Usher, Ke$ha And More Help Dance Music Go Pop In 2010

But is it here to stay? Our music-industry experts weigh in.
By Akshay Bhansali


Ke$ha
Photo: Andreas Rentz/ Getty Images

In 2010, pop princesses, R&B icons and chart-dominating newcomers all danced to the same beat. Not only did dance music go pop, but pop music caught the club-music bug.

Between Katy Perry's "Firework," Ke$ha's "We R Who We R," Rihanna's "Only Girl (In the World)," Enrique Iglesias' "I Like It," Usher's "DJ Got Us Fallin' in Love" and "OMG" and countless other singles, established artists definitely looked to dance beats for surefire hits. And two of this year's biggest success stories in music were Jason Derülo and Taio Cruz; could there be a soul left in this country who hasn't heard "Dynamite" or "In My Head"?

The love went both ways, with dance music's biggest stars finding mainstream success this year. Dance-music maestro deadmau5 took up house-artist duties at this year's VMAs, and Swedish House Mafia and Usher teamed up for a medley of their gems at the American Music Awards.

So how did this happen? We caught up with some music-industry experts to get their takes.

"You definitely saw tempos go up this year," Jon Caramanica of The New York Times told MTV News. "And I think what you had are a lot of producers who are really familiar with nightclub stuff. They are familiar with Europe. Things are happening on a more global scale now."

"I think everything from Europe, and sometimes even Asia, it comes to America, and we just adopt things a little bit slower," said Jared Eng of JustJared.com. "I think it was just a change. People like different types of music at different times. And dance was of this moment."

Noah Callahan of Complex magazine added: "I think 2010 saw the merging of the pop and dance genres. Pop artists realized that there were best practices that could be borrowed from dance music. And, ultimately, [all] pop music that has been made in the past 20 years had ended up being remixed for the club by dance artists. I think they basically just cut out the middleman and went straight there."

Dance music being introduced into the hip-hop and R&B realms was particularly notable this year.

"I think David Guetta kind of at the end of last year and the beginning of this year spearheaded it," said freelance writer Julianne Escobedo Shepherd. "He produced a lot of tracks. I think as trends go, people revile 'unst-unst.' But it's just coming back around. Big-room techno was a way for people to get decadent in a year that no one could get decadent."

"You have someone like will.i.am, who's like, 'Well, I spent all this time in Ibiza, and this is what they are doing,' and he wants to find a way to bring that into his music," Caramanica said of the Black Eyed Peas mastermind. "R&B especially became dance music. And especially with your Jason Derülos, Taio Cruzes. Guys like that would have literally been blocked at the border two years ago. That would not have made it through customs. And now all of a sudden they have #1 songs. I think will.i.am had a lot to do with that last year."

Elliott Wilson of RapRadar.com added: "It's actually even affected hip-hop. I was talking to Q-Tip, and his next record, I feel like that's gonna kind of go in that vein. I know that was also Jay-Z's thought process with Blueprint 3 at first, that he wanted to make a little bit more of a world music [vibe], a little more dancey. I think the kids today want to go to the clubs. They wanna have a good time. They wanna dance. So I think the artists of today are trying to kind of feed that audience."

"I think it's caught on this year because the people who've done it have been successful," offered Clover Hope of Vibe magazine. "Like 'OMG,' with usher, he didn't have success until he made a dance record. He had 'There Goes My Baby' and these really, like, adult-contemporary records that didn't really catch on. And then once you see that everybody is doing it and that people are liking it, they are like, 'OK, let me just try this out.' It's like Auto-Tune. Like, 'Let me see what I sound like on a record by David Guetta.' They end up liking it and doing more of it."

So does the club-music trend have staying power. According to our tastemakers, not so much.

"I do think it's a blip," Caramanica said. "I don't think that's gonna be something that lasts in America. I think this is gonna be a moment we'll all look back on and go, 'Wasn't that weird when Jason Derülo and Taio Cruz had #1 records?"

"At some point, these R&B artists will get kind of sick of it and be like, 'Let me go back to my soul background,' " Hope said. "When you actually have to say something, dance doesn't really lend itself to substance. And I think that R&B artists, they really want to talk about love and in a deep way, and to do that, you need to do, like, a soul or a traditional R&B record. I want to say that it's kind of a fad."

"I think music is very cyclical," Eng offered. "So I think dance music might be here for a little bit, but I'm sure it will phase out at some point."

Wilson called dance music "the sound of today. I think that people want more aggressive, faster beats, and I think that that probably has legs until at least next summer."

What do you think? Is dance music here to stay? Let us know in the comments!

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Preview: D.C. United at Real Salt Lake

Real Salt Lake return home following a two-game Eastern swing to take on D.C. United, Saturday night at Rio Tinto Stadium. United haven't won in five seasons in Utah, since winning there in Real's inaugural season. RSL took one point on their travels after a 1-1 draw in Philadelphia last time out. United saw a five-game unbeaten run come to an end in a 4-2 home loss to the San Jose Earthquakes.

Source: http://feeds.dcunited.com/~r/DCUnited/all/~3/LmFBBkf95Fk/preview-dc-united-at-real-salt-lake

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Justin Bieber: I'm A Country Boy

The newly minted CMT Music Award winner says he shares his mother's love of the country sound.
By Jocelyn Vena


Photo: The Insider

Before he took home the trophy for Collaborative Video of the Year at the CMT Music Awards on Wednesday night, Justin Bieber professed his love for all things country on the red carpet.

