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Falling In Reverse frontman Ronnie Radke isn’t one to shy away from controversy, and his latest comments on his visa denial into the U.K., leading to their tour cancellation, have fans talking once again.
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After being denied a visa to tour the country—a decision tied to his 2008 prison sentence—Radke said in TikTok videos that the economic fallout of the shows, which he called “a literal Taylor Swift-sized concert worth of tickets,” will be felt far and wide.
The band’s canceled U.K. tour had reportedly sold 75,000 tickets, leaving fans disappointed and Radke evidently frustrated. In a string of videos, the vocalist didn’t hold back: “You’re celebrating the kids in my DMs with cancer that were excited to see me now they can’t. That’s what you’re celebrating.”
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“You’re celebrating the giant economic hit that’s gonna have on the U.K. for a little second—like the flights, the hotels, the tickets and all that stuff,” he said, addressing critics who appeared to cheer the tour’s cancellation. “That’s what you’re celebrating.”
Radke compared his situation to artists like Lil Wayne, Ja Rule, and Snoop Dogg, who have also faced visa issues in the U.K. due to legal histories. “You probably go and assume that it’s a politically charged reason, but it’s not. It’s just the fact that they changed the law,” he said. “I was allowed to get in after 10 years, after getting out of prison, they changed the law.”
“It’s not a personal attack, guys. I know you guys are really upset it’s postponed.”
Despite the disappointment, Radke is turning lemons into lemonade. He announced a new merch item—a “God Save the King of the Music Scene” t-shirt—with all proceeds going to the U.K. Prison Reform charity.
“I’m so honored to know that I could sell 75,000 tickets in the United Kingdom,” he said, adding, “This t-shirt is for you guys… 100% is going to that charity.” You can find the t-shirt here.
Radke also called out Austria’s Nova Rock festival for dropping Falling In Reverse from its lineup, blaming it on his “personality”. “Fans were mad, so I told them to chill out and have a ‘Vienna sausage,’” he joked, accusing organizers of overreacting and labelling them “spineless pieces of s—.”
The canceled U.K. tour is the latest hurdle for the band, whose European run has otherwise been a success. While Radke vows to return to the U.K., visa restrictions remain a significant obstacle for him and the band’s devoted fans. At the time of writing, Falling In Reverse’s ‘Popular Mons(Tour)’ is still set to head to Australia in March 2025, hitting arenas in Perth, Adelaide, Melbourne, Sydney, and Brisbane.
Earlier this year, Falling In Reverse’s latest album Popular Monster secured the top spot on Billboard’s Top Hard Rock Albums for the first time and marked the band’s first release since 2017. The band charted four prior entries on Top Hard Rock Albums, all of which debuted and peaked at No. 2: The Drug in Me Is You (2011), Fashionably Late (2013), Just Like You (2015) and Coming Home (2017).
Quavo has been honored as the ‘Humanitarian of the Year’ at the eighth annual Variety Hitmakers Brunch, held on Dec. 7 at Nya Studios in Hollywood.
The accolade recognized the GRAMMY-nominated rapper and philanthropist’s transformative advocacy against gun violence, a mission he embraced following the tragic 2022 loss of his nephew and fellow Migos member, Takeoff.
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The award was presented by Greg Jackson, Deputy Director of the White House Office of Gun Violence Prevention, who praised Quavo’s tireless efforts to combat the epidemic through his Rocket Foundation. Launched in November 2022 in Takeoff’s honor, the foundation supports community-based programs addressing gun violence and has grown into a powerful movement for change in just two years.
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Quavo’s work has impacted communities at both local and federal levels. In March, the Rocket Foundation introduced Sparks Grants, distributing $10,000 each to 10 Atlanta organizations dedicated to creating safer neighborhoods. Over the summer, Quavo partnered with the Offender Alumni Association to host a music education workshop for at-risk youth as part of the Rocket Camp initiative.
On the national stage, Quavo’s advocacy contributed to the establishment of the White House Office of Gun Violence Prevention.
He met with Vice President Kamala Harris during the Congressional Black Caucus legislative conference in September 2023 and hosted the inaugural Rocket Foundation Summit on Gun Violence Prevention in Atlanta earlier this year. Quavo also joined Harris at a rally to promote the Bipartisan Safer Communities Act, one of the most comprehensive federal gun control laws in U.S. history.
