May 26, 2009May 26, 2009

Juliette Lewis

SILVERSUN PICKUPS

Ceelo Green F&#* You!

NOT YOUR AVERAGE ACTRIST TURNED WANNA BE SINGER SHE’S THE REAL DEAL.

Lady GagaJUST CRAZY OR

CRAZY TALENTED?

YEAH YEAH YEAHSYEAH?

SAME OLD

May 26, 20091

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One of two indie albums with electronic leanings to be included among 2009s best is Yeah Yeah Yeah’s It’s Blitz! (the other being the fourth studio album by French band Phoenix). With its heavily 80s-influenced sound and dance-driven production, Yeah Yeah Yeah’s third album likely will sour quickly as the style, while fashionable now, is hardly timeless. Yet the time is now, and the New York trio manage a genuine emotional depth in the midst of shiny new wave tunes.

While the first two tracks could appear

to be lobotomized for the sake of danceability, it is precisely the object of the dance floor that fosters an appropriately emotive lyric. In “Zero” lines like “get to know it in the dark” and “get your leather on” point towards the power of dance. There is a feel here that, at least for lead-singer Karen O, the dance floor holds the answers. It seems that by telling us to “dance, dance ‘til your dead” she is divulging the transcendent secrets of the dance floor.

“Skeletons” displays Yeah Yeah Yeahs true victory on this album, however, in

its attention to dynamics and layering. Even amongst the tall trees of producer Dave Sitek’s glossy sound, the dramatic overtone of O’s lyrics soar above the canopy. It’s the profound songwriting that refuses to allow the technicolor coating to choke out its meaning. Just before the halfway point of the album is “Dull Life”, a tune that might be implicating consumerism’s power to imprison, and it’s ironically at this moment that self-awareness sets in and we realize that this is a pop album.)

When Yeah Yeah Yeahs came roaring out of the New York alt-rock scene at the start of the ’00s, they sounded like they were competing to be NYC’s loudest, shriekiest band. But those harder edges quickly softened, perhaps because the YYYs realized that frontwoman Karen O could be freaky even when singing the tenderest ballad. Onstage, especially, Karen O contorts herself, kicks over equipment, and tugs at her bizarre costumes, all while squinting and grinning like some kind of disoriented extraterrestrial. She’s never less than astonishing.

There’s very little of the old Yeah Yeah Yeahs skronk on the band’s third LP, It’s Blitz!, but the record still sounds not of this Earth. Relying heavily on synthesizers and syncopated rhythms, It’s Blitz! forwards a futurist agenda. Sink deep into the Berlin-like dance-pop of “Heads Will Roll” or the spacey balladry of “Skeletons,” and it’s not too hard to picture the neon cityscapes of a forbidding dystopia. Or listen to the frenzied “Dull Life” or the softly resigned “Hysteric,” where that civilization seems to be in

Yeah Yeah Yeahs as we know them are Dead... Again.

We almost lost them. Whoever they are.the midst of disintegrating. The main problem with It’s Blitz! is that the band’s kind of retreat to kicky electroclash feels a little late to the party. Too many other musicians have gone to this particular well over the past half-decade, and few of them had a Karen O at their disposal. Still, these synth-driven pop songs aren’t really much different from Yeah Yeah Yeahs’ guitar-driven ones. The band still sticks to stunted riffs, topped by Karen O’s repetitive yelping. And like earlier YYYs songs, these build in intensity, with Karen O holding back as long as she can before erupting in a howl halfway between alien rage and raw human passion. This album may be just a sketchy blueprint, but a tour should be something to see.

May 26, 200113 May 26, 2009

It’s Blitz!the third full-length studio album by New York band Yeah Yeah Yeahs. It was originally set for release on April 13, 2009, however after being leaked to the internet on February 22, the release date was pushed forward to March 9 for the digital version and March 31 for the physical version.The rest of the world release date was on April 6, 2009.

