21 sets a new high mark for post-Grammy sales.By Gil Kaufman
Adele at the 2012 Grammys Photo: Kevork Djansezian/Getty Images
Adele is starting to make this look a little too easy. And also, who out there doesn't own 21 already? After all, they've had a full year to get their act together.
In the same week that she celebrates 52 weeks on the Billboard 200 albums chart, all of them spent in the top 10, the singer set yet another high-water mark when she notched the biggest sales week yet following her Grammy Awards comeback. In the wake of her six-for-six night at the awards show, Adele rolled up her biggest sales week to date, moving 730,000 copies, more than doubling her previous high mark of 399,000 for the week ending December 25, 2011, according to figures provided by Nielsen SoundScan.
The last album to sell more copies in a single week before Adele's big jump was Lil Wayne, whose Tha Carter IV moved 964,000 in August 2011. To put her giant leap into perspective, in her 52nd week on the charts, Adele moved the third-highest amount of product of any artist in the past year, surpassed only by Lady Gaga's Born This Way (1.1 million) and Weezy, and coming in ahead of highly anticipated chart bows by Drake (631,000), Coldplay (447,000), Jay-Z and Kanye West (436,000), Lady Antebellum (347,000), Beyoncé (310,000), Britney Spears (276,000) and Chris Brown (270,000).
Among the other records Adele set with her massive week:
» The biggest weekly sales increase following a Grammy win in the, um, 21-year history of SoundScan. With her 207 percent bump, Adele beat the previous record holder, Norah Jones, who sold 621,000 (a 331 percent increase) following her five Grammy wins in 2003 for Come Away With Me.
» With her massive sales hike, Adele became the first artist to go double-platinum on iTunes.
» With 21 non-consecutive weeks at #1, Adele now holds the record for the longest #1 album by a woman in Billboard history, beating the record formerly held by the late Whitney Houston's soundtrack to "The Bodyguard."
And it wasn't just 21 that got the Grammy love. Adele's debut, 19, zoomed up five spots to #4 thanks to a 144 percent sales increase, with 87,000 copies sold, setting another one-week sales best by eclipsing its previous high of 71,000 units shifted for the week ending December 25, 2011.
In the first full chart week after her death, Houston's only greatest-hits collection, Whitney: The Greatest Hits, saw a sales increase of 174 percent, shifting 175,000 copies to move up four spots to #2.
The rest of the top 10: Now 41 (#3, 94,000), 2012 Grammy Nominees (#5, 85,000), Van Halen's A Different Kind of Truth (#6, down 69 percent in its second week on sales of 58,000) and Paul McCartney's Kisses on the Bottom (#7, 58,000).
A number of acts also got a significant Grammy boost, including performer Bruno Mars, whose Doo-Wops & Hooligans rose 133 percent on sales of 38,000, bumping it up 22 spots to #8; Lady Antebellum, whose Own the Night was up eight to #9 (37,000, up 47 percent); and the Civil Wars, who rocketed up 31 spots to #10 with Barton Hollow (36,000, up 178 percent).
Coldplay got a more modest boost from their performance, as Mylo Xyloto inched up three spots to #11 on a 26 percent sales increase to 35,000, while Grammy winners Foo Fighters were up 134 percent and 28 spots to #21 with Wasting Light (23,000).
Further down the line, two other Houston albums, her self-titled debut and the soundtrack to "The Bodyguard," both sold more than 17,000 copies, seeing respective sales increases of 113 and 123 percent.
Over on the iTunes charts, Grammy performer Katy Perry topped the singles tally with her new single, "Part of Me," followed by Houston's iconic cover of "I Will Always Love You," Adele's "Rolling in the Deep" and "Set Fire to the Rain" and Kelly Clarkson's "Stronger (What Doesn't Kill You)."
Coming in at #6 were buzz band fun. with "We Are Young," Nicki Minaj with "Starships," Brown's "Turn up the Music," Adele's "Someone Like You" and One Direction's "What Makes You Beautiful."
21 was at #1 on the iTunes albums chart, followed by Houston's greatest-hits comp, the Civil Wars' Barton Hollow, Adele's 19, Coldplay, the Grammy compilation, Mars, Clarkson's Stronger, the Fray's Scars & Stories and Grammy winner Bon Iver's self-titled album.
With Houston's chart record in the rearview, next up for Adele is the 24-week #1 reigns of the "Saturday Night Fever" and "Purple Rain" soundtracks. She should be safe for another week, as the only competition coming up in the next chart frame is from Sleigh Bells, Tyga and fun.
