Justin Timberlake, Anderson .Paak Party at Anna Kendrick’s House in ‘Don’t Slack’ Video


Justin Timberlake and Anderson .Paak — and their respective characters in Trolls: World Tour —cheer up a housebound Anna Kendrick in the new video for “Don’t Slack.”

Although the video itself was filmed in February, it parallels our current quarantined and self-isolated situation, with a sullen Kendrick (who also voices a character in the animated film) slowly brightened up by the two singers who have invaded every inch of her household.

“Don’t Slack” follows Timberlake and SZA’s “The Other Side.”  Like the original 2016 film, Timberlake served as the executive music producer on the Trolls World Tour soundtrack, which also features songs from George Clinton, Mary J. Blige, Kelly Clarkson, Dierks Bentley, Haim and more.

The film itself was originally due out in theaters on April 10th, but — due to the COVID-19 pandemic — will instead premiere on video-on-demand on that date.

Justin Timberlake Reunites With Selfie Kid in Boston


On his first of two shows in Boston for the Man of the Woods Tour, Justin Timberlake reunited with Super Bowl LII’s biggest star: the Selfie Kid.

Ryan McKenna, the Massachusetts native who went viral after snapping a quick pic with «Can’t Stop The Feeling» singer during the halftime performance, joined Timberlake backstage at the TD Garden arena on Wednesday night (April 4) to catch up and snap another selfie.

Timberlake surprised McKenna with the tickets and backstage passes to the TD Garden show while the teen stopped by The Ellen DeGeneres Show after the Super Bowl. And according to McKenna, the surprises didn’t stop there.

«I went into Justin’s dressing room and he like surprised me — jumped out,» the 13-year-old told Boston’s NBC affiliate. «And he was like, ‘What’s up man?!’ And then we took another selfie. And then Patriots players came in — Julian Edelman, which was so cool because I’m a huge Patriots fan.»

JT fans may notice that there’s a slight difference in the latest Selfie Kid snap (and not just the fact that it’s in a dressing room rather than a sea of football fans): The initially brace-faced McKenna has since gotten his braces off.

The «Filthy» singer plays another night in Boston tonight. Check out his latest pic with Selfie Kid below.

This article was originally published by: Billboard 

Justin Timberlake’s ‘Man Of The Woods’ Debuts At Number One


If you logged into Twitter over the last week, you would be forgiven for thinking Justin Timberlake was canceled like a bad check. His Super Bowl performance was ripped to shreds (largely out of anger at problematic Princetribute) and critics found little to enjoy about his 4th LP. Outside of the online bubble, however, JT’s popularity is undiminished. The superstar’s Man Of The Woods lands at number one on the Billboard 200 with a healthy first-week tally of 293,000 equivalent album units (242,000 traditional sales).

That’s the biggest opening bow since Taylor Swift’s Reputation (1.22 million traditional sales). As far as male artists are concerned, it’s the best start since Kendrick Lamar’s DAMN (353,000 traditional sales). Of course, to put things into perspective, it’s also Justin’s lowest first-week number. Even The 20/20 Experience (2 of 2) did better, selling 350,000 copies. However, physical sales are on a steep decline across the board and the album is yet to deliver a radio hit. That could change, however, with Chris Stapleton-assisted “Say Something,” which is shaping up to be a massive multi-genre hit. Check it out below.

This article was originally published by: Idolator

Justin Timberlake y el chico de la selfie vuelven a hacer historia!


Justin deja ver una vez más su lado más tierno.

¿Qué es mejor que tener una selfie con Justin Timberlake? ¡Tener dos! (Obviamente).

Ryan McKenna, el chico de la selfie, visitó The Ellen DeGeneres Show para hablar de su experiencia en el show que  Timberlake ofreció durante el medio tiempo del Super Bowl.

«Chico, tu vida cambió, ¿no?», dijo DeGeneres.

«Yeah. Es genial», respondió McKenna.

«Mi papá me dijo dos semanas antes (del partido) y comencé a llorar. No podía creerlo. Tan sólo ir al Super Bowl es un sueño hecho realidad», dijo el fanático de los New England Patriots. Sin embargo, lo que sucedió al medio tiempo tomó por sorpresa a todos, nadie sabía que JT terminaría su presentación en las gradas. «No lo sabíamos. La chica nos dijo que estábamos en un buen lugar pero no teníamos idea de que Juston iba a estar allí».