May 26, 2009

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According to Nick Launay, one of the two producers, the recording of the album was unusual for being largely written and created in the studio at a time when record labels have cut back considerably on production budgets. The few songs the band did take along to the first sessions were later altered significantly. Launay described a typical session as follows:

“Brian would play lots of different drumbeats and we’d record it, chop it up and then make a groove loop out of it. Nick would then just jam to it, and we’d come up with an interesting rhythm part. Karen would listen to that and come up with a vocal melody and then suddenly everything would fall into place.”

The album sessions took place over several months in 2008, during which time there were numerous breaks “to get inspired”. The album has been very well received by critics, having a weighted average rating of 82/100 (Universal acclaim), according to Metacritic, based on 36 reviews. NME wrote that “It’s Blitz!’s heartfelt love letter to the transcendent possibilities of the dancefloor is an unexpectedly emphatic reassertion of why Yeah Yeah Yeahs ar one of the most exciting bands of this decade”, while Spin said that it is “the alternative pop album of the decade—

one that imbues The Killers’ Hot Fuss and MGMT’s Oracular Spectacular with a remarkable emotional depth and finesse”. Later that year, Spin would place the album second on their best albums of 2009 list. Meanwhile, in a track-by-track preview of the album, The Fly said that It’s Blitz! is “an amazing return for Yeah Yeah Yeahs... an instant classic”, later giving the album a rating of 4.5 out of 5. The BBC called the album “a triumphant

return for New York’s finest”. Clash commented that the trio had achieved growth without distancing themselves from what made their name: “The album proves that they can provide epic music with personal themes, that YYYs can expand without losing what made us fall for them in the first place”. Despite the general overwhelming positive reaction to the album, some reviews were mixed. Tiny Mix Tapes commented, “From most bands, half of a great record would be an incredible accomplishment, but we’ve heard so much better from them” and awarded the album 2.5/5. Nick Butler of Sputnikmusic, while

praising the album with an overall score of 3.5/5, summarized the album will “probably date badly and, despite clearly being better than Fever to Tell, it probably won’t be remembered by as many people, or as fondly by those people”. A weighted average rating of 82/100 (Universal acclaim), according to Metacritic, based on 36 reviews. NME wrote that “It’s Blitz!’s heartfelt love letter to the transcendent possibilities of the dancefloor is an unexpectedly

emphatic reassertion of why Yeah Yeah Yeahs are one of the most exciting bands of this decade”, while Spin said that it is “the alternative pop album of the decade—one that imbues The Killers’ Hot Fuss and MGMT’s Oracular Spectacular with a remarkable emotional depth and finesse”. Later that year, Spin would place the album second on their best albums of 2009 list. Meanwhile, in a track-by-track preview of the album, The Fly said that It’s Blitz! is “an amazing return for Yeah Yeah Yeahs... an instant classic”, later giving the album a rating of 4.5 out of 5.

When this punky trio released their eponymous five-song EP in 2001, the group was immediately lumped in with the Strokes as the leaders of that much-ballyhooed “garage rock revival” that was to counterbalance America’s apparent addiction to the disposable teen-pop of the late ‘90s Note how the Strokes’ Is This It came out only two months after NSYNC’s Celebrity did—as blatant a paradigm shift as there ever was). Though this revival didn’t take the mainstream swing that many were expecting it did produce a genuine rock star in the form of Jack White.Also it brought us a slew of guilty pleasure hit singles (the Hives’ “Hate to Say I Told You So” and the Von Bondies’ “C’mon C’mon” chief among them), and a glut of commercially neglected, top-quality albums from smaller

acts like the Soundtrack of Our Lives and the Cato Salsa Experience. Though some of these bands were already several albums in when this revival started, the Yeah Yeah Yeahs were on the top of everyone’s list because of those five gritty, trashy, in-your-face songs. Though tracks like “Art Star” may have lost some of its luster over the years, the group’s debut outing remains a visceral, uncompromising listening experience, the whole thing

Third Time The Harm.

