Last night was supposed to be a big night for Justin Bieber. Not only was he hitting the stage at the famous Wembley Arena in London for a huge concert, but he was also sharing the bill with Taylor Swift (who invited Bieber along as her opening act). Unfortunately, Bieber's set ended prematurely when he tripped on stage and rolled his ankle. Though he finished his final song "One Time," he did not return for his planned encore and had to be rushed to a hospital for an x-ray. It was there he found out that he fractured his foot and needed a cast.

Naturally, Bieber let his fans know everything that was happening via Twitter. "In the last song 'One Time,' I tripped over something on stage coming down the ramp and felt my ankle roll in a very bad way," he wrote. "Turns out I fractured my foot and had to finish the song on a broken foot." Bieber was taken to a hospital, but not before a visit from the artist who invited him. "Taylor Swift came backstage to see me before I went to the hospital because she is awesome!" he tweeted.

Bieber's foot was put in a cast, and early this morning he went back to the hospital to get an air cast put on, which he will have to wear for six weeks. Bieber even posted a picture of himself in the cast. "Like the x-mas pj's?" he joked.

Swift and Bieber are scheduled for another show tonight in Manchester, and according to Bieber the injury will not prevent him from hitting the stage. "Don't worry Manchester," he wrote. "The show must go on!"

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Kris Allen is a natural headline-grabber: He won the last season of "American Idol," debuted an awesome video and dropped his first (and extremely well-received) album last week. He has also assembled a killer band to back him up on live shows. However, he isn't the only member of that combo who has a spotlight on him at the moment. Guitarist Cale Mills is currently in the lead in the 2009 Cosmo Bachelor Wars, which seeks to find the country's hottest single man. Mills currently leads in the voting on Cosmo's site, narrowly edging out a handful of shirtless dudes. Each of the bachelors represents their home state, with Mills repping the state of Arkansas.

When MTV News caught up with Allen on the red carpet of the Us Hot Hollywood event last week, we asked him to make the case for Mills to the rest of the Internet world and give him the last push that he needs to keep his lead and win the competition.

So why should you vote for Mills? According to Allen, it's because he is wearing a shirt and because he has a beard. His reasoning is sound, which is why you should check out the video below.

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Why is it that rap music seems to be littered with incredibly talented MCs that never get their due while artists with inferior skills cash giant checks? Every genre of music (and every other art form) has its underrated, underexposed stars whose work is passed around like a secret, and their work is typically looked at retroactively as seminal or essential. Still, it can be frustrating in the present tense (both for fans and for the artists themselves).

Such is the case with Redman, the New Jersey-based rapper who has at least one stone cold classic album under his belt (his 1992 debut Whut? Thee Album) and another pair of absolutely essential LPs. One of those is the album that came out on this day in 1998: Doc's Da Name 2000 (the "2000" was an inexplicable thing that Def Jam tacked onto most of their releases at the end of the millennium, perhaps in a bid to sound "futuristic"). It's a stunning slab of rubber band funk cruising below Red's unique mix of hardcore street tales, left-field boasting and cheeky R-rated humor.

Despite the greatness of Doc's Da Name 2000 (as well as subsequent albums, including the pair of LPs he cut with Method Man), Redman is rarely mentioned on conversations about the greatest MCs of all time. But you need only spin "Tear It Off" (from the first Blackout album), "Whateva Man" (from 1996's Muddy Waters) or the first single from Doc's Da Name 2000, "I'll Bee Dat," which had a fantastically whacked-out video. (Also, do yourself a favor and spin Blackout 2, which contains one of the great lyrics of the year: "Call your moms on the phone, it's the jam/ I got jet skis that ride over land.")

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I will say this upfront to avoid the inevitable flames from the Phish Nation: I am not a Phish fan. I don't have anything against the godhead jam rock quartet from the great Northeast. I just missed the train to Weekapaug Junction in college and dug deeper into old school punk when so many of my Madison, Wisconsin contemporaries were getting their spin on.

I've seen the group twice before: Once near the very beginning of their career explosion when they played a small theater in Madison around 1990 (complete with their old shtick of trampoline jumping and vacuum cleaner solos) and then again in 2000 at Radio City Music Hall in a gig I vaguely recall being way more intricate and massive than the Hoover days.