Brown reacts to Rihanna-related criticism from the singer and the wrestler on Twitter.By Jocelyn Vena
Chris Brown Photo: Mindy Small/ FilmMagic
It's an interesting time for Chris Brown. With several career highs, which include a Grammy win and performance at the show earlier this month, come several personal lows, including feuds with two other celebrities.
On Tuesday, Brown took to Twitter to address some comments made by WWE wrestler CM Punk in a video he released on TMZ, which itself came in response to an ongoing Twitter feud the guys have been having.
"I'm a lifelong proud, drug-free, straight-edge individual, so Chris and I come from two completely different worlds," Punk said in the video, referring to a previous tweet Brown had posted accusing Punk of taking steroids. "I don't have a manager, I don't have a bodyguard, I don't have an assistant, I have no need for a PR team what to tweet or when to delete tweets, and I don't hit women. Period. In my world women are to be revered and respected and I firmly believe that in this life there are consequences and repercussions for people's actions, and I don't think Chris has paid for what he's done. Picking up trash on the side of a highway does not make amends for repeatedly striking a woman in her face and sending her to hospital.
"So if Chris wants to throw stones my way now, I say that's fine. Let's put some gloves out and get in the ring and I will choke you out and I will make you feel as weak and as powerless and scared and alone as any woman who has had the misfortune of knowing a sad, cowardly, little boy such as yourself. And all proceeds can go to a women's shelter of my choosing ... Chris Brown isn't a man and that's fine. I just know that someday, somewhere, somehow, somebody will put Chris Brown exactly where he belongs and that obviously doesn't have to be me, I would just really like it to be."
After the video was released, Brown responded, "@cmpunk the video u just posted was cute! It's so funny how defensive u are. And the fact that I really don't know who you are and could give a sh-- is the funny part! I miss the real wrestlers! (Hacksaw Jim duggan, Brett the hitman heart, coco beware, rowdy roddy piper) #Notnopunks."
Several tweets later, he brought it back to Punk, but noted that he would no longer be addressing the issue. "Note: today will be the last day I bring @cmpunk existence up! The confrontations that people continuously bring my way are very amusing," he wrote. "Cuz honestly, that sh-- is too time consuming to argue wit every person who has their own issues to deal with!"
It all started on February 20, when Punk tweeted about Brown's 2009 assault of his then-girlfriend Rihanna. From there, the two became involved in a Twitter back-and-forth. Since Brown's last tweet about the video, as of press time, Punk has not tweeted about it again.
This is hardly the first bit of criticism that Brown has received since his Grammy win on February 12. While a number of celebrities tweeted their criticisms of Brown's win and performance that night, country star Miranda Lambert has been the most vocal about it.
Brown responded to her post-Grammy tweets, writing, "Using my name to get publicity? I love it! Perform your heart out! Go buy Miranda Lambert album! So motivational and 'PERFECT'!"
Not only did she tweet about it, but in concert last week Usmagazine.com reported Lambert addressed the issue further, saying, "I just have to speak my mind, because where I come from, beating up on a woman is never OK. So that's why my daddy taught me early on in life how to use a shotgun."
Heejun Han was among the contestants who will move on to the live episodes; 10 more will be announced Thursday.By Adam Graham
Reed Grimm celebrates on "American Idol" Photo: Fox
Rest easy, America. Heejun Han made it through.
Han, the biggest personality to emerge on "American Idol" so far this season, was revealed on Wednesday's (February 22) episode as one of the 24 seminfinalists who will make it through to the live episodes, which begin next week. From a final pool of 42, 14 semifinalists were unveiled during Wednesday's episode; the final 10 will be made public during Thursday's one-hour episode.
Joining Han — producers cued "Hey Jude," which almost sounds like "Heejun," when he made it through — on the guys' side are the incredibly named Phillip Phillips; tiny soul man Creighton Fraker; former family band singer Reed Grimm; gospel-voiced Joshua Ledet; and the mohawk-mulleted Colton Dixon. Representing for the ladies are Erika Van Pelt, Jen Hirsh, Haley Johnsen, Elise Testone, Chelsea Sorrell, Baylie Brown, Jessica Sanchez and Brielle Von Hugel.
This being "American Idol," however, a simple "you made it!" is never quite dramatic enough. Instead, the judges have to drag out their decisions, cruelly suggesting the contestants have been cut and telling them everything short of, "You'll never sing in this town again, baby," before waiting a beat and then adding, "because this town's no longer big enough for you, because you made it through!"
