Britney Spears is the only SOLO female pop star from the 90's to get a #1 single this decade! ?
The people at buzz feed have done what all us Britney fans have wanted to do call Justin Timberlake on his constantly Britney bashing for sales and publicly. Read away and share it around.
Ding dong! Ding dong! Gather the people, bring the children! The time has come to expose Justin Timberlake for the opportunist fuck boy that he really is! It’s time he stops using Britney Spears for press and keeps her name out of his mouth once and for all!
Let me explain.
It all started in 2002 when Justin Timberlake was trying to get away from that whole boy band ramen noodle hair thing. He had just broken up with the biggest pop star in the world, and boy, was this the PERFECT time for him to go solo.

His first single, “Like I Love You,” wasn’t doing so hot. It peaked at No. 11 on theBillboard Hot 100, hardly a successful lead single for someone who was part of one the most successful musical acts of the early ’00s.

That’s when it appears a new PR strategy came into play. Let’s milk the fuck out of this Britney breakup situation.

Let’s drag her to filth and put her on full blast.
Luckily for Justin, the press was on his side. He played his cards right and Britney was the betrayer…

This cover ran on Sept. 2, 2002.
…and he was the hero.

This cover came out a week after the one calling Britney the betrayer.
The narrative had been set.

Britney = monster.
And now he was going to use it for his advantage.

Let’s start with Justin’s infamousBarbara Walters interview where Justin played the sorry man and Britney played “the horrible woman.” In the interview, Justin says, “I promised to her I wouldn’t say specifically why we broke up.” BUT THEN HE BASICALLY DOES.

He denies that any songs on his album were about her but then plays a song on the piano called “Horrible Woman.” I kid you not, these are the lyrics: “I thought our love was so strong / I guess I was dead wrong / But to look at it positively, hey girl / At least you gave me another song about a horrible woman.”

WHAT KIND OF TAYLOR SWIFT FUCKERY IS THIS?!
AND THEN, like a true class act, when asked if BRITNEY kept her promise to wait to have sex until marriage, Justin says “sure” then bursts out into laughter.

AND THIS WAS JUST THE BEGINNING. There’s a 10-minute video on YouTubeof Justin talking about Britney while promoting his album. Check that out.
Then it gets messier.
In December, after his first single was only a moderate success and failed to have real impact, Justin released his second single, “Cry Me a River,” featuring the infamous Britney lookalike.

On his “Expose Britney for My Own Gain Press Tour,” Justin kept on (hardly) denying the song and video were actually about her. When asked what the music video was about on TRL, Justinsaid: “The video is not about her. The video is about me.”

Huh?
On Ellen, he dodges the “Is it about Britney?” question by literally sipping tea like a true stunt queen.

CLASSLESS.
It gets worse.
In an interview with Details, Justin randomly bashed Britney’s career decision to do Crossroads. He said: “If she had a clue, she wouldn’t have made [‘Crossroads’].”

Rude and rich coming from the man who would go on to star in The Love Guru.
He tells Sharon Osbourne he just wasn’t impressed with the Britney/Madonna 2003 VMA performance: “It’s not that I was upset with it. I just wasn’t impressed.”
What even?
And in an interview with Hot 97, he said, “I did it. I’m dirty” when asked if he had “oral intercourse”* with her.
*A QUESTION HE DIDN’T HAVE TO ANSWER AND COULD HAVE EASILY AVOIDED COMMENTING ON.
Moving on.
In 2006, FOUR YEARS AFTER THEIR BREAKUP AND HE WAS DATING CAMERON DIAZ, Justin had a new album to promote, so he employed his foolproof strategy: bring up Britney, AGAIN.

In an interview with GQ, Justin said: “I felt like she had a couple of opportunities to just sort of stick up for me, and she didn’t. Which is fine. But at that time, you know, I fought back, and that’s the way I fought back. I used my mind. I came up with a song.”
SMH.
Then he went back to his bread and butter and released basically a sequel to “Cry Me a River” called “What Goes Around Comes Around.”
And then…
In 2008, SIX YEARS AFTER THEY BROKE UP, Justin inducted Madonna into the Rock and Roll Hall of Fame and used this opportunity to make a Britney jab.He said: “The world has always been full of Madonna wannabes, I might have even dated a couple.”