The Rocket Foundation partners with organizations like the Offender Alumni Association, H.O.P.E. Hustlers, Community Justice Action Fund, and LIVE FREE to address gun violence through community-driven solutions.
Beyond his advocacy, Quavo remains a prominent figure in music and entertainment. As a key member of Migos, he achieved multiple No. 1 hits on the Billboard charts and collaborated with top-tier artists like Justin Bieber, Travis Scott, and Post Malone.
His recent solo ventures include tracks with Lana Del Rey, Peso Pluma, and Lenny Kravitz, showcasing his ability to blend genres while staying true to his Atlanta roots. Quavo’s versatility also extends to acting, with appearances in Atlanta, Black-ish, and films like Praise This.
Iron Maiden have announced their new touring drummer, fresh off the back of longtime percussionist Nicko McBrain‘s decision to stop performing live with the band.
News of McBrain’s departure was announced on Saturday, Dec. 7, with the 72-year-old musician announced that he is retiring from the road, making Saturday’s concert at Allianz Parque in São Paulo, Brazil his final show with the legendary rock band.
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“After much consideration, it is with both sorrow and joy, I announce my decision to take a step back from the grind of the extensive touring lifestyle,” McBrain shared in a statement on Iron Maiden’s website. “I wish the band much success moving forward.”
McBrain joined Iron Maiden in 1982, replacing Clive Burr, who had performed on the group’s first three albums. While McBrain had left the group Trust to take on the Iron Maiden role, Burr’s unceremonious exit saw him taking over McBrain’s newly-vacated role as drummer of Trust – effectively seeing the two musicians switching roles.
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Despite being in Iron Maiden since 1982, McBrain was the second most-recent addition to the lineup, save for guitarist Janick Gers who joined in 1990.
In a statement shared on Sunday, Dec. 8, Iron Maiden have now revealed that drummer Simon Dawson will take on the role of drummer for the band moving forward, having previously performed with co-founder Steve Harris on his British Lion project.
“As The Future Past Tour concludes after 81 shows to over 1.4 million fans, from Ljubljana to the Coachella Valley and from Western Australia to Sao Paulo, Iron Maiden are delighted to announce that stepping in behind the kit for 2025 is a name familiar to many of our fans – Simon Dawson, a former session drummer and Steve’s rhythm section partner of the past 12 years with British Lion,” the statement reads.
“A native of Suffolk, England, Simon first teamed up with Steve Harris back in 2012. He debuted on three tracks on the first British Lion album and all of the second critically acclaimed The Burning, plus the many subsequent tours in the US, UK, Europe, Australia, Japan, New Zealand &, most recently, both Mexico and South America.”
While McBrain has announced he will be stepping away from touring, he notes that he will remain closely connected to the band. He confirmed that he’ll continue to be involved in “a variety of projects” with Iron Maiden, while also focusing on personal ventures and his existing businesses.
“I look into the future with much excitement and great hope! I’ll be seeing you soon, may God bless you all, and, of course, ‘Up the Irons!’” he wrote.
Iron Maiden will launch The Run For Your Lives tour in 2025, celebrating 50 years of the band. The tour will launch in Budapest on May 27, with 32 other dates currently scheduled for around Europe.
In the final week of November, Clockenflap 2024 transformed Hong Kong’s iconic Victoria Harbor into a gathering point for music lovers, blending the city’s history and cultural energy with a lineup that crossed genres and borders.
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More than 60,000 fans came together from Nov. 29 to Dec. 1 to witness headliners Jack White, Central Cee, and St. Vincent share the bill with AIR, Creepy Nuts, Glass Animals, as well as a mix of local and international acts. Since its start in 2008 as an indie gathering, Clockenflap has grown into a major international event, attracting world-class artists and fans from all corners of the globe.
Jack White’s closing performance on the Harborflap Stage was nothing short of spectacular as the rocker made his Hong Kong debut. Wasting no time, White dove headfirst into a set that spanned his illustrious career, pulling from his three No. 1 Billboard 200 albums – Blunderbuss, Lazaretto, and Boarding House Reach. Fans erupted as Jack White delivered a throwback with The Raconteurs’ “Steady, As She Goes,” a track penned by White and Brendan Benson that peaked at No. 54 on the Billboard Hot 100 and topped the Alternative Airplay chart (formerly known as Modern Rock Tracks) in 2006.