McKenna estaba sentado a unas gradas de donde apareció Justin, pero (reveló) esta determinado a conseguir una foto junto a él. «Me abrí paso entre la gente hasta que llegué a él». Su enorme sonrisa de satisfacción se hizo viral.

«Tengo un iPhone 6, que es algo lento. Se apaga. Es por eso que los memes se hicieron», aceptó.

Pero aparecer en el show de Ellen DeGeneres nunca es suficiente sorpresa.

«Hay alguien en el teléfono que quiere decirte hola en este momento», comentó Ellen… ¿De quién se trataba?\

This article was originally published by: E! Online Latino

Justin Timberlake Pulls Out The Hits For His Super Bowl LII Halftime Show


Justin Timberlake worked his way through a hit-filled set during his performance for the Super Bowl LII Halftime Show tonight (February 4). Despite rumors of appearances from *NSYNC and Janet Jackson, he performed along and showcased slick choreography and strong vocals. Following an introduction from his close friend Jimmy Fallon, the crooner took over U.S. Bank Stadium to perform an explosive medley of songs.

Although the 37-year-old opened with a rousing rendition of his Man Of The Woodslead single, “Filthy,” underneath the stadium, he filled the rest of his 13-minute setlist with a collection of classic hits. He and a crew of male dancers delivered some slick moves to “Rock Your Body” as he took the field, and he included a chorus of “Senorita” before breaking out the roaring bass for “SexyBack.” He continued showing love to his FutureSex/LoveSounds era with a rousing rendition of “My Love” with the support of a full band.

That transitioned into his dramatic breakup ballad “Cry Me A River,” during which he showed off his sweet falsetto. JT added a quick dance break before inviting a marching band onstage for a suave “Suit & Tie” performance. He courted some controversy with a tribute to Prince during the evening’s mandatory ballad section. After taking the piano for his Beyonce collaboration, “Until the End Of Time,” he projected a video of the “Purple Rain” icon and sang along to “I Would Die 4 U” as the stadium turned purple.

The evening’s standout moment came during an anthemic rendition of “Mirrors” as a group of fans flooded the field with mirrors. This was easily the most impressive staging of his set, and it was followed by one last feel-good moment as Justin worked his way through the Max Martin-produced “Can’t Stop The Feeling.” Underneath a rainbow of lights he danced through the bleachers and paused to take pics with some lucky fans.

After the jaw-dropping spectacles delivered by the likes of Lady GagaKaty Perryand Beyonce in previous years, JT’s performance felt a little on the safe side. However, there is no denying that he brought the heat and showcased some of his biggest hits. Fans are undoubtedly flocking to pick up tickets to his Man Of The Woods Tour this summer right about now. Watch the full performance up top!


This article was originally published by: Idolator 

Justin Timberlake’s ‘Man Of The Woods’: Album Review


It has been nearly five years since Justin Timberlake unveiled his last album. So when the hitmaker promised to deliver his own twist on modern Americana on new LP, Man Of The Woods, anticipation was understandably sky-high. However, after a messy and ultimately misleading rollout, the project falls slightly short of his usual standard and lacks an obvious hit of the caliber of “Cry Me A River,” “My Love” or even “Can’t Stop The Feeling.”

Released two days after his 37th birthday and two days before he takes the stage to perform during the Super Bowl Half Time show Sunday (February 4), the LP comes at a transitional time. Now a father and husband, Justin switched things up to reflect his new point of view. Returning to his roots in Memphis, Tennessee, the album’s sound has been hotly contested since it was first announced. Based on the outdoorsy promotional pictures, it seemed his countrified era was upon us. Imagine our surprise when “Filthy” dropped.

After building anticipation with a slew of rapid-fire teasers, things got off to a jolting start with the release of his lead single. On it he reunites with Timbaland and Danjafor a stomping, well-produced orgy and a futuristic video entirely at odds with the outdoorsy branding.

“Put your filthy hands all over me,” he lustily commands over growling bass and electric fuzz. Similar to “SexyBack” but not remotely as endearing, it made a quick appearance within the top 10 of the Billboard Hot 100 before dropping out of the top 40. The blaring release may have been the crooner’s first single in years, but it felt like too much of a gimmick to have staying power.

Thankfully his follow-up singles, “Supplies” and “Say Something,” were each a step in the right direction. The former is a searing mid-tempo and the first of nine productions The Neptunes contributed to the LP. Making use of slick R&B beats, the track presents the crooner as a knight in shining armor for a lover.