Real nice.
In 2011, NINE YEARS AFTER THEY BROKE UP, when asked about Britney inan interview with Vanity Fair, INSTEAD OF JUST NOT COMMENTING, he said: “I wish her the best—that goes without saying. We haven’t spoken in nine or 10 years. … We were two birds of the same feather—small-town kids, doing the same thing.”
Then, at a 2013 concert, 11 YEARS AFTER THEIR BREAKUP, he gave some speech where he was like: “Sometimes in life, you think you found the one. Then you find out that she was just a bitch.”
Finally, in 2016, 14 YEARS AFTER THEY BROKE UP, he is STILL putting her onsubtle blast.

When VF Italia asked Justin if he needed to be “depressed or tormented” in order to write a good song, he brought up “Cry Me a River.” Hesaid: “Depends. In the past, suffering has helped me compose songs. ‘Cry Me a River’ was written in a time of pain, like everyone knows…”
In conclusion, Justin Timberlake is the original Taylor Swift. He has felt the need to keep bringing up Britney’s name for WAY over a decade. And we didn’t even bring up Nipplegate.
THE END.
You never really know what life might throw your way, but curveballs are almost unavoidable. Still, some of those end up simply unfavorable. For Stafford, England-born songwriter, DJ and music producer Matthew James Burns, better known as just BURNS, his moment turned out to be anything but disappointing when he decided to move out to Los Angeles four years ago and immerse himself in his fascination with pop production. Since then, he's worked the likes ofKelis, Pitbull, Ellie Goulding and, most recently,Zara Larsson for her forthcoming debut album.
And as fate would turn out, some of those studio sessions led up to his biggest collaboration of them all. We're talking about Britney Spears and her slinky R&B mid-tempo cut, "Make Me," the lead single from the iHeartRadio Music Festival performer's ninth studio album, Glory, which is set to be released on August 26.
Between touring, remixing a cut for On The Verge artist Bishop Briggs and dropping his most recent single, "Waves," featuring Elvis Brown, BURNS hopped on the phone with iHeartRadio for a one-on-one interview to talk about the pop titan's newest single, which takes Spears away from her routine dance floor territory and into the bedroom for a smooth and sexy romp. Take a look below!
You have a really busy schedule with your own tour dates. You're partaking in GTA’s trek. How are you digesting life on the road?
It's definitely gotten a lot more hectic over the last few months. With the Britney stuff, it's kind of become me juggling between doing my own project while doing production stuff for other people, so it's all about time management at the moment. It's getting crazy but I'm happy obviously and I wouldn't complain.
Congratulations on the Britney release. It shot straight up to the top of iTunes and is quite the breath of fresh air. How did the project come about?
I moved out to L.A. like four years ago and when I got out there I became more interested in production stuff. I was getting more of a fascination for pop music at that point. I hadn't really been delving into that realm much at all. I had been doing a lot of club music and experimental production stuff and slightly weird stuff, but I got more interested in U.S. radio and things are kind of interesting out here, in a pop music sense. Radio was getting cooler, which was good for me. I've been on the side as well making my own stuff. I've been doing pop beats [and] just playing around and doing things with guitar and mixing organic elements with that kind of electronic stuff. I made the ["Make Me"] beat a year or so ago, and somehow it managed to get into Britney’s team's hands and then they contacted me and were like, "Britney's starting a new record and we really love this," and it kind of steamrolled from there. We got the vocal done on it and it just became what it is now.
How does the U.S. pop radio scene compare to the one back home in the U.K.?
Right now I feel like it's actually more interesting out here. It didn't used to be that case. It used to be more, like, the U.K. was more adventurous. We would have a theme, and then America would have the same theme but like a year later. It was almost like we were a bit ahead, but I think over the last couple of years, Diplo and Skrillex have really opened up doors to more experimental stuff. The whole EDM scene is so big over here, and radio has just got so interesting. It's almost experimental. It's pop music still, but the sounds are different. In England right now, it's a lot of the same sounding stuff. It's all about U.K. sounding house music. It's a bit zany.
You mentioned that you created the beat a while back before hitting the studio with Britney. I think a lot of people were attracted to the record, particularly because this is a sound that Britney hasn’t explored before and usually her lead singles are out of the gate crazy dance records.You actually get to really hear her voice. Did you go in with that mindset?
Totally. I hadn't listened to a hell of a lot of the most recent Britney stuff. I knew that the previous singles to this one were very much, like you say, down the line. They’re all like fall to the floor kind of uptempo things. The vocal was one of my main focuses on this one because I wanted it to feel like there was some kind of emotion in that, which isn't necessarily in a lot of the most recent singles that she did. I wanted to steer away from that autotune kind of sound and have something much more natural sounding, so we spent a lot of time on the vocal and just getting it to where it sounded like she's actually singing it from the heart rather than it being too much production. I think we've achieved that. I've seen a lot of good reactions and that makes me happy to see because there's a lot of effort being put into the vocal production on the song.
