Corey Haim Autopsy Planned, Coroner Says
'Lost Boys' actor was pronounced dead early Wednesday morning.
By Eric Ditzian, with additional reporting by Jocelyn Vena
Corey Haim
Photo: Michael Bezjian/ Wireimage
Following actor Corey Haim's death from an apparent drug overdose at the age of 38, the Los Angeles Coroner's Office told MTV News that it will conduct an investigation and examination, including an autopsy.
Calls to both the Corner's office and the North Hollywood police department, however, revealed contradictory information about the timeline of Haim's death early Wednesday morning. The police department told MTV News that he was transported to Providence St. Joseph's Medical Center in Burbank around 3:30 a.m. PT and was declared dead at 3:38 a.m.; the Coroner's office told MTV News that he was declared dead at 2:15 a.m.
At press time, the Corner's office was unable to provide information about when the autopsy would take place nor when any findings would be released. Toxicology tests can typically take up to six weeks before results are completed and made public.
TMZ reported
that law enforcement sources have confirmed Haim died of a drug overdose and that his mother discovered him at his apartment complex and called 911. The site also cited unnamed law-enforcement sources as saying prescription-medication bottles were found near his body, and that Haim's mother said the actor had struggled with prescription drug addiction for years. TMZ also said the LAPD has opened up an investigation into his death.
Born in 1971, Haim rose to Hollywood fame through a string of '80s films like "Silver Bullet," "Lucas," "License to Drive" and "The Lost Boys." He struggled with substance abuse issues throughout his career. In recent years, though, he seemed to make something of a comeback, starring alongside frequent co-star Corey Feldman on an A&E reality show, "The Two Coreys," for two seasons. He also made a cameo in a sequel to the "Lost Boys" sequel, "Lost Boys: The Tribe," where he reprised his role as Sam Emerson.
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Lady Gaga Reveals More Looks From 'Telephone' Video
Singer teases her 'monsters' with new stills from clip, which premieres Thursday.
By Jocelyn Vena
Lady Gaga in her "Telephone" video
Photo: twitter.com/ladygaga
Lady Gaga is keeping her fans salivating for the Thursday premiere of her "Telephone" music video by releasing a couple more stills from the Jonas Akerlund-directed clip, which happens to feature her pals Beyoncé, who sings on the track, and Semi Precious Weapons.
In the photos on her official Web site, Gaga is seen talking on a payphone with soda can rollers in her hair, much makeup and a heavily studded leather jacket. In an additional still, Gaga is in a sparkly strapless dress, with cigarette sunglasses on, covered in heavy chains. Both stills seem to fit in with reports that in the video, Gaga is in jail and Beyoncé helps break her free.
A previous photo, which appeared on a fansite, shows Beyoncé staring at a telephone, perhaps with Gaga on the other end looking for some assistance. The nearly 10-minute clip will reportedly have nods to the films of Quentin Tarantino, including use of the car that Uma Thurman drove in "Kill Bill." The ladies paid homage to Tarantino's "Reservoir Dogs" in Beyoncé's video for "Video Phone."
Gaga has said that "Telephone," which premieres Thursday night on E!, picks up where "Paparazzi" left off. The slow leak of photos and tiny pieces of information has helped Gaga build anticipation for the video.
"What I like about it is it's a real, true pop event," she told Phoenix's 104.7 KISS FM last month. "And when I was younger, I was always excited when there was a big giant event happening in pop music, and that's what I wanted this to be."
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DMX Arrested For Violating Probation
Sheriff said rapper repeatedly violated probation by using illegal drugs.
By Gil Kaufman
DMX (file)
Photo: Johnny Nunez/ WireImage
Troubled rapper DMX was arrested on Tuesday in Arizona for five counts of violating his probation on drug charges. According to Phoenix ABC affiliate KNXV, X (born Earl Simmons), was picked up by the Adult Probation Office after admitting to using illegal drugs over the past nine months.
"He admitted to using cocaine, so he's back in our jail," said Maricopa County Sheriff Joe Arpaio. "I think it's about time to give him hard time." The get-tough sheriff said if the rapper is serious about kicking his drug habit, the Arizona jail system — where X has already logged time on animal cruelty and drug possession charges — could help him get clean.
