Miley Cyrus Reveals New Album Is Named Bangerz, Alleged Track With Britney Spears Leaks

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Attention, Smilers!

Miley Cyrus has just reached 13 million followers on Twitter and if you’re a die-hard fan, then you know what that means…

She announced that the title of her forthcoming album will be called Bangerz after hitting the massive milestone on her favorite social media site

And of course, the title didn’t come without a proper(ly vague) explanation by the blond singer.

“If you don’t know why my record is called BANGERZ you’ll know as soon as you hear it. Nothin but #BANGERZ” she wrote.

Shortly after the big reveal a snippet of an alleged leaked track featuring Miley and Britney Spears hit the Internet. The track title? Why, “Bangerz,” of course.

PHOTOS: Miley’s best twitpics

It wouldn’t be entirely shocking if the pop princess was featured on the former Hannah Montana’s album.

The onetime Disney darlings actually do have a lot in common.

In fact, Miley couldn’t help but gush about the singer in an interview with Huffington Post U.K., saying that the two have bonded about their career parallels.

“Everyone goes through a time in their life where they don’t want their picture taken every day,” the “We Can’t Stop” singer said.

WATCH: Check out Miley’s sexy promo for the MTV VMAs!

Miley Cyrus, Notion Magazine Damien Fry/Notion

“She just never had that time where she could say, ‘I’m going through something right now and need to shut down.’ I also don’t have that, so it’s good to have that one person in my life who gets it.”

Miley also explained how the two have more than just their music to bond over, adding, “I just think it’s never blaming you or making you feel like, ‘You’ve got all this going for you,’ it’s like she knows. Sometimes life just steps in the middle of your career the way life always does for anyone—it’s just ours is a little more 24/7.”

So the big question is, are you ready for Miley’s new album and a collaboration with BritBrit?!

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Jay Z, Justin Timberlake bring chemistry, hit formula to sold-out Ford Field

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Providing the yin to the other’s yang, Jay Z and Justin Timberlake dropped a potent one-two punch onto Ford Field Tuesday night.

With Timberlake laying down smooth dance moves alongside Jay Z’s seasoned laid-back swagger, the superstar duo lived up to one of the summer’s premier concert billings for a roaring, engaged audience of more than 40,000.

In a show that was intricately orchestrated but still loose enough to give the whole thing a freewheeling mood, the nearly 2½-hour set was a marathon party, a rat-a-tat-tat of hits and high energy.

Detroit was one of just a dozen cities to luck out on one the duo’s Legends of the Summer tour stops, and the football stadium was bristling with buzz well before the two appeared onstage at about 9:20 p.m. The last time we’d seen each of these guys in a stadium-sized setting here, it was across the street at Comerica Park: Timberlake in 2001 with ’N Sync, and Jay Z in 2010 when he co-headlined with Eminem.

Related: Jay Z, Justin Timberlake rock Ford Field, fans buzz on social media

They opened Tuesday with their new collaboration “Holy Grail,” appearing astride risers at opposite ends of the mammoth, lavish stage before making their way to the middle for the first of many side-by-side musical moments.

From there it was on through a rapid-fire selection of tunes to rev up the party: Timberlake’s “Rock Your Body,” a sprightly “I Want You Back” in its natural pairing with Jay Z’s “Izzo (H.O.V.A.),” Timberlake’s “Senorita,” Jay’s “On to the Next One.”

It was all gloriously bombastic, the kind of night when having two drummers (and a percussionist), three keyboardists and a pair of video screens big enough to beam images to Canada all made perfect sense. And anyway, it wasn’t all just for show: The 14-piece band — complete with a feisty horn section and topped with four stylish backup singers — was tight, dense and nimble enough to serve both performers well.

Sure, this tour is a gimmick of sorts, teaming up two of the era’s biggest stars — and periodic studio collaborators — for a high-powered festival of hip-hop, R&B and pop. But Tuesday night, it was a gimmick that really worked: Jay Z and JT looked liked they’d been doing this together for years, sporting an affable chemistry as they played to one another and handed off the mic between comings and goings.

