This girl is BLOWING. MY. MIND.

Here come the first promotional photos for Rihanna’s “Rude Boy” video from Island Def Jam. The video was directed by Melina Matsoukas, the same director behind her last video for “Hard.”

Like Alison Goldfrapp, it appears that Riri also enjoys riding on a white horse. Err, zebra.

Upon further review, I can confirm that my reactions to the video will likely include such phrases as ‘unbelievably amazing,’ ‘fierce to death,’ and ‘OH GRL WHY U SO HOT FIYA?’

“Rude Boy” will be released to US radio beginning tomorrow, February 9.

In case you haven’t gathered my feelings for the song by now (which have remained the same since November), remember this for tomorrow:

REQUEST THIS SONG UNTIL YOUR FINGERS BLEED.

That is all.

It was a very organic, sad experience, but I think that’s where the truth comes out.

While many people have heard Britney Spears‘ heartfelt ballad, “Everytime,” hardly anyone has ever heard the story behind its creation from the song’s co-writer herself.

After learning of her involvement in an interview about Britney for the upcoming NBC series called Killer Comebacks, I got in touch with Annet Artani to discuss her time spent working with Spears on the Dream Within A Dream tour, as well as their songwriting sessions together and her own musical plans for the future.

The Greek singer-songwriter first got her start with Britney after auditioning to become a back-up singer for Britney’s upcoming promotional tour. Though she had no idea what the job entailed, she assumed it was a one-off gig for Britney’s upcoming performance on The Rosie O’Donnell Show. Only hours after their performance on September 10, 2001, she was asked to join Spears and the rest of the tour crew for what would become the Dream Within A Dream Tour.

MuuMuse excluusive. Please credit for use.

Artani was unsure about whether or not to go on tour with Spears after having already generated buzz as a solo artist in New York. However, the events of the following day would quickly change her mind. “I needed to get out of the city. When they asked me to go on tour, I was like, ‘Absolutely,’” she explained of her decision. Looking back, Artani is proud to have chosen the tour rather than staying put. “It was an amazing experience, and an escape for me as well.”

The tour was also a brief time of romance for Artani, who struck up a relationship with the tour’s musical director for the duration of the show. “I was enamored, we fell in love from the beginning.”

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However, their relationship didn’t last long. “I was so young…It was just too much too quick,” she noted.

So how did she and Britney begin to write with each other? Their interactions up until the very end of the tour were brief, limited to vocal warm-up routines, short chats in the gym, and time spent together on stage. Finally, by the last date in Mexico City, Britney struck up conversation with the singer. “She was getting her nails done at the pool area. At one point, she called me over to tell me how cute me and the guy are and I’m like, ‘Yeah, that’s not going to last.’ She goes ‘What do you mean?’ and I was like, “Well, it looks like we’re going to break up,’ and she said ‘Don’t worry about it, you’re going to hang out with me.’”

Spears and Artani slowly began to forge a friendship following the tour’s end. “I didn’t expect her to call me, but then she did. She invited me to L.A., and then she invited me to Milan and I went with her to Donatella Versace’s fashion show.” According to Artani, their relationship grew out of their shared dating experiences at the time. “Basically, we commiserated because she, at that time, had broken up with Justin [Timberlake]. Maybe like nine months before, but of course it was really fresh in the media. I was just breaking up with this guy, so we kind of like–I think we kind of needed each other.”

As a result, Spears and Artani began to write together. “I was staying with her in her house in LA for a few weeks…she had a piano in the middle of her house, so, of course, we’d sit around and start writing.”

After spending time in L.A., the two traveled to Lake Como. “It was me and her, her stylist and Felicia, and we had this humongous house to ourselves, and they had a piano there as well.” From out of these sessions came a song called “Everytime,” a deeply personal, heartbroken ballad that displayed Spears at her weakest and most vulnerable state. “It was a very organic, sad experience, but I think that’s where the truth comes out,” Artani says of the songwriting process.

As most people had quickly assumed, “Everytime” was in large part a response to Justin Timberlake’s release of “Cry Me A River” as well as various radio interviews, including a particularly raunchy moment on Hot 97 which Artani cited as an all-too-personal moment on air. “He was talking shit about her at that time on the radio. He was getting personal. Here, she had a different type of image, and he was really exposing some stuff that she probably didn’t want out there, and in front of her little sister…I remember her sister being mortified and her being mortified. I’m sure that that really hurt her.”