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However, the night undeniably belonged to “Seven Nation Army.” Its iconic riff, chanted in unison by thousands of fans long after White left the stage, echoed across Victoria Harbor, providing a powerful and unforgettable send-off for the festival.
The Hang Seng Stage on Friday night saw the highly-anticipated performance of Creepy Nuts, a Japanese hip-hop unit consisting of R-shitei (R-rated), the first MC in J-rap history to win the country’s top MC battle competition UMB Grand Championship three times consecutively, and DJ Matsunaga, who won the world’s largest DJ competition DMC World DJ Championships in 2019 and performed at the closing ceremony of the 2021 Tokyo Olympics.
The duo’s rapid-fire raps brought a fresh and frenzied energy that had the crowd on their feet. Their viral hit “Bling-Bang-Bang-Born,” featured in season two of the anime Mashle: Magic and Muscles, was an undeniable highlight.
The track’s success includes being ranked first on the Billboard Japan Hot 100 year-end chart for 2024. “Bling-Bang-Bang-Born” extended its record to 14 weeks at No. 1 on the Billboard Japan Hot 100, and topped the Billboard Japan Streaming Songs, Hot Animation, and Download Songs charts for the year. Their latest single, “Otonoke,” added another high point, reaching number one on the Billboard Japan Hot 100 and World Digital Song Sales charts.
In stark musical contrast and framed by the twinkling lights of Hong Kong’s skyline, AIR’s ethereal soundscapes created an unforgettable atmosphere on the Harborflap Stage. The iconic French electronic duo’s set featured the hauntingly beautiful “Highschool Lover” from their acclaimed The Virgin Suicides score. Released in 2000, the soundtrack earned critical acclaim and reached No. 161 on the Billboard 200. The pair also performed fan favorites like the sultry track “Sexy Boy” and the lush “La femme d’argent” from their landmark 1998 debut, Moon Safari.
Central Cee, one of the U.K.’s hottest drill artists, brought the grittiness of tracks like “Doja” and “Sprinter,” turning the tropical night into his own lyrical playground. With peaks of No. 19 and No. 10 on the Billboard Global 200, respectively, he represented a new generation of global artists refusing to be confined by geographic boundaries.
Glass Animals’ “Heat Waves” cascaded across the musical landscape and drew a crowd as they showcased their record-breaking Billboard Hot 100 performance. The track holds the record for the longest-charting song on the Billboard Hot 100, with an unprecedented 91-week run. Its journey to the top was equally remarkable, taking 59 weeks to reach No. 1, the longest climb to the summit in Hot 100 history.
English EDM icon Jamie xx closed the Hang Seng Stage on Clockenflap’s final night with a vibrant set featuring tracks from his acclaimed album In Colour. The album, which debuted at No. 21 on the Billboard 200 and topped the Dance/Electronic Albums chart, sold 19,000 copies in its first week in the U.S. and spent an impressive 70 weeks on the Billboard Top Dance/Electronic Albums chart.
Jamie kicked off his crowd-pleasing set with “Wanna” and “Treat Each Other Right,” blending fan favorites with fresh material. Highlights included “Gosh,” which peaked at No. 16 on the Billboard Hot Dance/Electronic Songs chart, and “Obvs,” alongside newer tracks like “Falling Together” and “All You Children.”
Deep cuts such as “Breather” and “Life” added depth to the performance, while “Loud Places,” which spent nine weeks on the Billboard Dance Singles chart and peaked at No. 17, delivered a euphoric moment for the audience. The set concluded with “Team Closing,” leaving the crowd on an undeniable high and wrapping up the weekend with an uplifting finale to remember.
Over on the Hang Seng Stage, Porter Robinson took the audience on a journey through sound. With “Shelter,” his collaboration with Madeon that peaked at No. 16 on Billboard’s Hot Dance/Electronic Songs chart, and the introspective “Blossom,” which reached No. 46 on the same chart, Robinson wove together emotion and euphoria. The hyperpop star, who was named as one of Billboard’s 21 Under 21 list in 2011, showcased his evolution as an artist, including tracks from his latest album Smile! 😀 which debuted at No. 10 on Billboard’s Top Dance/Electronic Albums chart this year.