It may have been hot enough to find traction on radio, but it was not until Justin unveiled his third single that the alleged Americana influence became evident. Teaming up with Chris Stapleton, the soulful anthem incorporates growling bass and shimmering synths over full-bodied strings. Simply written and well performed, this remains a standout.

After the convoluted rollout, the remainder is a mixed bag of genre-hopping offerings. With the majority of production coming from familiar faces, Justin had the opportunity to work with a team capable of pushing him outside the box. And that is evident on the eclectic album. Comprised of a weighty 16 tracks, it offers more than an hour of listening. Some of it is excellent, but some is best forgotten.

Let’s start with the highlights. “Montana” and “Breeze Off The Pond” are some of the strongest cuts. The former is a blistering dance number with a vague disco influence while the latter feels the most sonically familiar to The 20/20 Experience. Comprised of cleverly layered vocal tracks, the smooth number provides a moment of easy listening and is a breath of fresh air placed toward the back end of the tracklist.

True ballads are few and far between on the collection, but “The Hard Stuff” is easily the best of the bunch. On it, the “Mirrors” singer longs for an authentic relationship with his partner and embraces hardship as a reality of a life well-lived. “I want the hard stuff. The kind that makes you real. I wanna be there when the storms come,” he vows.

In comparison, “Midnight Summer Jam” oozes seductive confidence. The track builds up to a funky vibe and is a revelrous ode to the south complete with a harmonica solo. “It’s just a midnight summer’s jam. The air’s so thin, but we don’t give a damn. The starry sky across the night, where we pretend it’s our last chance to dance,” he declares in a sweet falsetto over the swinging production.

But even a highlight is not without faults. Clocking in at over 5 minutes, the bloated run-time is more than a little grating. It would have been smart to avoid the urge to “start it over” around the 4-minute mark. Instead, the production lingers beyond its welcome.

Despite featuring the most eye-roll-inducing title of all time, “Livin’ Off the Land” is not all bad. “I’m just a man doing the best that I can. Saint or sinner, the loser can be a winner with a plan,” he croons over the unique mid-tempo that tries so hard to feel organic. With its funky electric strings, “Higher, Higher,” is even better though still a little forgettable.

Alicia Keys hops on the album for a jazz-tinged dose of Nashville on the besotted “Morning Light.” Featuring a strong vocal performance, it is another refreshingly endearing love song that avoids sounding contrived. “Cause I’m in love with you, laying here in the morning light. And all I want to do is hold you tight just one more night,” they croon on the chorus.

Here is where things start getting a little more unforgivable. Clumsy writing plagues cuts like “Sauce.” Following a plodding introduction, it builds to a crescendo as he awkwardly woos the love of his life. “I love your pink, you love my purple. You must be God herself, can I come worship,” he purrs in an attempt at seduction over the funky strings. That’ll be a pass, all things considered.

The album’s misguided title track feels like an even bigger miss. “I brag about you to anyone outside. But I’m a man of the woods, it’s my pride. I’m sorry baby, you know I try. I’m a man of the woods it’s my pride,” he simpers before looking for makeup sex over a production that is both overly saccharine and ridiculously twangy.

Although clearly a labor of love, “Flannel” is equally insipid. Over a folksy instrumentation of acoustic strings and flute, JT offers his beloved one of his flannel shirts as a token of love. “Right behind my left pocket, that is where you’ll feel my soul,” he vows. All things considered, it may be for the best to ignore Jessica Biel’s feature on “Hers (interlude)” as well.

Similarly, “Young Man” has potential to be a heartwarming moment but verges on uncomfortable. Written as a love letter to his son, Silas, the track is again held back by weak writing. “Beautiful boy, got it from your mama. Damn, she look good, you might get a sister,” feels a little cringe-inducing when sung to a child. And I do not know where to start on his follow-up. “If you need to cry, you’ve got my permission.” Thanks, dad?

There is no denying that Man Of The Woods is an impressive undertaking. JT went out of his way to ensure the album transcended traditional concepts of genre. However, sometimes the end result does too much as evidenced by “Wave.” The song is defined by a messy production and doomed by its lack of a single enjoyable hook.

After such a lengthy absence from music, the former prince of pop took a risk on his return. Meandering but ambitious, Man Of The Woods is sometimes a brilliant body of work. When Justin gets it right on tracks like “The Hard Stuff” or “Breeze Off the Pond” the end result is magical. But when he misses the mark, which he does with too much frequency, it is sloppy and forgettable.