And then I saw them again on Saturday (November 21) night at U.S. Bank Arena in my hometown. See, I have an inordinate amount of good friends who live and die by Phish and who are constantly trying to convert me to their cause even as I try to lure them to the Muse/Decemberists side. With a sold-out two night stand in my own backyard, I couldn't resist giving it another shot.

After traversing the shockingly brazen open-air drug bazaar that sprouted on the concourse outside the venue, we made our way inside and the sights and smells (oh, the smells) of my brief late 1980s dalliance with the Grateful Dead nation came rushing back like ... well, you know how that one ends.

I'll dispense with the talk of the onion soup-thick haze that predictably choked the air the second the group took the stage and just say this: I totally get it. To a true outsider, and avowed music geek, watching Phish do their thing for more than three hours is like taking in a master class from a fellow "33 1/3" junkie.

I'm told this was a classic set, and from the opening strains of "Wilson," I could tell both why the band decided to get back together and why their fans were ecstatic at the news. Read More...

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By Rya Backer

During last night's American Music Awards, in the midst of the falls, trips and controversy, a little band we've paid little attention to won the AMA for Breakthrough Artist. Allow us to play a little catch-up with Gloriana, a group of down-to-earth guys and girls who take their music very seriously.

"We always knew. We've actually never had a normal job. We both looked at each other when we were kids and were like, 'You know, if we're gonna make it in music someday, we can never sidetrack ourselves,'" explained Tom Gossin, one half of the male quotient of Gloriana (the other half being his brother Mike). The pair set their sites on Nashville (and MySpace), where they happened upon singer Rachel Reinert. "We fell in love with her voice, so we sent her a message, and the three of us started playing in Nashville, and one night we were playing and Cheyenne heard us play."

The Cheyenne in question is Cheyanne Kimball, who had starred in an MTV reality show about the release of her first solo album. Upon seeing the band live, she "knew at that moment" that she'd join up with them. They've been together ever since, and between opening for Taylor Swift this past summer (they'll team up with her again for the second leg of her Fearless tour next March) and earning themselves an AMA, you can bet that we'll be writing about them a little more often.

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From the first gyration of Elvis Presley's hips on "The Milton Berle Show" (way back in the summer of 1955) to the last grab of the crotch during Adam Lambert's Sunday (November 22) night performance at the American Music Awards, musicians and live television have shared a rather contentious relationship.

Throughout the years, in attempts to shock audiences, promote albums or share their political views (or, you know, just because they were inebriated), artists have given censors fits with performances that pushed the boundaries of good taste — everything from bare butts to obscenity and potshots at the Pope. Things like that are the reason they invented the seven-second delay, after all.

So now, with Lambert already feeling the heat following his racy AMA performance, we decided it was a good time to re-visit some of the most shocking musical moments from in TV history — the ones that earned public condemnations and half-hearted apologies. Censors, get your fingers on the button.

Click here for photos from the most controversial musical television moments of all time, featuring Adam Lambert, Marilyn Manson, Janet Jackson and Justin Timberlake!

Sinéad O'Connor Rips The Pope On "Saturday Night Live," 1992: Sinéad O'Connor and "Saturday Night Live" already had a rather interesting relationship before she decided to rip up a photo of the Pope in her infamous 1992 performance. Back in 1990, she backed out of a scheduled appearance on the show because she didn't want to share the stage with host Andrew Dice Clay. Two years later, after performing a moody a capella version of Bob Marley's "War," she produced a photo of Pope John Paul II, tore it to shreds and shouted "Fight the real enemy!" The audience reacted with stunned silence, and the media vilified O'Connor as an enfant terrible, and while she would later apologize for the act, she remained unrepentant.

Prince Shows Off His Assets At The VMAs, 1991: The Purple One took the stage at the 1991 MTV Video Music Awards dressed in canary yellow, but it was his outfit didn't have that raised more than a few eyebrows: Read More...

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"Did I trip a little bit? I don't even remember. Yeah, I meant to do that. You should know me better than that. That was part of the choreography. The measure of things is not what happens when you fall, it's how you recover when you fall. It was fun, it was really fun. It was nice to be back on stage and doing my thing."

