I feel a little bit like a fly on the wall and like I’m listening to conversations I’m in no way a part of. But Justin Timberlake started it.
After he went to a Garth Brooks show on Thursday (Dec. 4) — the first of Brooks’ four St. Louis shows — Timberlake posted an Instagram photo from his meet-and-greet with this caption:
“One of my IDOLS. Garth … You are a MASTER of your craft. I am in awe of you, still.”
(And right after that, the people at Eskimo Joe’s — Stillwater, Oklahoma’s Jumpin’ Little Juke Joint Servin’ Up Smiles Since 1975 — retweeted Brooks’ tweet. Because if you look closely, he is wearing one of their hoodies in the photo.)
Timberlake, who has been a fan (and imitator) of Brooks since he was a little boy, was able to catch the show on one of his rare nights off. He had a show in Dallas on Wednesday and one in Oklahoma City on Friday.
And Timberlake created a pretty serious stir as he watched/sang/danced from the second row, as opposed to hiding away in a private box somewhere in the arena. Lady Gaga and her boyfriend, Chicago Fire star Taylor Kinney did the same thing, opting for regular seats in the house when they saw one of Brooks’ Chicago shows back in September.
There’s just so much mutual love and respect between Brooks and Timberlake. They seem to literally be people loving people, so I think they should collaborate on a song in the very near future.
Justin Timberlake is no Drake. While there are numerous differences between the two musically, we’re here to talk about sports.
When people accuse Drake of being a “bandwagon fan” (i.e. he reps random teams as long as they win), they might be on to something. Or maybe Drake just has a lot of athletic friends.
But when people accuse Justin Timberlake of bandwagoning, well, it’s a different story — especially if it’s about the Memphis Grizzlies, Timberlake’s hometown team, which he partly owns. One Grizzlies fan may not have had all that information, though, when he called out the former ‘N Sync star of less-than-genuine behavior after Timberlake posted a celebratory tweet about Monday night’s 119-93 smackdown on the Houston Rockets.
Justin Timberlake is famous for a lot of things, including his sweet crooning and frosted tips as a member of the quintessential ’90s boy band N’Sync (see also: Brittany Spears), his turn as an actor (he notably played Sean Parker in The Social Network) and his SNL hosting prowess.
In addition to all this, Timberlake is quite the businessman. Over the years, the singer/actor/host has invested in a long list of ventures, all with varying degrees of success. He is the owner or co-owner of asocial network (MySpace, so that one clearly didn’t pan out), tequila brand (which is doing well), barbeque restaurant chain, golf course, professional basketball team and fashion line. (removed all the a’s before each venture)
Today, he officially added another venture to the list: The audio-technology company AfterMaster — which makes “any audio source dramatically clearer, fuller and louder” — announced that Timberlake is joining as a co-owner.
Megamillion-dollar label deals are a thing of the past. But with Usher, Timberlake and Swift nearing the end of their contracts, this is how majors will have to fight to keep them.
Taylor Swift, Usher and Justin Timberlake are about to enter an all-too-familiar crossroads for pop superstars: Their next albums will also be the last ones due to their respective major labels (Big Machine/Universal for Swift, RCA for Timberlake and Usher).
But unlike the mega-stars of yore, today’s top acts face a different marketplace in which they’re required to work much harder for their hefty advances — with lower sales to show for it. In fact, you would have to go all the way back to 2001 to a find a nine-figure commitment, when Whitney Houston re-upped with Arista for a multi-album deal worth $100 million. Britney Spears recently renewed her deal with RCA for an undisclosed sum, sources tell Billboard. But when Timberlake, Swift and Usher head to the table, what can they expect?
“The trend is definitely toward shorter [term] deals on both sides,” says Donald Passman, an entertainment lawyer at Gang, Tyre, Ramer & Brown who negotiated Janet Jackson’s $80 million EMI contract in the 1990s and authored the book series All You Need to Know About the Music Business. “The industry is in distress and digital is not picking up the slack, so the big companies are worried about long-term commitments, and the artists tend to take longer between product. Unless you’re Taylor Swift, very few can command a top-of-the-market deal.” Sony Music chief creative officer Clive Davis concurs: “There will be a fair and hard negotiation to re-sign her,” he says.
Today, the high end of a recording contract is a $7 million-plus advance per album, but it’s rare that an artist secures that large a payout without giving up a piece of his or her ancillary income. Indeed, 360 deals are now the norm among newer acts — One Direction, Ed Sheeran and 5 Seconds of Summer all have revenue-sharing agreements with their labels on touring, merch and other back-end fees. So are such hefty upfront payments a thing of the past?