"We do have a great drug prevention program in the jail, so if he stays in our jail system I will consider (letting) him go through our program," Arpaio said. In June, DMX, 39, was sentenced to more than a year of probation after pleading guilty in May to attempted aggravated assault for throwing a food tray at a jail officer, an incident that occurred while X was in jail serving a 90-day sentence for felony theft, drug possession and animal cruelty.
According to a Reuters report, the rapper told his probation officer that he'd been regularly using illegal drugs over the past nine months and had not complied with the terms of his treatment plan.
X was given 18 months of supervised probation and ordered to pay fines upon his release in May. Arpaio said after arresting DMX five times, he's eager to see the rapper do some serious time in an Arizona jail.
A spokesperson for DMX could not be reached for comment at press time.
While on probation, X played one chaotic live show in Colorado that ended in a reported near riot, booked and then backed out of an MMA fight in December and was reported to be working on new music that Swizz Beatz said could fuel his long-rumored comeback.
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Diddy, Rick Ross Rock Notorious B.I.G. Memorial Party
Busta Rhymes, Fabolous, Red Café also join party in Brooklyn on anniversary of Biggie's death.
By Shaheem Reid
Diddy at the Notorious B.I.G. Memorial Party
Photo: MTV News
BROOKLYN, New York -- Diddy says March 9 should be a national holiday, observing the life and legacy of his friend the Notorious B.I.G., who died on that day in 1997. On Tuesday night, he threw a special party in B.I.G.'s hometown, and rounded up his troops, Rick Ross, Fabolous, Red Café and Busta Rhymes, and headed out to the nightspot The Lab.
"All Diddy told me was to set up a stage," Brooklyn DJ Mister Cee, who discovered Biggie back in the early '90s, said early in the night. "I don't know who's coming, I don't know who's not coming. But if you're not in this building, you're gonna miss something legendary. Diddy told me he's gonna show his ass tonight. He said, 'Tonight, I'm not Diddy, I'm back to being Puffy.' That means he's taking it back to '94, '95."
Cee and Puff starting planning the festivities at the top of the year.
"First time ever Diddy-Dirty Money in Brooklyn celebrating the life of Notorious B.I.G.," Cee added. "Basically, me and Diddy had conversations about doing this a couple of months ago. I said, 'Diddy, you been running around all over the place. When are you gonna do something in Brooklyn?' He said, 'OK, let's do something in Brooklyn.' We wanted to do it for the memory of Big and also for Brooklyn. Because so many times, Brooklyn gotta go to Manhattan. Brooklyn gotta go to New Jersey. Brooklyn gotta go to Long Island to party. We wanted to do something where the people could stay in their own backyard and have a good time."
Diddy started the night at the DJ booth. Cee played the intro to "Life After Death" and "Somebody's Gotta Die." Diddy then told the crowd he wanted to take it to the stage.
He hit the stage wearing a black T-shirt that read "Invisible Bully" and the day's date. "Invisible Bully," of course, is a tip of the hat to Big's famous lyric "invisible bully like the gooch" on the "Flavor in Your Ear" remix.
The music for Puff's "Victory" came on and he rapped his verse, then let the crowd rhyme for Biggie. Busta Rhymes came from the side of the stage throwing water and roaring the thunderous chorus, "We got the real live sh-- from front to back..."
From there, Diddy and Rhymes went into "Pass the Courvoisier."
The mic was then passed to Rick Ross, who ignited his stage time with "Hustlin'." From there, the Boss gave a dose of his raps from the Diddy-Dirty Money remix to "Angles."
"Brooklyn make some muthaf---in' noise!" Diddy yelled. He then reiterated that the reason everyone was at the Lab on Tuesday night and early Wednesday morning was for Biggie.
"We're here to show him love," Diddy yelled. "We wanna thank you, Brooklyn, because Brooklyn made the greatest rapper of all time."
He then called Fabolous and Red Café to the stage. Fab led chants of "Brooooook-lyn!" Cee started playing the famous freestyle that Biggie and Tupac [LINK 1633565] ripped at Madison Square Garden decades ago: "Where Brooklyn at?" "Where Brooklyn at?" Big Poppa's recorded voice called from the speakers.
'Loso then went into "I'mma Do It." Fab and one of Bad Boy's newest recruits, Red Café, then traded verses on "I'm Ill."
