Kendall Jenner: Birth Control At 15 ? A Mixed Message?
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Hilarie Burton Hilary Duff Hilary Swank Isla Fisher Ivana Bozilovic
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Hilarie Burton Hilary Duff Hilary Swank Isla Fisher Ivana Bozilovic
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Donna Feldman Drea de Matteo Drew Barrymore Ehrinn Cummings Elena Lyons
Semi Precious Weapons frontman recalls 18-month odyssey — and night 'Edge of Glory' was born — on MTV's Gaga 'After-Show.'
By James Montgomery
Lady Gaga
Photo: Kevin Mazur/ WireImage
Earlier this month, in front of 55,000 fans in Mexico City, Lady Gaga finally put the Monster Ball to bed. It had been quite the ride — the tour lasted nearly 18 months, kicking off in November 2009, rolling through four continents and inspiring one over-the-top HBO special in the process — and, aside from Gaga herself, perhaps no one could testify to that better than the Semi Precious Weapons, who opened practically every show.
Of course, Semi Precious Weapons' history with Lady Gaga goes back even further; she opened for them back in 2006, and they've remained fast friends ever since. So it was fitting that, at the conclusion of that final Monster Ball show, Gaga brought the band — and longtime friend Lady Starlight — back onstage to bask in the applause and share one final curtain call together.
It was a poignant moment for everyone involved, one that SPW frontman Justin Tranter recalled after the Thursday night premiere of "Lady Gaga: Inside the Outside," during MTV's "After-Show" live stream.
"We played over 200 shows with her, all over the world, and at the end, the very last show, she says [onstage], 'This used to be a really small show that I did in New York City with my friends, when no one was watching, we just did it because we loved it,' " Tranter said. "And then she brought us up onstage in front of 55,000 people, and it was just ... the craziest thing ever.
"A friend of mine was texting me because he saw the interview that Gaga just did where she talks about opening for us at the Knitting Factory, and he was just like, 'I can't believe this is all real,' because he was there for that show and backstage for that show," he continued. "And, you know, it was one of those moments in Mexico City, where I'm standing onstage, opening for her, getting 55,000 people to scream one of my best friend's name over and over, after I'd just played them a bunch of songs. It's surreal. The Monster Ball was ... such an insanely magical experience and it's really depressing that it's over."
And after spending almost 18 months on the road with Gaga, you'd be correct to assume that Tranter has a whole lot of memories like that one (most of which can't be reprinted anywhere), but, recently, there's one that keeps coming back to him: the night Gaga's current single, "The Edge of Glory" was born. Because not only was it rather magical, but it also summed up everything that he loved about being on the Monster Ball in the first place.
"One of the things I keep remembering recently, just because 'The Edge of Glory' is everywhere now, is, I think we were in Sweden, and she was writing that song," Tranter said. "We had just had three weeks off on tour, and ... she had just written that song, and in our dressing room, through the wall, we could hear her singing it. And then she texted me and asked me to come in and listen to it. And then I had to go onstage, and when I came off she asked me to come back again, and we were being music geeks and going over chord-change options, and now the song is everywhere.
"So I think that's an amazing example of the Monster Ball and how things really haven't changed; it's still us playing each other our songs, it's still us hanging out," he continued. "And to think that there's 20,000 people in the audience waiting for us to go on while she's writing this song, waiting for her to go on while she's writing that song, that's a moment I've been thinking of a lot recently."
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Conrad Murray's trial slated to start March 28.
By Gil Kaufman
Dr. Conrad Murray appears in court on Tuesday in Los Angeles, California
Photo: Irfan Khan-Pool/ Getty Images
Michael Jackson's former personal physician Dr. Conrad Murray entered a plea of not guilty to charges of involuntary manslaughter in the June 2009 death of the pop star at his arraignment on Tuesday morning (January 25).
According to the Los Angeles Times, when asked by judge Michael Pastor how he pleaded to the charge, Murray said, "Your honor, I am an innocent man." When Pastor interrupted and asked Murray what his plea was, the cardiologist said, "Therefore, I plead not guilty."
The brief hearing in Los Angeles Superior Court ended with Pastor setting a March 28 date for the start of a trial in the case. Murray faces a maximum of four years in prison if convicted, and the Times noted that he surprised the judge by invoking his right to a speedy trial, which meant the case would have to begin by late March. Pastor noted the rarity of a defendant asking to have a speedy trial, then set jury selection for the week of March 28 and said he was inclined to allow television coverage of the trial that the defense expects will last two months.
Lawyers for Murray have maintained his innocence all along, saying he did not do anything that "should have" caused the 50-year-old pop icon's death. The Los Angeles County Coroner's office determined that Jackson died of an overdose of the surgical anesthetic propofol mixed with a cocktail of other sedatives.
Murray has admitted to administering propofol to Jackson in the hours before the singer's death, but the defense appears to be gearing up to claim that it was Jackson who administered the final, fatal dose of the drug after he woke in a panic from a fitful night of sleep.
During a preliminary hearing earlier this month to determine if there was enough evidence to hold Murray over for trial, the physician's attorneys said that there was evidence Jackson injected or drank a fatal amount of the drug when the doctor was not looking.
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So I'm at O'Hare right now getting ready to fly back to New York with my babies. Bev and Mary Margaret are in one bag together.

Earlier there was some cuddling, but now I hear a bit of growling. Mary Margaret has a tendency to terrorize poor Beverly...
