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Rihanna’s comeback is fast approaching. And, if the clues have been accurately deciphered, new music could arrive before the week is out.
For several days and weeks, the pop superstar has been linked with the forthcoming Black Panther sequel, for which she’s rumored to perform the end-credit song.

The rumor-mill continues to grind away, first with billboards hinting at RiRi’s involvement in Black Panther: Wakanda Forever, by way of cryptic promotions on electronic billboards in New York, and now with an official social post.

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A teaser for the forthcoming movie splashes the title, then resets the first “R” in “Forever.” Under it, the date Oct. 28 — this Friday.

The “Umbrella” singer hasn’t released an album since Anti dropped six years ago, and logged two weeks at No. 1 on the Billboard 200 chart. She hasn’t performed music live in nearly as long.

Though the Barbados-born superstar has teased new music several times over the years, she still hasn’t come out with any new tunes since 2016, and has mainly focused on running her makeup and skincare brand, Fenty Beauty.

That could change with the latest in the Black Panther franchise. Though at this stage, nothing is confirmed.

If RiRi does make her entry into the Marvel Cinematic Universe, she’ll follow “All The Stars” by Kendrick Lamar and SZA, who recorded the track for 2018’s Black Panther. “All The Stars” raked in several Oscar and Grammy Award nominations.

What is certain is that Rihanna’s live drought will over by the time she takes the stage for the 2023 Super Bowl Halftime Show on Feb. 12, 2023.

A nine-time Grammy winner, Rihanna recently cracked Forbes’ 2022 list of “America’s Richest Self-Made Women,” at No. 21.

She’s the youngest on the tally to have a net worth of more than one billion dollars, the bulk of her wealth generated by her cosmetics line.

In May, Rihanna added “mother” to her long list of accomplishments, giving birth to her first child, a boy, with A$AP Rocky.

Steve Lacy has a bad habit, and it’s not destroying other people’s property.
The rising star had a moment on stage Monday night (Oct. 24) in New Orleans when, during a performance of his breakout hit “Bad Habit,” he demolished a spectator’s disposable camera.

In fan-filmed footage doing the rounds on social media, Lacy is hit by a camera, tossed by someone near the front of stage.

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A moment later, an outreached hand passes Lacy a disposable camera — it’s unclear if it’s the same object that hit the singer — which he promptly smashes.

Soon after, Lacy reportedly wrapped his show early at Orpheum Theater.

Social media users have weighed in, some in support of the 24-year-old singer and his dramatic departure, others claiming he overreacted.

Now, Lacy has shared his thoughts. In short, he has nothing to apologize for.

Writing on Instagram, Lacy comments, “My shows been fun as hell! shoutout to the people not throwing disposable cameras at me and just coming to catch a vibe and connect. I had a really good time in nola last night. I hate that the beauty of the connection I have with so many people in the crowd-gets lost when something negative happens.”

He adds, “I don’t believe I owe anyone an apology – maybe I could’ve reacted better? Sure. Always. I’m a student of life. But I’m a real person with real feelings and real reactions.”

Throwing projectiles at performing artists rarely ends well. “I’m not a product or a robot. I am human,” Lacy continues. “I will continue to give my all at these shows. please come with respect for urself and others please thank you love u.”

Lacy was elevated to the big league with “Bad Habit,” which spent three weeks at No. 1 on the Billboard Hot 100 chart earlier this year.

Lifted from the top 10 album Gemini Rights, “Bad Habit” bagged another milestone by coming the first song ever to simultaneously top Billboard’s Hot R&B/Hip-Hop Songs, Hot R&B Songs, Hot Rock & Alternative Songs, Hot Rock Songs and Hot Alternative Songs charts. 

The growing corporate boycott of Kanye “Ye” West after he made antisemitic remarks in several interviews has increased pressure on music streaming services to pull the rapper-turned-fashion mogul’s albums from their platforms.

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On Tuesday (Oct. 25), Spotify CEO Daniel Ek addressed the issue in an interview with Reuters, making clear that Ye’s comments were “awful” but his music did not violate the streamer’s anti-hate policies. Ek added it was up to Ye’s label, Universal Music’s Def Jam imprint, to pull his music if they felt compelled to.

“It’s really just his music, and his music doesn’t violate our policy,” Ek told Reuters, adding, “It’s up to his label, if they want to take action or not.” Ek said that Ye’s antisemitic comments would have been pulled from Spotify if he had made them on a podcast or recording, as per their hate speech policy, but that the rapper hadn’t made such comments.