-Singer, dancer and hot Internet trend Jennifer Lopez, speaking to Ryan Seacrest on his daily radio show about the tumble she took during her performance of "Louboutins" on Sunday night's American Music Awards. Lopez was in the middle of an elaborate dance number, which featured her climbing all over a set of male dancers. When she jumped down from the shoulders of a dancer to the stage, Lopez lost her footing and landed on her backside. She took it in stride, chuckling her way through the interview with Seacrest. The AMA performance of "Louboutins" marked the first piece of promotion for Lopez's upcoming album, which does not currently have a title and is expected to be released some time in early 2010.

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First it was set for early 2010, then it was bumped up to December 21, and now it's "TBD." The release of Usher's next album, Raymond vs. Raymond, has been delayed because "We believe that the album is so strong that we want to give it the opportunity to have the proper setup before coming out," a rep for the singer told MTV News.

Producer Bryan Michael Cox spoke with MTV News recently about his work on the upcoming album, promising a deeply personal project from Usher.

"I think Usher is in a place where he really wants to express what's going on in his life, as any artist would," Cox said, referring to Usher's divorce from Tameka Foster-Raymond. "All the greats did it. Marvin Gaye did Here, My Dear. All the greats express where they are personally."

Cox said the album will tell the stories everyone wants to hear, especially since Usher is back on the single scene.

"I think [the new album] is where we are going to see Usher as an artist. I'm very curious to hear what the rest of the album is going to sound like," Cox said about Raymond vs. Raymond. "Our records are definitely in that lane of touching on what's going on in his life, so we are going to see what's going to happen. I'm very excited about the album. I think he has a lot to say." It'll just be a little while before he know exactly what.

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Really, you should be listening to music every day, but thanks to Twitter, Monday has become the best day of the week to discover new songs, show some love to the tune currently dominating your iPod playlist and quietly judge the listening habits of your closest friends.

Yes, it's #MusicMonday, one of Twitter's most enduring trending topic. And since we're all big fans of the site — not to mention music — we decided it was time to get in on the act, too. So, for the first time, we'd like to present "MTV News' #MusicMonday," a weekly look at the songs we're obsessing about here in the Newsroom. And given that this is our big debut, we've recruited a big-name talent to help us out: "American Idol" champ Kris Allen.

So, here's what's on our playlists right now.

Kris Allen, "American Idol" Season Eight Champion: "I might be biased, but there's a couple of songs on the new Switchfoot album that I really like. [Ed. note: Switchfoot frontman Jon Foreman co-wrote a song on Allen's album.] 'The Sound' is really good. I think it's Jon Foreman's voice and the way he sings. He can sing nice, but he can also go up there and sing that rock voice, or he can scream and stuff. It's cool."

Jocelyn Vena, MTV News Pop Music Writer: "I am listening to Lady Gaga's 'Bad Romance.' I just think it's really catchy. She's got that battle cry in there and it shows her growth as a pop star. It's her, but taken to a new level."

James Montgomery, MTV News Rock Editor: "I'm listening to the Flaming Lips' song 'Watching The Planets.' The video just premiered a couple of weeks ago, and it's got a bunch of naked hippies in it. It's the last song on their Embryonic album, which is one of my favorite records of the year. I really dig the harsh, lo-fi thing — it sort of reminds me of the Folk Implosion's 'Natural One.' And it's a really good ending to a really confounding and deep record. And it's got Karen O screaming on it."

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Adam Lambert exploded onto the music scene at last night's American Music Awards with a rough-and-tumble performance of "For Your Entertainment." Unfortunately — and it pains me to say this — the results were mixed at best.

If Adam Lambert's goal was to simply rile America, then he succeeded. The in-your-face sexuality was bold, brave and totally groundbreaking. (Whether it was "appropriate" for a major network awards show is another discussion entirely.) I applaud Adam and his team for not pulling any punches or watering down his or his single's rawness.

The problem I had with the performance is that Adam Lambert is better than just being a lightning rod for controversy. With his Mariah-esque range, his effortless-yet-controlled wail and emotional delivery, Lambert has the potential to go down in history as one of the most technically-gifted rock vocalists of all time. Adam had a gigantic platform to show the non-"American Idol" viewing public what us Idol Freaks have known since February: He can sing his face off!

But that talent was barely on display last night. Read More...

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