British boy banders prove they know ‘NSYNC from the Jonas Brothers.
By Jocelyn Vena
The British fivesome (along with fellow Brit boy banders One Direction, who are also getting love Stateside) are proving that the new millennium is ready for a new crop of boy bands.
When the Wanted stopped by MTV News while they were in the U.S. for their tour, they played a little Boy Band Pop Quiz with us, and they did surprisingly well! See for yourselves …
What boy band featured Justin Timberlake?
The Wanted: ‘NSYNC
Did they get it right?: Yes
What boy band released the song “I Want It That Way”?
The Wanted: Backstreet Boys
Did they get it right?: Yes
What band launched the career of Robbie Williams?
The Wanted: Take That
Did they get it right?: Yes
What group from Boston formed a supergroup with the Backstreet Boys?
The Wanted: New Kids on the Block
Did they get it right?: Yes
What band’s name is actually a temperature?
The Wanted: 98 Degrees
Did they get it right?: Yes, eventually, with some hints from us!
What band’s brothers are also the stars of “Camp Rock”?
The Wanted: The Jonas Brothers
Did they get it right?: Yes
Having gotten high marks on our Boy Band Pop Quiz, the guys will come back our way later this month to be part of mtvU’s Spring Break festivities. They will head to Sin City to chill with rapper Young Jeezy and MTV Artist to Watch 2012 Dev at the Palms Casino Resort in Las Vegas. It’ll all go down March 20 to 22!
How would you have done on the Boy Band Pop Quiz? Let us know in the comments!
‘The Voice’ judge will headline ‘Cee Lo Green Presents Loberace’ at the Planet Hollywood Resort and Casino starting in August.
By Kara Warner
As if Grammy-nominated recording artist and “Voice” judge Cee Lo GreenCee Lo Green didn’t already have enough on his plate, the man is taking his act to Las Vegas, where he will headline “Cee Lo Green Presents Loberace,” at the Planet Hollywood Resort and Casino beginning August 29.
The “F— You” singer announced via his website Friday (March 2) that his show will “take you on a ride through the colorful decades of music, stopping at legendary moments in time, from Prince to Blue Magic to The Rolling Stones, new wave to disco and beyond,” according to the news announcement on the site. “Visually, the production will combine Cee Lo’s flamboyant sense of style & over-the-top creativity, magnified and intensified, with his soulful voice covering some of his favorite music, as well as original songs. Part dance party, part live intimate concert, this energetic, exotic show will be as inspired and visually alive as Cee Lo Green. There will be mind-twisting magic and sexified showgirls, and the larger-than-life wardrobe and impressive stage design will out-glam and out-clever anything you’ve seen from this Muppet-ized, sequin-styled international Lady Killer to date.”
Cee Lo’s “alter ego” is a nod to legendary and flamboyant showman Liberace, a world-renowned vocalist and pianist famous for both his talent and his outlandish fashion. The Goodie Mob rapper and Gnarls Barkley singer has been front and center in the world of music and pop culture over the past couple of years thanks to the success of his hit single “F— You” and the subsequent duet with Gwyneth Paltrow that was born on “Glee” and received special “Muppet-ized” treatment at the Grammys last year.
And don’t forget the success of “The Voice” and Cee Lo’s recent involvement in the Super Bowl halftime show with Madonna.
“Cee Lo Green Presents Loberace,” begins its first of 28 shows on Wednesday, August 29, and goes through December 9.
Will you check out Cee Lo’s Vegas show? Let us know in the comments!
Party planner Colin Cowie tells MTV News the fete would involve Beyonce, spaghetti and an ‘amazing, over-the-top’ cake.
By Jocelyn Vena
As Justin Bieber heads into his birthday weekend, we’re sure the newly legal star has some big plans to celebrate. To get an idea of what a Justin Bieber 18th Birthday Mega Bash might look like, we turned to party planner to the stars Colin Cowie, who dished on how he’d plan out the Bieb’s big par-tay.
“Since it’s his first real big birthday and he really plays to a big world, he deserves a big party,” Cowie said. “And I would pull out all the stops.”
Everything from the location to the food to the entertainment has to live up to Bieber’s celebrity, but also has to still feel intimate. “I’d take a great nightclub and throw a fabulous party in a nightclub, not too big … invite 200 of his best friends,” he explained, suggesting Manhattan hot spot the Double Seven as a possible location.