Recording Puzzle Pecies

“From most bands, half of a great record would be an incredible accompl ishment, but we’ve heard so much better from them.”

May 26, 20011

CeeLoGreen

F#%K Y

ou!

6

As he was stitching together his new solo album “The Lady Killer,” Cee Lo Green didn’t have much intention to rope in special guests or featured vocalists. There was one name, though, that he at least tried to get. “I reached out to Sade. She’d never done a song with anyone else before. That makes her Madame Butterfly,” the singer/rapper told me in our phone interview, noting that the Soldier of Love never managed to give him a reply. “It was a longshot to begin with, but I thought, ‘If she does this, this will truly signify my being a professional or not.’ Not that I feel any less special. I guess I still have a ways to go.” On the other hand, Cee Lo concludes that “Lady Killer” doesn’t need any “elaborate guest appearances. Just a lady and a nice car,” he says “It’s varied enough over the course of a whole record. You’ll have your hands full with me.” The founding Goodie Mob and Gnarls Barkley member is already off to a good start. The runaway viral single “F*ck You” (and it’s radio-friendly edit “Forget You”) is at No. 33 on the Hot 100 and rising and already capped the iTunes top downloads list. Two music video versions are floating around. And one of its principal songwriters, Bruno Mars, has been a hot topic all summer.

Cee Lo said that he and Mars tried to collaborate on a number of tracks, and “F*ck You” was “the one that stuck.” Green said he appreciated the anti-establishment tone to track, and then tangentially mused on the offending term itself. “You think of the term, the verb, “f*ck” as something that’s fast. Efficient but urgent. It’s like that. This album is urgent for me, but that doesn’t mean it’s impersonal. It’s poetry in motion – poetry in slow motion, you know what I’m saying?” Yes. “Intimacy is always art.” If it sounds like “The Lady Killer” is an

album about feeling good, then you’re on the right track. At 35, Green (born Thomas DeCarlo Callaway) is in a pretty good spot, and he wants “Lady Killer” to be a reflection of that.

“I want people to know that I know what I’m doing. I’ve been written off as a freak before. I consider myself a closet freak, now out of the closet. I’m a freak of nature, a freak accident. Isn’t that how all superheroes start?” he deadpans. “I much rather [my success] be considered a freak accident that it being luck. The solo set was the natural next step after a run with Danger Mouse in Gnarls Barkley, a duo whose “Crazy” threw Cee Lo further into the limelight. Green says that a third LP will “definitely happen” next year, but only after some time post-“Lady Killer.” “I just got out a steady relationship with Danger Mouse,” he explains. “Does that mean you’re playing the field?” “Not all. I mean, I’m out in right field. I’m not playing the whole field, I’m just out where the girls are.” He says that he’s had some ideas for songs with Danger, but “we’ve been out of each other’s space… He wanted to move in a different sound direction,” which explains his collaboration with James Mercer in Broken Bells. “He’s a jaded, moody kinda guy. When we met each other, we were married by that mood.

As he was stitching together his new solo album “The Lady Killer,” Cee Lo Green didn’t have much intention to rope in special guests or featured vocalists. There was one name, though, that he at least tried to get.“I reached out to Sade. She’d never done a song with anyone else before. That makes her Madame Butterfly,” the singer/rapper told me in our phone interview, noting that the Soldier of Love never managed to give him a reply. “It was a longshot to begin with, but I thought, ‘If she does this, this will truly signify my being a professional or

not.’ Not that I feel any less special. I guess I still have a ways to go.” On the other hand, Cee Lo concludes that “Lady Killer” doesn’t need any “elaborate guest appearances. Just a lady and a nice car,” he says “It’s varied enough over the course of a whole record. You’ll have your hands full with me.” The founding Goodie Mob and Gnarls Barkley member is already off to a good start. The runaway viral single “F*ck You” (and it’s radio-friendly edit “Forget You”)

is at No. 33 on the Hot 100 and rising and already capped the iTunes top downloads list. Two music video versions are floating around. And one of its principal songwriters, Bruno Mars, has been a hot topic all summer. Cee Lo said that he and Mars tried to collaborate on a number of tracks, and “F*ck You” was “the one that stuck.” Green said he appreciated the anti-establishment tone to track, and then tangentially mused on the offending term itself.