They’d arrived at Ford Field in dichotomous career spots: Jay Z the veteran rap kingpin on cruise control, Timberlake the comeback kid who seems to have remembered that he really digs this whole music thing. The latter was the harder working performer of the night, jumping from keyboard to piano to acoustic guitar when he wasn’t serving up his Michael Jackson-inspired maneuvers up front (and calling out to Detroit “Rock City” all night).

That certainly doesn’t mean Jay Z was second fiddle, and it was his litany of hits (“99 Problems,” “Hard Knock Life,” the stacatto-rapped “Jigga What, Jigga Who” and “Big Pimpin’”) that consistently drove the show. It’s old news at this point that the 43-year-old emcee has singlehandedly elevated the standards for live hip-hop in a big-stage production. But it’s still impressive to see it in action, and he prowled the Ford Field stage Tuesday night a larger-than-life showman, fully occupying his moment.

The set never dwelled too long in one musical place. The night’s most straightforward stretch came with Timberlake’s relatively lengthy midshow run of lush-grooved pop (“Summer Love,” “What Goes Around … Comes Around”), with “Cry Me a River” intensifying into a twin-guitar climax.

The only real awkward moment came with Timberlake’s rickety cover of “New York New York,” buttressing Jay’s “Empire State of Mind.” It was a lone clunker in a potent homestretch as the show began to hit its climatic run.

By the time they got to the encore, clad in tux jackets and hoisting glasses of champagne as they ran through a solid “Suit & Tie” and even better “Young Forever,” it was clear they’d accomplished something worth toasting themselves for. And don’t be suprised if 2013 isn’t the last time you see them doing it.

 

Linkin Park, Wale, Asher Roth Take to the Street for 2013 Sunset Strip Music Festival

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Asher Roth

Long-haired rapper Asher Roth performed an afternoon set at Sunset Strip Music Festival during which he exalted the loves of his life: weed and partying. Fans grooved along and went wild for his famed song, “I Love College,” off his 2009 debut album Asleep in the Bread Aisle. 

Finch

Temecula, Calif.-based hardcore band Finch recently celebrated the 10th anniversary of their breakout debut album, What It Is to Burn.

Crowd

Some 15,000 music fans turned out for this year’s Sunset Strip Music Festival hosted on LA’s historic boulevard. In the 1930s and 1940s, the strip was the playground of the uber rich, but became a musical haven in the 1960s when famous venues such as the Whiskey A Go Go, the Roxy and Pandora’s Box was the backdrop to bands like Led Zeppelin, The Doors, Quiet Riot, and Guns ‘n’ Roses.

Early Times Whiskey Promotional Performers

The street festival portion of SSMF features performance artists of every shape and size. Among them: this troupe of fire eaters and stilt walkers.

Saturday on Sunset

The three-day music marathon climaxes with Saturday performances on Sunset Boulevard. Among the highlights: Linkin Park, Wale, Awolnation, Black Rebel Motorcycle Club and Logic.

Doug E. Fresh

Rapper Doug E. Fresh gave the SSMF crowd a lesson in “Hip-Hop 101.” Partnered with DJ Kaos, the two threw down one of the most energetic sets of the festival. Decked out in gold chains and bracelets, his set list covered classic old school jams like “Bedtime Story” and “Let Me Clear My Throat,” and even went south for a singalong of “Sweet Home Alabama.”

Guitar Art

An artist takes paint to an oversized guitar, one of several art pieces that highlight the Strip throughout the year.

AWOL Nation

With front man Aaron Bruno channeling late Kurt Cobain, AWOLNATION led a nearly flawless performance that opened with “Guilty Filthy Soul” and also included fan favorites like “Kill Your Heroes,” “Soul Wars” and their hit “Sail.”

Wale

Rapper Wale pulled out all the stops for his SSMF 2013 set, bringing along friends Chris Brown and rapper YG for cameos.