“I think I would use a combination of a DJ to start with, get the crowd going, add a couple live musicians just to build the energy and then have a live band,” he said of the entertainment. “And maybe Usher puts together a great musical repertoire, invites someone like Beyonc
‘It’s a different show every night, a different audience every night,’ he tells MTV News of his eight-shows-a-week schedule.
By Jocelyn Vena
In January, Nick Jonas kicked off his run as Finch, the lead role in Broadway’s hit revival of “How to Succeed in Business Without Really Trying.” With six weeks under his belt (and another few to go before he wraps it up in June), he says that he’s still getting to know the ins and outs of the show, but he’s enjoying every minute of the part, even its eight-shows-a-week schedule.
“It’s interesting. The thing that I think I’ve realized, having played Finch every night, eight shows a week, is that the title of the show is ‘How to Succeed in Business Without Really Trying,’ however the thing about Finch that’s really exciting and appealing to the audience, and me as actor, is that he does try really hard,” he explained to MTV News.
“Although he does rise to the top really quickly, he never lies, he never cuts anyone down, he never does anything that makes him a bad person,” he continues. “However, he’s just really driven. I think when it says ‘Without Really Trying,’ it’s more just saying how easy it really is when you get into the setup he falls into. It’s fun to dig in and see how quickly and easily you can rise to the top.”
And, the experience of the show has been enriched even more by the folks watching. “It’s a different show every night, a different audience every night and although we’re saying the same thing, it’s so different with each show and the audience plays just a much a part into the way the show runs as with the actors do. We have to pay attention and keep the pace of the show up,” he said. “It’s been fun to have a different show every night and to see the fans, not only Jonas fans, but also fans of ‘How to Succeed’ and theater fans in general.”
Have you seen “How to Succeed”? If so, what did you think of Nick Jonas’ performance? Leave your comment below!
New album is about ‘accepting that your fantasy is actually your reality,’ Santi tells MTV News.
By James Montgomery
When it came time for Santigold to begin work on the follow-up to her breakout self-titled debut, she had to change more than just her name; she had to readjust her entire view on reality.
“I really had to get a grasp on what the process was for this record … and what I was experiencing. And, really, the process for me of making this record was mastering my make-believe,” she said. “It was really about navigating through my own reality; navigating through my mind, my emotions and realizing that I was in control. I had to trust my vision and my creativity and really own the art I was making and own my experience in life, and claim it. I really do believe that our view on the world is what the world is; how we view ourselves is what we are … we really are in control of our lives and ourselves and our world, but only if we take control.”
And take control she does on the upcoming Master of My Make-Believe, an album that is, first and foremost, a mission statement, Santi’s ode to self-empowerment and self-awareness. But despite what the title may suggest, it is most definitely not an escapist fantasy. Rather than withdraw from the increasingly surreal times in which we live, she’s suggesting we do the complete opposite.
“It’s about accepting that your fantasy is actually your reality, and trusting your imagination, and trusting that your imagination is actually a real sense of knowing,” she explained. “It was my second record, so I really wrongly thought I had it all under control going into it. I was like, ‘OK, I got this, I know how to make a record, I know who I’m working with,’ so the first thing was to realize that was completely wrong. The other thing was, last time I had John Hill sort of as my partner throughout the record; I worked with a lot of people, but John was always there. This time, the only person that was always there was me. That was a big change, and I had to grow into accepting that. It took a tremendous amount of trust in myself.”
While all that may lead you to believe that Make-Believe is all heady and conceptual, well, take a listen to first single a staggering, swaggering slab of electro strut (courtesy of producer Ricky Blaze) and guitar stabs (courtesy of the Yeah Yeah Yeahs’ Nick Zinner) that is — as Santi put it — very much “for the clubs.” But it’s also a lot more.
“That song took me, like, three months to write the lyrics. First, Ricky sent me a track that was amazing, and visually, it reminded me of this day when me, Diplo and John Hill went out on this boat, and John was seasick; he was throwing up over the side,” she laughed. “And we were going really fast on this speedboat, and I was just holding on, sitting cross-legged on the very front of the boat, and my body was just, like, flying, like I could have been thrown off at any minute. And this guy was playing this old reggae through these little speakers, and it was blown out and distorted, and it was such a visual memory that stayed with me, and this song kind of felt like that.
“But lyrically, I was trying to talk about what I want for the world and what I want people to be,” she continued. “The youth are the hope of the future, and I want people to have the courage to trust their own vision and instincts and make up the truth for themselves and question what’s told to them.”