Consider Randy Jackson's speech on Wednesday to Ledet. "You know what, sometimes in life, you know, you do these shows and you do these things, and sometimes the better singers don't quite make it, because everything doesn't quite line up," Jackson told him. "You know, it's heartbreaking for us, you know what I mean? It's like, that's why this day is so hard, because we have to say 'bye' to so many people that we love that are so talented, that everything just didn't line up. And this season's definitely tough, you know; we're trying to find the exact right 24. So for you man, you made it bro." Ledet reacted to the news by singing, "Thank you, Jesus."
Likewise, when Jennifer Lopez told Van Pelt the news that she'd made it through, she framed it by telling her — deep breath — "You know, watching everybody over the past few days, we were just saying some people just blew us away, but we had a lot of people who didn't do as amazing as we thought they were gonna do, and unfortunately you were one of those people. Because we had our eye on you so much from the beginning, because of that voice that comes out of that body, you know? And we're all such fans, and so yesterday was difficult, 'cause we have to decide who we're gonna take a chance on and who we're gonna say, 'Maybe next time.' " Then she told dropped the hammer: "We're gonna take one more chance on you, Erika." Well, at least it's more dramatic than just texting the singers, "congrats, u made it!"
"Idol" also got rid of a few familiar faces during Wednesday's episode, and this year's resident cowboy contestant Richie Law was one of the singers shown the door. Others who were cut included St. Louis standout Lauren Gray and an assortment of contestants who haven't received much camera time, including Blaire Sieber, Naomi Gillies, Neco Starr, Clayton Farhat, River St. James and Caleb Johnson. Most of them seemed to be delivered the news in a less-harsh manner than the ones who made it to the next round.
Thursday's episode is set to showcase the rest of this year's semifinalists, as well as reveal the fate of Adam Brock, the family man whose destiny hung in the balance during Wednesday's cliffhanger ending.
What did you think of Wednesday's "Idol," and are you ready to vote for Heejun already? Let us know in the comments!
In 'MTV First,' the 'Wanderlust' star gushes about her beau's 'leading man quality.'By Jocelyn Vena, with reporting by Josh Horowitz
Jennifer Aniston, Paul Rudd, Justin Theroux and Malin Akerman in "Wanderlust" Photo: Universal
When "Wanderlust" stars Jennifer Aniston and Paul Rudd sat down with MTV News' Josh Horowitz for "MTV First," the stars opened up about the film, which opens this weekend, and of course that much-discussed Aniston nude scene.
They also talked about someone who will likely have everyone buzzing when they leave the theater: Aniston's co-star and real-life leading man, Justin Theroux.
Aniston said Theroux is a "far cry" from his hippie-dippie character in the film, which revolves around an uptight New York couple who decide to shake up their lives and end up at a commune. Rudd and Aniston play that couple just looking for a change of pace.
"I didn't recognize him actually, when were at the camera test," she continued. "We were at the camera test and I did not recognize him because he's usually in leather and tight black jeans and black boots and he has this very specific look that, since I've known him, he's always had. But that's sort of what's so great [about him]."
The actress continued that it's his ability to change so much from his real-life look (which veers more toward New York hipster chic than Boho-chic) and personality that makes him stand out in the film. "He has a beard; it's a healthy beard [in the film]. But what I think is so awesome about Justin is that he really just disappears," she said. " 'Your Highness' was so great, and even like in 'Zoolander,' I didn't know he was that crazy DJ. He sort of morphs into things, into characters and also has a leading-man quality, which I think is beautiful. He's just great."
It seems that love for Theroux doesn't begin and end with Aniston. Rudd, who has worked with him in the past in "The Baxter," is equally charmed by his ability to portray guys who are not as smart as they think they are. "He's such a smart guy and he's so talented and good at playing [those] guys. What I love about him is his subtlety. He's kind of a master of subtlety," he said. "I've been a fan of his for years."
Check out everything we've got on "Wanderlust."
For breaking news, celebrity columns, humor and more -- updated around the clock -- visit MTVMoviesBlog.com.
With 'Birthday Cake' and 'Turn Up the Music' fresh in their minds, MTV News asks music journalists for their takes on the songs.By James Montgomery
Rihanna and Chris Brown in 2008 Photo: Kevin Mazur/ WireImage
By now, you've already heard what fans and a domestic-abuse expert had to say about Rihanna and Chris Brown's controversial collaborations on new remixes of "Birthday Cake" and "Turn Up the Music." Chances are, you've probably formed your own opinion too.
