Any new images added to the gallery, will be autoatically added here first!
Catch Justin in this Fall's "Runner Runner" and "Inside Llewyn Davis"
OK, this is getting ridiculous.
The only notable suits at Justin Timberlake’s house today were of the law-enforcement variety. Police confirmed Friday to E! News that they received a bogus emergency call about shots being fired at a Los Angeles address (that we know to be Timberlake’s), and officers later classified the scene as a radio Code 4, meaning no further assistance was needed.
Then, a couple of hours later, cops were called to Selena Gomez’s home, only to find—you guessed it—no emergency.
As for the Spring Breakers star, the LAPD confirmed to E! that they received a call about shots fired at around 5 p.m. and there was no crime.
That makes four so-called swatting pranks this week, with Sean “Diddy” Combs’ house getting hit Wednesday and Rihanna’s yesterday.
As has been the case with all the others, neither Timberlake nor his missus, Jessica Biel, appeared to be around when the cops showed up, but Gomez was home when the cavalry came.
Police tell us they talked to her and she was fine.
A 12-year-old boy recently admitted to making a false report of an emergency situation at Ashton Kutcher’s house and is waiting to be punished in juvenile court for computer intrusion and making a false bomb threat. In exchange, charges will be dismissed regarding his involvement in a similar prank at Justin Bieber’s house and an L.A.-area bank.
TMZ has reported that there’s a link between the latest round of swatting action and hackers who have been pulling financial records and other personal information from celebrities and politicians and posting the ill-gotten info online.
Police tell us the string of incidents remain under investigation.
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.’”