This article was originally published by: Idolator

Muchos temen que el show de Justin Timberlake en el Super Bowl 2018 vuelva a causar controversia


El grupo conservador de supervisión de medios Parents Television Councilpublicó un «llamado urgente» a Justin Timberlake para que no deje que la historia se repita en el Super Bowl 2018.

El próximo domingo, el cantante pop encabezará el show de medio tiempo del Super Bowl LII, 14 años después de su ahora famosa presentación con Janet Jackson durante el campeonato de la NFL del 2004, cuando accidentalmente expuso uno de los senos de la cantante ante casi 90 millones de espectadores. El incidente hizo que se acuñara la frase «desperfecto de vestuario», provocó medio millón de quejas y desató una investigación de la Comisión Federal de Comunicaciones, así como multas por indecencia, que luego se revirtieron.

«Las consecuencias de tu presentación durante el Super Bowl XXXVIII dejaron una marca indeleble. Realmente nos descolocaste, a nosotros y a millones de padres que estaban viendo el evento junto a sus hijos. El famoso desperfecto de vestuario tristemente fue la mayor noticia durante semanas, inclusive en un momento en que la nación estaba en guerra con Irak», dijo el Parents Television Council en un carta publicada el martes. «Mientras se acerca el Super Bowl LII de este domingo y te presentarás en el show de medio tiempo, te pedimos que el espectáculo se mantenga apto y seguro para los niños que lo verán y que esperarán seguir tus pasos algún día».

«Gracias por considerar nuestro llamado urgente para un show positivo, edificante y entretenido el domingo. Porque nuestros hijos lo estarán viendo», dijo el grupo. «Mucha suerte».

El incidente entre Timberlake y Jackson, también conocido como «nipplegate», desató batallas legales. En 2012, la Corte Suprema de Estados Unidos desestimó una multa de 550 mil dólares por indecencia contra CBS por transmitir el «desperfecto de vestuario» durante el Super Bowl del 2004.

CBS obligó a Jackson a publicar una disculpa en video por el «nipplegate».

«Tomé la decisión de cambiar la presentación del Super Bowl después del ensayo final», dijo. «Ni MTV, CBS o la NFL tenían conocimiento de esto. Desafortunadamente, todo salió mal al final. Lo siento realmente si ofendí a alguien. De verdad no fue mi intención».

«Se suponía que Justin iba a arrancarle el sostenedor de hule para revelar uno de encaje rojo», dijo su representante esa vez. «La pieza de ropa se rompió y su seno se reveló accidentalmente».

En 2006, Timberlake le contó a MTV News, «Soy parte de una comunidad de personas que se consideran artistas… si hay algo que pudiera haber hecho en su defensa que aportara más… si lo hubiese sabido, lo hubiese hecho».

«Decir que fue injusto fue poco si consideras que fue algo 50-50 y a mí me cayó un 10 por ciento de la culpa», aseguró. «Creo que eso dice algo de la sociedad. En Estados Unidos son más duros con las mujeres y en Estados Unidos tratan de manera más injusta a las personas de color»

Timberlake volvió a hablar del «nipplegate» en una entrevista con Zane Lowe de Beats 1.

«Lo sobreviví a duras penas», dijo Timberlake sobre el resultado. «Para ser honestos, tenía los cables cruzados. Es algo que veo y digo, ‘Ok, no puedo cambiar lo que pasó, pero puedo seguir adelante y aprender de eso'».

This article was originally published by: E! Online Latino

Justin Timberlake Teases New Song ‘Say Something’ With Chris Stapleton


Earlier in the year, it was announced that Justin Timberlake was going to be working with country titan Chris Stapleton on Timberlake’s next album. This morning (Jan. 24), Justin Timberlake confirmed the news, announcing his next song — titled «Say Something» — in a tweet, attached with a five second video of JT with Stapleton.

The tweet was simply captioned, «@ChrisStapleton and me. #SaySomething. Tomorrow!»

This will be the first time Stapleton and Timberlake have worked together on wax, but not their first collaboration, the two Tennesseeans came together for an acclaimed performance of George Jones’ «Tennessee Whiskey» and Timberlake’s «Drink You Away» at the 2015 CMA Awards.

JT’s Man of the Woods is set for release on Feb. 2, which will be followed by Timberlake’s Super Bowl Halftime show headlining performance two days later on Feb. 4.

Check out the tweet below.

