Justin Timberlake’s ‘The 20/20 Experience’ leads the year-end Top Billboard 200 Albums chart, the first time a solo male artist has crowned the tally since 2005. That year, 50 Cent’s “The Massacre” (on Shady/Aftermath/Interscope Records) claimed the prize.
‘The 20/20 Experience’ (RCA) debuted at No. 1 on the weekly Billboard 200, selling 968,000 copies in its first week, according to Nielsen SoundScan. At press time, it remains the largest single sales week of the year for an album, and reigns as the year’s best-selling title. It spent three weeks at No. 1 and was followed by sequel ‘The 20/20 Experience (2 of 2),’ which debuted at No. 1 on the Oct. 19 chart.
‘The 20/20 Experience’ spent 18 non-consecutive weeks in the top 10 on the Billboard 200 chart (all during the chart year). The album spun-off the singles “Suit & Tie,” featuring Jay Z (a No. 3 hit on the Billboard Hot 100), “Mirrors” (No. 2) and “Pusher Love Girl” (No. 64).
Timberlake’s No. 1 placing follows two years where Adele’s ’21′ ruled the roost. The English singer’s XL/Columbia set marked the first release to go back to back as the year’s top album since 1983 and 1984, when Michael Jackson’s ‘Thriller’ (Epic) was No. 1. While she may not be No. 1, Adele is still present on the year-end tally. “21″ is, coincidentally, No. 21 on Top Billboard 200 Albums.
As for Timberlake, this is his first turn at No. 1 on the year-end Top Billboard 200 Albums as a solo artist. As a member of ‘N Sync, he was No. 1 in 2000 with “No Strings Attached” (Jive).
At No. 2 on the year-end Top Billboard 200 Albums is Taylor Swift’s 2012 release ‘Red’ (Big Machine/BMLG), followed by One Direction’s ‘Take Me Home’ (No. 3, Syco/Columbia), Mars’ ‘Unorthodox Jukebox’ and Mumford & Sons’ ‘Babel’ (No. 5, Gentleman of the Road/Glassnote).
Billboard’s year-end Billboard 200 is based on chart performance during the chart year that began with last year’s Dec. 1 chart and ended with the Nov. 30, 2013, tally.
The Comfy Cow has created two new flavors in honor of Justin Timberlake’s December 15th concert at the KFC Yum! Center: Breakfast on Beale St. and Sweet Southern Morning. The Comfy Cow is giving you the chance to win tickets to the concert by visiting one of their three area locations, voting on which is your favorite flavor, and showing up at their Just in Time Celebration on Saturday from 3-5pm at their Frankfort Avenue location to see if your name is called! See more details about the drawing here.
The two flavors, however, look well worth visiting The Comfy Cow to try (as if you needed a reason.) The Comfy Cow’s website elaborates:
Breakfast on Beale Street has chunks of bacon, layers of cinnamon maple French toast cake bites, and fresh blueberry compote with maple syrup and a hint of nutmeg. Inspired by Memphis’s jazzy Beale Street (Justin Timberlake is from Memphis) the ice cream tastes like “French toast topped with blueberries and a side of bacon.”
Sweet Southern Nights actually has some of JT’s own Tequila 901, in it, along with blackberry lime buttermilk biscuit chunks, and blackberries cooked with lime zest and tequila.
Whichever flavor wins will be featured at The Comfy Cow for a month (at least!) so go vote for your favorite and register for a chance to win those tickets!
Justin Timberlake’s song from “Inside Llewyn Davis,” Taylor Swift’s track from “One Chance” and Coldplay’s closing credits tune from “Hunger Games: Catching Fire” received nominations for the 71st annual Golden Globes on Thursday.
Timberlake’s “Please Mr. Kennedy,” Swift’s “Sweeter Than Fiction” and Coldplay’s “Atlas” will go up against U2′s “Ordinary Love” from “Mandela: Long Walk to Freedom” and the Idina Menzel showcase “Let It Go” from the animated Disney film “Frozen.”
One pop music figure, Alex Ebert of Edward Sharpe and the Magnetic Zeroes, received a nomination in the score category. His work for “All is Lost” goes up against newcomer Steven Price’s “Gravity”, John Williams’ “The Book Thief,” Hans Zimmer’s “12 Years a Slave” and Alex Heffes’ “Mandela: Long Walk to Freedom.”
