercial set to air on Sunday during the Grammy Awards.
“Justin Timberlake is one of the greatest creative minds in the entertainment industry, and his insights will help us further define Bud Light Platinum’s identity in the lifestyle space,” Anheuser-Busch (BUD) vice president of U.S. marketing Paul Chibe said in a statement. Timberlake said Bud Light Platinum “brings a refined, discerning aesthetic to beer that plays well with what I’m doing.”
Timberlake is the latest in a series of musicians to snag “creative director” gigs with big companies. Last week, struggling smartphone maker BlackBerry (BBRY) tapped singer Alicia Keys to be its creative director, a title given to Lady Gaga by Polaroid and to will.i.am by Intel (INTC, Fortune 500).
i’m more of a coors light drinker…. but if he’s sellin bud, I guess I’ll switch lol
By now you’ve done a little two step or rolled your eyes at Justin Timberlake‘s return. If you’re one of the two people on earth who doesn’t care about JT’s “Suit and Tie” comeback then you’ve likely burned out already of all Justin everything. He dropped two new songs after the Super Bowl, he’s performing in LA at the Grammys and has a show immediately following the Grammys. JT season is upon us.
He called in to “On Air with Ryan Seacrest” to discuss all things The 20/20 Experience, but music queries quickly turned to a wedding planning conversation. The timing of his marriage to Jessica Biel didn’t interfere with the making of the album because most of it was already complete. Besides he did what most men would do: Leave it in the hands of the woman. “I think the men can speak for me by saying that type of process you really just say ‘Whatever you want, honey.’” Oh come on guys, women want their male partner to be active in the decision making…as long as he mostly says yes to what she wants. “Every photo, everything that you saw… I was riding shotgun. I said, ‘Whatever you want, honey.’”
Justin Timberlake had best pack up his Suit and Tie , as he’ll be performing at this year’s Brit Awards, the UK’s swankiest music event (sorry, Mobos).
It’s ten years since Justin last performed at the British music ceremony. That was the time he groped Kylie’s backside. Yes, that was ten years ago. We KNOW.
A source in the JT camp told The Sun: “Justin will christen his comeback with a performance at the Brits. Talks between organisers, his label and management have been ongoing since the start of the year.
“Justin’s team have been plotting his return carefully. He loves the UK and wants to announce his comeback with a top set.
“Brits bosses know that his performance, as well as Beyonce’s, will bring in a huge TV audience.”
Yes, you read that right – Beyonce is also said to be performing at the event at London’s O2. This just keeps getting better, doesn’t it?
We’ve been doing some celebrity maths on this, and we’ve come up with this hypothesis: JT’s new single Suit & Tie features Jay-Z , Beyonce is married to Jay-Z, therefore Jay-Z will definitely perform too. Or at least be there. Or not. But we live in mathematical hope.
The official Brits guys officially confirmed the news, tweeting: “We are SO pleased to announce @jtimberlake’s return to the Brits!”
The Brits Chairman, David Joseph, also gushed about the one they call Trousersnake, saying: “Justin is an exceptional artist with global appeal and unrivalled successes. We are thrilled to add him to a stellar line-up that will celebrate an amazing year of music and make this one of the strongest BRIT live shows to date.”
Justin unveiled his first new music in six years with single Suit & Tie two weeks ago, complete with a special guest appearance from the legendary Jay-Z – and he probably didn’t expect it to be No.1 in 12 countries after TEN hours of being available for download. But that’s exactly what happened.
Justin penned an open letter (as well as a bunch of new songs) to explain his ‘long awaited’ comeback.
‘This year is an exciting one for me. As you probably have heard through the “grapevine,” I’m gearing up for a big 2013,’ he wrote – getting some of the clichés out of the way.
He continued: ‘Back in June of last year, I quietly started working on what is now, my next journey with that thing I love called MUSIC.
‘I just went into the studio and started playing around with some sounds and songs. It was probably the best time I’ve had in my career… Just creating with no rules and/or end goal in mind and really enjoying the process.