Interview: Cee Lo Green speaks on ‘F*ck You,’ Sade, Gnarls Barkley and Goodie Mob

Interview: Cee Lo Green speaks on ‘F*ck You,’ Sade, Gnarls Barkley and Goodie Mob

“Not all. I mean, I’m out in right field. I’m not playing the whole field, I’m just out where the girls are.”

May 26, 200117

Silvers

unPick

upsNow Silversun Pickups – which also includes drummer Christopher Guanlao and keyboardist Joseph Lester – is making its own videos for hits like “Lazy Eye” off 2006’s Carnavas, and “Panic Switch” off their latest CD, Swoon.

After spending years playing clubs near their home in L.A.’s Silver Lake neighborhood (which also spawned Beck and Elliott Smith), Aubert says it wasn’t until last May they felt like they’d really made it – at least in the eyes of their parents – thanks to an unexpected appearance as a clue on Jeopardy!.

“We were in New York doing MTV Unplugged, sitting at dinner when all our phones started buzzing,” remembers Aubert.

“L.A.’s Silversun Pickups got their name from a store at the corner of Silver Lake Blvd. & this one with a famous ‘strip’,” appeared on the games how’s blue screen (the answer: “What is Sunset Boulevard?”).

“Being a Jeopardy! answer and now being nominated for a Grammy – we’ve invaded our parents’ world!” laughs Aubert. “Now they love us. We are the golden children.” Now Silversun Pickups – which also includes drummer Christopher Guanlao and keyboardist Joseph Lester – is making its own videos for hits like “Lazy Eye” off 2006’s Carnavas, and “Panic Switch” off their latest CD, Swoon.

Grammy Nominated Band Talks success

“Being a Jeopardy! answer and now being nominated for a Grammy we’ve invaded our parents’ world!”

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My spirit really explodes when I hear comparisons being made with The Smashing Pumpkins. Honest to God, I have so much respect for the Pumpkins. Nevertheless, I am baffled at the link between the two.

The singers of both bands happen to have the same sugary, cherubic tone of voice paired with distorted guitars. I feel sorry for SSPU singer Brian Aubert and bassist/backup singer Nikki Monninger, who have to address the “Pumpkins issue” in interviews. They were not influenced by them. End of story.

I’ll “tell you a secret. I’ll make it perfectly clear.” Silversun Pickups are a regular 21st century band. Nothing too fancy, no narcissistic or egotistical rock stars here.

They work hard and tour for extended periods of time. Could you see yourself in a crowded room listening to them belt out tunes from Swoon? I sure can. No lights and no sequins. Just straight and honest music.When you watch them live, there are smiles after every track. They are true, satisfied, professional musicians. This allows me to have a little more faith in the industry.

“Lazy Eye” (from debut album Carnavas) convinced me that Aubert was a girl. As for Swoon? There are more grungy moments in this album, less screaming and more melodies to get your hip toes tapping.

Aubert’s voice is what makes this band unrivaled. Comparisons can’t be made, even if the commonly held principle is that

they are the Pumpkins of the naughties.

The band, when making Swoon, really took things up a notch. Their hands-on approach with orchestras in the studio reveals their passion and dedication.

Is “Panic Switch” about the music business? The answer, my friends, “is blowing in the wind.” It really is.

Boy vs. girl singing is less prevalent in this album, with “It’s Nice To Know You Work Alone” being the only notable exception. The opening song, “There’s No Secrets This Year” is one of those effortless yet tough tracks that grabbed my attention.