Best actor in a mini-series or TV movie was three-fifths music-related: Michael Douglas, who portrays Liberace, and Matt Damon were nominated for “Behind the Candelabra” and Al Pacino is up for his leading role in “Phil Spector.” Both films aired on HBO.
Among the other nominations for music-related work in film and TV were a best actor in a comedy or music nom for Oscar Isaac who portrays the folksinger Llewyn Davis in the Coen brothers’ “Inside Llewyn Davis”; Hayden Panettiere is up for supporting actress in a series, mini-series or TV movie for her role in ABC’s “Nashville”; “Behind the Candelabra” is up for best movie or TV mini-series and “Inside Llewyn Davis” is nominated for best motion picture, musical or comedy. Jared Leto, who has focused on his alt-rock band Thirty Seconds to Mars in recent years, is up for supporting actor in a motion picture, for “Dallas Buyers Club.”
The Golden Globes are determined by the Hollywood Foreign Press Association, a group of journalists who write for publications outside the U.S. Awards will be handed out Jan. 12.
Best Original Song — Motion Picture
- “Atlas”, The Hunger Games: Catching Fire
Music by: Chris Martin, Guy Berryman, Jonny Buckland, Will Champion // Lyrics by: Chris Martin, Guy Berryman, Jonny Buckland, Will Champion
- “Let It Go”, Frozen
Music by: Kristen Anderson Lopez, Robert Lopez // Lyrics by: Kristen Anderson Lopez, Robert Lopez
- “Ordinary Love”, Mandela: Long Walk To Freedom
Music by: Bono, The Edge, Adam Clayton, Larry Mullen, Jr., Brian Burton // Lyrics by: Bono
- “Please Mr Kennedy”, Inside Llewyn Davis
Music by: Ed Rush, George Cromarty, T Bone Burnett, Justin Timberlake, Joel Coen, Ethan Coen // Lyrics by: Ed Rush, George Cromarty, T Bone Burnett, Justin Timberlake, Joel Coen, Ethan Coen
- “Sweeter Than Fiction”, One Chance
Music by: Taylor Swift, Jack Antonoff // Lyrics by: Taylor Swift, Jack Antonoff
Best Original Song — Motion Picture
- Alex Ebert, All Is Lost
- Alex Heffes, Mandela: Long Walk To Freedom
- Steven Price, Gravity
- John Williams, The Book Thief
- Hans Zimmer, 12 Years A Slave
Inside Llewyn Davis — Three Nominations
- Best Motion Picture – Comedy or Musical
- Oscar Isaac, Best Performance by an Actor in a Motion Picture – Comedy or Musical
- “Please Mr. Kennedy,” Best Original Song – Motion Picture
Behind the Candelabra — Four Nominations
- Best Mini-Series or Motion Picture Made for Television
- Matt Damon, Best Performance By an Actor in a Mini-Series or Motion Picture Made for Television
- Michael Douglas, Best Performance By an Actor in a Mini-Series or Motion Picture Made for Television
- Rob Lowe, Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Phil Spector — Two Nominations
- Helen Mirren, Best Performance By an Actress in a Mini-Series or Motion Picture Made for Television
- Al Pacino, Best Performance By an Actor in a Mini-Series or Motion Picture Made for Television
Justin attended the Pacers VS Heat game, Miami won!!!!!!!!!!!!!!!!!!
(sorry spent too much time with the bf got into basketball a bit)
check out pictures below from Justin courtside and backstage during the game. as well as chillin with the mascot!
After the Indiana Pacers came back in the second half to defeat the visiting Miami Heat on Tuesday night, you’d think they’d want to rest and recover from a game that came close to matching the hype and verve of a playoff contest. Instead, Paul George decided to play Justin Timberlake in a game of H-O-R-S-E while gingerly moving around the court in sandals.
First tweeted out by Pacers.com scribe Scott Agness, George and Timberlake are playing in front of a deserted Bankers Life Fieldhouse, but you can see Frank Vogel in far corner of the court watching.
hopefullly Justin will be adding a few more trophies to his collection in February when the Grammys are live from LA. Justin is up for 7 grammy awards this year, four in which he shares with fellow collaborater and lead of the nominations Jay Z.
