Chris Brown is clapping back at Offset after the Migos member called him out for sharing a meme that appeared to mock 21 Savage's legal troubles and potential deportation. As previously reported, Brown had posted a video in which 21's 2016 XXL Freshman cypher was edited to feature the vocals of Big Shaq, a U.K.-based rapper/comedian.
Offset commented on the post simply with,
"Memes ain’t funny lame."
Though the Quality Control rapper's response was far from scathing, Brown was quick to fire back with some insults and a fight challenge.
"F**k you lil boy. Better worry about what u got going and focus on 'you,'" Brown wrote. "All this cap on IG is what's lame. Yo energy wont [sic] that when I came to Drake show in LA. If you don't get yo a hip a hop a hibbet a hibbet to the hip hip hop and ya don't stop the rockin facea** out of my comments. Sensitive a** n***a. Call me personally. U want some clout when all u gotta do is pull up [...] If you a real man fight me. Oh and another thing, suck my dick!"
Offset seemingly responded to Brown's insults via Instagram Stories:
"Coke head don't want [smoke emoji]," he wrote.
21 who was arrested Sunday by U.S. Immigration and Customs Enforcement in Atlanta. The law enforcement agency claimed the Atlanta-based rapper—legal name Sha Yaa Bin Abraham-Joseph—had overstayed his visa and has been placed into removal proceedings. 21's attorneys confirmed their client was born in the United Kingdom, but said he legally entered the U.S. when he was only 7 years old.
His legal team's statement reads in part:
21's lawyers are calling for the rapper to be released on bond. They also suggest he was targeted by law enforcement agents because of a song in which he criticizes U.S. immigration policies: "Went through some things, but I couldn't imagine my kids stuck at the border/Flint still need water, n***as was innocent, couldn’t get lawyers," he raps on the extended version of his track "A Lot."
JAY-Z and Roc Nation announced on Wednesday that they're assisting 21's legal battle against ICE.
Attorney Alex Spiro—who has represented Hov, Bobby Shmurda, Aaron Hernandez, and more—spoke to Complex about the case, which he called "a miscarriage of justice."
"The reality is these things happen all the time," Spiro said. "It's only when there is a person of prominence or whom the public takes an interest in that the light is shined on these issues. We hope that once he is released, that we don't all forget about this, and we continue to monitor and think about the people who don't have the same resources he has."
21 remains in ICE's custody.Read More
On Friday, Ariana Grande, one of the world’s biggest pop stars as of right now, will release thank u, next, her second album in less than a year. And on Sunday night, the Grammys are happening. You would think that the Grammys would want to make sure Ariana Grande was a huge part of the show, and you would also think that Ariana Grande would want to use the Grammys to promote her record. And that was the original plan. But it’s not happening.
Grande was slated to perform at the Grammys, and the show has been heavily promoting her appearance, but Variety reports that Grande has had disagreements with the show’s producers. And now, Grande isn’t performing on the show, and she isn’t attending, either. The whole thing stems from a disagreement over which song Grande would perform on the show.
According to Variety, Grande wanted to perform “7 Rings,” her new single, which is currently the #1 song in the country. The producers wanted her to perform something else. They eventually worked out a compromise, wherein Grande would sing “7 Rings” as part of a medley. But the producers insisted that they would get to pick the second song in the medley. Variety also claims that the Grammy producers did not put those restrictions on any of the show’s other performers.
Last year, talking to Billboard, Grande lamented the ways that she’s had to fight to win the same control over her career than her male peers get: “I feel like there are certain standards that pop women are held to that men aren’t… it's just like, bruh, I just want to fucking talk to my fans and sing and write music and drop it the way these boys do.” And now the Grammys, a show that has a record of alienating a whole lot of the biggest stars in music, have lost another one. Seems pretty dumb!
The situation is more than a little similar to the impasse the Grammys reached with Lorde last year, whereby they declined to let her perform a song from her “Melodrama” album — one of the five Album of the Year nominees — and instead offered her a spot during the show’s Tom Petty tribute, which she declined.
Olubankole Wellington(Banky W), the candidate of the Modern Democratic Party (MDP), contesting for the Eti-Osa House of Representatives seat, has vowed to publish his earnings as a legislator if elected.