What exactly makes this band great, you ask? Personally, I believe it is Monninger’s easy, yet valuable bass lines teamed with Aubert’s distorted guitars. Where could you find such a fascinating amalgamation? “Growing Old Is Getting Old” is the perfect example of their schizophrenic noise. It is a cool song with a strong build up.

I believe that the majority of songs on this album are masterpieces. The kids from Silverlake are in the midst of the unsurpassed. Just don’t make a dancefloor anthem.

Read more: http://www.seattlepi.com/lifestyle/blogcrit ics/ar t icle/Music-Review-Silversun-Pickups-Swoon-829257.php#ixzz1MlJ4EfMU

“L.A.’s Silversun Pickups got their name from a store at the corner of Silver Lake Blvd. & this one with a famous ‘strip’,” appeared on the games how’s blue screen (the answer: “What is Sunset Boulevard?”).

“Being a Jeopardy! answer and now being nominated for a Grammy – we’ve invaded our parents’ world!” laughs Aubert. “Now they love us. We are the golden children.” Now Silversun Pickups – which also includes drummer Christopher Guanlao and keyboardist Joseph Lester – is making its own videos for hits like “Lazy Eye” off 2006’s Carnavas, and “Panic Switch” off their latest CD, Swoon.

Making of the bands 2nd Studio Album “Swoon”.

May 26, 20011

Juliette&

&The Licks

NewTheRomantiques

The Licks became a reality when Lewis accompanied Patty Schemel, drummer for Hole, to a Blondie concert and found herself staring at fate. She became instantly inspired by the “live” element of the show and knew it was her calling. Juliette began to reach out to everyone she knew to find musicians to accompany herself and Patty and soon, she found what she was looking for. The Licks became: Juliette (vocals), Patty Schemel (drums), Todd Morse (guitar) and Paul Ill (bass). “Todd Morse (H20) is not only an amazing songwriter but a perfect punk-rock rhythm guitarist”, says Lewis. “Paul Ill I’ve nicknamed ‘Profess or Ill’ because he can reference anything from Faces to Black Sabbath to the Police.” Juliette and the Licks released their first EP …Like a Bolt of Lightning, in 2004, which was shortly followed by the release of their debut album You’re Speaking My Language. The album spawned their most successful single “You’re Speaking My Language”, and the less successful, disco influenced “Got Love to Kill”. The released version of the second single was a remix of the original song, which had a more rock influence.

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May 26, 20011

The New Romantiques

May 26, 200911

After announcing in mid-January on Juliette and The Licks’ MySpace page blog that the “Licks are no more. It is the end of our run … For now,” this week Lewis announced the new band’s name, along with new shows and a new Web page. Lewis explained her new album, Terra Incognita, which is set for release this spring and was produced by Mars Volta guitarist Omar Rodriguez Lopez, called for a new name for her band.

“Because this album is so sonically different than anything I’ve done before and captures many flavors of my emotional life and voice, it needed an entirely new name,” she said of Juliette and the New Romantiques. Lewis wrote most of the 11 tracks on the new album – which the blog post notes is “coming soon” – along with her friend guitarist Chris Watson. Rich Costey, who has worked with Nine Inch Nails and Muse, mixed the LP.

Lewis, who made an appearance at Pollstar’s 2007 Concert Industry Awards show as one of the presenters, described Terra Incognita as “my version of

whatever soul is.” She goes on to say, “I let the haunted woman come through – the tormented blues soul singer – as well as my full-throttle rock voice.”

Later this month Lewis and her band have plans to show off the new tunes by playing this year’s South by Southwest Festival at Emo’s in Austin, Texas, March 18 as well as a spot at San Diego IndieFest at North Park in San Diego, March 28.

In June the band heads for Germany to perform in the Rock & Ring AM Festival at Nurburg Ring in Nurburg June 5-6.

