Nick Cannon is condemning the National Enquirer over what he claims is a false article the tabloid is preparing to run, threatening a slander and defamation lawsuit.
On Tuesday (Feb. 21), Cannon shared an image of text on Instagram saying, “The National Enquirer is preparing an article reporting Nick Cannon has suffered a nervous breakdown and his erratic behavior has given ex-wife Mariah Carey little choice but to petition for custody of their children.”
The alleged article goes on to claim Cannon burned bridges with NBC executives on the set of America’s Got Talent, which he announced he would be leaving earlier this month. In a lengthy Facebook post, Cannon then said his departure was over a racial joke he made in a recent Showtime stand-up special that did not sit well with NBC. “I will not be silenced,” he wrote .
The National Enquirer piece allegedly also cites a new lawsuit reported on Monday by TMZ, wherein a man claims Cannon stole his app idea to build his own talent search app N’credible and is seeking $1.75 million in damages.
Cannon clapped back at the National Enquirer for noting his children — twins Monroe and Moroccoan, who he shares with Carey — saying, “Only Evil operates in this manner. What is the purpose? Except to exemplify pure immoral wickedness. If you report these lies expect a slander and defamation lawsuit.”
Last week Page 6 published a story that also claimed insiders are concerned over Cannon’s health, citing his recent decision to leave ICM Partners for CAA. Cannon also shared that story to Instagram, writing, “Funny how when a man stands up for himself the media fears his mental health!”
See his latest Instagram post here:
Alex Trebek showed off his MC skills during an episode of Jeopardy! on Monday night (Feb. 20). The show’s longtime host went all in for the “Let’s Rap Kids!” category, reciting lyrics by Kanye West, Desiigner, Lil Wayne and Kendrick Lamar. He Trebek’d Drake’s “Started from the Bottom,” Desiigner’s “Panda,” K Dot’s “m.A.A.d. City,” Weezy’s “6 Foot 7 Foot” and Ye’s “Famous” came during the show’s collegiate tournament.
Trebek’s rap takes became instant memes, of course, because who can resist the sound of Trebek’s forceful, Shakespearean delivery of such iconic lyrics as “Started from the bottom, now we’re here/ Started from the bottom, now the whole team here,” as well as “Buy a chopper & have a doctor on speed dial/ I guess, M.A.A.D. city” and, of course, “Panda panda panda panda panda panda panda?”
In case you missed the Jeopardy! host’s transition to rap god, enjoy some clips below.
Watch: Alex Trebek rapping Lil Wayne, Drake, Desiigner, Kanye West and Kendrick Lamar on Jeopardy! tonight. pic.twitter.com/Qh0x2XjEze
— Hardys® (@HardysMedia) February 21, 2017
— Dennis — (@TheBurghMenace) February 21, 2017
Captioned “My Peak,” the audio features Future on the hook (“I ain’t barely reach my peak,” he croons) and Chance gliding over the lush keys. In the second video, the Chicago MVP teases his verse: “My baby mama finna get her masters/I just hit the office, that’s the FAFSA/I don’t want to hear about no masters/I just hit my pastor, it’s faster.” At one point, he even brags about his success as a marquee free agent. “I’m a free agent like the second Matrix,” he spits.
Last year, he and Future joined forces for his track “Smoke Break,” which was featured on his Grammy-Award winning project Coloring Book.
Preview Chance and Future’s collaboration below.
A post shared by Chance The Rapper (@chancetherapper) on Feb 20, 2017 at 3:29pm PST
A post shared by Chance The Rapper (@chancetherapper) on Feb 20, 2017 at 3:54pm PST
A day ahead of the 66th NBA All-Star Game on Sunday (Feb. 19), at New Orleans’ Smoothie King Center, Los Angeles Clippers star Chris Paul, Louisiana-bred musician Jon Batiste, and hip-hop star DJ Khaled unveiled a new computer lab at the Dryades YMCA. Grade-schoolers tackled several computer-based activities like typing up their first encounter with CP3 and also participated in special drills in the gym with the event’s special guests.