This article was originally published  by: Billboard 

Justin Timberlake’s Sizzling “Supplies” Is More Like It


Justin Timberlake offered up a second taste of Man Of The Woods with the release of his new buzz track, “Supplies.” The 36-year-old has been everywhere since announcing the project at the beginning of the month. However, the LP’s lead single, “Filthy,” turned out to be a bit of an acquired taste. Thankfully, his latest is a more straightforward bop.

Released today (January 18), “Supplies” reunites JT with The Neptunes. Comprised of Pharrell Williams and Chad Hugo, the pair have produced some of the hitmakers hottest releases including “Senorita” and “Rock Your Body.” Unsurprisingly, their newest collaboration is fierce. Having described his sonic direction as “modern Americana with 808s,” this is the first song that lives up to the promise.

On it, Justin swoops in to save the day for a potential love interest and offers all sorts of protections. “I’ll be the light when you can’t see. I’ll be the wood when you need heat. I’ll be the generator, turn me on when you need electricity,” he promises over the searing production. “Some shit’s about to go down. I’ll be the one with the level head. The world can end now. Baby, we’ll be living in The Walking Dead.”

Directed by Dave Meyers, the accompanying video mirrors those apocalyptic promises and clearly had a larger budget than his last. It also seems to address complaints of JT appropriating black culture. Opening with the crooner watching a wall of televisions broadcasting atrocities occurring across the globe, he soon finds himself on the street. There he runs into actress Eiza González and attempts to rescue her from a group of men.

In a surprise twist, Eiza ends up saving the day before the twosome join an underground group dedicated to fixing the world. Unfortunately, they are unsuccessful in their attempts. As the visual comes to a close, JT, his lover and what appears to be their children emerge from the sandy ruins of their former city to deliver a chilling message.

All things considered, this is a promising release and could become the era’s first radio hit. Despite breaking into the top 10 of the Billboard Hot 100, “Filthy” has received mixed reviews and seems unlikely to stick. If JT plays his cards right, “Supplies” can easily eclipse the lead single and have a lengthy run on the charts. Check it out up top!

2 of 4. SUPPLIES. Link 🔝

A post shared by Justin Timberlake (@justintimberlake) on

This article was originally published by: Idolator

Justin Timberlake’s “Filthy” New Single Is An Acquired Taste


Justin Timberlake kicked off his Man Of The Woodsera tonight (January 5) with the release of new single, “Filthy.” Everything was falling into place for a massive hit. For starters, the 36-year-old reunites with the legendary Timbaland and Danja as well as James Fauntleroy and Larrance Dopson for the banger. Unfortunately, “Filthy” turns out to be something of an acquired taste.

The track is a sprawling, funky and electro-kissed party anthem. “No question, I want it. Fire up, everybody smoking. Your friends, my friends, and they ain’t leaving till six in the morning,” he promises a potential fling before later commanding, “put your filthy hands all over me.” There is no shortage of sing-along moments between the bridge and pre-chorus. But beyond that it is a bit of a non-entity.

That is not to say that it is without some positive attributes. Unsurprisingly, the production is excellent. Danja and Timbaland create a beat that undulates and weaves with almost cinematic qualities. It just is not enough to totally salvage what feels like a throwaway offering. Given his hit-filled discography, it is clear that JT can do much better.

While the song itself is not totally irredeemable, things really begin to unravel with the accompanying music video. The hitmaker teamed up with Mark Romanek for the release. In the past they worked together on the adorable visual for his infectious “Can’t Stop The Feeling,” so it is clear they have chemistry together. That makes what they cooked up for “Filthy” all the more disappointing.

In it, Justin plays the role of a tech creator showcasing his latest invention, a humanoid cyborg, to a crowd of onlookers. Rocking a pair of ridiculous glasses, he commands the robot to dance from behind a curtain and then proceeds to use it to seduce a crew of dancers. The end result is confusing and appears relatively low-budget.

Although “Filthy” is a well-meaning release, it is difficult to determine how it will fit within the scope of the rest of the LP. Thus far the marketing materials have implied that this will be one of JT’s most personal albums to date. He has listed his wife, son and hometown as inspirations, and the visuals have verged on pastoral as he appears in various natural settings. Not anymore.

“Filthy” muddies our expectations and raises questions about what to expect from Man Of The Woods. The ambitious star plans to unleash a new taste of the album every week until its official release on February 2. It is possible that the remaining tracks will be more to speed with what we were expecting, but I still have no idea what to make of this. Give the video a watch up top.


This article was originally   published by:  Idolator