Will you check out Santigold’s new project? Let us know in the comments!
Vanity Fair character portraits prove Tim Burton is sticking with the aesthetic of the ’60s series.
By John Mitchell
Another week has passed, and we still don’t have a “Dark Shadows” trailer. For those keeping tabs, we’re just over two months out (70 days, to be exact) from the scheduled release of Tim Burton’s campy vampire blockbuster. But to whet increasingly impatient fans’ appetites, in this month’s Vanity Fair, Burton and company have released some character portraits of Johnny Depp as Barnabas Collins, Michelle Pfeiffer as Elizabeth Collins Stoddard, Eva Green as Angelique Bouchard and Helena Bonham Carter as Dr. Julia Hoffman.
Taking a close look at the portraits — and, really, we might as well, because there isn’t much other “DS” material to stan over — it’s striking just how close Burton and costume designer Colleen Atwood have kept Depp’s big-screen styling to the Barnabas that “Shadows” series creator Dan Curtis developed for actor Jonathan Frid all the way back in 1967. The more we see of Depp in character, the more we’re reminded of Frid, who also appears in the film.
“Johnny’s very open about what things are in the process, but he really lets people present things to him. He never really pushes at all,” Atwood told MTV News late last year about Depp’s costuming for “Shadows.”
“Sometimes he doesn’t even look in the mirror in his fittings. It’s so funny. It’s pretty amazing. People would be surprised, because I think they have this image of Johnny, because he’s so stylish always, but he really feels his costumes, more than looks at them, and the movement and the feeling in them is really important.”
From the hair and pale, monstrous makeup to the penchant for 18th-century bling, it’s kind of amazing how closely Burton is hewing to the look already established for the characters in the late-’60s series. And that’s true of nearly all the key players in his adaptation: He’s taken famed brunette Eva Green blonde, as Angelique (played by Lara Parker) was on the show, given Bonham Carter’s eccentric Dr. Julia Hoffman the same sweeping ’60s ‘do worn by Grayson Hall and has Pfeiffer sporting dark, regal ensembles similar to those worn by Joan Bennett to play Elizabeth Collins Stoddard.
One notable exception is Chlo
The show’s latest finalists leave this writer wondering where the Kelly or Carrie will come from.
By Gil Kaufman
You don’t know me, but I’m the guy who’s been sitting on his couch for several hours each week for nearly 10 years yelling things like, “Are you effing kidding me?,” “Seriously, that guy/girl?” and “Oh, come on, how is it possible that we’re even watching the same show?”
I did it because, like you, I was entranced by “American Idol” and the drama of watching potential stars climb their way to the top each week. I held on because I knew the payoff would be that triumphant final night when the confetti falls, Lionel Richie (or Kiss, or some other act your mom loves) sings a duet with a finalist and we get to hear that awful coronation song one more time before it disappears into history’s musical dustbin.
But I can’t take it anymore. It’s definitely not me; it’s you.
I realize I’ve been pretty judgmental this year, complaining about how “Idol” is showing its age, is blatantly stealing trick from former meanie judge Simon Cowell’s “X Factor” and just generally feels out-of-touch.
I’ve been exasperated at the “everyone gets a first-place ribbon!” attitude displayed by the checking-their-watches judges, who are acting like they’re coaches at a first-grade soccer tournament and not the nation’s ratings-giant (for now) singing talent program.
But after watching Thursday night’s results show, there is no one left to blame but you. What are you thinking?
I get that it’s always fun to put a few ringers into the mix to make things interesting. Who didn’t enjoy the weekly yuks provided by Sanjaya? But this cast is one of the most laughable in the show’s history. And not in the good way.
Yes, you passed on toothy other-other-other blonde Baylie Brown; other-other country singer Chelsea Sorell; forgettable “hot” one Chase Likens; maniacal musical Tom Cruise Reed Grimm; annoying, tear-stained Adam Brock; and “street artist” Creighton Fraker, who I was convinced was punking the show anyway.
But for God’s sake, you said yes to “funny” man Heejun Han and “Idol” Lazarus Jermaine Jones? And Jimmy Iovine — c’mon, man, you’re one of the most respected men in music! You’re honestly telling me you would make an album with Jones “right now”? I can’t imagine listening to him even one more time, not to mention for 55 minutes. I defy you to find any contemporary artist on the planet who is putting up numbers groaning in that kind of death-howl baritone. And Han? I could throw a pebble in an empty karaoke bar and hit 15 drunken frat boys with more talent.