The project serves as the latest endeavor to empower youth and encourage hands-on community service for NBA Cares and State Farm’s Assist Tracker program. The two organizations have been donating $5 for every assist on the court throughout the season. For the big game, the partners donated $1,800 per assist to signify the 18,000 State Farm agents putting in work across the country.
Billboard sat down with the point guard and the Late Show with Stephen Colbert bandleader (who also sung the National Anthem at the All-Star game) following the event to discuss the most rewarding aspect of giving back to their respective communities, New Orleans’ vibrant energy and their personal motivational anthems.
— LA Clippers (@LAClippers) February 18, 2017
What was the most rewarding experience of the NBA Cares and State Farm event?
Jon Batiste: Today, the most rewarding experience for me was being back in my hometown, having the honor last time — in 2008, I played the halftime show here [in Louisiana] at 18 years old to now participating in the community but also getting with Chris…
Chris Paul: Wow.  was my first All-Star game.
Batiste: Dig that.
Paul: That’s why it was so crazy in 2008. For draft day ’05/’06 and ’06/’07 — those two years, we played in Oklahoma because of the storm [Hurricane Katrina] so our first year back to [Louisiana] was ’08. Me and David West played in the All-Star game here and we were No. 1 in the West. Byron Scott was the coach. I didn’t know you played halftime.
Batiste: We just put that together.
CP, what was the most rewarding part for you?
Paul: Just seeing and talking to the people that make this city what it is. It’s not a Po’ Boy [sandwich] or beignets, it’s not all the gumbo or good food and stuff like that — that’s part of the culture but the people are what make New Orleans what it is. It’s the genuine loving and caring that people have like you don’t meet a stranger. When somebody asks you how you doing, they really mean it. There’s some cities you can go to where you can walk past people and not even exist. If you hungry and walking down the street here, somebody will be like, “You want somethin’ to eat, baby?” and it’s genuine. You don’t find that everywhere and it’s what makes the city what it is.
Recall the first time you were both inspired to give back to your communities.
Batiste: I grew up around people who gave back through education. One of my greatest mentors, the late Alvin Batiste, was a family member of mine and great educator for the last 40 years of musicians out of New Orleans. He would go to schools everywhere he went on the road. He was in his 70s, touring in Brazil, being overseas and find a place to go, a school to visit for free. Through music education, I found there was a way for me to give back. I don’t have to bring much — all I have to do is bring my instrument.
And then moving to New York — New York is such a global city, culture everywhere in the world is compressed together so there’s a lot of opportunities to collaborate across different styles of music, across different forms of media, different disciplines. Like Chris [Paul], he’s an athlete and I’m a musician but together, we can give back. And that’s the beautiful thing about developing a craft or skill. You don’t have to have a whole lot of money to give back. I’m inspired by people who not just give money but give their time.
Paul: Growing up in the church and around my family, it was always about service. It was always about giving back and my late grandfather had the first African American-owned gas station in North Carolina, so that’s where I worked every summer. I was always at the gas station working and got a chance to see my parents if they were at a soup kitchen or different things like that and so then when I got into the NBA, I finally felt like I was in a position to give back and help others.
The biggest thing I’ve learned throughout the entire time is the thing that Jon said at the end — everyone always thinks it’s about the money, which it definitely takes dollars to impact certain areas but the thing that these kids wants more than any dollar bill — because these kids don’t know how much it costs to do this learning center — is the time. The most valuable thing that any of us have is time ’cause it’s easy to write a check but when these kids see you come in and giving yourself and your time, I think that’s the most valuable thing that you can do.
What is your current motivational anthem?
Batiste: I’m always listening to “We Shall Overcome.” That’s actually one of my favorite songs. It can apply to a spiritual journey, the Civil Rights movement, any personal struggle that you may be having — you may be trying to go to the gym more, anything. It’s just such a deep, deep song that I oftentimes think about it even when I’m not actively listening to it. That’s a song that I carry.