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And so “Everytime” was born, although it wasn’t the only song to stem from the writing sessions in Lake Como. “There was a song…she basically started writing something for Jamie-Lynn, and we called it ‘Shine.’ It never came out, we never finished it…she was obviously very close to [Jamie-Lynn]. That song never came into fruition for some reason. I don’t even think we finished it, to be honest.”

Additionally, the two singers also started collaborating on a somewhat unexpected project–a film: “I started writing a screenplay when I was in Donatella’s house because I was staying in her daughter Allegra’s room and I was just really inspired in there. I started writing a screenplay about these two best friends, and then she and I were working on it on the airplane…it was an idea that we both started developing. We actually started to write a screenplay that we never finished.”

Though contact with Spears has since slowly diminished following their songwriting sessions after the Dream Within A Dream Tour, Artani remains grateful for her experience and the time spent working with Britney.

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Since then, Artani has stepped out from the sidelines and begun venturing on her own solo endeavor. Along with the release of her latest single, “Alive,” which premiered last year (click here to check out the video), the up-and-coming artist is now making steps to recording her first album.

In 2005, the singer was chosen to enter Greece’s Fame Story, a kind of American Idol spin-off in Greece. Though personally responsible for some of the highest ratings the program ever received, she soon walked off the show after refusing to sign an extended recording contract in Greece. “I got a record deal anyway, and I put out two gold albums. I wound up touring on my own as a pop artist all over Europe, all over Australia,” she explained of her fame at the time. A year later, she was chosen to represent Cyprus in 2006’s Eurovision with the song, “Why Angels Cry.”

Shuttling between the U.S. and Greece, Artani finally found a management team and home stateside with Ultra Records in the past few years, although she’s currently being serviced to larger labels for her eventual debut’s distribution.

As she explained to me, the album is progressing–albeit slowly–as she continues to find the right collaborators to create a distinct, Mediterranean-inspired sound. “It’s not about getting the producer, it’s about getting the combination of two producers together who understand what I want to do that’s never been done. I don’t want to show them something and have them recreate it–I want to create something from scratch. It’s going to be a whole new thing,” she explained of her desired sound.

“Basically it’s like, and I hate to compare, sort of like if P!nk and Katy Perry were from the Mediterranean. There’s a little bit of that Shakira ethnicity, but hers is more Latin and Middle Eastern, whereas mine is more Mediterranean. It’s authentic to who I am,” she says of her upcoming music. “People haven’t really tapped into the Mediterranean thing.”

To hear more from Artani, check out her music on iTunes here, as well as her MySpace here.

HIKKIIIIIIIIIIIII!

On Utada Hikaru’s last tour, the Utada United 2006 tour in Japan, the average audience size per venue varied from 20,000 to 50,000 attendees nightly. Tonight, the singer responsible for the highest selling album in Japanese history was about to play to a tiny club of about 300 people in Boston, a few of whom only vaguely familiar with the music she was to perform.

When I got to the venue around 5 p.m., there were already about fifty people waiting outside the door. As I later learned, the first people in line had been waiting there since 9:30 that morning. In a split decision for the sake of sustenance, I ducked into (or rather walked into, really…I never have to duck) the Qdoba next door for a chicken burrito, which I feverishly devoured while waiting at the very end of the line. It was perhaps not my most glamorous moment (and also, I suspect, the reason I vaguely smelled of cilantro throughout the night).

The general make-up of the crowd was nothing if not predictable, including nerds, anime lovers, gays, and nerdy anime loving gays. Far and away though, the makeup of the show was largely Japanese. The fact would be later confirmed when Utada prompted the crowd three songs in with “Nihongo no uta?” (basically, “How about a Japanese song?”), which was met with a deafening cry of approval.

After waiting outside for roughly an hour and a half in twenty degree weather, the audience was finally corralled into the Paradise Rock Lounge while being subjected to a fairly rigorous, unusually high security psuedo-strip search and interrogation process. Cameras of any kind were confiscated, and cell phones were required to be off at all times while the show was in session.

While I still don’t understand the logic behind limiting the audience’s interaction with the performance (every other artist I’ve seen on all levels of popularity, from indie to Madonna, seem to do just fine with a few camera phone pictures being taken now and again), I must admit that being forced to concentrate on the show rather than the viewfinder of my camera did enhance the experience. It was, as old people refer to it, the ‘real way’ to experience a concert.

While the crowd began to thaw, DJ Mike Rizzo (who I interviewed for MuuMuse two years ago, hey girl hey!) stepped on stage to warm up the crowd with some of his latest mixes from Ke$ha, Britney and Gaga. Even though I took to dancing and/or weirdly wobbling around on the side of the stage, no one else seemed to join in, even when the DJ spun a mix of Utada’s “Dirty Desire.”