I’m sure Iovine has a way better sound system on his TV at home, but no Beats by Dre subwoofer known to man explains how he believes that foot-stomping, face-making, Dave Matthews impersonator Phillip Phillips is one of the most original voices of our time. I’ve met Matthews, and he’s a very sweet, mellow guy, and even I suspect he’s chilling somewhere going, “Really?”
America, I stopped being mad that you’ve failed to vote a female winner into the mix since season six. I can’t totally hate on you for the female finalists, though I continue to be mystified by your embrace of gangly teen Shannon Magrane, who strikes me as average at best.
At a time when “Factor” crowned a legitimately powerful soul diva in winner Melanie Amaro and showcased a fascinating redemption story in rapper/crooner Chris Rene, contemporary R&B singer Marcus Canty, white blues man Josh Krajcik, high school cutie Rachel Crow and buzzed-about teen rapper Astro, “Idol” is offering up a warmed-over plate of potential winners whose commercial prospects feel limited at best.
I’m not a TV producer, but even I thought the judges missed a potential opportunity to at least create some great reality-show drama when they passed on Brielle Von Hugel and her tenacious stage mom.
Yes, Brielle, who, like a boxer, speaks of herself in the third person, is a decent singer at best. But I am willing to put a year’s salary on the line if curly crooner and wild-card survivor Deandre Brackensick has even an iota of the success the judges and Jimmy said he did — outside of being a hair model or a joke appearance on “The Simpsons” in a Sideshow Bob gag.
It’s ironic that the shiny, happy panel saved one of their only negative assessments so far this year for Von Hugel, the one person who could put some “show” into their business.
Frankly, the only contestants in the mix I think are even halfway relevant are emo-ish Colton Dixon, soul man Joshua Ledet and power belter Elise Testone. Among those, only Dixon looks or sounds like someone a record label could legitimately turn into a star, and I have a sinking feeling you’ll boot him well before May.
Lopez told “Access Hollywood” that she thinks this season’s finalists are “even stronger than last year.” In my world, that is somewhere below faint praise and just north of wishful thinking.
I like to see and hear a variety of sounds — hip-hop, blues, rock, etc. — and see a diverse top 13. While you clearly pine for a bumper crop of blondes who sound like county fair stage-fillers and Adele-abees and generic male crooners or “quirky” vocalists who are kinda like, but no better, than the established stars they grew up imitating in their bedrooms.
Conventional wisdom has it that, as a show ages, so does its audience. So, I dunno, America, maybe we just want different things.
You love theme shows like next week’s Stevie Wonder tribute, while I’m more interested in hearing the contestants sing the songs of today (though not the same one twice in one show) and edgier, more relatable acts that can break the drought of platinum-selling “Idol” winners.
Think about it. Until last year’s winner Scotty McCreery, only three “Idol” winners’ debuts had hit the #1 spot on the Billboard 200, and those were from season-one winner Kelly Clarkson, season two’s Ruben Studdard and season four’s Carrie Underwood.
I call that a serious rut and you’re in it, and at this point you can’t blame the judges anymore. You voted for these folks, and since I don’t see another Carrie or Kelly in this mix, the best I can hope for at this point is that you prove me wrong.
Get your “Idol” fix on MTV News’ “American Idol” page, where you’ll find all the latest news, interviews and opinions.
Latest Dr. Seuss adaptation isn’t winning over too many critics.
There are few authors whose oeuvre is as universally beloved as that of Dr. Seuss. The love for Dr. Seuss is so great that plenty of his stories are rife for big-screen treatment. We’ve seen movie versions of “The Cat in the Hat,” “How the Grinch Stole Christmas” and “Horton Hears a Who,” and now we have “Dr. Seuss’ The Lorax,” which hit theaters Friday (March 2).
Led by an all-star cast of voice talent including Taylor Swift, Zac Efron, Danny DeVito, Betty White, Ed Helms and Rob Riggle, the story follows the journey of a young boy who fights to reintroduce endangered trees to the plastic-obsessed town of Thneedville in hopes of winning a girl’s heart. Despite the warm-and-fuzzy sheen of the film, critics were not as wowed by the colorful adaptation. The film currently has a 56 percent fresh rating at Rotten Tomatoes but an 85 percent positive rating from audiences.
Read on as we sift through “The Lorax” reviews!
