It’s déjà vu all over again. Just a few months after they vied for the top prizes at the 2013 MTV Video Music Awards, Justin Timberlake and Macklemore & Ryan Lewis will do battle again on November 10 at the 2013 MTV EMA Awards.
Both acts scored five nominations a piece, including nods for Best New Artist, Best Hip-Hop, Best Song and Best U.S. act for Seattle’s Mack & Lewis and Best Male Artist, Best Live, Best U.S. Act, Best Video and Best Look for Timberlake.
They’ll have some other familiar competition on the show, which will air from Amsterdam’s Ziggo dome. Lady Gaga, Miley Cyrus, Robin Thicke and Justin Bieber are nominated in four categories, with Gaga and Cyrus going head-to-head in the Best Female category and battling Thicke (as well as Timberlake and Thirty Seconds to Mars) for Best Video.
Gaga is also up for Best Look and Biggest Fans, while Thicke is up for Best Song for “Blurred Lines” and the World Stage Award for a Malaysian appearance earlier this month. Bieber got noms for Best Pop, Best Male and Best Canadian Act.
Others who got some love include One Direction, Daft Punk, Bruno Mars, Green Day, Thirty Seconds to Mars, Icona Pop and Taylor swift, who all got three nominations. Rihanna, Eminem, Katy Perry, Jay Z, Imagine Dragons, Paramore and Drake all got two notices.
The Best Song fight is one of the tightest, featuring Daft Punk (“Get Lucky”), Macklemore (“Thrift Shop”), Mars (“Locked Out of Heaven”), Rihanna (“Diamonds”) and Thicke (“Lines”).
The nominations were announced by actor Will Ferrell in the guise of fake newsman Ron Burgundy as a promotion for the upcoming “Anchorman” sequel.
You can vote for Justin here!
Residents of the Los Angeles area are in for a treat for next week. It’s tough enough to get tickets for Paul McCartney and Justin Timberlake these days, but fans will be able to see them perform for free for consecutive nights on Hollywood Boulevard, albeit within predictably massive crowds.
Sir Paul will appear on “Jimmy Kimmel Live” on Sept. 23 and conduct an interview, followed by a live performance for all to see. The following day, Timberlake will appear for an interview with Kimmell, followed by another live performance.
To accommodate the masses on hand, a quarter mile of Hollywood Boulevard will be shut down. For those not in attendance, both concerts will be available for online streaming afterwards via Jimmy Kimmel Live Stream. McCartney’s will go up the next day, while Timberlake’s will appear on Sept. 30, the day his new album, the second installment of “The 20/20 Experience,” is released in America. JT is also going on “Kimmel” to discuss his role in the upcoming crime thriller film “Runner Runner.”
McCartney is appearing to promote new material as well. On Oct. 15, Concord will release his new LP “New,” his first collection of new solo material since 2007′s “Memory Almost Full.”
Rio de Janeiro, Brazil – Justin Timberlake gets ready to catch a flight out of Rio after spending the weekend promoting his new film, “Runner Runner” and performing in concert at Rock in Rio. Justin made his way through the airport with a bodyguard and was dressed casual in a graphic T-shirt with khaki pants and a black fedora.
LOS ANGELES, Calif. — Justin Timberlake attends the GQ Men of the Year awards at The Royal Opera House on September 3, 2013 in LondonCaptionJustin Timberlake says his upcoming album, “The 20/20 Experience, 2 of 2,” is like a sexy sibling to “20/20” part 1, which dropped in March.
“[Part 2 is the] hotter, older evil twin sister,” the singer told the New York Times Magazine.
The 32-year-old superstar, who recently brought down the house at the MTV VMAs (where he won the Video Vanguard award), compared his first album to the legendary Marilyn Monroe.
“If you could imagine you’re 16 and she’s everything you thought. She’s Marilyn Monroe and then you meet her older sister,” he said, further comparing his two-part “20/20 Experience.” “Everything that’s dark and wrong about her at that age is why you become infatuated with her.”