Linkin Park

Linkin Park headlined SSMF 2013 with an explosive extended set list that contained hits old and new. Standouts included “Papercuts,” “With You” and “In the End”   from their 2000 debut album Hybrid Theory, along with “Bleed It Out,” “Numb” and “What I’ve Done.” The band closed out their set with “One Step Closer to You

Linkin Park

Chester Bennington, lead singer of Linkin Park (who’s also filling in for Stone Temple Pilots), said early on in his band’s set, “Back when we were writing Hybrid Theory, we had this crazy dream like, ‘Wouldn’t it be f—ing cool if they shut down Sunset and we played?'”

Black Rebel Motorcycle Club

Rock band Black Rebel Motorcycle Club released its seventh album, Specter at the Feast, in March 2013. It includes a cover of The Call’s 1989 hit “Let The Day Begin.”Image

Black Rebel Motorcycle Club

Rock band Black Rebel Motorcycle Club released its seventh album, Specter at the Feast, in March 2013. It includes a cover of The Call’s 1989 hit “Let The Day Begin.”Image

SSMF: Five Years Strong

The Sunset Strip Music Festival made its debut in 2008 with the aim of celebrating the historic boulevard. Each year, the festival has honored an artist with a connection to the L.A. music scene. This year, Joan Jett was feted, both as lead singer of Joan Jett & the Blackhearts and co-founder of The Runaways.

 

Justin Bieber’s The Key Fragrance Commercial Teases ‘Heartbreaker’ Single

Good news, Beliebers — Justin Bieber’s new single is almost here. The 19-year-old pop star has been teasing his next song, “Heartbreaker,” for more than a month, finally giving fans a first listen this week in the form of a commercial.

Bieber first announced that his next single would be called “Heartbreaker” in early June, posting the cover artwork for the track on his Instagram account. The next week, the Biebs teased his fans by claiming the song was available if they could find it, writing, “‘Heartbreaker’ is on the Internet somewhere find it.”

Bieber has been teasing the song on a weekly basis ever since, telling fans it will be out “soon” and “it’s gonna happen suddenly.”

The first snippet of the single was made available with Bieber’s new commercial for his fragrance The Key. The ad spot, shown above, features very little of Bieber, focusing on a woman in bed in a swanky hotel room. Bieber makes a quick appearance as he looks over his shoulder in the hallway of the hotel.

“The Key means a lot to me as a powerful symbol to believe, and this new fragrance is my message to my fans to always believe in their dreams,” Bieber said of the fragrance in an interview with People.Bieber is hard at work on his fourth studio album. Expected to be introduced with “Heartbreaker” as the lead single, the album is being hyped as the teen’s “music journals.” “I’ll just tell you that we’re gonna release music it in a very, very different way with him,” Bieber’s manager Scooter Braun told MTV News. “People and fans should be very excited for the end of this year because he’s just written so many songs on the road.”

What two epic albums say about Kanye West and Jay-Z

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At 12:01 a.m. EST. on July 4, hip-hop fans and music insiders around the world were agog. Magna Carta Holy Grail, the new opus from rap titan Jay-Z, was moments away from becoming an instantaneous bestseller. The emcee had presold a million virtual copies to Samsung for a cool US$5 million; users of Samsung’s Galaxy smartphones who downloaded an Android app would get the album, free of charge, five days before the release date. Commentators puzzled over this brave, branded world. How could Jay-Z guarantee chart success if his album was being given away for free? Was this the future of music releases? By 12:02 a.m., the app had crashed. By 3 a.m., Magna Carta Holy Grail was out there, its beats and lyrics breathlessly parsed by Twitter users. For all the sturm und drang, MCHG made its way into eardrums in the same manner as most other buzzy albums: illegally, on the Internet.