A few minutes after 8 p.m., the band slowly filed out onstage as the sweeping sound of Exodus‘ “Opening” greeted the suddenly dimming lights. To the screeching delight of the crowd, she appeared from backstage, sporting a fierce pair of spiked pumps, pink leggings and an off-the-shoulder velvet lavender top, all complimented with a shock of sexed-up, messed-up bedhead hair. Standing at 5′2″ (sans the stilettos), Utada was a walking sex bomb.

As the singer grabbed hold of the mic, the band started in a rockier, rowdy rendition of the lead track off of her latest album, “On and On.” Almost immediately, you could tell that her voice was in top-notch condition and, if possible, had only grown stronger over time. Whether it was the smaller venue size or simply her own maturation as an artist, there was plenty more control and confidence in the superstar’s voice as evidenced by the many throaty shouts and vocal riffs that would have been all too ambitious for the Utada of yesteryear.

Even though the crowd makeup was mixed (alright, heavily Japanese), Utada managed to create a warm environment by alternating between languages as the show carried on in its unusual English-to-Japanese-and-back-again pace. “Ikimasu,” she said dutifully before sitting down at her keyboard. “That means ‘I’m going’ or ‘I’m about to play,’” she offered to the English-speaking fans before playing the first few chords of “Sakura Drops” on the piano.

The night included a very generous sampling of her English and Japanese discography, as well as a fair share of moments from her past tours including my personal highlight of the night. Halfway though the show, the lights dimmed to a murderous red as Utada launched into the threefold power punch of “Devil Inside,” “Kremlin Dusk,” and “You Make Me Want to Be A Man,” as performed on Utada United 2006. Not more than an arm’s reach away, Utada raged across the stage, howling and yelping during the monumental, explosive breakdown of the final song.

The Japanese songs carried a large degree of nostalgia for myself–and evidently the crowd, as well–as I watched dozens of people shriek with delight each time the opening notes of some of her bestselling classics began to play, including “First Love,” the title track off of her first Japanese album. As soon as the first chords began to pluck at the piano the entire audience all but lost their minds, including both myself and the small Japanese girl next to me, who began spasming, seizing and flailing against the banister in what I could only describe as a sort of J-Pop-induced exorcism. By the end, between Utada’s tender crooning and the crowd’s loud singing, I’ll admit–I got a little teary-eyed watching it all happen in front of me.

As the show came to a close, Utada decided to end (before the encore) with her current single. “This song is on the radio right now, so request it if you like it!” she announced as the band began warming up for “Dirty Desire.” Yet true to her overly self-critical, anti-fame sort of demeanor, she quickly qualified her statement: “But if you don’t like it, please don’t request it.”

It’s no small secret that Utada has always had mixed feelings on her career as a musician. She’s often expressed interest in dabbling in higher studies later in life, as she would later tell us during the concert. Years ago, the singer dropped out of Columbia when her career in Japan was truly blossoming and, as a result, has always wondered about what it would be like to go back.

After regaling the crowd with a story about visiting Boston ten years ago, she returned to her original point, saying to us only half-jokingly that she would return to school “if this whole music thing stops working out.” The crowd booed and she started to giggle, telling us that she liked to study and that she was a “little bit of a nerd.” When she was met with cheers and shouts, Utada began getting excitable. “Yeah! Are there any other nerds out there?” she gleefully asked as more grew louder with approving shrieks. “Books, books, books!” she began to chant suddenly, pumping her fist Jersey Shore-style into the air until eventually forfeiting into an uncontrolled fit of giggles. Such a dork.

Photo courtesy of AzyxA.

Aesthetically speaking, it was easy to see why the In the Flesh Tour was chosen as the name of this showcase. The show was perhaps the most stripped-down show I’ve ever attended as far as production is concerned. Aside from two small picture projections on either side of the stage displaying the CD cover of the song being played, there was next to nothing visually carrying the show aside from the singer herself.

The In The Flesh Tour was far greater than anything I could have dreamed for in a concert experience, as obvious or cliched as it may sound. With no grand theatrics or onstage scenery to veil any technical or musical shortcomings, this was the most raw, intimate showcase I’d ever witnessed from an artist (let alone one of such superstar proportions), and probably one of my greatest concert experiences thus far. More than anything, it was the kind of show that I imagine Utada has always intended to perform; one without much fuss or frivolous distractions, which made the results nothing less than gold.

I may never be able to see Utada Hikaru live again (at least not on this hemisphere), but unlike the audience members attending her stadium-sized full capacity venues in Japan, I was no more than ten feet away from one of my most personally influential and inspiring musical idols in the flesh for the entire night. That is something I’ll never forget.