Def Jam owns the copyright to Ye’s recordings from 2002 through 2016. The New York Times, which cites an unnamed source, reported that Ye’s label G.O.O.D. Music is no longer affiliated with Def Jam. The rapper’s contract with his long-time record company reportedly expired with his 2021 album DONDA.

“There is no place for antisemitism in our society,” Def Jam said in a statement to Reuters.

After Ye made repeated antisemitic comments in interviews and tweets, Hollywood’s major players began publicly calling for a boycott of the rapper. WME chief Ari Emanuel directly called on Ye’s corporate partners, particularly Spotify and Apple Music, to stop collaborating with him.

Since Emanuel’s plea, talent agency CAA dropped Ye as a client, MRC Entertainment shelved a completed documentary on the rapper and Balenciaga, GAP and Vogue cut all ties with him.

On Monday, Ye lost his biggest corporate back, the sportswear giant Adidas, who ended their highly lucrative partnership with the Yeezy brand.

This article originally appeared in THR.com.

Salt-N-Pepa are the latest celebrities to get a star on the Hollywood Walk of Fame. The Hollywood Chamber of Commerce announced on Tuesday (Oct. 25) that the MCs will receive their star in the Recording category, and the honor marks the 2,739th star on the walk of fame.

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The duo’s star will be located at 6213 Hollywood Boulevard adjacent to Amoeba Music, and will be presented to them in a ceremony on Friday (Nov. 4) at 11:30 a.m. PT. MC Lyte and Roxanne Chante will appear as guest speakers of the event, and the entire ceremony will be streamed live exclusively at walkoffame.com.

“This upcoming star ceremony honoring Hip-Hop pioneers SaltN-Pepa will honor the amazing 80s music we all love and so many grew up with!” shared Walk of Fame Producer Ana Martinez in a press statement. “We’re placing these ladies of Hip Hop royalty adjacent to Amoeba Music and right next to the Walk of Fame star of another Queen of Hip Hop, Missy Elliott!”

Cheryl James (Salt) and Sandra Denton (Pepa) got their start as a group back in 1985, and since then, they’ve reached countless accomplishments including three No. 1s on Billboard‘s Hot Rap Songs chart, five albums on the Billboard 200, and winning the Grammy for best rap performance by a duo or group in 1995 — which made them the first women in rap to win a Grammy.

Additionally, their hit “Push It” became the first rap song by a female act to hit the top 40 of the Billboard Hot 100, and it eventually climbed its way up to No. 19.

Kanye West longtime engineer Andrew Dawson is promising to donate his royalties for good, following West’s recent espousal of hate speech.
In an Instagram post Tuesday (Oct. 25), Dawson pledged to make donations from his royalties to the Anti-Defamation League (ADL) and the National Association for the Advancement of Colored People (NAACP), as well as Jewish and Civil Rights organizations.

“I have a resume I am proud of that represents decades of supporting the voices, visions, and creativity of talented artists,” Dawson wrote. “However, recent events compel me to be a supporter of more important voices at this time.”

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According to Dawson’s post, he has already made two donations.

While Dawson did not name West as the specific reason for the donations, the organization’s mentioned all support groups that West has recently targeted with hate speech. In recent weeks, West has worn a shirt that read “White Lives Matter” and made numerous antisemitic comments, which has led brands like Balenciaga, Gap and Adidas to distance themselves from the artist and entrepreneur.

Management for Dawson declined to comment further on the post.

Dawson has worked as West’s primary engineer for nearly two decades, beginning with West’s debut studio album, The College Dropout, in 2003. He has worked on eight of West’s albums, securing Grammy wins for 2005’s Late Registration, 2007’s Graduation and 2010’s My Beautiful Dark Twisted Fantasy. Dawson’s last credited work with West was the song “Heaven and Hell” off 2021’s Donda.

Record producer Mike Dean — who has also worked with West since The College Dropout — reposted Dawson’s note and commented on the image saying, “Careful tho. Those royalties will shrink. Sucks. He’s hurting all his collaborators too.”

Over the course of his career, Dawson has worked as an engineer, producer, mixer and co-writer on many popular albums. He has worked with Destiny’s Child, Common, John Legend, Lil Wayne, Jay-Z, Snoop Dogg, Beyonce, Teyana Taylor, Childish Gambino and Linkin Park, among others.

This week alone, West was also dropped by his agency CAA and producer MRC scrapped a documentary on the rapper.

