December 19, 2018

Review Category : TMZ Music News

Mariah Carey, Nick Cannon Renew Vows In Cinderella-Themed Ceremony

Five years after secretly marrying in the Bahamas, Mariah Carey and Nick Cannon pulled out all the stops for their five-year anniversary on Tuesday night by renewing their vows at Disneyland.

The pop superstar and "American Idol" judge tweeted about the lavish affair, attended the couple's twins, Moroccan and Monroe. Dolled up in a poofy white gown, Carey made her way to the ceremony in Cinderella's stagecoach, where she was greeted by her groom and their son. Later, she walked down the aisle with them, as well as their daughter.

Coincidentally, the day also is a celebration of who were born on April 30, two years ago. Prior to walking down the aisle, Carey wrote, "Happy 5th(!!!!!!) Anniversary to the Best Husband in All The Land & 2 years ago pon de delivery..."

She also shared some more intimate moments of her anniversary and the twins' birthday preparations. From getting her hair done, to dressing Roc and Roe, to sitting inside the stagecoach, Carey's lambs were along for the ride.

Next up for Carey, as the "Idol" season comes to a close in two weeks, is new music. Her single with Miguel, is slated to drop on May 6. And while she remains the apple of Nick's eye, the "Adorn" singer recently confessed to MTV News that he has been crushing on MC for a long time now.

"I mean I fell in love with Mariah Carey when she walked out of the pool in [the 'Honey' video in 1997]. That 'Honey' video, that was ...

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‘The Voice’ Recap: Teams Usher And Blake Face The Ax

Contestants came swingin' Tuesday night as the second round of knockouts continued on "The Voice."

Blake Shelton and Usher's teams were next on the chopping block, and unlike Monday night, there were a lot more surprise winners.

Team Blake
"It's the Climb"
Miley Cyrus put it best in her country ballad and Justin Rivers proved it when he faced off against one of Blake's favorites, Savannah Berry, for the first knockout of the night. Although Blake was hoping to find his "own Justin Bieber in Savannah," she was outperformed by Rivers, whom Levine called the "biggest surprise." Despite facing pressure for taking on a female song, Rivers' uphill battle paid off when he was announced the winner.

Third Time's a Charm
You'd never have been able to guess it was Danielle Bradbery's third time performing ... ever. The natural-born singer let "Jesus Take the Wheel" as she channeled Carrie Underwood in her battle against Taylor Beckham. "You didn't seem confident," Levine told Beckham after a pitchy performance of Rihanna's "Russian Roulette." The opposite was true for Bradbery, who was commended by Usher for completely taking control and won the knockout.

Team Usher
Like Winning The Lottery
They say, "Dance like no one's watching," but did you ever hear, "Sing like you won the lottery?" Probably not, but that's exactly what Michelle Chamuel did when she performed Pink's "Raise Your Glass," and it worked. Besides challenging Usher to push-ups in rehearsals to build her stamina, a highly charismatic Chamuel basically pummeled Audrey Karrasch's pitchy and flat "How to Love" performance. "There's something about you ...

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J.J. Abrams Eyeing John Williams For ‘Star Wars’ Reboot Score

There are a few key building blocks you need when constructing a reboot: Jedis, wookies, the Millennium Falcon and some combination of Han Solo, Darth Vader, storm troopers, Luke Skywalker and Princess Leia.

Oh, and John Williams' music. Just try watching one of the original trilogy with the score on mute, it's like eating pizza without the cheese.

That's why the collective hearts of the "Star Wars" nation probably skipped a beat on Tuesday when J.J. Abrams
 teased that the composer of the iconic score for the first six films, John Williams, is likely on board for "Star Wars: Episode VII," due out in the summer 2015.

During a press conference in Berlin for "Star Trek: Into Darkness," director Abrams made it sound like Williams might be in the fold. "Again, for 'Star Wars,' it's very early days, but I believe that, going forward, John Williams will be doing that film because he was there long before I was," Abrams said, according to the Hollywood Reporter.

There are still so many things up the air about "Episode VII," but Abrams recently said his work on the second "Star Trek" movie could help him get in fighting shape to enter the "Star Wars" universe. "We're just getting started," he said. "There are infinitely more questions than answers right now, but to me, ['Star Wars' and 'Star Trek' are] not that dissimilar. Though I came at these both from very different places, where they both meet is a place of 'Ooh, that's really exciting.' And even though I was never a ...

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‘Iron Man 3’ Villain: Inside The ‘Shadow Threat’ Of Mandarin

In Sir Ben Kingsley plays the Mandarin, a megalomaniac who calmly delivers philosophical speeches as parts of the world go up in flames. While Kinglsey is no stranger to playing villains, the actor told MTV News that he worked especially hard to get inside both the character's political beliefs and his terrifyingly dispassionate presentation of them.

"He's a shadow — he's a shadow threat, isn't he?" Kingsley asked rhetorically. "I'm always fascinated by documentary footage from now way back into the 20th century. And [I was] watching these people conduct their broadcasts with such authority."