The singer also discussed his love of performing, whether it be in music or on film (he’s in two movies this year – “Runner, Runner” and “Inside Llweyn Davis”).
“I try to talk to people about how much acting goes into music,” he told the mag. “How much of a character goes into what you put on stage. You ever sit down with Jay [Z]? He’s not the guy he is on stage. I’m not the guy I am on stage. I am a performer. It’s an elevated idea.”
“The 20/20 Experience, 2 of 2” is due for release on September 30.
Meet Jessica “Biel” Timberlake. You may know her as the teenage girl who starred as Mary Camden-Rivera on “7th Heaven” or maybe you’re more familiar with that person who married Justin Timberlake.
After 11 months of marriage, Life & Style reported the official change: “‘The paperwork is done and she’s now legally Jessica Timberlake.” According to the tabloid, Jessica is keeping the Biel “professionally,” but does that really make a difference?
At its core, the issue with name change is an issue of identity. There is significant power in names — they are the way that we think about and package the world around us. Names have a huge significance in our sense of self, both individually and in relation to society. They play a major role in our ideation in that they guide and direct the way we form thoughts. Consequently, a re-naming comes with re-identification. There is a distinct alteration to the the way we conceptualize ourselves that is inseparable from name change, and when that process includes dropping your own name in favor of another’s, the re-labeling has effects far beyond tax forms addressed to Mr. & Mrs. Something-or-other.
That’s what is so specifically frustrating about Jessica Biel’s choice. As someone with such a longterm famous identity, “Jessica Biel” does not simply apply to her concept of self, but our concept of her public figure. In other words, her name functions as a societal signifier at a much more macro level than a non-famous person relating to others rather than the public at large. Of course, Jessica is not getting a new household name, but changing the name “personally” is almost more significant — especially given the fact that her husband is also famous, and much more so than Ms. Biel has ever been. In taking Justin’s last name, Jessica is subverting her own identity, and becoming a part of Justin Timberlake, in a way that Justin Timberlake is not becoming a part of Jessica Biel.
The marital name-change debate is ultimately based in feminist argument: in changing your name as a result of heterosexual marriage, women relinquish a very basic marker of their identity, which is problematic insofar as it symbolizes a succumbing to patriarchal standards. However, as Jill Filipovic points out, the discourse of name-change is much more complex than the simple right to choose to change one’s name. Women who keep their names aren’t necessarily feminists, just as those that change their names aren’t necessarily not feminists. Ultimately, the most important aspect of the debate is the concept of identity and the way that can be co-opted by one’s partner in heterosexual marriage.
In recent years, more women have stuck with their maiden name, but the fact of the matter remains that over 50 percent of Americans think women should be legally obligated to change their name when they get married, and over 90 percent of women do. There are pressures to change one’s name and pressures to not change it (from those in feminist communities), and the existence of choice in the face of either version of coercion is often an illusion.
In becoming Jessica Timberlake, however, the former Jessica Biel is making a distinct and visible choice to subsume her very public identity to another very public identity. There is no private decision-making in this also very public choice, because the realm of “professional” and “private” are blurred as an automatic facet of celebrity culture. Both Timberlake and Biel are automatically attached to well-known personas, and there is an uncomfortable lack of self-awareness in Biel’s choice to succumb to the Timberlake identity.
The most problematic aspect of the marital name change is the consequent shift in a woman’s sense of self and her ability to understand herself as an individual with the agency to make decisions. The most poignant aspect of this intensely nuanced debate is the conceptual effect of labeling your identity as dependent on someone else’s. Re-labeling can appear to be a small change, but it is one that comes with much more macro implications than the letters on a page. Eerily enough, Biel’s comments about married life echo that fact. “It’s weird because it feels like almost nothing has changed,” she’s said, “but yet something that you really can’t describe — or something that isn’t really tangible — has changed.”
It’s like she’s a mirror.