Losing control of your product is an occupational hazard for modern pop stars. The website Has It Leaked exists to keep track of whether unreleased albums have made it on to iTunes playlists. It takes a true businessman to parlay the inevitable into an opportunity to make major cash. And it takes a mogul to turn the entire exercise into an extension of his personal brand. Jay-Z’s approach to his Magna Carta-stravaganza—which included no one-on-one interviews but weeks of behind-the-scenes “trailers” for individual tracks, and lyric sheets that mysteriously made their way online—is a neat summation of how the man who calls himself “Hova” (after “Jehovah”) wants to be seen. In a 2012 profile in the New York Times, author Zadie Smith described his persona as “cool, calm, almost frustratingly self-controlled,” and quoted rapper Memphis Bleek, a long-time acquaintance, who said Jay’s self-contained confidence goes back decades: “This was Jay’s plan from day one: to take over. I guess that’s why he smiles and is so calm, ’cause he did exactly what he planned in the ’90s.”

While Jay-Z’s carefully arranged dominoes fell, his friend and sometime collaborator, Kanye West, was on a full media tour. Three weeks before Magna Carta surfaced, Kanye West unleashed Yeezus, his much-ballyhooed new album. Instead of carefully calibrated video clips and artfully lo-fi liner notes, Yeezus got an old-fashioned, if abridged, promo blitz: West appeared on Saturday Night Live, performing two of the album’s most politicized tracks. He laid bare his artistic psyche in a New York Times interview through a series of audacious quotes. “All I want is positive! All I want is dopeness!” he declared. Later, he pronounced himself the “Steve [Jobs] of Internet, downtown, fashion, culture . . . I got the answers. I understand culture. I am the nucleus.” (Vulture, the culture blog for New York magazine, turned a selection of his choicest bons mots into spiritual posters.) By the time Yeezus rose, it was hard not to know everything Kanye West thought of Kanye West’s latest achievement: it was inspired by a Corbusier lamp, it was super-minimalist, it was “pushing the furthest possibilities.”

The inevitable Yeezus leak, like the Yeezus press, felt unpremeditated and unfiltered, a sudden outpouring from an artist given to sudden outpourings. Given his history of public fits—lamenting (via Twitter) the paucity of cherubs on his Persian rug, accusing George W. Bush of racism after hurricane Katrina, hijacking Taylor Swift’s acceptance speech at the 2009 MTV Video Music Awards—you could read West as a loose cannon who doesn’t care about his public image. But if his persona isn’t as meticulously constructed as Jay-Z’s cucumber-cool facade, that’s equally central to the Kanye West brand. We’re drawn to his antics and outbursts, his ego-fuelled flights of fancy, because they suggest the wild, unpredictable “authenticity” we associate with true savants.

It’s no coincidence that the allies, whose 2011 collaboration, Watch the Throne, broke iTunes sales records and cemented their collective power, released albums within a month of each other without stepping on one another’s toes. Neither appears on the other’s album; the stark percussiveness of Yeezus sits in sharp contrast to the ’90s hooks, Timbaland beats and Grammy-royalty guests on Magna Carta Holy Grail. The two aren’t Batman and Robin—they’re Batman and the Joker, playing off one another in a bizarre, beautiful, dark, twisted fantasy universe. “Juxtaposing those two personality types has been helpful for Jay and Kanye’s respective brands,” says Cord Jefferson, the West Coast editor of Gawker, who’s parsed the strategic moves of both artists. “Their friendship and professional relationship has this kind of ‘Goofus and Gallant’ or Odd Couple mythology around it, which is a common story the public has always loved. Jay is like the big brother who does everything right and Kanye is the little brother who messes up and throws tantrums.”