The big thing I'm afraid of, however, isn't the growling—it's that Mary Margaret will poop in her bag. If she does poop, I've decided that I'm going to poop too, because me shitting myself will totally trump her shitting herself, right?
That's gross... girls shouldn't talk about poop.
Poop, poop, poop.
Anywho... I'll check in later to tell you how it goes. The flight is delayed right now, which just makes the possibility of pooping more likely. For me and her.
(I know, I know... girls shouldn't talk about poop.)
Source: http://www.prettyinthecity.com/blog/2011/4/26/mary-margarets-first-flight.html
Aisha Tyler Aki Ross Alecia Elliott Alessandra Ambrosio Alexis Bledel
Femme Fatale producer tells MTV News the pop star defies categorization because she's 'forward-thinking.'
By Jocelyn Vena, with reporting by Matt Elias
Britney Spears
Photo: Max Morse/Getty Images
Since Britney Spears emerged on the scene nearly a decade and a half ago, she's run the gamut of pop music: from sugary bubble-gum to dirty, sexy dance tracks. In that respect, her longtime collaborator and Femme Fatale producer Dr. Luke says that the superstar has in many respects become bigger than pop. In fact, he says it's hard to confine her to just one genre.
"I feel like Britney kind of has her own genre: If you look at songs like 'Toxic' and 'Piece of Me' and 'Oops! ... I Did It Again,' they all were sort of influential and led the way," he told MTV News on Thursday (April 28) at the ASCAP Pop Music Awards.
So when the pair sat down to work on her latest release, Dr. Luke said her pop-music shape-shifting was very much on his mind. "She wanted to keep on with that and do stuff that was forward-thinking," he continued. "So we put some dubstep stuff in there, in bridges; snuck it in different places and I hope it ended up good. I hope you like it."
It seems every time Spears drops a new album, it's declared her comeback record. But Dr. Luke noted that Brit has really never gone anywhere. "Where'd she go? I don't know. I didn't know she ever disappeared, really," he said. "She's always been selling out concerts and records, so I don't know that she ever disappeared."
So what do Spears and Luke have up their sleeve now? "Not yet ... give me a second to breathe, come up for air!" he told us.
Plus, even with Femme Fatale already in stores, it seems like the pair are always finding ways to update the songs. Take, for example, the recent remix of "Till the World Ends," which features Ke$ha (the track's songwriter) and Nicki Minaj.
"Well, we already had Ke$ha on the song 'cause she co-wrote the song ... and she sounded really good on it," Dr. Luke explained. "And then Nicki got on the Femme Fatale Tour so we put Nicki on it and it just sounded amazing. She killed it."
Which version of "Till the World Ends" do you prefer? Tell us in the comments!
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As Angelina Jolie and Brad Pitt’s adorable tomboy celebrates her big day on May 27, we take a look at her globetrotting life
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'Idol' finalists joined the pop diva for an all-girl medley of B smash hits.
By Adam Graham
Beyoncé performs on the "American Idol" finale
Photo: Getty Images
Who run the world? Girls!
The ladies of "American Idol" proved it during Wednesday's (May 25) season-closer when they performed a medley of Beyoncé hits, and were joined at the finish by Beyoncé herself.
The girls — Pia Toscano, Karen Rodriguez, Naima Adedapo, Ashthon Jones, Thia Megia and Haley Reinhart — hit the stage in various red-and-black ensembles and shared the stage during B's #1 smash "Single Ladies (Put a Ring on It)." Adedapo opened the song and threw some sass on it before passing the mic to Jones, the season's 13th-place finisher, who was eliminated during the first week of semifinals competition. The girls took their turns with the vocals and aped the familiar moves from the single's iconic video, which one rapper sort-of semi-famously referred to once as one of the greatest music videos of all time.
Megia and the frequently bilingual Rodriguez took center stage and duetted on "Irreplaceable," another #1 hit for Beyoncé, while the rest of the group chimed in on the "you must not know 'bout me" chorus. That transitioned into "Get Me Bodied," with each singer working the stage with maximum 'tude. "If I Were a Boy" was next, with the contestants sitting down on the side of the stage and Reinhart tackling the chorus with her big, growly vocals. Jones was also allowed to flex her muscles on the song, and Toscano soon took center stage as the song segued into "Déjà Vu." Toscano, frequently criticized during her "Idol" run for only attempting big, old-fashioned ballads, came off well during the uptempo song.
But then the Queen B herself hit the riser at the top of the stairs and showed the ladies a thing or two about being a diva. The big horns from "Crazy in Love," her first solo hit, signaled her arrival, and she hit the stage with an abundance of style and authority. She danced in a long line with the "Idol" ladies (and a few backup dancers to boot) and ran through a verse of the song, strutting across the stage and whipping her hair like a true star. The performance ended with the "Idol" gals wrapping their arms around Beyoncé in a big group hug, and without even performing her new single, Beyoncé showed that girls run the world, or at least the "Idol" stage.
Later in the show, Beyoncé returned to debut her new song, "One Plus One." She introduced the dramatic piano-led ballad as her "favorite" song, and sang it on a sparse, smoke-filled stage, dropping to her knees at one point and shaking hands with the fans gathered in front of her.
What did you think of the Beyoncé medley? Let us know in the comments!
Don't miss a special edition of "Idol Party Live" Thursday at noon on MTV.com for analysis, finale red-carpet coverage and the last "Idol in 60 Seconds" of season 10. Get in the conversation by tweeting with the hashtag #idolparty! In the meantime, get your "Idol" fix on MTV News' "American Idol" page, where you'll find all the latest news, interviews and opinions.
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