Banky W, made the announcement while speaking during a debate against four other candidates in Lagos on Monday, February 4, 2019, where he said accountability is one of the biggest problems in governance and hopes to lead from the front to change the situation. He vowed to publish his salary and allowances as a legislator and be transparent in the spending of constituency allocations by consulting regularly with the people.
In his words,
Most of us don’t know who our representatives are, talk less of their salary and allowances and constituency allocations that they receive every year most of the time to enrich themselves.
How I plan to address it myself directly is, first of all, I’ll publish what I earn as a legislator my salary, my allowance, the allocation given to Eti-Osa, I will publish it.
We will have town halls and an active constituency office to engage the community to say this is the allocation that we’ve received, this is what we intend to spend it on.
The candidate slammed legislators who are only in the National Assembly to enrich themselves and vowed to be more accountable to lead a new era of accountability in governance in the country.
Other candidates at Monday's debate are of the , of the , of the and of the .
African filmmakers, artists, and distributors will get a section to market their films and crafts at the 2019 edition of the prestigious Cannes Film Festival (Festival de Cannes) in France.
The News Agency of Nigeria reports that the Pavillon Afrique, a platform for the promotion of African and Black cinema to film professionals from across the globe, would be championing the process.
Pavillon Afriques has reportedly acquired an iconic white tent within the Marché du Film (International Village) of the Cannes Film Festival. The tent is for African filmmakers, artists, distributors, and key stakeholders to showcase their contents and unique creativity
Pavillon Afrique said: “African filmmakers, artists, distributors and key stakeholders in the industry will have the opportunity to showcase contents and unique potential artists will interact, sell films, find partners and expand their professional network with other film industry professionals at Marché du Film, world’s biggest film market.” It added that eight African countries, its diaspora and the Caribbean, including Jamaica, Nigeria, South Africa, Ghana, The Gambia, Tanzania, Djibouti, and Burkina Faso have confirmed attendance for the event.
NAN reports that Pavillon Afrique is a platform which provides unprecedented access to the African film industry resources and professionals. It is situated within the Marché du Film, acclaimed to be the world’s biggest gathering of film industry professionals who come to sell films, find partners and expand their professional network.
Pavillon Afrique is the first dedicated tent within the Film Market section of the Cannes Film Festival dedicated to the business of Film on the African continent and among its diaspora. In 2018, a Nigerian, Adedayo Thomas, Executive Director of the National Film and Video Censors Board was appointed into the Advisory Board of the Pavillon Afriques
The “Confident” singer, Demi sparked some ire on Sunday night during the 2019 Super Bowl when she made a comment about the rapper 21 Savage.
21 Savage, whose real name is Sha Yaa Bin Abraham-Joseph, was arrested last night.
Following his arrest on Sunday, Fellow celebrities and fans alike took to social media to comment on the rapper’s possible deportation.
However, in a now-deleted tweet, Demi said that 21 Savage’s memes were her favorite part of the Super Bowl, which is when Twitter users criticized the singer for laughing at the rapper’s expense.
Before deactivating her Twitter account, she made a post about her hating Twitter.
Screenshots attached below;
Power of Love', a film inspired by GRAMMY-winning vocal powerhouse, Celine Dion's inspirational story is coming in 2020.
French actor and director Valerie Lemercier will be directing the film and taking the lead role based on the Canadian singer's inspirational story
French film studio Gaumont shared they are going to begin shooting soon for a film—technically not a biopic—inspired by GRAMMY-winning vocal powerhouse Celine Dion, due out in 2020. The film is tentatively titled "The Power Of Love," from the Canadian singer's GRAMMY-nominated hit song, and will include her music.Read More
Scott Mendelson: Yes, Aquaman topped $1 billion worldwide Sunday, 13 January, with a $1.02b global cume, becoming the 37th such title to do so since 1997, and the 17th to do so just in the last four years (Furious 7 was the 20th back in April of 2015). That includes $287.862 million in domestic earnings over the last 24 days and $732m in overseas earnings since opening in China in early December.
The film has earned $288 million in China alone becoming the fourth-biggest export behind Avengers: Infinity War and the last two Fast and Furious movies. It has already earned a whopping 3.97x weekend-to-final multiplier in North America, making it leggier than Black Panther ($700m/$202m) and almost as leggy as Wonder Woman ($413m/$103m).