“Director Chris Renaud and writers Cinco Paul and Ken Daurio (the team responsible for 2010′s ‘Despicable Me’) were just the right people to bring Dr. Seuss’ (a.k.a. Theodor Geisel) 1971 environmental fable to vivid, eye-popping life. It has a similar blend of humor, bouncy silliness and sweetness. And it remains faithful to the spirit of Seuss. The pro-conservation, anti-consumerist message of the book is heartily intact. And, like the Seuss story, the film never resorts to sermonizing. … Disappointingly, Seuss’ trademark lilting language and clever rhymes are only sporadically integrated into the story. The film does add pleasantly loopy, if rather forgettable, songs.” — Claudia Puig, USA Today
“As with ‘Horton Hears a Who!’ four years ago, the production design and computer-generated animation in this new ‘Lorax’ respect the basic lines of Theodor Seuss Geisel’s illustrations, his voluptuously curvy universe of serious whimsy. Both the ‘Horton’ and ‘Lorax’ films work better, certainly, than the live-action Seuss pictures ‘How the Grinch Stole Christmas’ and the seriously not-good ‘Cat in the Hat.’ ‘The Lorax’ is a little more like it. A little. But you couldn’t accuse the film of practicing what it preaches: careful stewardship of a precious resource. The message tends to get lost in all the clanging slapstick and ‘WALL-E’ imagery. ‘WALL-E’ had the courage of its convictions as well as beauty and artistry; ‘The Lorax’ is just another OK feature-length animated edition (in 3-D, if you choose to pay for it) of a Dr. Seuss book.” — Michael Phillips, The Chicago Tribune
The Final Word, Pro-Con-Pro Style
“Directors Chris Renaud and Kyle Balda and their team honor Seuss’ original designs — those fuzzy-top trees and the comical bears and fish — while inventively creating the artificial world of Thneedville, where all the shrubbery is inflatable and it can be all four seasons simultaneously. While the film isn’t a full-on musical, the creators weave in a handful of catchy songs that nestle comfortably in the ear and push the plot forward, a rare combo in most cartoons these days. The voice cast is just fine, with Helms’ Once-ler traveling smoothly from protagonist to antagonist and back again. (A little of DeVito’s hectoring Lorax goes a long way, and the film wisely doles him out in small doses.) Conservative commentators like Lou Dobbs are absolutely right when they say that ‘The Lorax’ preaches in favor of the environment and against corporatism and waste and the destruction of the atmosphere. Parents who find that to be a message that’s somehow dangerous have every right not to go, but those Grinches, out of their terror of tree-hugging propaganda, will miss a real treat.” — Alonso Duralde, TheWrap
“Don’t be fooled. Despite its soft environmentalist message ‘The Lorax’ is an example of what it pretends to oppose. Its relationship to Dr. Seuss’ book is precisely that of the synthetic trees that line the streets of Thneedville to the organic Truffulas they have displaced. The movie is a noisy, useless piece of junk, reverse-engineered into something resembling popular art in accordance with the reigning imperatives of marketing and brand extension. … ‘The Lorax,’ while it nods in the direction of Dr. Seuss’ distinctive, trippy drawing style, treats his sensibility as, at best, a decorative element. The movie’s silliness, like its preachiness, is loud and slightly hysterical, as if young viewers could be entertained only by a ceaseless barrage of sensory stimulus and pop-culture attitude, or instructed by songs that make the collected works of Up With People sound like Metallica. The simple fable of the Lorax and the Once-ler is wrapped in gaudy, familiar business and festooned with grim, forced cheer. What do the kids want? Car chases! Kooky grandmas! Pint-size villains flanked by thuggish minions! Things that fly! Taylor Swift!” — A.O. Scott, The New York Times
“As much as this looks like Dr. Seuss, some of the most intriguing ideas of the original story have been changed and not always for the better. Altering the ending into one big happy party was slightly disappointing, if understandable. It was much more interesting that this strange creature would tell his story to a curious young boy and hope that this child would be able to plant the very last truffula tree seed. Not surprisingly, the movie changes that ambiguous hope into a happy-heavy ending. Sure it may be more child friendly, but the books weren’t exclusively made for grown-ups. If done right, young viewers would be able to search for hope with a less obvious finale. Yet with all the over-the-top joyfulness and an extraneous villain, there is fun to be had with ‘Dr. Seuss’ The Lorax.’ This is an enjoyable kid’s flick with a message for a new generation. The environmental aspect might anger a few people but that same idea is in the book itself, there is nothing new about that here. Much like Bob Holt’s take on him, I really warmed up to the character of the Lorax and what DeVito brings to this little critter that speaks for the trees. And yes, Betty White voices another wacky grandma, and everybody loves her, right?” — Jimmy O, JoBlo.com
Check out everything we’ve got on “Dr. Seuss’ The Lorax.”