‘It is full of inspiration that I grew up listening to and some newfound muses that I’ve discovered along the way.’
TOM FORD has collaborated with Justin Timberlake on the “refined style” seen on his new album artwork and in his latest music video. The singer’s upcoming album, The 20/20 Experience, is due out later this year.
“I adore Justin,” said Ford. “He has innate style and enormous talent. It has been such a pleasure and honour to work with him throughout this entire creative process.”
The pair have worked closely together on a series of bespoke tailoring – including eveningwear, shoes and accessories – that “will be a focal point of The 20/20 Experience”. The cover of Timberlake’s new single, Suit & Tie, features the artist wearing a Tom Ford tuxedo, shirt and satin bowtie – a signature Tom Ford Menswear look. Further pieces from the collaboration, including a three-piece suit, leather loafers and black onyx cufflinks, can also be seen in the track’s official lyric video.
source – vogue
When Justin Timberlake recently announced plans to release his first solo album in nearly seven years, fans of the “SexyBack” singer weren’t the only ones who were surprised. The singer-turned-actor’s former ‘N Sync bandmate, Lance Bass, says the group was unaware Timberlake was once again making music.
“He’s been so busy and even hid from us that he did an album, so I was as surprised as everyone else that he released this new music,” Bass, 33, told Us Weekly at EMA’s Green Works event at Sur in L.A. Jan. 23. “He’s been busy with that, so we haven’t really been able to catch up.”
Even so, Bass admitted he’s a big fan of “Suit & Tie (feat. Jay-Z),” Timberlake’s first single from his upcoming third album, The 20/20 Experience. “I love it!” Bass raved of the mid-tempo R&B track. “I think it’s something that no one expected him to do. I think everyone was expecting him to do a crazy [dance track], but he went back to his roots and I like it. It’s very nice!”
Like Timberlake, Bass is working on his own solo album, his first ever. “I’ve waited 10 years to be able to do it, and now I finally found the time this year,” said Bass, who had competed on Dancing With the Stars in 2008. “I just needed a break from music. When you do something as big as ‘N Sync, you don’t get so burnt out of it, but you need a different direction and my mind needed to go somewhere else.”
Bass’ album will be inspired by his Southern roots. “It won’t be a crazy, full country album,” the Mississippi native told Us. “I’d love to come out with some pop record that has that essence of rock ‘n’ roll and country.”
Though ’90s boy bands New Kids on the Block, 98 Degrees and Boys II Men are joining forces for a summer tour, Bass doesn’t see ‘N Sync reuniting on the road. “We’re all just very content with what’s happening in our lives right now and we don’t want to get burnt out again,” said Bass, who’s been dating actor Michael Turchin since 2011. “Hopefully in the next few years we can do something, but I think right now isn’t the time for us.”
It doesn’t seem Timberlake is too eager to hang out with the band, however. When he wed actress Jessica Biel in Italy on Oct. 19, 2012, he didn’t invite his former bandmates Bass, J.C. Chasez, Joey Fatone and Chris Kirkpatrick. “From what I know, it’s because he didn’t want all of us there making it about a reunion rather than a wedding,” Kirkpatrick said in a previous radio interview. “It was [Jessica's] day. She’s amazing, so we wanted to make sure it was about her.”
The 19th Annual Screen Actors Guild Awards have announced the first round of presenters, and rest assured, it’s a star-studded affair.
The full lineup consists of current awards season darlings Bradley Cooper, Anne Hathaway, Hugh Jackman, and Jennifer Lawrence — all of whom are currently nominated for SAG awards — as well as former SAG nominees Viola Davis, Justin Timberlake, and Sigourney Weaver.
The SAG Awards ceremony will air on Sunday, Jan. 27 at 8 p.m. ET, and televised on TNT and TBS.
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i dont know what but i love that picture, click to view HQ
With deep regret I must post that Justin’s grandfather has passed. William Bomar was the father of Lynn. My heart goes out to Justin and his family as well as friends.