Lewis wrapped up her blog post by saying:“Terra Incognita means unknown territory and I wanted – needed – to go there. Not everybody wants to. But I got no one to answer to, so why not feed the muse? It’s all about this love of expression and an audience who’s willing to take the journey into my mythical sonic forest of dreams, where romance and tragedy are next to heaven.”Hmmm. Yeah, whatever that means!

New Sound New Name

12

done before and captures many flavors of my emotional life and voice, it needed an entirely new name,” she said of Juliette and the New Romantiques. Lewis wrote most of the 11 tracks on the new album – which the blog post notes is “coming soon” – along with her friend guitarist Chris Watson. Rich Costey, who has worked with Nine Inch Nails and Muse, mixed the LP. Lewis, who made an appearance at Pollstar’s 2007 Concert Industry Awards show as one of the presenters, described Terra Incognita as “my version of whatever soul is.” She goes on to say, “I let the haunted woman come through – the tormented blues soul singer – as well as my full-throttle rock voice.”

Later this month Lewis and her band have plans to show off the new tunes by playing this year’s South by Southwest Festival at Emo’s in Austin, Texas, March 18 as well as a spot at San Diego IndieFest at North Park in San Diego, March 28.

In June the band heads for Germany to perform in the Rock & Ring AM Festival at Nurburg Ring in Nurburg June 5-6.

Sporting a black dress, gold cape, tights and gloves, the actress-turned-singer was on energetic form for the show, which mainly showcased new songs written by her and band member Chris Watson, set for release on a new album later this year.

“I’m having a debate as to whether turn you on real quick or start you slow,” she questioned shortly into the set, prompting loud cheers.

The Romantiques at South by SouthwestJuliette Lewis brought her new band, The New Romantiques, to the South By Southwest festival last night (March 18), playing a show at Emo's at 11:40pm (CST).

Sporting a black dress, gold cape, tights and gloves, the actress-turned-singer was on energetic form for the show, which mainly showcased new songs written by her and band member Chris Watson, set for release on a new album later this year.

"I'm having a debate as to whether turn you on real quick or start you slow," she questioned shortly into the set, prompting loud cheers.

"You all walked in this room expecting something, right?" Lewis asked later on. "Well that's a hunger and a need that both you and I have." The new songs showcase a more pop-rock direction that Lewis' previous work with her old band, The Licks, with new songs 'U-Huh' and set-closer 'Suicide Dive Bobers' going down well with the crowd. Before leaving the stage the singer paid tribute to Echo And The Bunnymen, who are due on the same stage later on in the evening, saying, "We get to see Echo And The Bunnymen! How exciting is that?" Juliette Lewis brought her new band, The New Romantiques, to the South By Southwest festival last night (March 18), playing a show at Emo’s at 11:40pm (CST).

Sporting a black dress, gold cape, tights

and gloves, the actress-turned-singer was on energetic form for the show, which mainly showcased new songs written by her and band member Chris Watson, set for release on a new album later this year.“I’m having a debate as to whether turn you on real quick or start you slow,” she questioned shortly into the set, prompting loud cheers. “You all walked in this room expecting something, right?” Lewis asked later on. “Well that’s a hunger and a need that both you and I have.” The new songs showcase a more pop-rock direction that Lewis’ previous work with her old band, The Licks, with new songs ‘U-Huh’ and set-closer ‘Suicide Dive Bobers’ going down well with the crowd. Before leaving the stage the singer paid tribute to Echo And The Bunnymen, who are due on the same stage later on in the evening, saying,

“We get to see Echo And The Bunnymen! How exciting is that?”

After announcing in mid-January on Juliette and The Licks’ MySpace page blog that the “Licks are no more. It is the end of our run … For now,” this week Lewis announced the new band’s name, along with new shows and a new Web page. Lewis explained her new album, Terra Incognita, which is set for release this spring and was produced by Mars Volta guitarist Omar Rodriguez Lopez, called for a new name for her band. “Because this album is so sonically different than anything I’ve

“I let the haunted woman come through – the tormented blues soul singer – as well as my full-throttle rock voice.”

