VH1′s The Greatest continues its weeklong countdown of The 100 Greatest Songs of the ’00s tonight with entries 40-21. Plain White T’s, comedian Godfrey, and others weighed in on why “Fallin’” by Alicia Keys deserves to be at #22. “She was, like, in a class by herself,” Basketball Wives star Tami Roman says. “She was rocking the fedora and the bandana and the cornrows, and it was just so, like, ‘I’m feeling you right now,’ you know?” Comedian Dean Edwards phrases it a little differently: “[She] was like O.D.B., you know what I mean? But, you know, a little cuter.” After the jump, check out #40-21 from tonight’s episode, as well as #20-1 from tomorrow’s episode (at 10 p.m. ET/PT). Or check out the complete list, where a spirited debate is already taking place in the comments: The 100 Greatest Songs Of The ’00s [COMPLETE LIST].
What’s better than a new video with Beyoncé? If you answered “a new video with multiple Beyoncés,” you’re going to love “Countdown”! The single is a standout from 4?not just a refreshingly uptempo jam among ballads, but a darn good one?and director Adria Petty certainly does the song justice with this clip. Petty combines intentionally stilted choreography with multiple frames and multiple exposures (and, yes, multiple Beyoncés) to create a sort of “Flashdance” by way of “Rockit” spectacle. Alternately, think of it as a Gap ad made by Mondrian, and starring robots. Words don’t do this video justice.
We have to applaud our MTV News colleague Jim Cantiello for the “Burning Questions” segment of his interview with X Factor judges L.A. Reid and Simon Cowell—mainly because he found a way to talk about unsung jams, and we love jams. First: did you know that X Factor contestant Stacy Francis was once Stacy X of early-nineties new jack swing quartet Ex Girlfriend? Neither Reid nor Cowell did. (Nor had we!) Cantiello did, though, and cited an Isley Brothers remix as a particular favorite. It turns out that Ex Girlfriend were launched by Full Force, whom we remember for their work with Lisa Lisa and Cult Jam, but whom you might remember for their scene-stealing moments in House Party, or their colorful videos.
It’s sort of astonishing to realize that J. Cole made his network television debut last night on Jimmy Kimmel Live! Television appearances aren’t essential to record sales, exactly, but they’re certainly part of a promotional cycle, and Cole’s appearance came a week after his record debuted?and four months after “Work Out,” the single he performed, hit radio.
Of course, when you sell over 200,000 copies of your debut, hitting #1 in a week that saw five other top ten debuts (including new releases from Blink-182 and Wilco) and reissues of two evergreen best-sellers (Pink Floyd’s The Dark Side Of The Moon and Nirvana’s Nevermind), maybe a television performance is an afterthought. The sideline story is quickly being retconned into anything but, as scores of observers swallow comparisons to Memphis Bleek. Meanwhile, the crowd at Kimmel ate up his performance. It has to be good to be J. Cole right now.
Elsewhere on late night…
Last night, eulogies for Steve Jobs flooded all sorts of social media platforms (in many cases powered, as was often observed, by devices Jobs himself spearheaded). These goodbye wishes were frequently interspersed with Occupy Wall Street updates, with no sense of inherent irony. That sort of contradiction is part of what makes Steve Jobs unique and much-loved. Jobs is a quintessential American in the old style—a modernist entrepreneur in a post-modern era. Popular opinion may have turned against those who turn money into more money, but Americans will always love those whose fortune is made in production.
The legacy of Steve Jobs since his return to Apple in 1996 has been as the most influential music-industry executive, despite not working in the music industry. To an extent, Jobs’s eulogies were already written in August when he resigned from his post at Apple. For our part, we keep returning to Kelefa Sanneh’s New Yorker profile. With the rise of high-speed internet and digital music, the music industry was in a panic, having lost control of all but the earliest stages of music distribution. The innovation of the iPod was to adapt a music-playback device to the internet era, and use that as a springboard into the music-distribution business. Apple gave the music industry a shot in the arm, and yet a decade later, it’s still not clear to what extent that industry will recover. The tech industry, on the other hand, is still booming.
[Image: Getty Images]
The world lost a truly creative and brilliant mind yesterday when it was announced that Apple, Inc. co-founder Steve Jobs died at the age of 56. Though Jobs was not a traditional celebrity, he certainly had an impact on the lives of nearly everyone in recent years, and few people have not been changed by his creations and what he brought us. As a tribute, we wanted to share what some of our VH1 talent has been saying since the news of his passing was announced. R.I.P. Steve.
Basketball Wives star Shaunie O’Neal: RT @TheDailyLove: RIP Steve Jobs, we love you. Thank you for changing our world.
La La Vasquez: RIP Steve Jobs…praying for your family..thank YOU for all YOU’VE done to change our world and our way of thinking..
Jennifer Williams: RIP Steve Jobs…. Very very sad! He changed the technology world, definitely an innovator!