St. Vincent again delivered a genre-defying performance that featured fan favorites like “Cheerleader” and “New York” alongside new tracks from her latest album All Born Screaming, such as “Flea” and “Big Time Nothing”. Her crowd dive was a highlight, embodying the energy and unpredictability that define her artistry. Her latest album, All Born Screaming, debuted at No. 86 on the Billboard 200 and No. 13 on the Independent Albums chart. The record has also nabbed four Grammy nominations, including one for Best Alternative Music Album.
Local and regional acts added even more flavor to the weekend. Japanese vocalist yama turned heads on the Park Stage by Martell where she performed “Haru wo Tsugeru,” a track that peaked at No. 7 on the Billboard Japan Hot 100, her voice carrying across the harbor with soulful clarity.
Japanese girl group Sakurazaka46 lit up the Harborflap Stage with their synchronized choreography for “Nobody’s Fault,” a debut single that topped both the Oricon Singles Chart and the Billboard Japan Hot 100, selling over 408,000 copies in its first week.
Australian DJ Partiboi69, renowned for his unique mix of ghetto house, Miami bass, electro, Detroit techno, and ’90s rave sounds, delivered a party-starting set that kept the crowd moving late into the night. His energetic transitions and unexpected track choices had attendees on their feet, while local act Robot Presents Spider Gubbins added a playful twist to the festival’s evening, performing from an inflatable Bowser shell.
Whether it was Japan’s Creepy Nuts delivering sharp-edged hip-hop, the U.K.’s Central Cee infusing the event with gritty drill beats, and France’s AIR captivating the crowd with their ethereal electronic soundscapes, the festival was a showcase of how diverse musical traditions can intersect on a single stage, celebrating the shared language of music in the heart of Hong Kong.
Early bird tickets for Clockenflap 2025 are available here.
The culture-affecting Charli XCX has revealed her fondness for the culture-defining Velvet Underground, praising their 1967 debut at Variety’s Hitmakers Awards.
Appearing at the Awards on Saturday (Dec. 7), Charli XCX was on hand to receive the Hitmaker of the Year honor, predominantly thanks to the massive global success of her Brat album throughout 2024. However, in her own acceptance speech, Charli XCX explained that that the very definition of what is a “hit” is up for debate. To underline her point, she deferred to some remarks she had written about The Velvet Underground‘s iconic debut album.
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“In March 1967, The Velvet Underground released their album The Velvet Underground & Nico,” she began. “It debuted on the Billboard 200 at Number 199. And a few weeks later, it rose to its peak position of 195. But don’t worry, it dropped out, but then it re-entered the charts. And later in life, Lou Reed told Brian Eno that it had only sold around 30,000 copies over its first five years.”
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“In my humble opinion, this record is the definition of a hit. This record is arguably one of the most influential and groundbreaking records of our time,” she added. “This album is the apex of fine art and DIY culture colliding. It’s high and low, it’s poetry meets drugs, it’s earnest meets arrogance, and even if you’re never heard a single song from this album, you’ll undoubtedly recognize its cover, either from the walls of a modern art gallery or from the shop floor of an Urban Outfitters.”
“And let’s be real, what is a hit if you’re not conquering both of those places?” she asked. “My album cover has not yet appeared at the Guggenheim or the Whitney or the Tate. However, some of my merch is available to purchase right now in Urban Outfitters. So I guess that means that I’m halfway there.”
While Charli XCX is correct that The Velvet Underground & Nico peaked at No. 195 upon its initial release, it re-entered the charts later in 1967, ultimately peaking at No. 171. In 2013, the record would reach its highest peak to date with No. 129.
Likewise, the famous quote about the record only selling 30,000 copies in its first five years has been up for debate as well. Eno’s full quote adds that despite the sales figure, “everyone who bought one of those 30,000 copies started a band”. However, later investigations have seen more than 58,000 copies had been sold by February 1969, with as many as 200,000 copies being sold by 1971. For comparison, in June, Charli XCX’s Brat debuted at No. 3 on the Billboard 200 with a total of 40,000 album sales.
Close to two months after suffering a debilitating stroke while on tour in Toronto, alt-rock singer-songwriter Matthew Sweet has given fans an update into his current condition.
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News of Sweet’s condition was confirmed longtime manager, Russell Carter, in a statement on Oct. 22, which noted that the musician faced “a long, difficult road to recovery” and weeks of around-the-clock care followed by months of rehabilitation.