Paul: I can’t ever put my phone on shuffle ’cause you gon’ hear a bunch of Kirk Franklin, then 2 Chainz, then it might go to Yolanda Adams, to Donnie McClurkin. I listen to a lot of gospel music, so I like Chance The Rapper, which is crazy ’cause I had a chance to meet him and his father last summer. The way he puts hip-hop together with gospel music is right up my alley. “How Great” [is my favorite right now], which is a gospel song but it’s a different twist on it. I been in church all day everyday since I was a kid so I let my dad hear some of that. To see his performance at the  Grammys, I kept rewinding it ’cause I been listening to Kirk Franklin since I was a kid. Tamela Mann sang, too.
DJ Khaled is performing at the All State Neighborhood Sessions concert and also joined the both of you at today’s event (Feb 18). What is a major key you’ve learned from him?
Paul: Khaled is such a people person. We were all on the court and he just walked over to the crowd with the kids. That’s genuine. That’s not scripted, that’s not somebody telling you to do something — that’s just his energy. His energy is crazy.
Batiste: His energy is dope. I feel like he’s one of those people who kind of have tunnel vision focus that you can see even when we were shooting around. He would focus on it like this is the only thing that matters in the world right now. Any shot, he was pushing himself.
Paul: That’s why people don’t realize, too, why we can come together and do stuff like that because even though it’s two totally different elements whether it’s sports or entertainment, there’s a common interest where there’s a focus, a competitiveness and a will to want to be great at something.
Big Sean took to social media Saturday morning (Feb. 18) to clear the air about being attacked by a fan during his CD signing in Queens, N.Y., on Friday night.
The rapper, who was in Queens to promote his new No. 1 album, I Decided., tweeted that a fan who tried to attack him had just been released from a mental hospital.
“Some guy waited in line in the cold since 10am, bought my CD, when I signed his CD n shook his hand he TRIED to hit me off guard,” Sean wrote. “He claimed he had wrote songs for Michael Jackson, Jay Z n was wit Birdman etc. I’m hoping he’s getting the proper treatment he needs.”
The assailant was quickly taken down by Big Sean’s bodyguards and arrested by police offers, TMZ reports.
Read the rapper’s series of tweets below.
Look I never comment on this type of shit but they can’t do me dirty and say a fan smacked me or no shit like that.
— Sean Don (@BigSean) February 18, 2017
some guy waited in line in the cold since 10am, bought my CD, when I signed his CD n shook his hand he TRIED to hit me off guard
— Sean Don (@BigSean) February 18, 2017
the dude was released from a mental hospital last week, has a long record of mental illness n was off his meds. Very serious issues
— Sean Don (@BigSean) February 18, 2017
He claimed he had wrote songs for Michael Jackson, Jay Z n was wit Birdman etc. I’m hoping he’s getting the proper treatment he needs.
— Sean Don (@BigSean) February 18, 2017
I wanted to keep the signing going but the store shut it down. Sorry it got ruined for the rest of the real fans
— Sean Don (@BigSean) February 18, 2017
I got the #1 Album in the country currently and am grateful for every listener who got love for me. Everyday a dream come true—-#IDecided.
— Sean Don (@BigSean) February 18, 2017
The most difficult thing about putting together this list was deciding whether to pick the song or the video in many of these cases, so both will be touched on considerably. Choosing hip-hop’s greatest video artist of all-time would be a Sisyphean task, but it’s not difficult to admit that Busta Rhymes would at least be in the running. His flow was remarkable even as a Leader of the New School and A Tribe Called Quest associate, but by his solo debut in 1996 he was reinventing everything hip-hop looked and sounded like. Especially the former: Busta’s willingness to make his video image that of a Roger Rabbit-style cartoon character who operates in the real world (or at least a parallel universe where Hype Williams is the supreme ruler and everything is in fish-eye) predates dozens of other auteurs (Tyler, the Creator, for instance) who made a taste for bright colors and ambitions of bizarre grandeur part of the game today.