It is almost certain to pass $312 million domestic and thus become the leggiest comic book superhero movie since Teenage Mutant Ninja Turtles ($135m/$25m) in 1990 and the leggiest superhero flick since Robin Hood: Prince of Thieves ($165m/$25m) in 1991. The film earned another $17.265m in North America this weekend, a 44% drop from last weekend and a sign that it still might crawl past the $324m cume of Deadpool 2 (counting Once Upon A Deadpool’s $6m gross) to become the year's fifth-biggest domestic earner.
You’ve probably read much of this before, along with the oft-explained reasons for its popularity. It got decent reviews, and even the pans noted the sheer size and gonzo scale of the movie along with its unapologetically goofy fantastical pleasures. It played to DC Films fans, to general superhero audiences and to those who wanted to see the court-appointed year-end mega-movie. Relatively speaking, it was this season’s Lord of the Rings/Hobbit/Star Wars flick and was received accordingly.
It was also, and this is key (since we’re still seeing posts asking if Matt Reeves’ The Batman can “save the DC Universe”), the first Aquaman movie as opposed to the third reboot. Save for Spider-Man: Homecoming, most of the superhero movies that broke out since at least 2016 have been a “first.
Batman v Superman was the first live-action team-up for the Man of Steel and the Dark Knight, with a Wonder Woman cameo to boot. Suicide Squad offered Margot Robbie as Harley Quinn, while Deadpool was an R-rated superhero action comedy with Ryan Reynolds as the fan-favorite character he was born to play. Doctor Strange was the first Doctor Strange movie, Wonder Woman was the first Wonder Woman movie, and Venom was the first solo Venom flick.
Even Logan was something of a first as it was an R-rated “final story” for Hugh Jackman’s Wolverine while Spider-Verse was Miles Morales’ maiden voyage. And, yes, Ryan Coogler and Joe Robert Cole’s Black Panther, with all of the politics and cultural significance behind its success, was also just the first Black Panther movie. And yes, part of why Justice League underperformed is that it wasn't remotely the first big superhero team-up flick and too closely emulated the previous Avengers movies.
That’s not to say that every “first time” is going to soar to the box office heavens, but I’ve often argued that the reason Superman has had trouble reaching comparative heights of the first two Superman movies (which earned around $850 million combined when adjusted for domestic inflation) is that the likes of Superman Returns and Man of Steel were just “Oh, another Superman movie.” Even Chris Nolan’s Batman Begins had to earn its place at the table (it earned “just” $371m worldwide in 2005) before The Dark Knight broke out.
No matter the reasons (the reviews, the IMAX-worthy spectacle, the unapologetic fantasy madness, strong star turns from Jason Momoa and Amber Heard, its place as the designated biggie of the season, the fact that it was the first Aquaman movie and not the seventh, etc.), DC Films’ Aquaman is the first movie in 4.5 years that isn’t a Walt Disney or Universal/Comcast release to cross the $1 billion mark at the worldwide box office. Amusingly enough, I figured Patty Jenkins’ Wonder Woman 1984 would be the one to break that proverbial drought.
And yes, Michael Bay’s Transformers: Age of Extinction ($1.1 billion in 2014) was about as gonzo-bananas as James Wan’s Aquaman (which is why, along with Stanley Tucci’s terrific supporting turn, it’s my favorite Transformers movie), albeit with a lot less… shaggy dog innocence. It has passed The Dark Knight ($1.004b in 2008, sans 3-D and sans China) to become the second-biggest DC Comics flick behind only The Dark Knight Rises ($1.084b in 2012 sans 3-D).
Counting Captain America: Civil War as at least a Steve Rogers/Tony Stark two-hander, Aquaman is the fourth-biggest solo superhero movie behind The Dark Knight Rises, Iron Man 3 ($1.215b in 2013) and Black Panther ($1.346b in 2018). Counting the Avengers movies as sequels, it is the second-biggest non-sequel superhero flick ever. Once it passes $1.109b (past Skyfall and Transformers 4), it’ll be the biggest non-Disney/non-Universal flick since Harry Potter and the Deathly Hallows part II ($1.34b) and Transformers: Dark of the Moon ($1.2b) in July of 2011.Read More