Heidi Montag: RT @RyanSeacrest “Have the courage to follow ur heart & intuition. They already know what u truly want to become. Everything else is secondary.” – Steve Jobs
Mob Wives‘ Carla Facciolo: RIP Steve Jobs.. Its a tragic loss for the technology world and the world in general :(
Dr. Drew: Steve Jobs made a difference in my life & the life of my family. RIP Our tribute from earlier tonight – ow.ly/6OSKc
Siggy Flicker, star of Why Am I Still Single?: A great man who left this world too soon! A visionary and a brilliant mind.
And finally, Bret Michaels wrote a lengthier, moving statement on his MySpace page: First I must express my deepest condolences to Steve’s wife Laurene, his family and friends. He showed great strength and perseverance through his illness and continued to be an innovator all the while remaining positive while fighting his battle with cancer. I can only thank Steve for his innovation, inspiration and creativity while touching all of our lives in some way shape or form. Again my condolences. He will be missed.
[Photo: Getty Images]
Adele sure can sing powerfully, but apparently her vocal cords just can’t take it! After cancelling a string of U.S. dates in June, then rescheduling them for August and October, she now tells fans on her blog that she’s forced to cancel the entire October leg of her United States tour?comprised of five dates already rescheduled from June and five new dates?because of a vocal cord hemorrhage. We wish her the best as she rests her voice, and hope she gets to watch Basketball Wives L.A. while she recuperates (since we know she’s a fan of the original).
Important Blog [Adele.TV]
[Image: Getty Images]
R.E.M.’s First Demo Surfaces Online
Just two weeks after R.E.M. called it quits, the band’s original three-track demo has surfaced online, digitized from one of the only 400 copies they had made in 1981. Spin has the details. [Spin]
Sneak Peek At Def Jam: The First 25 Years
If you get one music-related oral history this month, get I Want My MTV (seriously, it’s great, and we say that knowing that former MTV execs trash-talk VH1 within). But if you get two, the forthcoming history of Def Jam Recordings looks like another winner. It’s co-written by two former employees of Rick Rubin. GQ has an excerpt detailing the rise of LL Cool J. [GQ]
Method Man Writes Sour Patch Kids Rap For Commercial
This doesn’t quite measure up to the ode to sour cream and onion that Bruno Mars wrote for PopChips, but Method Man’s rap is certainly more than just your ordinary endorsement. Still: did Raekwon turn them down? We’d have asked the Chef first if we were selling edibles. [YouTube]
Tim Armstrong Creates Punk Rock Halloween Musical Anthology Series
That’s a lot of descriptors! But the trailer has us intrigued. In the first episode, Lars Frederiksen, also of Rancid, is visited by the devil. We’re hoping this turns out to be something halfway between American Idiot and Justin Timberlake’s Southland Tales routine (set to The Killers). [VEVO]
[Image: Getty Images]
We’re all practically dying of anticipation for the Thursday premiere of Beyoncé’s “Countdown” video (if you haven’t seen the 30-second preview yet, click here), but in the meantime, we’ve got some other Bey-related video for you?a clip from tonight’s episode of Glee. No, really! After a couple of Broadway-centric episodes, the show is returning to the pop arena, re-purposing Beyoncé’s Diplo-produced anthem into an election song. Fittingly, it’s sung by Heather Morris’s cheerleader character Brittany, since, prior to joining Glee, Morris was one of Beyoncé’s backup dancers.
We’re not saying that this version measures up to the original, exactly. But as far as Glee goes, we’re into this new direction. Some things about the show will never change (count the buzzwords in the intro phrase “I tweeted about Britt’s flash-mob pep rally in the gym, and we’re all showing up to support her with girl power”!) but this sequence shows a gleeful disregard for spatial and costume continuity, dropping an odd sort-of homage to American Beauty (with Chris Colfer’s Kurt as the Kevin Spacey character) in the middle of a completely over-the-top sequence that would make Kenny Ortega proud. In other words, this is sheer spectacle. We can’t really argue with that.
Perhaps the most anticipated collaboration from the now chart-topping(!) Duets II was Tony Bennett & Lady Gaga‘s rendition of “The Lady Is A Tramp.” To begin with, Gaga is as monocultural as they come these days. Plus, as Bennett told us, “she has the same gift as Ella Fitzgerald.” Then none other than Gay Talese profiled the duet for The New Yorker.
With the album in stores, naturally a video for the lead-off track has followed. Gaga is no less showy?that’s her nature?but her performance is in sync, not in competition, with Bennett’s. The duo riff on the lyrics, very much in a vocal jazz pop tradition. The least surprising change: a shout-out to songwriters Rodgers & Hart replaces one to Walter Winchell. Even if the redoubtable columnist had a 2011 equivalent (Nicki Finke plus Perez Hilton?) we doubt committed anti-bullying campaigner Gaga would sing his praises.
She’s also a smart fit for a vocal partner in this musical-theater tradition?so much so that the song seems well-chosen, until you realize how many others would have worked just as well (except perhaps for the titular pun). For all her outré accoutrements, Gaga fits snugly into this tradition, as someone seriously committed to her art yet mercifully unconcerned with Baby Boomer-born ideas of pop “authenticity.” It’s no wonder that Tony Bennett “gets” her.