“Matthew has always been intensely focused and tenacious in all of his endeavors, not only in his recording career, but in all of his artistic and intellectual pursuits,” Carter shared.
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“I am confident that his signature determination will serve him well as he focuses now on recovery to good health.”
In the wake of his stroke, a GoFundMe campaign was launched in order to cover Sweet’s medical expenses. Having initially set a goal of $250,000, more than 8,700 donations have seen a total of over $500,000 raised so far, with the goal having been updated to $750,000.
On Saturday, Dec. 7, Sweet himself shared an update via the GoFundMe page, recollecting the circumstances of his stroke and sharing his gratitude with all the donors thus far.
“I was colder than I’ve ever been and an icy sweat came from every pore,” Sweet recalled. “Then I heard a deafening white noise in both my ears growing, and growing and growing in volume, and my eyes started to scramble like eggs in a pan.
“’Call me an ambulance’ I called out to Evan who was just checking us in to the Toronto hotel after a ten hour drive from Baltimore. Then I was in an ambulance and I heard a man yell, ‘Sir you’ve had a stroke.’ I didn’t know what it meant. It seemed unreal as much of my life has.”
In his post, Sweet recalled having to spend ten days in Toronto before receiving clearance to fly back to the U.S. to continue his care. “The only way they would let me travel back to the states was with a medical crew, on an airplane and straight into a rehabilitation hospital,” he wrote. “The cost of all these things was already astronomical. What is mankind doing? To not make these things available as part of our culture everywhere.”
Furthering his care at the Madonna Rehabilitation Hospital in Omaha, Nebraska, Sweet says he was not only exposed to the importance of carers and those who work at facilities such as this, but that he was also given the Madonna Spirit Award upon his discharge in early December.
Most notably, Sweet also took the time to reflect upon his future as a creative individual, recognizing that his condition has seen him come to terms with many changes moving forward, but an enduring appetite to continue creating.
“I’ve lived through the day where I realized I may never play guitar again, I’ve lived through the day where I realized I may never draw a straight line again or enjoy the pasttime that developed over just the last year of my life, painting with fountain pens and coloring with dip pens and ink,” he explained.
“I understand now what it means to need to reinvent oneself, when the self you knew before is gone, you have no other choice, you either quit or you keep going and so I feel I must keep going, and I feel a great burden to do so with such incredible support that you, many of whom I do not know, have given me. I must just say thank you to you for giving me this help.
“This hope I cannot feel whether I could have had on my own,” Sweet concluded. “I will try to make music. I will try to. I will try to make art. I will try to express myself, because that is all I have ever known and all that has ever brought me joy, throughout a life filled with more sadness than anyone could know what to do with, than any of us know what to do with, and that’s life. May you all today find a glimmer of hope and love and a future to strive toward the way you have helped me find it, every one of you.”
Jay-Z (Sean Carter) was accused in a civil lawsuit filed Sunday of raping a 13-year-old girl in 2000 alongside Sean “Diddy” Combs — allegations that he immediately called a “blackmail attempt” filed by a “fraud” lawyer.
In a complaint filed in New York federal court, the unnamed Jane Doe alleges Combs and Carter drugged and assaulted her during an after-party following the MTV Video Music Awards. The case came as an updated version of an earlier lawsuit that had previously named only Combs.
The allegations were filed by Tony Buzbee, a Texas attorney who has filed a slew of lawsuits against Combs in recent months and has warned that he reps dozens more alleged victims. Earlier this month, Buzbee was sued for extortion by an unnamed celebrity who claimed he was threatening to unleash “wildly false horrific allegations” linked to Diddy if the anonymous bigwig didn’t pay up.
In a response statement on Sunday evening, Carter strongly denied the allegations and called the lawsuit a “blackmail attempt” aimed at securing a settlement. He called Buzbee a “fraud,” a “deplorable human” and an “ambulance chaser in a cheap suit.”
“You have made a terrible error in judgement thinking that all ‘celebrities’ are the same,” Carter said. “I’m not from your world. I’m a young man who made it out of the project of Brooklyn. We don’t play these types of games. We have very strict codes and honor. We protect children, you seem to exploit people for personal gain. Only your network of conspiracy theorists … will believe the idiotic claims you have levied against me that, if not for the seriousness surrounding harm to kids, would be laughable.”