Most recently, Busta’s career came full circle as he returned to his roots by augmenting an outstanding A Tribe Called Quest reunion album into something closer to legendary and cementing it by making the most explicit statement of last Sunday (Feb. 12)’s Grammys against “President Agent Orange.” Because his career and albums are long and prolific (his debut, follow-up and hugely long third album all bowed in 1996, 1997, and 1998 respectively), there isn’t an obvious, consistent classic in the bunch. Maybe this newfound political inspiration will help one of the greatest rappers finally make a full-length worthy of his talent, but for now, let’s check out what an amazing highlight reel he’s managed without one.
His verse on A Tribe Called Quest’s “Scenario” (The Low End Theory, 1991)
Largely considered one of hip-hop’s greatest posse cuts, “Scenario” has few challengers to that title for a reason. Loaded with memorable, oft-quoted moments (Phife busting a nut inside your eye, Charlie Brown’s “Who’s that? Brooooown” intermission), many still belong to the big finale, a hyperactive, jubilant verse bursting from a raspy, dancehall-influenced 19-year-old who already went by one of rap’s greatest monikers. Nicki Minaj and Barenaked Ladies alike have ripped memorable lines from Busta’s “Scenario” verse for their own career highlights. The only question is why did his own debut take him five years?
“Woo Hah! Got You All in Check” (The Coming, 1996)
Some artists fall in love with the camera, but it’s specifically the fish-eye lens that won Busta’s heart, turning his visage into that of a human funhouse mirror, exaggerating his facial expressions, his dreads, his crazy outfits into something as warped and fantastical as his motormouthed, rogue-rudeboy flow. And musically, “Woo Hah!” matched the bug-eyed feel of its own video with a wayward, avant-jazz beat and jokey, putty-like bass line — Busta’s first hit may be the purest essence of everything that made him one of rap’s most celebrated weirdos.
“Put Your Hands Where My Eyes Could See” (When Disaster Strikes, 1997)
Quite possibly the first major rapper north of the Mason-Dixon to dispense with boom-bap, Busta helped usher in the unique stop-start rhythms that Timbaland would master, changing the entire genre’s sense of flow and rhythm altogether. “Put Your Hands” took a Seals & Crofts sample of all things, extracted something funky and sideways from it, and made it one of the hottest rhythmic beds on the charts or in clubs in 1997, along with his spiritual successor Missy Elliott’s own debut single “The Rain (Supa Dupa Fly).” Busta of course wrapped his tongue around this one like a frog catching a fly, inventing seven rhymes for the word “studio” and popularizing the phrase “what the dilly yo” to boot. Of equal or possibly greater importance is the Coming to America-inspired video, with Busta decked out in glowing, red tribal paint and being chased by an elephant among its many stunning visuals.
“Gimme Some More” and “What’s It Gonna Be” (from E.L.E.: Extinction Level Event, 1998)
By his third album in just three years, Busta was a bona fide pop star, and the rare rapper to reach his height without compromising his astounding virtuosity even in the eyes of the diehard heads. The two biggest hits from the apocalyptic E.L.E. and their respective videos showcased both sides of his ability to navigate celebrity, at the peak of his popularity no less: the addictive “Gimme Some More” sampled the theme music from Hitchcock’s Psycho and his fastest rapping to make it to radio until “Look at Me Now” in 2011. But the dizzying, kaleidoscopic video is arguably his masterpiece in a tall canon of great clips, with loads of goofy disguises (cowboy, businessman, padded-suit boxer) and a CGI little kid who turns into a blue, mom-terrorizing monster.