Big screen hunks Justin Timberlake and Hugh Jackman hit a high note together over a post-Christmas dinner… literally.
The actors, who’ve been known to sell out a crowd when they’ve taken over the microphone, were spotted having dinner at the ultra-exclusive Park Hyatt Beaver Creek Ski Resort and Spa in Avon, Colo. Dec. 27, an eyewitness told Celebuzz exclusively.
“They were out for dinner at the 8100 Mountainside Bar & Grill,” said the eyewitness.
“They were joking with a musician in the lobby. They were requesting songs and cracking jokes and seemed really friendly.”
Timberlake, 31, who’s long been a fan of Beaver Creek Ski Resort and whose wife Jessica Biel has signed on to star opposite Jackman as Viper in The Wolverine, joined the Aussie heartthrob, who just so happens to be staying at the swankiest hotel in the area for the holidays. And the stars went relatively unnoticed on their time off before award season kicks into high gear in the New Year.
“People stayed away for the most part,” added the eyewitness. “It’s a fancy but quiet restaurant.”
Tony Lucca expects his upcoming return to “The Voice” to be “interesting” — to say the least.
The second season’s second runner-up is slated to perform on Tuesday’s [December 11] episode and tells Billboard he’s looking forward to being back. “It’s cool to kind of revisit all the crew and the people that you got real close to,” the Michigan-based singer-songwriter says. “I’ve been watching this latest season. I’m excited to meet some of these guys. As a finalist, you know what it’s like; you’ve been all the way through the fire. I think about how much has transpired since (May), then I’ll get back in the ring and feel like, ‘Wow, I was just here…’ ”
While Lucca is in California, meanwhile, he’ll also be sitting down with “The Voice” judge and Maroon 5 frontman Adam Levine, who signed Lucca to his 222 Records label.
“I’ll be meeting with them for the first time to talk broad stroke strategy and more or less what 2013 is going to look like,” Lucca says. “We probably won’t get to tracking anything until the new year, but we’ll probably move quickly as well” — possibly, he adds, with an EP first, followed by a full album. “It’s obviously going to go big; it’s just a matter of how big and trying to decide if I’m gonna be the kind of artist that’s going to sell better in the Hot AC market or should go straight pop and do something big and super commercial. I don’t see that being the wisest step, but at the same time if (222) think they have the right strategy, I’m all ears. I’m excited to put in the work.”
Thanks to his success on “The Voice,” Lucca says he was “able to kind of walk through the front door of some (songwriting) opportunities in Nashville and L.A.” and has come up with “a pretty good batch of songs that I’m proud of. I’ve got a couple songs in a more rock, edgier vein. I’ve got some that are more like the singer-songwriter fare I’ve been creating over the years. Once we all kind of agree on which direction we’re going to go, then it’s a matter of finding the right songs that are going to work well at radio and wherever else.”
Lucca isn’t done writing yet, however, and he says he and former “Mickey Mouse Club” mate Justin Timberlake “have been constantly flirting with sitting down and working together. Trying to tie that guy down is like hitting a moving target, but I’d love to hear what we could do if we got together.”
On Lucca’s production wish-list, meanwhile, is Ryan Tedder. “We’ve crossed paths before,” Lucca says. “I think he’s got the Midas touch these days. He makes great records.”
Back at “The Voice,” Lucca demures on predicting a Season 3 winner. “I think the final four here are all well-deserving of it, all really great,” he says. “I’ve been a big fan of Terry McDermott the whole time. I’m stoked to see him still in there. I’d love to see Nicholas David carry on; I think he’s one of the kind, really refreshing. I definitely thought Dev (DeLoera) would have continued on, and I was surprised to see Amanda Brown go. I think she’s a phenomenal singer.”
And Lucca hopes his own appearance will “kind of refresh a lot of people’s memories, and they’ll recall some of the moments form Season 2 and remember the connection I made with Adam and how he was a man of his word by signing me, that I was deserving of that. I think people may recall all of that, and it’ll be a little stoking of the fire, I suppose.”