May 26, 2001113

LADY

GAG

ACrazy Talented?Gaga, whose real name is Stefani Germanotta, moved up four positions from last year to claim the top spot in Forbes’ annual “The Celebrity 100” 2011 list that measures power by entertainment-related earnings, media visibility and social media popularity.

Forbes rated the American singer-songwriter No. 1, estimating her earnings in the past 12 months as $90 million, but also noting her 32 million Facebook fans and 10 million Twitter followers.

“Lady Gaga beat Oprah this year because of her social media power. She can use Twitter and Facebook to work the “little monsters” into a frenzy that leads to record sales and media attention. She’s the best example of how celebrities will need to manage their careers in the coming years,” Forbes editor Dorothy Pomerantz said.

Winfrey, who next week ends “The Oprah Winfrey Show” syndicated TV chat show after 25 years, dropped one place from last year to No. 2 earning an estimated $290

Canadian pop star Justin Bieber, 17, was the youngest to make the list and debuted at No. 3, earning $53 million from concerts and sales from his concert movie and documentary “Never Say Never.”

Coming in at No. 4 was U2, earning $195 million and Elton John, who earned $100 million.

Forbes said its earnings figures consist of pretax income between May 1, 2010, and May 1, 2011Donald Trump, who this week dropped out of a U.S. 2012 Republican presidential bid, benefited from the increased media attention by breaking into the top 20 at No. 17, according to Forbes.17, according to Forbes.Say Never.

May 26, 2009

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Gaga, whose real name is Stefani Germanotta, moved up four positions from last year to claim the top spot in Forbes’ annual “The Celebrity 100” 2011 list that measures power by entertainment-related earnings, media visibility and social media popularity.

Forbes rated the American singer-songwriter No. 1, estimating her earnings in the past 12 months as $90 million, but also noting her 32 million Facebook fans and 10 million Twitter followers.

“Lady Gaga beat Oprah this year because of her social media power. She can use Twitter and Facebook to work the “little monsters” into a frenzy that leads to record sales and media attention. She’s the best example of how celebrities will need to manage their careers in the coming years,” Forbes editor Dorothy Pomerantz said.

Winfrey, who next week ends “The Oprah Winfrey Show” syndicated TV chat show after 25 years, dropped one place from last year to No. 2 earning an estimated $290 million.

Canadian pop star Justin Bieber, 17, was the youngest to make the list and debuted at No. 3, earning $53 million from concerts and sales from his concert movie and

documentary “Never Say Never.”

Coming in at No. 4 was U2, earning $195 million and Elton John, who earned $100 million.

Forbes said its earnings figures consist of pretax income between May 1, 2010, and May 1, 2011

Rounding out the top ten for 2011 was golfer Tiger Woods, earning $75 million, country singer Taylor Swift, rock band Bon Jovi, British music producer and “The X Factor” judge Simon Cowell and U.S. basketball player LeBron James.

Other big newcomers include singer Katy Perry at No 12, British director and producer Christopher Nolan at No. 47, actress Natalie Portman at No. 75.

Former “Real Housewives of New York” star Bethenny Frankel, who used her latest TV show, “Bethenny Ever After” to promote her Skinnygirl brand of drinks she sold for $100 million, landed at No. 42.

The biggest gainer from last year’s list was Leonardo DiCaprio, moving up 56 spots to a ranking of 71.

Dropping out of this year’s list that includes film and television actors, TV personalities, models, athletes, authors and musicians, was Britney Spears, who didn’t tour in 2010, as well as “Harry Potter” star Daniel Radcliffe.

The collective total earnings of the top 100 dropped this year from last year, from a collective $4.7 billion to $4.5 billion.

Lady Gaga Tops Oprah in this year’s Forbes celebrity power list.

“Don’t you ever let a soul in the world tell you that you can’t be exactly who you are.”

May 26, 20011