West, who earned his stripes as Jay-Z’s producer, represents the mania to his mentor’s gravitas, the knee-jerk reaction to Jay’s considered pause. He can’t beat Jay-Z at his own game—on the worshipful Big Brother, from his 2007 album, Graduation, he raps, “I told Jay I did a song with Coldplay / Next thing I know, he got a song with Coldplay.” So, as Jay-Z and Beyoncé, the king and queen of pop, hang out with the Obamas and live airbrushed lives where even their “revelatory” documentaries are hyper-mediated (see: Beyoncé’s self-directed HBO hagiography, Life is But a Dream), West has his own warped funhouse-mirror version: He’s signed on to girlfriend Kim Kardashian’s family business, the inane reality show Keeping Up With the Kardashians. Jay-Z inches ever more toward patrician political correctness—last year, following the birth of his daughter, Blue Ivy, he condemned the cavalier misogyny of his past lyrics and vowed to stop referring to women as bitches. In contrast, West, even on the verge of fatherhood (Kardashian gave birth to their first child, North West, the day after Yeezus leaked), positioned himself as a lusty creep. There was the boast of a sex tape he might release, there are the crass, racially fraught come-ons on his album (too many examples to name, but let’s pick I’m In It, in which West describes putting his fist in a paramour “like a civil rights sign”).

Some have interpreted all of it as straightforward glimpses of the face behind the mask: “Kanye West the man may be a misogynist,” the online magazine Grantland’s Steven Hyden allows, “but as an artist he was honest.” But if West comes across as juvenile and filthy and silly, if his “hidden self” has flashes of toilet humour and the sexual maturity of a 2 Live Crew song, it’s perhaps because he wants to be seen that way. Authenticity is a powerful sell—although, Jefferson points out, “I don’t believe his is a calculated eccentricity in the way Jay-Z calculated his business demeanour. It may be on display more when he’s in the public eye, but only because that’s what people desirous of attention do.”

Meanwhile, Jay-Z’s lyrics make vague gestures toward the legacy of slavery, appropriation of black culture, his own paternal anxiety, and his love for Beyoncé, but more than anything, he’s drawing our attention to his billions. His album is a measured, almost clinical statement from a man more interested in being an elder statesman and CEO of hip-hop than one of the genre’s creative masterminds. “I think Jay-Z is a culture hero to a generation of consumers who have been socialized to conflate materialism with social change,” tweeted Greg Carr, chair of Afro-American studies at Howard University, 12 hours after Magna Carta hit the streets.

West and Jay-Z cater to different psychic needs, and each is the perfect foil to the other. Jay-Z’s is in fact the archetypal hip-hop story: A former drug dealer who grew up poor, without a dad, in New York’s Bed-Stuy neighbourhood, the man born Shawn Carter rose to become the de facto king of contemporary hip-hop. If he has adopted a posture of gravitas, he’s surely hustled enough to earn it. West, for his part, was raised by middle-class parents in Chicago. He had support, education, comfort; the badass attitude adds much-needed cred.

That division of labour is arguably part of the strategy, and it’s worked. As mainstream pop goes, Yeezus is on the fringes. There are no melodies. It’s confrontational and weird. It also had the third-best first-week sales of any album this year—behind Justin Timberlake and, curiously, Daft Punk. The album, with its erratic sounds and forays into awful taste, sounds like the psychic echo we imagine inside Kanye West’s head. Critics noted it was “difficult” to listen to, but gave it raves anyway. As for Magna Carta Holy Grail, it dropped with a disappointing thud. Influential website Pitchfork condemned the album as “a celebration of unlimited financial privilege and power” that separates even Jay-Z’s fans “into haves and have-nots.” On the other hand, Jay-Z still landed a seven-figure first-day sales tally and prompted the Recording Industry Association of America to rewrite its rules to count initial digital sales toward commercial certification. Those million app downloads may have been a bust, but the numbers still counted. And to Jay-Z, making bank is more important than making a masterpiece. “Jay-Z thinks he’s revolutionary because he’s managed to make a lot of money in a structurally racist society,” says Jefferson. “Then signing a deal with Samsung to help sell smartphones is a revolutionary act. That’s the saddest revolution in the world.” Maybe so, but to borrow a line from The Wire, the game done changed.

Prosecutors want Chris Brown’s probation revoked

ImageLos Angeles prosecutors moved Monday to revoke Chris Brown’s probation after he was charged last month with misdemeanor hit-and-run and driving without a valid license.

The singer has been on felony probation in the 2009 beating of former girlfriend Rihanna and been in and out of court since then, making reports on fulfilling the requirements of his probation.