"That man had a special love for Brooklyn," Diddy said about Big. "No matter where we was at, London, Japan, Africa, he would always represent Brooklyn to the fullest."
More of Big's catalog followed: "Playa Hata," "Warning," and "Mo Money, Mo Problems," with Diddy rapping his guest verse on the track. Of course no Big party would be complete without "One More Chance" or Junior M.A.F.I.A.'s "Get Money."
"It's been 13 years and these n---as still can't see that n---a," Puff proclaimed onstage about his friend's greatness.
Shortly after Diddy and company left the stage, Jadakiss showed up. He ran late, but still came to support.
"We in Brooklyn, just for the record," Busta Rhymes said after the show in the parking lot. "I got so many beautiful people around me. I got so much beautiful family around me. I got so many beautiful supporters of B.I.G. around me. It's a honor to experience a moment. For the first time in the 13 years since the great man's passing, we can experience a moment when you got Red Café on the stage, Diddy on the stage, Busta Rhymes on the stage, Fabolous on the stage, Rick Ross on the stage. Miami! Miami felt it was important to come to Brooklyn, the 'hood. Rick Ross came out here. I salute Ross for that. Mister Cee, stellar performance tonight. The moment felt so golden."
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Corey Haim Found Dead
'Lost Boys' star pronounced dead after being found unresponsive in his Los Angeles-area home.
By Jocelyn Vena
Corey Haim
Photo: Jason Kempin/ FilmMagic
Actor Corey Haim, 38, was found dead early Wednesday (March 10) of an apparent drug overdose, according to KTLA. The actor, who rose to fame in the 1980s alongside longtime pal Corey Feldman, was found unresponsive in his apartment near Burbank, California, police told the station.
He reportedly died at 3:30 a.m. PT, and his mother was at his home at the time of his death. He was pronounced dead Providence St. Joseph's Medical Center in Burbank, police said.
Haim was born in Ontario in 1971 and as a teenager found fame in Hollywood. He first starred in 1984's "Firstborn" with Sarah Jessica Parker and Robert Downey Jr. He was a star of the decade, alongside other notable actors of the era like C. Thomas Howell, Rob Lowe, Judd Nelson and Emilio Estevez. He starred in films like "Silver Bullet," Lucas" and most famously 1987's "The Lost Boys," with Feldman as well as Kiefer Sutherland.
In the 1990s Haim played more obscure roles yet continued to work steadily in films like "National Lampoon's Last Resort" and "Prayer of the Rollerboys." Haim struggled with substance abuse through much of his career.
In the past decade, however, Haim made moves for a career comeback. He starred alongside Feldman on their A&E reality show, "The Two Coreys," for two seasons. He was also made a cameo in the "Lost Boys" sequel, "Lost Boys: The Tribe," where he reprised his role as Sam Emerson. He also had several films in production at the time of his death.
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Mary J. Blige Dishes On Her 'Crazy' Led Zeppelin Covers
'I've listened to their music since I was a child,' says the R&B diva, who recorded 'Stairway to Heaven' and 'Whole Lotta Love.'
By James Montgomery, with reporting by Larry Carroll
Mary J. Blige
Photo: MTV News
You wouldn't peg Mary J Blige as the black-light-and-tapestry sort, but, as has become readily apparent in recent weeks, she absolutely loves Led Zeppelin.
In early February, reports began circulating that Blige had re-recorded Zeppelin's classic "Stairway to Heaven," working with Travis Barker, "American Idol" judge Randy Jackson and guitarist Steve Vai on the track, which is slated to appear on the international reissue of her Stronger With Each Tear album, due Monday.
But after she had recorded "Stairway," Blige continued to get the Led out, covering another Zeppelin classic — the thunderous "Whole Lotta Love" — for the album too. And when MTV News caught up with her on the Black Women in Hollywood red carpet, she told us all about channeling her inner Robert Plant for the tracks, a process that came much easier than you'd probably imagine.
"I did Led Zeppelin's 'Stairway to Heaven' and 'Whole Lotta Love' — it's crazy," she said. "I am a Led Zeppelin fan. I'm not going to say I've been to their concerts, but I've listened to their music since I was a child, and it's always moved me, especially 'Stairway to Heaven,' and 'Whole Lotta Love' is just fun."