Check out Dawson’s post below.

Kanye West is facing very public reckoning. The “Hurricane” rapper made headlines at his Yeezy Paris Fashion Week show on Oct. 3 for wearing a shirt emblazoned with the phrase “White Lives Matter” on its back, and featuring Black models in the shirt. The phrase is one that was adopted by neo-Nazi and white supremacist groups in response to the Black Lives Matter movement, and the rapper has been facing backlash from both fans and celebrities online.

But the controversy did not stop for there for Ye, who has doubled down on his comments on Instagram and later took to Twitter to use antisemitic rhetoric in his posts, then continued to amplify his hate speech in interviews. The reaction from the public was swift, with several companies — including The Gap, Balenciaga, and more — terminating their relationships and brand deals with the rapper.

Forbes has also reported that Ye has lost his billionaire status after Adidas announced Oct. 25 that it was dropping his due deal, and that the brand does not tolerate hate speech. The move, according to the publication, now puts Ye’s net worth at $400 million and resulted in his removal from Forbes‘ billionaires list.

From brands and scrapped documentaries, to airplay declines of his music catalogue and more, here are the consequences Kanye West has faced due to his “WLM” and antisemitic remarks.

This past April, John Legend launched his first-ever Las Vegas residency, Love in Las Vegas, at Planet Hollywood’s Zappos Theater. In the process, the multi-talented EGOT-winner joined the ever-growing ranks of vital, younger artists increasingly redefining what such shows can be — and like his contemporaries in the residency space, he’s found that such spectacles offer myriad and unique creative opportunities.

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“Vegas is such a fun canvas to paint on,” says Legend. “It’s kind of liberating.”  

When it came to conceptualizing the show, Legend turned to a long-trusted collaborator: creative director Rob English. The two met around 2014, when Legend was signed to Troy Carter’s management company at the time, Atom Factory, and English was on its creative team; later, when Legend’s current manager Ty Stiklorius left Atom Factory to start her own firm, English came along, and they’ve worked together ever since. “He’s just got great taste and knows me very well,” says Legend of English. “He’s able to translate his understanding of me and what I represent to people and put that on the stage visually.” 

The result is a dynamic show that perfectly encapsulates Legend’s essence — capturing his appeal as a refined performer, blending technical skill with raw emotion, and employing his extensive catalog to tell the story of his artistic journey and influences. “I think the understanding of Vegas residencies has changed,” English reflects. “Once upon a time it was a death sentence, a signal your career was over. Now, it’s got a completely different color to it. It’s a sign of legitimacy and icon status.”  

Ahead of its closing performance on October 29, Legend and English spoke (in separate conversations) about making Love in Las Vegas come together.   

What was the appeal of doing a Vegas residency now for both of you? 

John Legend: I think Vegas is a fun canvas to paint on; there’s already so much tradition, so much allowance to go big, and kind of the expectation that you’ll go big. It’s kind of liberating; it makes you feel like you can do things you may not have done on a normal tour.   

Rob English: The real challenge was, “How do you do Vegas and get a tasteful outcome?” It’s its own beast. Going into our show, we knew from very early on that we had to approach this differently, turn it on its head. How do we bring John Legend’s culture into a show and have it make sense? 

What was the starting concept for the show? 

Legend: We wanted to tell my story — and a lot of that was about going back to my beginnings in church, where I learned to play music, music that influenced me. We also wanted to be sure it was retrospective on my entire career so far, so music from all of my albums. We spent a lot of time thinking about the sets we’d have; we have a church set at the beginning of the show, a city block party scene that’s more about my time in Philly and New York, we have a piano bar where we get more intimate and I do a lot more solo moments, and then the Vegas celebration at the end fully embracing the spirit of Vegas and a throwback to a lot of the ‘70s references that inspired us. I think it starts from knowing who you are as an artist, basing it in who you are, the music you’ve created, your story and what makes you unique.  

English: We basically set out to make like, a movie — loosely based on John’s life, but with this ‘70s flair.  The goal was to give a nod to a certain era — in this show to this very Black ‘70s Vegas theme — but it’s gotta be new. You can be inspired by an era, but what you do has to feel contemporary. If you veer too deeply into nostalgia, it can feel camp, almost like a parody of the thing, vs. a fashionable take on a thing. 

I think the best Vegas residencies really remind the audience of the totality of who an artist is as a performer – and Love in Las Vegas does that. 

