the 20/20 experience
Justin Timberlake to fans: I’m ‘speechless’ over impressive first week album sales for ‘20/20 Experience’
Justin Timberlake tweeted a special message to his fans Wednesday for their support of ‘The 20/20 Experience.’ ‘Numbers go up, numbers go down. I just hope this album makes your summer. You already made mine #bestfansever.’
Justin Timberlake is doing a celebratory song and dance about his album sales.
“The 20/20 Experience” hit nearly one million in its first week and Timberlake is so extremely proud that it’s left him searching for the right words to express it.
“Whoa … Speechless. Shocked,” he tweeted Wednesday.
The album, Timberlake’s first in six years, sold 968,000 units making it his best solo debut ever and he gives all the credit to his fans.
“Numbers go up, numbers go down. I just hope this album makes your summer,” he continued. “You already made mine #bestfansever.”
Not only did the project top Timberlake’s musical efforts but it’s succeeded any other album’s opening week this year including Grammy-winning Mumford and Sons.
Timberlake’s hosting stint on Saturday Night Live and weeklong residency on “Late Night with Jimmy Fallon” in early March could have definitely helped in generating mass appeal for “Experience.” Not to mention releasing his hit songs “Suit & Tie” with Jay-Z and “Mirrors.”
This record not only debuted at No. 1 on the Billboard charts but it beat his last album’s sales by a long shot. In 2006, JT brought sexy back with “FutureSex/LoveSounds,” which sold 684,000 in comparison to his current body of work coming in just shy of a million.
To keep the interest going and growing and in an effort to show gratitude to his fans, the singer hinted at a special surprise coming soon.
“I’m gonna find a way to show my appreciation to you ladies and gents this week … Stay tuned. #finderskeepers,” he added.
E! Online speculated that it could be a good old game of scavenger hunt for tickets to his highly anticipated “Legends of Summer” tour with Hov.
Just want to say how excited I am as a fan, so I know damn well his team and friends are probably glowing right now!
Congrats on the success of the 20/20 experience Justin. This cd is amazing, and it shouldd be heard by all. I hoped it would be a hit, but I can not believe just how big!
In case you had any doubt, Billboard has made it official: Justin Timberlake’s The 20/20 Experience will debut at #1 when the albums chart is released Wednesday.
That part was inevitable. The real question was whether the singer, who has kept fans waiting since 2006 for a new album, would be able to sell 1 million records in the first week. This has become a nearly impossible feat in the digital download age, but Taylor Swift accomplished it in October, moving 1.2 million units of her album Red, giving Swift the highest first-week album sales in a decade. Surely Justin Timberlake could dethrone her?
Well, according to Nielsen SoundScan, it was not meant to be. The 20/20 Experience moved 968,000 copies. Though it’s not a milli, the figure is still impressive: Billboard said it is the 19th-largest week for an album since SoundScan started tracking data in 1991.
Proving that JT has been on top for a while, the champs for the all-time best-selling week are from Timberlake’s past life, when a little group called ‘NSYNC dropped an album titled No Strings Attached. Back on April 8, 2000, that album sold 2.42 million copies and easily reached #1 on the Billboard 200. (‘NSYNC, by the way, released their debut album 15 years ago.)
Justin will get another chance to dominate the charts when Volume 2 of The 20/20 Experience is released. But as ubiquitous as the singer was leading up to the first volume, what else is left for him to do?
Keith Caulfield, associate director of charts/retail for Billboard magazine, told MTV News earlier this week that Justin had made all the right moves. “He’s not really doing anything wrong and, in fact, has done everything right,” Caulfield said of the media blitz around the album. “He’s been very careful in the kind of promotion he’s done for the album, and it’s paid off.”
Just last week, Timberlake released the video for “Mirrors,” the second clip from the album, an emotional piece different enough from “Suit & Tie” to get even more people onboard The 20/20 Experience.
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.
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’s new “The 20/20 Experience” album is selling at an extraordinary rate in the U.S. Industry sources are forecasting that the pop super star’s set could sell as many as 750,000 copies by the end of the tracking week on Sunday, March 24. That number could even grow larger — with 800,000 seemingly within range — as the week progresses.
“20/20,” released yesterday, March 19, is Timberlake’s first album since 2006′s “FutureSex/LoveSounds.” With “20/20″ on course for a 750,000 start, it will easily notch Timberlake’s best sales week ever, bypassing “FutureSex’s” debut of 684,000 (according to Nielsen SoundScan).
On March 11, before “20/20″ had even come out, sources initially estimated that the RCA Records album was on track to move at least 500,000 in its debut week. As we reported then, that forecast was likely to grown larger once the album reached retailers. Suffice it to say: It did.
iTunes is reportedly leading the way in terms of sales of “20/20,” with Target blowing through its stock as well. The latter was the only retailer with an exclusive version of the album. Target’s deluxe CD edition includes two bonus songs unavailable anywhere else: “Dress On” and “Body Count.”
If “20/20″ moves 750,000 or more, it will mark the largest sales week for an album by a male artist since 2010, when Lil Wayne’s “Tha Carter IV” shifted 964,000 when it debuted at No. 1 on the Billboard 200 dated Sept. 17. The last album, overall, to sell more than 750,000 was Taylor Swift’s “Red,” which blew in at No. 1 with 1.2 million on the Nov. 10, 2012 list.
so my sister totally just made me realize something, this is the first time Justin is releasing an album and I’m not sleeping on the streets of NYC for something JT related.
2002 justified – Justin performed on MTV’s iconic video countdown show TRL infront of a shutdown timesquare.
2006 future sex love sounds – not only did Justin make his rounds on TRL that day as well, but he also did an autograph signing to the first i think it was 500 fans who braved it out in the street by virgin mega store. (I waited like 2 days, fucked up my sleeping for months lol)
and now in 2013 we have the 20/20 experience!
go buy it on itunes!
The singer confirmed that the second half of “The 20/20 Experience” is coming during his album release party at Los Angeles’ El Rey Theatre on Monday night. Timberlake did not go so far as to confirm a release date.
The Roots drummer and “Late Night With Jimmy Fallon” bandleader Questlove revealed on his news website, Okayplayer, earlier that day that Timberlake was releasing another 10-song album in November to complete the full 20/20 experience: “spoiler alert. 20/20 Vol 2 comes out in nov. (10 songs now…..10 songs later= 20 vision).”
Timberlake was back in L.A. following his fifth time hosting “Saturday Night Live” on March 9 and a weeklong stint on “Late Night,” where he sampled four new tracks, including “Mirrors,” “Let the Groove Get in” and “Pusher Love Girl,” and performed a medley of his biggest hits. This past Saturday, he took the stage at a Myspace “secret” show at South by Southwest.
Billboard projects that Timberlake’s third solo effort, “The 20/20 Experience,” will sell more than half a million copies in its first week, though the number could grow. The album was made available for iTunes streaming on March 11.