For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com.
‘I was most definitely nervous about opening up to the cameras,’ Lovato admits of documentary airing Tuesday at 10 p.m. ET/PT on MTV.
By Jocelyn Vena
Demi Lovato will let fans into her life when her documentary “Demi Lovato: Stay Strong” premieres March 6 on MTV. Cameras follow Lovato as she tours, goes back to visit the Illinois rehab center where she was treated, and opens up in great detail about her life post-treatment.
While Lovatics got a preview of what’s to come from the trailer that dropped a few weeks back, the full picture of Demi’s struggles and her life right now will be revealed when the “Stay Strong” airs Tuesday at 10 p.m. ET/PT. Lovato talked to MTV News this week about why she signed on for the doc.
“I was most definitely nervous about opening up to the cameras,” she said. “And I was very hesitant to say certain things, but once I was around them for a while, I felt more comfortable and really opened up towards them.”
The special goes deep. Demi talks candidly about her issues, from being diagnosed with bipolar disorder to struggling with both cutting and eating disorders. The singer/actress hopes the documentary can help anyone else dealing with similar kinds of pain.
“My goals for my fans? It’s to really inspire people,” she said. “That’s all I hope to accomplish. If there is a young girl at home dealing with the same issues that I’m dealing with, I want to be able to reach out to her and tell her that it’s going to be OK.
“You know, I speak about a lot of serious issues and I really hope to get awareness out there about the issues that I dealt with,” she continued. “But at the end of the day, I just want people to see what it’s like to be in my shoes. I kind of talked about the journey that I’ve been on and I just want people to take away a positive message. It gets better, you know?”
The special is named after a pair of tattoos Demi has on her wrists that read “Stay Strong.” The tats are a tribute to the fans that Lovato said sent her that very message while she was in treatment.
Don’t miss “Demi Lovato: Stay Strong,” debuting Tuesday, March 6, at 10 p.m. ET/PT on MTV.
Perry tells MTV News that she wrote the song two years ago, despite rumors that it was in response to her split from Brand.
By James Montgomery, with reporting by Christina Garibaldi
Ever since its premiere at the 54th Grammy Awards, folks have speculated long and hard about Katy Perry’s “Part Of Me,” and whether its various lyrical barbs — “You can keep the diamond ring, it don’t mean nothing anyway/ In fact, you can keep everything — except for me,” in particular — were aimed at her ex-husband, Russell Brand.
It would seem to make sense … after all, Perry’s no stranger to the occasional(ly brutal) kiss-off (check the Teenage Dream track “Circle The Drain” for proof), but there’s just one tiny problem: “Part Of Me” first surfaced in 2010, two months after Perry and Brand got married in India.
And while Katy has yet to speak publically about the pair’s split, she was definitely looking to set the record straight about her latest chart-topping hit … which most certainly isn’t about Brand, no matter what you might think.
“I wrote it two years ago, which is funny because everybody is like ‘God, it sounds so current,’ ” she told MTV News recently in Los Angeles. “And some people that I work with were like ‘You should just say you wrote it a couple of weeks ago.’ I’m like ‘I’m not a d—, I’m going to tell the truth.’ I wrote it two years ago when I was writing and recording Teenage Dream, it didn’t feel right on the record. I would’ve had to take out one of my other songs that a nice, complete package.”
And despite her denials, Perry realizes that some folks will just keep on assuming “Part Of Me” is a direct swipe at Brand … and she really can’t blame them: After all, even she’ll admit that there’s a whole lot about the song that seems practically preordained.
“I always planned to put it out in the spring of this year, to possibly perform it at a big , but sometimes I’m like ‘Am I living in ‘The Truman Show?’ … what’s going on?’ ” she laughed. “Because I sit down and I write all these songs at once, all these emotions and feelings and thoughts, and then, like, it just feels like sometimes I’m caught in this movie where my life is paralleling my music! It seems very serendipitous, but, as un-fun as it sounds, I prepare everything. I’m overly prepared and kind of a control freak in the best of ways.
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