English: That’s John. The same guy who plays these love songs everyone wants at their weddings is also super funny on The Voice and with Chrissy [Teigen]…. we wanted to showcase all of that. We’re able to remind people of the full personality he is who they can connect with. A few of the industry people I know who’ve been to the show, they say they feel connected to him in a way they haven’t in awhile. Because we have this canvas of a 90 minute-plus experience, you can really take them on that ride.  

Rob English

Lee Loechler

John, did you look to other recent artist residencies for inspiration at all? 

Legend: I went to see several of my friends here, and every artist who plays here has a different story. I saw Usher, Bruno and Anderson [of Silk Sonic], Gwen [Stefani]. I loved seeing Gwen’s show, reminiscing through different looks and styles she’s gone through over the years; part of what’s cool about a Vegas residency is that it’s a chance to look back and celebrate all the stories in your life that brought you where you are.  

All of them are wonderful. And my show is not like any of their shows. You see things you’d never do yourself, because it’s not you, but you love it for them. And it’s just fun to see other people’s take. 

John Legend rehearses for his ‘Love In Las Vegas’ residency.

Jen Rosenstein

What informed putting together the playlist for the show? 

English: The hits that end up in the show, it’s based on streaming data, the things that fans really love — and it’s a combo of that and individual things we personally felt would be really fresh and interesting and new. We took some twists and turns here and there. One of the big wins that was very intentional was starting the show off with the way people were introduced to John, with “Used to Love U.”  

Is there a hope that the residency will be a springboard to certain other things in John’s career? 

English: John’s manager Ty and I discuss these things, and to be honest, this was not about anything else. It was not something he had to do; it wasn’t a vehicle to promote the new album necessarily. Going into it, it was just a way to create an important part of John’s legacy. Doing a Vegas residency was something he’d always dreamed to do. It was a benchmark life achievement moment. The goal I think is that it will play on in different iterations in the coming years — maybe as an opportunity for people to get access to John who don’t necessarily get out to the tours and who want to connect with him. 

Legend: It’s a great mid-career thing – you have enough of a repertoire to sustain a residency, but you’re definitely not retiring. [Laughs.] There’s so much ahead of us. It’s a good time to look back and celebrate, but to show people what’s next as well. Mostly, I just want to be proud of the work we do onstage; are we creating a beautiful experience for people, are we making them feel connected and loved? We wanted it to be truly uplifting and celebratory. I think we were certainly able to do that.  

Kanye West is no longer a billionaire, according to Forbes. The publication reported Oct. 25 that the rapper lost his spot on its list of billionaires after being dropped by Adidas for his string of antisemitic rhetoric.

The athletic company had stated earlier this month that its collaboration with Ye was “under review” after he claimed on a now-removed episode of the Drink Champs podcast that “the thing about it being Adidas is, like, I can literally say antisemitic s–t and they can’t drop me … I can antisemitic things and Adidas can’t drop me. Now what?”

According to the financial magazine, Ye’s multi-year partnership with Adidas was valued at $1.5 billion and without it, he’s reportedly worth just $400 million. However, the controversy-courting star will likely dispute Forbes‘ valuation of his net worth much like he’s done in the past. “It’s not a billion,” he texted the outlet when he was first named to the list back in 2020. “It’s $3.3 billion since no one at Forbes knows how to count.”

What remains of Kanye’s financial empire in the wake of losing his Adidas deal stems from “real estate, cash, his music catalog, and a 5% stake in ex-wife Kim Kardashian’s shapewear firm, Skims,” per reporting by Forbes.

Other brands who’ve ceased working with Ye over his antisemitic diatribes include Balenciaga, production company MRC and Creative Artists Agency. Gap is also removing Yeezy products from shelves and production, and closed the rapper’s Yeezy Gap online store. Meanwhile, Kardashian and her sister Khloé Kardashian have both spoken out publicly in support of the Jewish community without naming Kanye or directly addressing his comments.

A month after Kanye West said he was splitting with The Gap after claiming that the retailer “just ignored” his planned Yeezy roll-out, the company said it is taking immediate action to remove all West-related product from shelves due to the rapper’s recent string of antisemitic remarks.
“In September, Gap announced ending its Yeezy Gap partnership,” the company wrote in a statement on Tuesday (Oct. 25). “Our former partner’s recent remarks and behavior further underscore why. We are taking immediate steps to remove Yeezy Gap product from our stores and we have shut down Yeezygap.com.”