“What’s It Gonna Be” couldn’t be more different, borrowing the bank-breaking, liquid-metal aesthetic from Michael and Janet Jackson’s “Scream” for its video (along with Janet herself) to cast Busta as a sex symbol over a more mature track with interplanetary wah guitar, a honeyed chorus, and still plenty of Busta’s own whirlwind rapping. It all works, all of it. At this point it was nearly frustrating how focused and tight Busta could be on his singles while his albums seemed to go on forever without any kind of editor.
The “Pass the Courvoisier Pt. II” video (from Genesis, 2001)
Busta’s move to Clive Davis’ J Records was proving somewhat of a nonstarter, after the commercial failure of 2000’s Anarchy and the painfully robotic first single “What It Is.” But things picked up once his sense of humor came back and on Genesis’ final airplay attempt, “Pass the Courvoisier Pt. II,” the rapper played up his slapstick side for a win. The video shows him wielding a chainsaw, hobnobbing with Mr. T and joining forces with two of the most potent forces in the 2001 rap game: good life mogul P. Diddy and off-key crooner/master beatmaker Pharrell Williams. But the fight scene with Mo’Nique is incomparable glory hallelujah: “My pinky toe, you motherf-cker!”
Head-butting a ram in the “Break Ya Neck” video (from Genesis, 2001)
As with Busta’s other post-Elektra singles, the appropriately breakneck “Break Ya Neck” is as messy and spotty as the surrounding album tracks his hit singles used to be undeterred by. But in one of his last visual masterpieces, the video stopped the music for an unforgettable scene (complete with poorly dubbed fake martial arts film dialogue) where he charges at and head-butts a ram — twice — and wins. And then he talks bleeped-out trash to the defeated animal when he’s down. This is probably the beginning of the end for a while, seeing as the very next year Busta would star in Halloween: Resurrection to test the limits of his comedic chops shouting things like “Trick or motherf-ckin’ treat!” and “Happy f-ckin’ Halloween” to Michael Myers. But what a send-off.
Dr. Dre’s “Legends of the Fall Offs” beat (from The Big Bang, 2006)
Dr. Dre oversaw Busta’s 2006 semi-comeback The Big Bang, which ends with an inspired horrorcore piece that uses Dre’s dirgelike tendencies to its advantage. While Busta buries an unnamed rival in thick subliminal disses, the beat itself is literally comprised of shovels and dirt, followed by a pretty horrifying skit in which Busta buries a dude alive as the instrumental has foreshadowed the entire time. Gangsta bloodshed is rarely that thrilling or interesting, and ultimately this track could’ve taken on many more dimensions if a thespian like Eminem was at the helm, but hip-hop’s never seen anything like it before or since and that alone makes it perfectly Busta.
His verse on Chris Brown’s “Look at Me Now” (from F.A.M.E., 2011)
As one of the greatest rappers with no great album himself, it was probably destiny that Busta would become one of the all-time cameo MCs. And on the Chris Brown song “Look at Me Now,” Busta pulls an absolute Christopher Walken, tag-teaming with his fellow wizard Lil Wayne and getting in and out of the zero-gravity beat clean with possibly the most incredible syllable streak of the 2010s. Eminem sounds like a heavy-breather by comparison, Nicki Minaj like a slowpoke. Even Wayne’s mostly excellent verse sounds a little shook following it.
His contributions to A Tribe Called Quest’s reunion (from We Got It From Here…Thank You 4 Your Service, 2016)
It’s not a stretch to say A Tribe Called Quest 1) made the best comeback album in hip-hop history last year 2) or even that it was Tribe’s best album ever 3) or even that it was the best album of 2016, period. But even if any or all of these statements make your blood boil, you have to agree that Busta’s magical four appearances were some of the best things on it. His throat-flexing tomfoolery on the simultaneously laid-back and furious “Dis Generation” (“I’m the exorcist of your writtens”), the demonic, Gilbert Gottfried-like exhortations over “Mobius” and his irrepressibly joyful patois celebrating his fallen friend on “The Donald” are just as exhilarating as anything Busta’s ever done, and maybe a little warmer.