Blige also said she recorded another new song — a "club record" called "I Can't Wait" — for the re-release. And while it's only slated to hit shelves outside the U.S., she hopes her fans will get a chance to hear all the new songs pretty soon.
"I want y'all to hear it," she laughed.
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Jay Electronica Disguised His Voice To Avoid Hip-Hop Prejudice
'I was embarrassed from being from the South,' he tells Mixtape Daily.
By Shaheem Reid
Jay Electronica
Photo: MTV News
The O.D.: A Mixtape Daily Exclusive
Hearing the commanding voice of Jay Electronica on the microphone, one probably couldn't detect his New Orleans roots. Years ago, like many MCs from the South, Electronica experienced some hip-hop prejudice when people heard the Southern twang in his voice — so he started disguising it.
"I would go somewhere — I would go to an open mic and when they heard my accent and not understand what I'm saying, it would just be a door-closer," Jay told MTV UK on a recent trip to Europe. "I made a point in being able to speak in a certain way that I wouldn't get the door closed on me. All of these things make me who I am now, you know.
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"I have to admit, you know, a few years ago, I wouldn't have admitted this — or maybe I wouldn't have been conscious of it in a way to admit or be embarrassed — but in my earlier years from when I first left home, I was embarrassed from being from the South," he added. "Not in general, but as a rapper because all of the negative things that people in the States put on the South. Like, 'The South, they're slow. They move slow, they think slow, they're less intelligent. They're less exposed, they're underexposed, they're more sheltered.' So as a rapper — I've been rapping since I was 10 years old — I always had a feeling of 'I'm gonna show you' because we down here doing it. Not that I was embarrassed necessarily — I don't know if that's the correct word — but I know that when I left home, if someone had heard my accent and heard where I was from, the door was immediately closed."
Electronica said he had to adapt and become a chameleon on the mic. While trying to break into the music industry, he moved between different cities such as New York, Atlanta and Chicago.
"I kind of stiff-armed my roots for a couple of years," the Brooklyn transplant continued of his journey. "Then my sister told me one day, 'You know, you act like you're ashamed of being from home.' It was like a reality check. I checked myself. I mean, this is years ago, but now I'm at a place where I understand where I'm from. I understand my culture and I'm more proud to be from there than associate with somewhere else."
Despite trying to hide his roots early on, Jay thinks back to the early days of New Orleans hip-hop with a smile.
"I'm from New Orleans and there's a certain type of music," he explained. "I come from a bounce culture — bounce music. You been to New Orleans a couple times, you probably heard of the bounce music. It's a part of me; I grew up with bounce music. It's call-and-response, it's trance, it's tribal, it's communal, it's African, it's based in Africa ... the energy of it."
For other artists featured in Mixtape Daily, check out Mixtape Daily Headlines.
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The White Stripes' 'Under Great White Northern Lights': Jack White Invades Canada, Because He Can!
Frontman's workmanlike attitude is on full display in the rock doc, in Bigger Than the Sound.
By James Montgomery
The White Stripes
Photo: Autumn DeWilde
In any other lifetime, Jack White would have been a woodblock printer, a pirate, a missionary, a wheelwright, a buckskin-clad frontiersman, a statesman, a Union soldier, a sharecropping bluesman, a cigar-chomping newsman, an oil baron, an electrical engineer or one of the Wright Brothers. He would have worked very hard for a very long time with very little recognition, would have died for duty and country, would have bested foes with guile and determination, and he would have done all of it simply because that's what you were supposed to.
Instead, he's trapped in this lousy century, where he's forced to toil away as one of the most enigmatic, misunderstood musicians on the planet. He spends an exorbitant amount of time on an extraordinary number of projects, usually working within a preconceived set of conditions, for reasons that are usually only apparent to him. He suffers the slings and arrows of his critics not because he wants to, but because he has to. It's just part of the job. After all, a wheelwright wouldn't complain, would he?
And all of this isn't meant to serve as some pseudo-psychological profile on White. Rather, it's about all I could think of after watching the White Stripes' "Under Great White Northern Lights," a documentary that is very much about doing things the hard way. Filmed in 2007, it follows the Stripes on their ultra-ambitious Canadian tour, on which they decided to play at least one show in every province and territory — 13 in all — mostly because, as White puts it, "Canada is the only country that's ever turned us away."