The move comes as Ye (as the rapper is now known) has seen his once-thriving business empire begin to wither in the wake of the fallout from his barrage of hateful rhetoric amplifying anti-Jewish tropes and conspiracy theories. “Antisemitism, racism and hate in any form are inexcusable and not tolerated in accordance with our values,” the Gap continued in its statement. “On behalf of our customers, employees and shareholders, we are partnering with organizations that combat hate and discrimination.”

West’s recent media tour has found the rapper/fashion designer repeatedly making disparaging comments about Jews, including claiming in a new interview with MIT research scientist Lex Fridman that “Jewish doctors” conspired to medicate him in the wake of a mental health diagnosis.

West’s recent run of controversial interviews, as well as his promotion of his “White Lives Matter” T-shirt, has led to the crumbling of his business empire. Adidas is the latest former corporate partner to cut ties with Ye over his offensive comments, saying in a statement on Tuesday (Oct. 25): “Adidas does not tolerate antisemitism and any other sort of hate speech. Ye’s recent comments and actions have been unacceptable, hateful and dangerous, and they violate the company’s values of diversity and inclusion, mutual respect and fairness.”

Ye was also suspended from Twitter and Instagram this month over antisemitic posts that the social networks said violated their policies. His most recent controversial statements have led to talent agency, CAA dropping him, and MRC studio announcing on Monday that it is shelving a complete documentary about the rapper.

In addition, Women’s Wear Daily reported that fashion house Balenciaga cut ties with West last week, and his bank, JPMorganChase said they’ve ended their business relationship with Ye. The company said its move came weeks before Ye’s recent barrage of antisemitic slurs. Ye’s former wife, Kim Kardashian — and sister Khloe — have also condemned his hurtful rhetoric.

As his business empire crumbles due to a recent string of antisemitic comments, Kanye West continued to lean into hateful antisemitic rhetoric this week in a two-and-a-half hour interview with MIT research scientist Lex Fridman. The interview between the two men, who Ye (as the rapper/entrepreneur is now known) described as “friends,” included inflammatory, unsubstantiated claims about abortion, Planned Parenthood and what West described as a conspiracy by “Jewish doctors” to medicate and sedate him.

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“We are still in the Holocaust. A Jewish friend of mine said, ‘Go visit the Holocaust Museum,’ and my response was, let’s visit our Holocaust Museum: Planned Parenthood,” West said, echoing his past offensive claims about Planned Parenthood while once again amplifying his antisemitic commentary while speaking to Fridman, a Soviet Union-born Jewish podcaster who noted during the chat that some of his family members were killed by Nazis during the Holocaust.

West then appeared to downplay the atrocities of the Holocaust by noting that while six million Jews were slaughtered by the Nazis, “over 20 million have died by the hands of abortion,” claiming that the phrase “my body, my choice” is a “promotion” for Planned Parenthood.

A spokesperson for Planned Parenthood had no comment on West’s statements at press time. While there is not verifiable support for West’s claims about abortion, a 2021 national survey from In Our Own Voice: National Black Women’s Reproductive Justice Agenda reported that 80% of Black Americans say abortion should be legal, regardless of their personal views.

Undeterred, West added, “Fifty percent of Black deaths a year is actually abortion. It’s not the cop with the knee, it’s not Black-on-Black violence and gang violence, not heart attacks, it’s actually abortion. The most dangerous place for a Black person in America is in their mother’s stomach.”

Later, West repeated his unsubstantiated claim about abortion and Black deaths by adding in an antisemitic bent as well, saying, “It’s not racism; that’s too wide of a term. It’s genocide and population control that Black people are in today in America, that is promoted by the music and the media that Black people make, that Jewish record labels get paid off of.”

Fridman pushed back on West’s continued use of the phrase “Jewish media” — which the Anti-Defamation League reported has led to some antisemitic groups embracing the hate speech and “further[ing] their own agendas and [inspiring] new propaganda campaigns — by saying that the use of the term creates an “echo of a pain that people feel,” comparing it to statements made by Nazi propagandist Joseph Goebbels. He also noted that any individuals who may have “f—ed over” West during his years in the music business are “individuals, they’re not Jews.”

West pushed back, insisting “They are Jewish,” as Fridman countered that they are “humans with opportunities, and they took those opportunities. I don’t care if they’re Jewish.”