“I look forward to showing you just how different I am,” Carter ended the statement.
Combs has faced a flood of abuse accusations over the past year, starting with civil lawsuits and followed by a bombshell federal indictment in September, in which prosecutors allege he ran a sprawling criminal operation for years aimed at satisfying his need for “sexual gratification.”
Weeks after the indictment, Buzbee joined the fray by holding a press conference in which he claimed to represent 120 individuals who had been victimized by Combs and threatened a flood of litigation. He has since filed more than a dozen such lawsuits, all on behalf of unnamed Doe plaintiffs.
In the new case, Buzbee calls Jay-Z a “longtime friend and collaborator” of Combs. He claims that after the alleged victim was driven to the afterparty and forced to sign a non-disclosure agreement, she was given a drink that made her feel “woozy” and “lightheaded.” When she went into a bedroom to lie down, Buzbee claims she was assaulted by the two stars.
“Another celebrity stood by and watched as Combs and Carter took turns assaulting the minor,” the lawsuit reads. “Many others were present at the afterparty, but did nothing to stop the assault.”
In his response statement, Jay-Z questioned why allegations that were “so heinous in nature” had not been filed as a criminal case: “Whomever would commit such a crime against a minor should be locked away, would you not agree?” He also vowed to never settle with Buzbee, saying he would “expose you for the fraud you are in a VERY public fashion.”
“My only heartbreak is for my family,” Carter said. “My wife and I will have to sit our children down, one of whom is at the age where her friends will surely see the press and ask questions about the nature of these claims, and explain the cruelty and greed of people. I mourn yet another loss of innocence.”
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Jay-Z was named in a refiled civil lawsuit against Sean “Diddy” Combs on Sunday (Dec. 8) with the complaint accusing the rapper and mogul of sexually assaulting a 13-year-old girl in 2000. The complaint was originally filed against Diddy back in October of this year and was readjusted to include Jay-Z’s name in the most recent filing.
In an exclusive report from NBC News, the complaint, filmed by an unnamed accuser, claims that Jay-Z, real name Shawn Corey Carter, was involved in the rape of the girl known as Jane Doe in the complaint. The outlet, which has details about the lawsuit, shared the contents within.
Jane Doe accused Combs and Carter of assaulting her at an MTV Video Music Awards after-party event. The lawsuit was filed by Tony Buzbee of Texas in the Southern District of New York. The outlet adds that Carter’s attorney, Alex Spiro, and other media representatives have yet to comment on the claim. In addition, reps for Combs also decided against offering comments. It is the first lawsuit filed by Buzbee to include a celebrity of Jay-Z’s magnitude.
The outlet laid out the details of the lawsuit and we must warn that what is explained might be triggering for some so proceed with caution.
Jane Doe claims that in 2000 at the age of 13, she was raped at a house party in New York after the MTV VMAs. Doe says that a friend dropped her off at the VMAs, which was held at the Radio City Music Hall venue. Doe says she asked several limo drivers on the premises for access to the award show or parties.
One driver heeded her call and said that he worked for Combs and that she “fit” the profile of what “Diddy was looking for” and was invited to the after-party. The driver then allegedly picked up Doe and took her to a home in New York and was ordered to sign a nondisclosure agreement to gain entry to the party.
Doe says she was given a drink that made her drowsy and went into a room to rest. She then claims that Combs and Carter came into the room, stating that Carter removed her clothes and sexually assaulted her. Combs allegedly came into the room and also assaulted the girl as Jay-Z and an unnamed woman celebrity watched.
The Roc Nation account on X has posted a response from Carter stating that Buzbee’s lawsuit filing is nothing more than a shakedown. Read below.
pic.twitter.com/jl8sgOllCM
— Roc Nation (@RocNation) December 9, 2024
https://platform.twitter.com/widgets.js
Jane Doe is seeking unspecified damages.
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Photo: Getty
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Donald Trump appeared on Meet The Press Sunday morning (Dec. 8), marking his first televised interview since becoming the president-elect in November after a tight race with Vice President Kamala Harris. Sitting down with Meet The Press moderator Kristen Welker, Donald Trump was measured at times but also slippery on some of his positions as observers on the X social media platform pointed out contradictions and flat-out lies in his statements where he received little pushback.