This is no easy task: Canada is the world's second-largest country (thanks, Wikipedia!), and getting to places like Yellowknife and Iqaluit is about as difficult as you'd imagine. And not content to simply play straightforward, standing-room-only shows in each city, White also decided that the Stripes would be playing "secret" shows during the day, in places like a bowling alley in Saskatoon, a pool hall in Halifax and aboard a boat in Charlottetown (that's on Prince Edward Island, FYI). Along for the ride is the band's shamanic road crew, who White maintains must always be dressed in matching black suits, red ties and bowler hats. And a film crew, that, based on a few glimpses of cameramen in the background of shots, was also required to adhere to the same dress code.
In keeping with Stripes mythology, everything involved in the film also incorporates the band's famous three-color palette (red, white and, the latest addition, black), which means red-and-white propeller planes, amplifiers, guitars, drums and outfits, even during travel days. And, in perhaps the most striking example, the film itself, which is presented almost exclusively — something like 98 percent — in those three colors. Backstage moments are appropriately black and white, onstage performances are a fiery red. You don't notice it, but it's there. Because it has to be.
And what is most amazing is that White didn't have to do any of this. Something inside him drives him to operate this way; makes him don a traditional tartan kilt for a ceremony in Halifax (and then wear it onstage that night), meet with Inuit elders in Iqaluit to get their blessing before a show or grind out songs on wholly inadequate — and, in some cases, downright antiquated — instruments. He sums it up best in one of the most compelling "Lights" scenes: an interview segment in which he attempts to explain himself and his ethos.
"When I used to work as an upholsterer, it wasn't always fun. ... Sometimes, it was just work, and you do it because you're supposed to. You force yourself to work," he sighed. "I like to do things that make it really hard on myself. ... I'm constantly fighting all these tiny little things, because all of those little things create tension."
And that tension gives birth to great things. Witness the Stripes' entire discography, a workmanlike collection of songs built around two people and something like three instruments (occasionally, there's a piano). Or their rise to fame, which was anything but meteoric, built over the course of a decade's worth of blisters and bruises. Or this film, which most certainly ranks as one of the best rock docs in recent memory, if not of all time. The onstage moments are incendiary — standouts include a soulful and surging take on "Jolene" in Iqaluit and an undying version of "I'm Slowly Turning Into You" taken from their Yellowknife performance — and the backstage stuff is gripping, particularly the last scene, filmed after their 10th anniversary show in Nova Scotia. While I don't want to give too much away, it manages to raise goose bumps, a masterful presentation of unspoken emotions and weighty subtext.
But mostly, "Lights" serves as testament to the Charles Kane-ian will of Jack White himself (no wonder "Citizen Kane" is one of his favorites) and the greatness that determination can create in its wake. It's a love letter to his unwavering dedication to doing things the hard way and his uncompromising, Old World work ethic. In fact, the only time he complains about anything during the entire film is when he learns he's scheduled to do an interview with The Associated Press, and even then, he still ends up doing it. Because he has to. It's pathological. Psychological. But it is very much him. After all, a wheelwright wouldn't complain, would he?
Questions? Concerns? Hit me up at BTTS@MTVStaff.com.
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'American Idol' Ladies Night: Didi Benami And Crystal Bowersox Shine
Paige Miles and Katie Stevens, however, might not have done enough to make the top 12.
By Gil Kaufman
Didi Benami
Photo: Fox
With last week's medical drama behind them, the top eight ladies took the "American Idol" stage Tuesday night (March 9) in the final performance before this year's top 12 is chosen. In what is becoming an Adam Lambert-like bit of déjà vu, leading contender Crystal Bowersox nailed it again, while Siobhan Magnus, Lacey Brown and Didi Benami had solid enough nights to likely make it to next week.
First up, singing Kelly Clarkson's "Breakaway," was 17-year-old Katie Stevens, the high-schooler who smartly chose a contemporary artist to combat complaints from the judges that she was coming off as too old. The performance started off shaky with some flat spots as Stevens struggled to find the right notes, seemingly singing in too low a key. When she reached the midsection, Stevens began working the stage a bit and singing in a higher register that was more suited to her voice.