A hearing was set later in the day.

In February, the Sheriff’s Department investigated a fight between Brown and singer Frank Ocean at a recording studio, but Ocean decided not to pursue a battery case against Brown. The same month, Brown crashed his Porsche while being chased by paparazzi.

The 24-year-old’s most recent problem stems from a May 12 traffic accident in which he is suspected of rear-ending a car stopped at a red light in the San Fernando Valley and refusing to give the other driver his license or insurance information.

A woman in the car with Brown provided her driver’s license, according to a police report that says Brown did not provide his until his lawyer had an investigator deliver an expired insurance card to the other driver several days later.

The driver of a Mercedes Benz involved in the crash told police she was a recent emigre to this country and didn’t know procedures.

The woman, identified in court documents only as Olga G., said she called her husband to find out what to do and was told to exchange driver’s licenses and insurance identification.

At first, she said Brown was polite. But as she continued to demand identification, a confrontation arose, she said in court documents.

She said Brown’s companion, identified as Karrueche Tientrese Tran, offered her driver’s license and said the car belonged to her.

In her written statement, the woman said when Brown refused to provide his identification, she took a picture of the couple “and then they went ballistic.”

She said Brown began shouting expletives and grabbed for her camera.

“I jumped back, the girl screamed, ‘Don’t touch her. Don’t touch her,”‘ she said.

“I was so shocked that I was speechless,” she said in the statement. “Just a moment ago he was a nice guy. After screaming some insulting nonsense for a while longer, he slammed a door and drove away fast and noisy.”

The woman didn’t know the identity of the man who hit her car until a friend called and told her after seeing a report on the Internet.

Brown denied any wrongdoing in a message posted to Twitter on Monday, along with another tweet thanking fans for their support.

1 Million Plays on Pandora Nets Only $16.89? Rep Calls Out Musician for Fuzzy Math

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Pandora, the internet radio service which, as of June, claims a 7 percent share of total U.S. radio listening, is taking issue with a blog post authored by Cracker and Camper Van Beethoven frontman David Lowery, in which the outspoken singer blasted the company. Lowery’s assertion: that 1 million plays on Pandora yielded a net payment of just over $16 (representing 40 percent of the songwriting for hit song “Low;” the total earnings for the million-plus streams come out to around $42).

In addition to posting his own royalty statements, which purport to show a wide gap between payments Lowery received for play on terrestrial radio (more than $1500), he writes: “Soon you will be hearing from Pandora how they need Congress to change the way royalties are calculated so that they can pay much much less to songwriters and performers. For you civilians webcasting rates are ‘compulsory’ rates. They are set by the government (crazy, right?). Further since they are compulsory royalties, artists can not ‘opt out’ of a service like Pandora even if they think Pandora doesn’t pay them enough. The majority of songwriters have their rates set by the government, too, in the form of the ASCAP and BMI rate courts — a single judge gets to decide the fate of songwriters (technically not a ‘compulsory’ but may as well be).  This is already a government mandated subsidy from songwriters and artists to Silicon Valley.  Pandora wants to make it even worse.”

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He closes his post by urging “all songwriters to post their royalty statements and show the world  just how terrible webcasting rates are for songwriters.”

But a Pandora spokesperson takes issue with Lowery’s math, telling The Hollywood Reporter, “Mr. Lowery’s calculations grossly understate Pandora’s payments to songwriters.” Pandora claims quite the opposite: that it “is by far the highest paying form of radio in the world. … For perspective, to reach the exact same audience, Pandora currently pays over 4.5 times more in total royalties than broadcast radio for the same song.”

An analysis of royalty rates conducted by tech blogger Michael Degusta and posted at theunderstatement.com estimates that the song actually brought in around $1,300 for a million plays. Subtract the various parties who get a cut of that royalty — from SoundExchange to the record company to ASCAP and/or BMI — and Lowery, as a 40 percent stakeholder, would have pocketed around $234, Degusta posits.