You guys definitely accomplished that. Some of her recent catalog is just driven by the beat and I think that there was such thought put into the lyrics. It really created a special vision.
The thing that I always want to do with pop music is … even if I strip back all of the production stuff, if there's a really good song underneath that already, then it makes it so much easier. It doesn't have to rely on a production gimmick. You can play the song on the piano and it's still a great song, which makes a big difference in my eyes.
What was it like specifically working with Britney in the studio?
It was amazing. It was daunting for me to begin with because she's such a legend and she's kind of a weird entity. She has this crazy insane fan base and she's been doing it for so long. When I got in there, she's just the most normal, down to earth person. It was kind of really easy. It was like you get to know someone over an hour and then it's just like you're buddies working in the studio. It was really simple. I was pleasantly surprised by her because she is such a huge star. Sometimes you think there's going to be some type of ego or whatever, but she was just so cool and it just made the whole experience. She's such a nice person, as well.
There was another guy with you in the photo that she posted on Instagram by the name of Mischke Butler?
He's a vocal engineer. He was the person helping to record the vocals. [He’s] the person that hits the record button and gets everything in there [and] makes sure we get enough takes and stuff. He's really experienced as well. It's good to have him in the room. It was the first time I'd met him, too, but he was such a great guy as well.
You had produced the music prior to visiting her. When did the lyrics come about?
I'd actually made the beat in a friend of mine's kitchen, which is really weird. I was staying with a friend in L.A. I was in between L.A. and London at the time and I made the beat. I had a guitar and I was just on his kitchen counter. (Laughs) I recorded the guitar part there, plugged it into the laptop, which is really funny because it wasn't made in a studio. I finished it there and it was a few months passed that I had the beat. It had gotten into Joe Janiak’s hands, who's a writer from the U.K., who I'd never met before, either. He wasn't really writing for anyone in particular. He picked this beat. He said after the fact that the beat stood out to the him in the folder that he was given. He wrote this topline but it had no lyrics. It was just him doing melodies. It was just him doing gibberish over the beat, but the melody for making was all there. He had a really solid melody and he sent it back to me and I was like, "This is cool and this could be awesome." I think Britney's team heard the song without lyrics to begin with and they already decided that they loved it. It didn't even have lyrics. They were just like, "We need lyrics on this if we really want to use it." So me and Joe had to come up with the lyrics. I got back in touch with him. I was in L.A. He was in London and we just did like loads of stuff over e-mail. He took the verse lyrics, and the chorus came together pretty quick, and that was how that formed.
And now, you also have G-Eazy, who fills the bridge of this song. Was that your intent or Britney's intent to get a feature on the track?
I think it was her [idea]. That came later. Originally, there was no feature. I made a bridge and Britney was singing. There's actually a non-rap version. I think it's out. I have a feeling that you can listen to it. I don't know if it's been released to buy, but it's on the Internet. I know that part.
We'll have to do some digging.
The original non-rap version is around, which has Britney doing a bridge. We had G come in like last subject [about] a month or so before the record was out. I think it was just a suggestion. It’s that kind of vibe. It had that hip-hop feel to it, and I think the beat kind of lends itself to a rap. They were like, "Can you do a gap, where we can put some more in there?" I think G-Eazy heard it. He was just like, "This is big." He wanted to jump on it straight away. It just really came together. It topped it off and it also brought the song up there. It took it somewhere else in a positive way. It just kind of sealed the whole thing off.
Can we look forward to any other of your contributions on Glory?
I didn't really pitch anything else. There was nothing that I had at the time that I thought was in keeping with "Make Me" because I made the beat a year ago, so I was in a different kind of head space, so I just left it at that. I mean, obviously, I'm just really happy to be a part of her single now.
A lot of fans are hoping to see the BURNS remix of "Make Me."
I've been asked to do it. . . .But at the moment, there's just so many different projects that I'm working on and I'm so happy with the original that it doesn't make sense to go in on it again. I'd like to leave it to someone else to try, you know?
"Make Me" is available for purchase on iTunes and all digital retailers.