The Grammys performance (2017)
It was already going strong with a Howard Dean-level Q-Tip screaming lovingly over “Award Tour” and the restless Anderson .Paak sing-drumming himself to a new level of stardom on “Movin’ Backwards,” but then Consequence and Busta ascended to the stage, and Busta’s hearty hello was a steely, uncompromising one: “Hey yo, Consequence, I’m not feeling the political climate right now!” Then he thanked “President Agent Orange” for an unsuccessful Muslim ban. Then a multi-cultural collective (including numerous Muslims) rushed the stage for the show’s best performance, “We the People,” a simple enough plea for humanity to act like humans. Busta’s undergone many changes throughout his career. Calling out the president when no one else dared to come out and say it, with a huge televised audience is more courageous than a whole dungeon full of dragons.
Last month The Ellen DeGeneres Show hosted Michael Bonner, a second grade teacher from North Carolina who started teaching his students rap songs to motivate them to learn and read when he noticed their test scores were being hindered by a lack of resources in their low-income community. The rap songs worked and Bonner said his class has been scoring higher on tests and improving their literacy.
“Poverty has this way of disrupting the brain,” Bonner said on the show. “Trying to teach a kid that doesn’t have a home and is hungry is a different ball game.”
In addition to highlighting Bonner’s efforts, DeGeneres donated $25,000 to the South Greenville Elementary School and started a GoFundMe page that has amassed more than $83,000 in donations. She also flew Bonner and his class out to Los Angeles to professionally record a song that originally garnered attention on social media, this time with a few surprise celebrity guests.
On Friday, Bonner returned to the show with his class to share how the donations have helped and to debut their new music video for “Read It,” which features Big Sean rapping alongside the students as well as Migos, Ice Cube, Ty Dolla $ign, Lin-Manuel Miranda and, of course, DeGeneres.
Watch the adorable finished product below:
According to the Recording Industry Association of America, both the TDE labelmates’ singles surpassed sales of 1 million as of last Friday (Feb. 10).
Lamar’s “Alright” peaked at No. 81 on the Billboard Hot 100 in October 2015 and was featured on his Grammy-winning album To Pimp a Butterfly, which is also certified platinum.
Donald Glover is going to be king.
The star has been cast in Disney’s remake of The Lion King as Simba, with director Jon Favreau announcing the news on Twitter. Favreau also revealed James Earl Jones will reprise his role as Mufasa, the beloved father character he voiced in the 1994 animated original.
Favreau first met Glover at The Hollywood Reporter‘s conversation on creativity in December, where Favreau told Glover his son is a fan of the star’s music, which he performs under the name Childish Gambino. (“By the way, full disclosure: I see your face every day when I wake up my 15-year-old son because on his door is a portrait of you,” Favreau told the actor-musician.)
Favreau brought The Jungle Book to life last year, and though The Lion King won’t be live-action, it will look it. Favreau has plans to build upon his work on Jungle Book, which featured a human child actor and brought a jungle and its animals to life using cutting-edge technology and green screen.
Jeff Nathanson, a Steven Spielberg favorite, is writing the take on the animated classic, which is considered one of the pinnacles of Disney’s animated movies. In the original film, Jonathan Taylor Thomas voiced young Simba, while Matthew Broderick voiced the adult version of the character.
In addition to Simba, Glover is taking on another iconic role, playing Lando Calrissian in the young Han Solo Star Wars spinoff, which is currently filming. Jones, well known as a Star Wars veteran, reprised his voice work as Darth Vader in December’s Star Wars: A Rogue One Story.
— Jon Favreau (@Jon_Favreau) February 18, 2017
— Jon Favreau (@Jon_Favreau) February 18, 2017
This story was originally published by The Hollywood Reporter.
In 2015, Fetty Wap swept the music industry like a vicious cyclone with his bevy of singles. "Trap Queen" "679," and…
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