"Iron Man 3" finds billionaire industrialist Tony Stark struggling to come to terms with his experiences in "The Avengers," where he not only fought aliens, but also survived a near-death experience. The Mandarin, who has lurked in the background since the earliest days of Iron Man's existence, finally comes into full power, threatening to destroy the world as he interrupts television broadcasts to deliver his chilling speeches about the West's decadence and corruption.

Kingsley spoke to MTV at the film's recent Los Angeles press day. The esteemed thespian insisted that it was fatal for an actor to judge his character, saying it was instead necessary to fully embrace all of his thoughts and beliefs, no matter how troubling he might find them.

"[They have] such calmness, and such belief in their own wretched belief system, and it's that calm belief center that I have to have, or create as an actor," Kingsley said. "I can't judge the character. I have to try and inhabit that bizarre ...

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Leonardo DiCaprio: ‘Great Gatsby’ Music ‘Connects’ Past And Present

Thanks to roles in "Gangs of New York," "Inception" and the upcoming Leonardo DiCaprio ranks among the most respected actors in Hollywood. So when DiCaprio name-dropped a couple of the hottest names in hip-hop, his affection for pop culture — not to mention knowledge of it — comes as a welcome surprise.

When MTV News asked about his love of hip-hop, DiCaprio confessed to some recent favorites. "Kendrick Lamar is great, 2 Chainz is great too — don't forget 2 Chainz," he said. "By the way, he's my age — I'm very proud of a guy emerging in the hip-hop world at my age," he said of the MC in his mid-30s.

DiCaprio detailed some of the genres and musicians he likes, observing that his tastes are unexpectedly eclectic. "I've been a huge fan of hip-hop for a long, long time," he said. "That and jazz music, the music of the '40s, and Stevie Wonder."

In "The Great Gatsby," DiCaprio reunites with director Baz Luhrmann, who is no stranger to genre-hopping, having made "Romeo and Juliet" and "Moulin Rouge." DiCaprio observed that both "Gatsby" and his previous film, "Django Unchained," not only feature a soundtrack comprised of a variety of musical genres, but are indicative of a change in cultural consciousness. The '20s-set , while the slavery-era "Django" features Rick Ross on the soundtrack.

"The last two films that I've done have been period pieces infused with hip-hop," he said. "So it's really cool that these directors take that chance, and I think it really connects with audiences today.

"I think it ...

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Daft Punk’s <i>Random Access Memories</i>: Dance Music Is Dead

Dance music has always been about liberation, from juke-joint boogie woogies to discotheque dramas, the rec-room breaks that begat hip-hop and the heady house music that brought together poseurs and punters alike.

That may seem like an oversimplification (which is sort of necessary when considering a genre as fractious as dance), but it doesn't have to be: Sure, sharecroppers found release in ragtime and black and Latino youth — both gay and straight — drew empowerment from disco, but there's a reason Primal Scream tacked Peter Fonda's "We wanna be free to do what we wanna do!" speech to the beginning of "Loaded" ... liberation, it seems, comes in many forms.

To further that analogy, consider today's EDM, which seems to exist largely for kids to liberate themselves from their clothing. And because of that, the genre finds itself at a bit of a crossroads: Sure, it's never been bigger, but it's hard to argue that it's ever been more lunkheaded ... say what you will about the Chemical Brothers' run in the late '90s, but at least they were smart enough to make a song like "The Private Psychedelic Reel."

Given that, it's difficult to see where Daft Punk fit in. For an act so revered, their influence on today's mega DJs seems fleeting at best — save their now legendary live shows, which set the gold-standard against which all shall be judged. It's been eight years since their last true album, Human After All, and in that time, dance music has mutated into something neither of them could have imagined. ...

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Thirty Seconds To Mars Unveil Epic ‘Up In The Air’ Short Film

At this point, we are all aware that Thirty Seconds To Mars don't make music videos — they make short films. So when the band began releasing teaser trailers for their latest foray into film, "Up In The Air," well, visions of another epic, long player on par with their 13-minute mini movie began dancing in everyone's head.

Especially since said teasers featured burlesque dancers riding mechanical bulls, Olympic gymnasts, roaring lions, snarling wolves, world-famous artists, models, actors, authors and more partially-clad dancers than a Las Vegas revue (there was also an actual Las Vegas revue involved, for those keeping score at home).

Well, on Friday (April 19), after weeks of furious editing, Mars finally unveiled the short film for "Up in the Air," and let the record state that, while it is most certainly epic, it also clocks in at a manageable eight-and-a-half minutes — and two of those are the ending credits. And given the bombast with which Jared Leto normally operates, that basically makes it his contribution to the 1 Second Film project.

That's not meant to be a slight by any means. In a lot of ways, Leto's grand visions only benefit from an ounce of constraint. Unlike "Hurricane," "Up in the Air" is not weighed down by narrative, nor does it have its momentum slowed by unnecessary chapter breaks. Rather, it speeds along on striking visuals — bright colors, sinewy bodies, vast expanses, prowling beasts — and Leto's deft directorial choices. Every frame is like a photograph, and, yet, they are all ...

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