But as the initial shock of the pair's reunion subsides, and both remixes begin to diffuse into the collective conscience, we're left with one rather important question: Beyond all the (very public) handwringing the songs have created, are they actually any good? Early opinions from critics have been lukewarm at best (and downright hostile at worst), mostly because it seems they have a difficult time separating their feelings about Brown — and his 2009 assault of Rihanna — from their feelings about the songs themselves. And really, you can't blame them. In a lot of ways, it's impossible not to view the "Cake" and "Music" remixes through the prism of the past three years.
Still, with opinions still being formed (and feelings still fresh), we reached out to some of our favorite music journos to get their take on the songs and Rihanna and Brown's unlikely collaboration. Here's what they had to say:
" 'Birthday Cake' was pretty much destined to be a smash when Talk That Talk was released with only a snippet of it. ... The 78-second bit of The-Dream-produced track inspired hosannas from members of the Rihanna Navy who couldn't wait for the full thing to be released. ... Putting Chris Brown on the [remix] (and having him sing 'I wanna f--- you right now,' which Rihanna sang on the fade-out of the TTT version, as his opening gambit) seems almost like overplaying her hand. Like, this song was going to be a big deal to her fans no matter what, so why add the controversy to it? Then again, the past three years of her career have, it seems, been about her taking control of her public image in a big way — from enacting revenge fantasies in 'Man Down' to singing about sex a lot — and adding Brown to a song about fetishistic sex is a way for her to do just that, to implicitly flip off people who she sees as paternalistic or overbearing while engaging in what she calls 'chiefin'.' Every gossip item about the two of them getting back together or hanging out, every angry/sad/exulting blog post, every public tweet they direct to one another when presumably they could just DM back and forth, keeps them — and the songs — in the news. Meanwhile, Brown's song and Rihanna's contribution to it are both pretty bland, a 'Party Rock Anthem' with no shuffling and even less whimsy. At one point, Rihanna does the phrase 'I love you,' which will no doubt get tongues wagging. I am pretty much grossed out by the whole thing, to be honest." — Maura Johnston, Village Voice
"The remixes aren't terrible, and that's as much as I'll say at risk of saying something positive about Chris Brown. ... The most important thing to remember is that if you have a problem with these two teaming up: Don't blame Rihanna. Blame the ravenous, unscrupulous, money-starved record industry for being complacent through this entire event. The whole machine is falling apart, so everyone — artists like Ludacris and Justin Bieber, their labels and managers, magazines like Vibe who put Chris Brown on the cover, awards shows like the Grammys, TV networks who play Chris Brown videos — they're all too afraid to potentially put forth an opinion that would prevent them from being where money is. The fact that everyone except Jay-Z and Miranda Lambert is too chickensh-- to speak out against woman-beating is pathetic beyond pathetic. Everyone is too scared to compromise their chance to catch the last remaining dollars during the music industry's death rattle." — Christopher R. Weingarten, SPIN
"Rihanna's 'Birthday Cake' was a standout track from Talk That Talk, even in its original form (as an interlude) — and more importantly, without Chris Brown. On the remix, all Brown's aggressive, salacious verses do ... is add fuel to rumors circling of their reunion behind closed doors. [And] Rihanna comes back on the song, calling checkmate on Breezy with her suggestive lyrics — "Remember how you did it?/ Remember how you fit it?/ If you still want to kiss it, come, come and get it" — making it hard to not be teased into again reading between the lines. 'Turn Up the Music' feels like a collaboration that would have fit both artists' discography during their days coupled up. Although RiRi's airy vocals blend well with the Underdogs' dance soundscapes, adding Rihanna to the track doesn't leave a lasting impression nor elevate the song to higher grounds. Ultimately, it's not the content of the songs that matter; it's the statement both singers are trying to make by simply releasing them. The collaborations appear to be a step toward reconciliation between both — seeing the tracks climb the chart is a bonus. Rihanna wants us to know that she no longer wears the shoes of the victim and Breezy wants to prove that he's become a better man. This isn't a personal or professional move; it's both. Both singers have woven their personal life, a haunting moment in their lives, into a professional move. Though it's stirred much controversy, I believe it was bound to happen." — Erika Ramirez, Billboard.com's "The Juice"
What do you think of the collaborations? Let us know in the comments.
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