Setlist, courtesy of Utada-Net.
Opening
On and On
Merry Christmas Mr. Lawrence – FYI
Poppin’
This One (Crying like a Child)
Passion / Sanctuary
Sakura Drops
Stay Gold
Devil Inside
Kremlin Dusk
You Make Me Want to Be a Man
The Bitter End (Placebo cover)
Apple and Cinnamon
Boku wa Kuma
Come Back To Me
First Love
Can You Keep A Secret?
Automatic
Dirty Desire
Encore:
Simple and Clean
Me Muero

I’m about to run out the door to see Utada perform tonight in Boston (shaking and crying, etc.), but before I do…a free remix from Massive Attack that just came into my inbox!

This is the Gui Borrato remix of “Paradise Circus (feat. Hope Sandoval),” one of the saucier tracks and upcoming single off of their new album, Heligoland.

The remix injects both dreamy electronica elements and a sense of Western twang into the minimal original, sort of like if a Royksopp song were used in a Quentin Tarantino film. Does that make any sense? Hope so!

DL: Massive Attack – Paradise Circus ft. Hope Sandova (Gui Borrato Remix)

Here comes forty-five seconds of the upcoming video for Kimberly Caldwell’s debut single, “Mess of You,” shot at the Roosevelt Hotel in Hollywood.

Looking good, feeling gorgeous. Can’t wait to see it in full!

I was contacted by Flaunt Magazine regarding Charlotte Gainsbourg’s feature in their latest issue, along with a set of photos from the shoot by Kurt Iswarienko.

Seeing as they were gorgeous, I’ve decided to post a few of my favorites. Enjoyez vous!

magnifique.

As if to make up for Sunday’s contentious Grammy wardrobe, we now have a newly leaked photo from the Mark Liddell Circus promotional photo sessions.

Living legend, you can look but don’t touch.

Thanks to the BMK Forums for the find.

Just in case you missed this, I’m presenting it now.

During last night’s 3rd annual BET Honors, gospel singer Kim Burrell came on stage to sing a special tribute to Whitney Houston. Houston, in turn, responded with a special tribute of crazy. It’s hard to miss, so please watch carefully.

Insert “I’ll have what she’s having” When Harry Met Sally .gif here.

And you thought watching girls walk down the streets of Paris with their bonbons out was bad.

Check out the brand new video for “KILL ME,” the new single from the “Baby Baby Baby” hitmakers, Make The Girl Dance. The concept? A video response to the question “What would you do if you only had eight days to live?” Click above to see how the boys decided to spend their time.

Some may label this as little more than a vile upchucking of debauchery and hedonism, but it looks like just another Friday night in my world.

Jónsi’s new album is going full steam ahead!

Go, his first solo endeavor, will be released on April 5 across the world. Above is the album’s cover art which, according to the singer’s website e-mail, was conceptualized by his sisters Inga and Lilja. Aww.

At the same time, the Sigur Rós singer is preparing his first tour of North America. Judging by the e-mail, he’s going Gaga in terms of set design: “We wanted you to know we are going for broke on this and it ain’t in any way going to be Jónsi alone on stage with an acoustic guitar, no sirree.” Then again, everyone’s broke in Iceland.

Check out all the dates for the upcoming Go tour below, which will go on pre-sale beginning February 9:

April 6 Vancouver, Canada Vogue Theatre
April 7 Vancouver, Canada Vogue Theatre
April 9 Seattle, WA The Showbox SoDo
April 10 Seattle, WA The ShowBox SoDo
April 13 Portland, OR Roseland Theatre
April 15 Berkeley, CA Zellerbach Auditorium
April 16 San Francisco, CA Palace of Fine Arts
April 18 Indio, CA Coachella
April 21 Denver, CO Paramount Theatre
April 22 Lawrence, KS Liberty Hall
April 24 Minneapolis, MN Pantages Theatre
April 25 Minneapolis, MN Pantages Theatre
April 26 Milwaukee, WI The Pabst Theatre
April 27 Chicago, IL Vic Theatre
April 28 Chicago, IL Vic Theatre
April 30 Toronto, Canada Sound Academy
May 1 Toronto, Canada Sound Academy
May 2 Montreal, Canada Metropolis
May 3 Philadelphia, PA Electric Factory
May 5 Boston, MA House of Blues
May 6 Boston, MA House of Blues
May 8 New York, NY Terminal 5
May 9 New York, NY Terminal 5

For more details, check out Jónsi’s official site.