- Best Pop Vocal Album (The 20/20 Experience)
- Best Pop Solo Performance (Mirrors)
- Best R&B Song (Pusher Love Girl)
- Best Pop Duo/Group Performance (Suit & Tie)
- Best Rap/ Sung Collaboration (Holy Grail)
- Best Rap Song (Holy Grail) and Best Music Video (Suit & Tie).
what, no record of the year? what the hell
“It’s fun to use my singing voice as part of a character,” says pop superstar Justin Timberlake, describing how he toned down his vibrato and adjusted his guitar-strumming to portray clean-cut, early ’60s folk singer Jim Berkey in the Coen brothers’ “Inside Llewyn Davis.” One of the most delightful scenes in the movie, which opened Friday, involves a spirited recording session for a goofy novelty song called “Please Mr. Kennedy” — a plea to not be drafted into the space race.
Jim sets the pace, instructing his musician buddy Llewyn (Oscar Isaac) on where to jump in and how many “puh-puh” P sounds to insert before the word “please.” They then launch into a driving, deadpan version of the nonsensical song while their pal Al Cody (Adam Driver) blurts out “Uh-oh!” and other doo-wop exclamations for a comic top note.
Llewyn, described by the movie’s executive music producer, T Bone Burnett, as “a moody existentialist” folk singer struggling to get by in the ’60s music scene, finds the song appalling, but Jim can’t see a problem with it. “If people want a campy song, Jim’s happy to write it,” says Timberlake. “He kind of represents where the world was going. The beatniks of that time looked at music like, ‘This isn’t a career, man, this is art.’ But if you look at the music business now — you’re not anything until you’ve made an actual career out of being a musician.”
If Timberlake was ever concerned about his own bona fides, he may have overcompensated. The night before he sat down to chat, he’d been anointed both favorite male soul/R&B artist and favorite male pop/rock artist at the American Music Awards. While others in the “Inside Llewyn Davis” cast were promoting the movie with intimate musical performances in New York and L.A., Timberlake was kicking off a world tour around the recent pair of albums he dubbed “The 20/20 Experience”: He played for a capacity crowd of 18,000 at the Staples Center in November and heads to the Forum on Jan. 20.
With a raft of film roles now to his credits, until Joel Coen called he’d never gotten to play a musician. “I think I said yes before he finished the sentence,” says Timberlake. “I knew I wanted to mix music and movie-making. To get to do it with the Coen brothers is kind of unbelievable.”
Burnett, who’s worked on some of the choicest music-driven movies ever, including the Coens’ “O Brother, Where Art Thou?,” doesn’t hesitate to give Timberlake his due. “Justin is a bad man,” he asserts, indulging in musician-speak. “He’s a real artist. He’ll get after it. He lays down the law. He’s not an empty-headed pop singer. He’s got a lot going on.”
In “Llewyn Davis,” Timberlake sings lead in a three-part harmony performance of Hedy West’s “500 Miles,” one of the more lyrical and beloved songs of the period. But it’s “Please Mr. Kennedy” that’s getting the most attention this awards season; the song has been submitted for Golden Globe consideration (it’s ineligible for the Academy Awards since it was adapted from existing material).
Timberlake remembers the collaboration (he’s among the credited writers). “Bone and I messed around with some chords and strumming patterns that felt more like the Coasters, with kind of a sunny, stoney groove,” he says, bobbing his head. “We played it for Joel and Ethan by speakerphone.” The original “Please Mr. Kennedy” (a slower, doo-wop Motown tune recorded by Mickey Woods) was a plea to avoid the Vietnam draft.
“We all thought, let’s make it funny; let’s make it about space exploration instead. Joel and Ethan came up with a lot of the jokes and refined it. When we recorded it, certain things just happened in the moment, and in the editing they went for what was funniest” — including such lines as “I’m 6-foot-2, so perhaps you’ll / tell me I’m too big for the capsule.”
The shooting schedule for “Inside Llewyn Davis” required all the songs to be recorded upfront, in a weeklong Manhattan studio session that Timberlake says became a creative bonus. “You’d get in there and play the song the way you thought your character would do it, and that’s how you found the details. There’s a real specificity to the way you play and sing in character.”