President-elect Donald Trump, 78, spoke in a conversational tone as he sat across from Kristen Welker, displaying a muted version of expressing himself in comparison to some of his fiery and off-the-rails campaign speeches. With the presidential victory in hand and emboldened by officially winning the Republican Party majority of both the House and Senate, Trump toned down the rhetoric but also said that he would carry out unpopular policies despite growing murmurs of discontent among his base and those far outside of it.
Trump spoke to Welker’s inquiry about his plans for the first 100 days in the White House, a longstanding marker of the president making his intentions known and setting a tone for the government as his leadership continues to come into view over the next four years.
After a rambling answer that covered everything from tackling crime in major cities and extending the so-called “Trump tax cuts,” Trump defended his nominee for Secretary of Defense, Pete Hegseth despite the mounting allegations against him. Trump’s answer was a masterclass of avoiding the actual question by using filler words and highlighting how much Fox News supported Hegseth, once more ignoring the fact that some of the allegations against his nominee originated within the network.
Early in the chat, Welker lobbed a question regarding tariffs, which some felt was one of several softballs tossed at Trump. Instead of getting Trump to explain how he’ll attack inflation and lower prices, since it was a key campaign point and why many voters pulled the lever for him, he elected not to offer a guarantee on one of his top promises.
“I can’t guarantee anything. I can’t guarantee tomorrow. But I can say that if you look at my — just pre-Covid, we had the greatest economy in the history of our country. And I had a lot of tariffs on a lot of different countries, but in particular China,” Trump said before meandering and calling the tariffs “beautiful,” but Welker did remind Trump that those “beautiful” tariffs cost Americans billions.
In other portions of the conversation, Trump still refused to concede the 2020 election results despite overwhelming evidence that the presidency was not stolen from him. He also doubled down on false claims that he improved the Affordable Care Act (ACA), which he continues to refer to as “Obamacare,” a law that took cues from Sen. Mitt Romney when he was governor of Massachusetts and the state’s health care reform law.
Trump continues to claim he “saved Obamacare” despite his many attempts to repeal the Affordable Care Act and insert a law of his own, even though it could harm those who voted for Trump in the long run. Trump also stuck to his incorrect statement that 13,099 murders in the past three years were allegedly committed by illegal immigrants. Welker attempted to get Trump to understand the number includes four decades of data but Trump insisted this exaggerated number came under President Joe Biden’s tenure.
On X, formerly Twitter, Donald Trump’s Meet The Press interview found its way onto the timeline with many pointing out how it missed several marks. Check out the replies below.
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Eugenio Derbez is walking back his harsh comments about Selena Gomez‘s performance in the Netflix musical movie Emilia Pérez.
During a recent appearance on the Hablando de Cine podcast, the Mexican actor and comedian criticized Gomez’s attempt at speaking Spanish in the film, calling her performance “indefensible.”
Gomez, who plays Jessi del Monte in the Jacques Audiard-directed film, speaks Spanish in the movie but is not fluent in the language.
“Selena is indefensible,” Derbez said in a clip from the podcast, which was shared on TikTok. “I was there [watching the movie] with people, and every time a scene came [with her in it], we looked at each other and said, ‘Wow, what is this?’”
Derbez agreed with Hablando de Cine host Gaby Meza, who suggested that Gomez struggled to add nuance to her performance because Spanish isn’t her first language and she didn’t fully understand what she was saying.
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Gomez responded to the criticism in the comments section of the TikTok post. “I understand where you are coming from. I’m sorry I did the best I could with the time I was given,” the Only Murders in the Building actress wrote. “Doesn’t take away from how much work and heart I put into this movie.”
The Grammy-nominated singer and actress also addressed Derbez’s comments directly: “Also, do not ever say my fans are the problem standing up, as you say, for me.”
The CODA star later posted an apology to Gomez in a letter posted to TikTok. “I truly apologize for my careless comments — they are indefensible and go against everything I stand for,” Derbez wrote. “As Latinos, we should always support one another. There’s no excuse. I was wrong, and I deeply admire your career and your kind heart.”
Emilia Pérez tells the story of cartel boss Manitas del Monte (played by Sofía Gascón), who retires from the business to undergo gender reassignment surgery and become the titular character. The film’s plot is further defined by musical numbers that blend rock, pop and rap, all sung in Spanish, capturing the transformation of its central characters. The film also stars Zoe Saldaña.