Over the weekend, demonstrators in Los Angeles unfurled a banner on an overpass praising Ye’s antisemitic rants that read, “Kanye is right about the Jews.” Fridman also refused to accept West’s smiling claim that the phrase “Jewish media” is a “redundant statement,” comparing its use to that of the N-word, even as West again insisted that he is “Jew,” though not “Jewish,” which he said translated to “like that of a Jew.”

West also repeated his claim that he cannot be antisemitic because he is Jewish during a digression into the history of Jewish slavery in Egypt. “If Jewish people would accept that I’m a Jew, they’d hear it a different way,” Ye said as Fridman suggested that “the right thing is not to say there’s Jewish control of the media.” West, however, pushed further, blaming what he described as a Jewish conspiracy that led to his being diagnosed with a mental illness; in a 2018 interview, West, 45, said he was diagnosed with a mental illness, which ex-wife Kim Kardashian said was bipolar disease, and which the rapper then said is “not a disability, it’s a superpower.”

“There was a Jewish trainer that brought me to the hospital, and put in [the] press that I went to the hospital. A Jewish doctor that diagnosed me,” West said as Fridman again asked why he kept hammering down on the fact that the doctor was Jewish. “Because they were,” West told him. “Diagnosed me with bipolar disorder and shot me with medication. Then put it in the press… and every time, even if I wore a wrong-colored hat that a n—er is not supposed to wear, right, then they immediately say, ‘he’s off his s–t, he’s off his meds, he’s off his rocker.’ And it’s literally used as a scarlet letter control mechanism.”

West’s recent run of controversial interviews, as well as his promotion of his “White Lives Matter” T-shirt, has led to the crumbling of his business empire. Adidas is the latest former corporate partner to cut ties with Ye over his offensive comments, saying in a statement on Tuesday (Oct. 25): “Adidas does not tolerate antisemitism and any other sort of hate speech. Ye’s recent comments and actions have been unacceptable, hateful and dangerous, and they violate the company’s values of diversity and inclusion, mutual respect and fairness.”

Ye was also suspended from Twitter and Instagram this month over antisemitic posts that the social networks said violated their policies. His most recent controversial statements have led to talent agency, CAA dropping him, and MRC studio announcing on Monday that it is shelving a complete documentary about the rapper.

In addition, Women’s Wear Daily reported that fashion house Balenciaga cut ties with West last week, and his bank, JPMorganChase said they’ve ended their business relationship with Ye. The company said its move came weeks before Ye’s recent barrage of antisemitic slurs.

When Fridman suggested Ye stop amplifying false narratives about alleged Jewish control of the media, West responded, “That’s incorrect though! That’s a f—ing lie,” claiming that “they” bullied him in reference to Jewish people. In the midst of his recitation of antisemitic tropes, West lashed out at billionaire Democratic fundraiser and philanthropist George Soros — a frequent target of conservatives and Republican politicians — claiming that he would “use the Black trauma economy to win an election.”

The rapper — who is the founder of a private religious academy — also went on a bizarre conspiracy tangent about how history and race should not be taught in schools, because, “what schools are doing is exactly what the CIA does with Pixar films and Disney films: they make Bambi’s mom die at the beginning,” said Ye, who has recently noted in interviews his ire about being identified as a rapper and not also as a business mogul and entrepreneur. “And off that pain comes a purchase of ice cream. Off that pain comes, ‘I need some more toys’ … they put that pain in to make us … now we’re the orphans of capitalism, to make us be consumers and we need to be a community, not just consumers.”

Asked at one point what he loves the most about his ex-wife Kardashian, West said “she’s a mix of [late father] Robert [Kardashian] and Kris [Jenner] … two geniuses … certain people have high DNA … Ivanka Trump has high DNA.”

In light of his hate speech, Kardashian — and sister Khloe — have condemned that hurtful rhetoric, which West admitted to Fridman has cost him dearly.

“I lost my f—ing family. I lost my kids. I lost my best friend in fashion. I lost the Black community,” he said, jokingly adding shots at Coca-Cola and McDonald’s while claiming he’s able to speak his mind because he has “God’s protection.”

“People said I lost my mind,” he went on, accusing Ari Emanuel of “trying to take food out of my children’s mouth” after the William Morris Endeavor CEO wrote an op-ed in the Financial Times this week urging companies to split with West. “I lost my reputation. And I’m up here just like, I just want my family. But I don’t want my family to have to say what the left wants it to say, to have to say what China wants it to say. I want to be an American and protect my kids and protect my wife, and raise my kids as Christians, and have my wife be a Christian.”

Check out the interview below.