Randy Jackson wasn't loving it, saying the tune by the first "Idol" winner was too big for the teen's voice and making the dreaded karaoke comparison. Ellen was excited that Katie took their notes and went young, praising her voice, though she felt Stevens didn't sell the lyrics. "I think what's going on this year is we have people who really know themselves and people who don't," said Kara DioGuardi, who told Stevens she had a great radio voice. "I don't think you know who you are yet as an artist." To her credit, Cowell said, Katie has gotten a lot of confusing advice and taken it to heart, but like Kara, he said Stevens just doesn't know what kind of singer she wants to be yet. Though he gave her a 10-out-of-10 for trying, he called the rendition "gloomy."
Going retro, Siobhan Magnus went with a song she heard her dad sing growing up, the Animals' 1964 hit "House of the Rising Sun." Starting out with an almost operatic a cappella run, Magnus put rich emotion into the rootsy lament, singing it like a folk/blues anthem and proving again that she's a real contender for the title.
"You are why I love music, because it's supposed to move you, it's supposed to do what you just did to me," Ellen said. "I was captivated. I loved what you did with the song. You made it current. You're spectacular." Randy applauded the risks Magnus takes every week, even praising her for not taking the judges' advice, and Kara was way into the a cappella bit at the beginning. "You are so unique and different," she said, marveling at how surprised she is every week by Magnus' choices. Simon, however, wasn't feeling it. From the pre-interview where she talked about her dad to her kimono-like outfit and the performance, "It was all a bit weird" for Simon, who felt she didn't really do anything interesting with the song. "I was under-impressed. I thought you were so much better where you had that really cool moment. There was no moment in that. It was all a bit ploddy, a bit boring."
Getting back into her singer/songwriter sweet spot, Lacey Brown took on Brandi Carlile's "The Story," a country-ish ballad that suited her breathy voice and high, clear falsetto.
Though he didn't love the song, Cowell said she sang it very, very well and felt he could hear it on the radio right now. He also noted that she worked the cameras very well but still felt like he hadn't heard Brown's definitive performance yet and that she hasn't found the song that's going to make her stand out.
With a standout performance of Coldplay last week, Katelyn Epperly went back in time again for Carole King's "I Feel the Earth Move," standing a bit awkwardly at a keyboard and giving the song a generic disco-boogie feel that at points still managed to highlight her scratchy, soulful voice.
DeGeneres wasn't sure it was the right song choice to help get Epperly into the top 12, while Kara went a step further and said it didn't really feel like Katelyn came to compete but was just going through the motions. "It just wasn't enough," she said. The hair and the Wurlitzer groove worked for Randy, but he didn't think Epperly had a connection or vibe with the song. Simon also liked her golden crown of curls, but said, "On the downside, it was kind of like request night on a Friday night at a restaurant if you were working there." Epperly explained she chose the tune to avoid repeat criticism from Simon about being corny. "On what is arguably the most important night of your career, you chose quite a simple song, didn't do anything special with it, and I think other people look as if they're trying harder. So this may have been a mistake for you tonight."
Picking up her guitar for the first time since Hollywood, Didi Benami went torchy with an Adele-like folky ramble through Fleetwood Mac's "Rhiannon," wrapping her supple voice around the song's yearning lyrics and coming across as earnest and focused.
For Randy, it was way better than last week, even though it didn't have a "wow" moment, and Ellen loved how Benami came back from being trashed last week with confidence and grace. For Kara, it was simply one of her favorite moments of the season so far and, in a rarity, Cowell agreed, saying, it was "head and shoulders above anything else we've heard tonight. For the first time, certainly since these live shows, you proved that you're an artist, and I think, Randy, I disagree, she did have a 'wow' moment and the wow moment was the whole performance."
The news was not so great for Paige Miles, who went with one of Michael Jackson's favorite songs, the weepy ballad "Smile," popularized by silent-film icon Charlie Chaplin. Miles never quite found her groove, as her quavering voice struggled to keep up with the song's tricky arrangement.