“Each case is different,” offers Kenny Meiselas, a senior partner at Grubman Shire & Meiselas, who represents Nicki Minaj and Lady Gaga. “When you have an artist at the peak of their career, I’ve never seen a record company not be open to renegotiating and treating their artist fairly.” Meiselas would know: He just renegotiated Mary J. Blige’s contract with Universal Music Group, moving her from Interscope to Capitol for her anticipated London Sessions album (see story, page 40) in what one source describes as a “very lucrative” deal. Says Meiselas with a smirk: “We figured it out.”
One thing certain about the new contracts is that “marquee artists will own their own masters,” says manager Jim Guerinot, who represented Nine Inch Nails for decades. “When Nine Inch Nails did their deal, they signed for a high royalty with a low advance and they own the master. Artists make most of their money on the road anyway.”
Indeed, adds Joel Katz, chairman of global entertainment and media practice for Greenberg Traurig, who reps Timberlake among other music clients: “Artists will not only want to reserve as many rights as they can, they will also want to retain ownership of their new albums.”
That’s if they choose to stick with a label, rather than taking the DIY route, as acts like Wilco and Prince have done with varying degrees of success. A major facing a defection can offer one more carrot, however: an imprint. Pharrell Williams has one (I Am Other with Columbia) as does Maroon 5′s Adam Levine (222 Records through Interscope). Such deals not only give acts signing power, but allow them to license new releases for “pressing and distribution” (or P&D) deals, which can net as much as an 80 percent to 85 percent profit split, compared with the more standard 50/50 share. However, Timberlake (with Tennman for Interscope) and Usher (with US Records for Sony’s J) have already tried that approach, with little to show for it. Still, labels may look to revive the concept come re-up time.
Resident shows may be an integral part of the Las Vegas experience, but Sin City has also become a popular stop for artist on U.S. tours. Vegas visitors have shown a strong propensity for taking a break from Cirque du Soleil and catching one of their favorite artists as they make a stop on The Strip.
This week’s Vegas concert slate is headed by none other than Justin Timberlake. Timberlake will be performing on Friday, November 28th at the MGM Grand Garden Arena. At an average price of $327.39, JT’s show is the most expensive of this week’s Vegas concert tickets. Despite Timberlake’s status as a modern pop icon, there is still the perfect hint of nostalgia in seeing him perform in Vegas. With ex-girlfriend Britney Spears in the middle of a two year residency at Planet Hollywood, it stands to reason that JT also perfectly captures that late 90’s preteen zeitgeist. That same demographic are now 20-somethings making the trip to Vegas. The get-in price for Timberlake’s show is currently $77.
With Justin Timberlake tickets leading the secondary market for Vegas concerts goes well to exemplify the purchasing power of millennials, many of the other concerts in Vegas this week are doing just fine when it comes to ticket demand, despite appealing to more mature demographics. The second most expensive concert in Vegas this week is Stevie Wonder’s show on Saturday, also at the MGM Grand Garden Arena. Tickets for this concert currently carry an average price tag of $206.82, with a get-in price of $56.
For the more rebellious Vegas visitor, Alice Cooper will be rocking the Pearl Concert Theater at Palms Casino Resort on Wednesday, while Chrissie Hynde of The Pretenders will be doing the same two nights later on Friday. Both shows have get-in prices of exactly $50 at the moment, but Chrissie Hynde outpaces Alice Cooper by 24.1% when it comes to overall averages. Currently, tickets for Chrissy Hynde’s show carry an average secondary market price of $161.37, compared to $130.05 for Alice Cooper.
If R&B and hip hop are more your speed as opposed to pop or rock, Boyz II Men will make an appearance at the Terry Fator Theatre in the Mirage Hotel and Casino on Saturday, November 29. Despite being one of only four artists to ever hold the #1 spot on the Billboard Hot 100 for more than 50 consecutive weeks (the others being Elvis Presley, The Beatles, and Mariah Carey), Boyz II Men is among the least expensive Vegas concert tickets this week, checking in at an average of $106.64. Interestingly enough however, this show actually has the most expensive get-in price of our featured concerts for the week, at $87.
Although average secondary market ticket prices are varying rather substantially, with get-in prices for all of the week’s hottest concerts ranging from $50-87, there is really something for everyone when it comes to Vegas concert tickets this week, regardless of musical taste.
Singer Justin Timberlake is offering his fans the chance to be his road manager for a day while raising money for a music charity.
JT announced the competition on Twitter and fans from all over the world immediately stating pledging funds to the ‘Musicians on Call’ charity which is an organisation that says it is “dedicated to sharing the healing power of music with hospital patients and their friends, family and caregivers”.
Fans were told that the more they donate the more chance they will get to join the former boy band singer in New York for the day during his concert in Brooklyn.
The maximum donation of £5,000 will get that lucky fan 1000 extra entries, a tour microphone signed by Justin along with the campaign hoodie, the t-shirt and a thank you e-card.
Even fans who can’t afford a donation are allowed to take part but they will only have one entry into the prize draw to get up close and personal with the successful singer.