"I'm really glad to be here," he told CMT, with the guys of Rascal Flatts by his side. "It's great."

It wasn't just an exciting night for him, but also for Mama Bieber, who happens to be a big country music aficionado. "It's great; it's so many people my mother admires, 'cause she loves country music, and I do too," he continued. "So it's really great to be here with Rascal Flatts."

It was on the set for his winning video, "That Should Be Me," that Bieber first cut his hair. In the end, the sacrifice of his trademark locks seemed worth it.

"Some of the fans liked it; some of the fans didn't. They were just upset he cut it," Bieber joked, nodding to Rascal Flatts' Gary LeVox.

The video for "That Should Be Me," a Never Say Never - The Remixes track (which was a reworked version of the song that first appeared on My World 2.0) is a lo-fi, behind-the-scenes, "making of the video" performance clip. But it was good enough to beat out the likes of country music superstars like Jason Aldean with Kelly Clarkson; Kid Rock featuring Sheryl Crow; Loretta Lynn, Miranda Lambert and Sheryl Crow, as well as Aaron Lewis featuring George Jones and Charlie Daniels.

"First of all, I just want to say how honored I am to be here ... with Rascal Flatts," Bieber said while accepting his first country award. "How amazing are Rascal Flatts, everybody? I want to thank my mom. I want to thank my family. And I want to thank Rascal Flatts for even jumping on the song with me."

Would you like to see Justin Bieber try out other genres of music? Talk about it in the comments!

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Coldplay, Led Zeppelin Album Covers Featured On New British Stamps

Album art from Pink Floyd, Blur and David Bowie also included.
By James Montgomery


Coldplay's new British stamps
Photo: Royal Mail

On Thursday (January 7), the U.K.'s Royal Mail unveiled a series of 10 new stamps, honoring the most iconic album covers of the past 40 years.

The albums featured in the new series are the Rolling Stones' Let It Bleed, Led Zeppelin's IV, David Bowie's The Rise and Fall of Ziggy Stardust and the Spiders From Mars, Mike Oldfield's Tubular Bells, The Clash's London Calling, New Order's Power, Corruption and Lies, Primal Scream's Screamadelica, Pink Floyd's The Division Bell, Blur's Parklife and — the most recent album on to make the cut — Coldplay's A Rush of Blood to the Head.

Meant to honor "the most potent graphic images of modern times, many of which have provided a visual soundtrack to people's lives," the series is the end result of a lengthy research process by the Royal Mail, who looked through thousands of album covers by British artists before deciding on the final list. And, during a Wednesday night BBC Radio broadcast, it was revealed that the queen herself actually approved each design.

Led Zeppelin guitarist Jimmy Page — who helped design the cover for IV — was on hand to celebrate the release of the stamps and recalled the mysterious nature of the album's iconic imagery.

"Almost 40 years after the album came out, nobody knows the old man who featured on the cover, nor the artist who painted him," he said. "That sort of sums up what we wanted to achieve with the album cover, which has remained both anonymous and enigmatic at the same time."

Of course, any great honor is befitting of an equally great contest, so, on the same day the stamps were made available to the general public, Coldplay decided to give one of their Rush of Blood stamps away. In a message on their official site, the band held a contest to send one lucky fan "a letter using a Coldplay stamp, postmarked with today's issue date."

"We visited our local post office earlier today and bought some of the Coldplay stamps," the message read. "Very nice they are too."

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Michael Jackson Doctor's Trial Delayed

Judge pushes start of Conrad Murray's trial back to May.
By Gil Kaufman


Conrad Murray
Photo: AFP/ Getty Images

LOS ANGELES — Though Conrad Murray's lawyers had been pressing for a speedy trial, a judge in the involuntary manslaughter case against Michael Jackson's doctor ruled on Wednesday to delay opening statements in the proceedings until May.

The Associated Press reported that Murray's attorneys consented to the postponement after they discussed the matter with prosecutors and both agreed they could be ready for trial by May 9.

According to a transcript from the closed-door session, though opening statements will not begin for several months, Murray told Superior Court Judge Michael Pastor that he did not want to forfeit his right to a quick trial, but agreed to the delay if screening of prospective jurors begins as scheduled on March 24.

"It is only acceptable to me if this is not strung along over a long period of time," Murray told the justice. "I don't want to lose my constitutional right to speedy trial." Murray — who has pleaded not guilty to the charges — reportedly has been in favor of having the proceedings begin as soon as possible because he is facing financial troubles, but he said he understands that the delay is necessary to allow both sides to prepare for the trial.

Pastor consented because he said he didn't want to lose a jury pool, and believed a month-long delay might let potential jurors shuffle their schedules for the case, which could take up to two months to decide. The judge has reportedly clashed with Murray's defense team in recent weeks, pressing them for answers about why they had not turned over more witness notes and other potential evidence to prosecutors in the run-up to the trial.

Cardiologist Murray was hired to be Jackson's personal physician while the King of Pop prepared for his planned 50-date comeback series of shows at London's O2 arena in the summer of 2009. The doctor told police that he provided the then-50-year-old Jackson with sedatives and the surgical anesthetic propofol in order to combat the singer's chronic insomnia. He said he did so on the morning of June 25, 2009, when Jackson died of what a coroner deemed acute propofol poisoning.

Murray's lawyers reportedly plan to argue that Jackson was already in weak health before he died, that it's unfair to blame propofol for his passing and that, if the anesthetic was to blame, the pop superstar may have given himself the fatal dose by drinking the drug in a panic.

A status hearing in the case has been set for this Wednesday.

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