The pained look on Ellen's face said it all, as Randy called the tune too big for her. "That song is supposed to be inspiring, it's supposed to be uplifting, and it was just sad and heavy ... and you have such a great personality, and we didn't get to see it, and we keep saying over and over, this is the time to shine. This is the time to show us who you are, and I don't think that was the right song for you to choose," DeGeneres said. From the horrible choice of song to the awful 1974 Holiday Inn lounge arrangement, Cowell said it was probably the end of the road for a good singer who just doesn't seem to know what kind of artist she wants to be. Miles, a huge fan of the Jackson version, said she simply couldn't hold her emotions in check during the performance.
Cementing her status as the one to beat, Crystal Bowersox strapped on an electric guitar for Tracy Chapman's "Give Me One Reason," reaching deep for a glimpse of the bluesy grit she learned in her hometown of Chicago. Bowersox imbued the song with just the right amount of hip-swaying sass and country swagger, drawing the biggest ovation of the night.
"You are 1 million, billion percent going to be in the top 12 next week," Cowell promised, noting that Bowersox has clearly gained confidence during her run on the show and again dubbing her the one to beat. Ellen's run out of adjectives to describe Bowersox's talent, calling it the performance of the night. "This is what we talk about when people know who they are," Kara said, pointing out that the song choice was perfect because it's exactly what she could heard Crystal doing on her debut album. "Every time you step up there, it's easy for you, because ... you just know what to do."
Lilly Scott closed the show with Patsy Cline's "I Fall to Pieces," giving the country classic a Hawaiian spin while strumming an electric mandolin and wrapping her kewpie-doll voice around the song's sensual lyrics.
It was all good for Randy, who said Scott was in the zone, while DioGuardi marveled at how she found a way to make a 50-year-old song sound contemporary. "I think you're very brave for choosing that song on a night like this," Cowell said, before knocking Scott for lacking the 'wow' factor necessary to close the night with a bang. "It was cute, it was quirky, it plays into what you're all about, but that could have been a risky thing to do."
The top eight men are up next Wednesday night, and the final four semifinalists will go home Thursday.
What did you think of the women's performances? Who killed it? Who blew it? Who is definitely making it to the top 12? Let us know by leaving your comments below.
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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Lil Wayne: A Closer Look At His First Day Behind Bars
'The best thing to do in the first 24 hours is to keep your mouth shut as much as possible,' one expert says.
By Jayson Rodriguez
Lil Wayne at court Monday
Photo: Ray Tamarra/ Getty Images
Lil Wayne has been booked and processed into the Eric M. Taylor Center on Rikers Island to begin his one-year jail sentence.
According to most experts, the first 24 hours are the most crucial to ensuring a successful incarceration. Dr. Jefferey Ian Ross, a faculty member at the University of Baltimore's Criminology Division, advises that the superstar MC keep to himself as he gets adjusted to his new surroundings.
"Most of the time, the best thing to do in the first 24 hours is to keep your mouth shut as much as possible," Ross told MTV News. "Keep your eyes open and basically do as you're told by the correction officers. Essentially, you shouldn't look at other inmates in the eye, 'cause to a lot of people, that may be considered an aggressive type of action. Also, don't look at their property, because they may feel like that's aggressive as well and that you want their property."
Ross, who wrote the book "Behind Bars: Surviving Prison" along with Stephen C. Richards, explained that most inmates are housed with similar offenders, but there are instances were prisoners get bored and lash out. For these reasons, it's important for someone like Lil Wayne, a celebrity, to maintain as normal of a disposition as he can.
"Say 'yes sir,' 'no sir,' no cutting in line," Ross said. "Don't act like you have special privileges."
Unlike NFL star-turned-inmate Plaxico Burress, Lil Wayne shunned a jail coach or a sentencing specialist. Ross said that decision put Wayne at a disadvantage, because some benefits include assistance in building a network within the prison facilities. Sentencing coaches, in some cases, are previously jailed people who can connect incoming inmates with those they can trust inside.
According to Ross, Lil Wayne will eventually have to venture out from his own connections. But in the interim, Ross suggested the old adage that prisoners need to just "do their time."
"Keep your mouth shut, keep your eyes open, be respectful — not only to correction officers, but to inmates," he said. "And don't be a snitch and don't complain about the housing accommodations, follow those rules and they call that 'do your own time.'
"It's not easy," Ross added. "Criminals don't face a cakewalk, [regardless of the length of their sentence]. Their liberties and choices are taken away from them, and they're basically at the will of prison."
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