Rihanna‘s Savage x Fenty Vol. 4fashion show is happening in just a few days, and fans are waiting with bated breath to see not only the lingerie, but the performers who will bring the event to life. Anitta is one of the singers enlisted to sing during the fashion show, and while she can’t give everything away, she hinted at what fans can expect of her moment on the runway.
Speaking with People at the WSJ. Magazine‘s 12th annual Innovator Awards, the “Envolver” singer stated that she plans to put a twist on songs from her latest album, Versions of Me, for the event. “I’m gonna perform some songs off my new album. I changed a little bit for people to have a little different flavor,” she teased, adding, “I think it’s gonna be very exciting. Sexy, very sexy.”
Related
Johnny Depp to Appear in Rihanna’s ‘Savage x Fenty Vol. 4’ Show
Fans also got an early look at the ensemble Anitta will be wearing for the fashion show in exclusive photos shared with Billboard — filmed at the South Coast Botanic Garden in Palos Verdes Estates, Calif., the singer dons an all black look consisting of full body mesh stockings, a sparkling black bra and matching underwear and a black harness that extends to her legs.
Burna Boy, Don Toliver and Maxwell will also be performing at Rihanna’s fashion show. The show will also include special appearances by Johnny Depp, Ángela Aguilar, Avani Gregg, Bella Poarch, Cara Delevingne, Damson Idris, Irina Shayk, Joan Smalls, Kornbread, Lara Stone, Lilly Singh, Marsai Martin, Precious Lee, Rickey Thompson, Sheryl Lee Ralph, Simu Liu, Taraji P. Henson, Taylour Paige, Winston Duke, Zach Miko and more.
Rihanna’s Savage x Fenty Vol. 4 fashion show will air on Prime Video on Nov. 9.
Eleven years. Six baby mommas. Eleven kids and counting. Nick Cannon has fathered a lot of children over little more than a decade, so it can be hard to keep track of them all.
That’s why Billboard thought it was about time to keep a running list of all the little Cannons, from the time TheMasked Singer host first became a father to twins with Mariah Carey in 2011, to the November 2022 announcement that model Alyssa Scott was pregnant with his eleventh baby. In the time between those two events, he also welcomed children with four other ladies: Brittany Bell, Abby De La Rosa, Bre Tiesi and LaNisha Cole.
Cannon’s headline-making fertility is so unorthodox it’s become a bit of a joke for his friends. Shortly after the Drumline star welcomed four children in the span of about six months starting in December 2020, Kevin Hart posted a massive billboard in Los Angeles revealing Cannon’s actual phone number.
“For any advice on fatherhood ? Call my best friend Nick Cannon,” the billboard read.
Then, in June of 2022, Ryan Reynolds released an advertisement for his Aviation American gin company starring Cannon, who gave viewers a sarcastic tutorial on how to make a cocktail called The Vasectomy. “Lord knows I need one,” he quipped in the commercial, released about a month before his eighth baby arrived.
Even so, Cannon has remained a good sport through it all. He’s maintained that he’s present in each of his children’s lives, and has good relationships with all of their mothers. “It’s not about what society deems is right,” he told Men’s Healthin 2022. “It’s like, what makes it right for you? What brings your happiness? What allows you to have joy and how you define family? We all define family in so many different ways.”
“People even often ask, ‘Are you gonna have more? You gonna stop?’” he continued. “I’m like, those are questions that I don’t really even sit around and think about. I’m just walking in my purpose and trying to be the best father and best provider I could possibly be.”
This list will continue to be updated with all of Cannon’s future baby announcements — because, let’s be honest, there’s probably going to be more. But for now, keep reading for a comprehensive list of his children below:
The Halloween decorations have come down and the costumes have all been laid to rest — Christmas is right around the corner, and Camila Cabello wants to bring in the holiday cheer early. On Friday (Nov. 4), the singer shared her rendition of “I’ll Be Home For Christmas” a whole 51 days before Christmas’ arrival.
In The Voice coach’s version of the classic track — which was originally performed and released by Bing Crosby in 1943 to honor soldiers stationed overseas during World War II — she gives it an update with a Latin flare through the use of a big band and romantic, acoustic guitar to flesh out the instrumental.
“I’ll be home for Christmas/ You can plan on me/ Please have some snow and mistletoe/ And presents by the tree/ Christmas eve will find me/ Where the love light gleams/ I’ll be home for Christmas,” Cabello effortlessly sings the song’s defining chorus.
The 25-year-old previously delivered her “I’ll Be Home for Christmas” cover on two separate occasions last year for her performance at the White House for In Performance at the White House: Spirit of the Season and for Michael Bublé’s Christmas in the City.
“I’ll Be Home for Christmas” is far from Cabello’s first foray into holiday tunes — in 2021, she teamed up with her then-boyfriend Shawn Mendes for a cover of Nat King Cole’s Christmas classic, “The Christmas Song,” which served double duty as a fundraiser for Feeding America.
Listen to Camila Cabello’s version of “I’ll Be Home for Christmas” below.
Not taking it lying down. Shaquille O’Neal didn’t mince words after Kanye West lashed out at him on social media.
Related
A Timeline of the Consequences Kanye West Has Faced for His ‘WLM’ Shirts & Antisemitic Hate…
The drama started on Thursday (Nov. 3) when Ye went after Shaq’s connection to Canadian billionaire Jamie Salter after the basketball legend called out NBA player Kyrie Irving for tweeting out the link to an antisemitic documentary. (Specifically, the Lakers icon called the Brooklyn Nets point guard an “idiot” while offering commentary on television.)
“Shaq is in business with Jamie Salter,” Kanye tweeted. “[Jamie] first said he’s 50/50 with David Beckham and 50/50 with Shaq. I said ‘Jamie . . . There’s no such thing as 50/50 in business . . . Who has the extra 1 percent for the control and voting rights.’”
It only took a few hours for Shaq to catch wind of the rapper’s attack and he decided to reply directly to Ye’s tweet with a very meta jab of his own, writing, “Believe me you don’t know me like that. Worry about your business, and to quote the once great Kanye West, ‘I got more money than you, so why would i listen to you[?]’
“Take my advice get your family business in order,” Shaq continued before concluding with a terse, “Have a great day brother.”
The exchange is just the latest example of Kanye stirring up trouble on social media after weeks of spewing antisemitic and anti-Black rhetoric. Currently, his Instagram account has been restricted for 30 days for violating the platform’s policies and multiple companies including Balenciaga, Adidas and Gap have all severed business ties with the rapper.
Read Shaq’s response to Kanye below.
Believe me you don’t know me like that. Worry about your business, and to quote the once great Kanye west “ I got more money than you, so why would i listen to you” take my advice get your family business in order. Have a great day brother.
“So proud of you @selenagomez Love you forever [teary eyed emoji],” Swift wrote alongside a re-share of the film’s trailer on her Instagram Stories. See it here before it disappears.
Earlier this week, Gomez opened up on her newly curated SiriusXM Radio channel about her longtime friendship with the “Anti-Hero” singer. “The most influential artist, for me, it is kind of Taylor,” the singer said of her bestie. “Not because she’s my friend, but she has been an artist that can transition into so many different genres and she is able to do it seamlessly and I admire that so much. And that’s so rare. I love her process and I just admire all the work that she’s done. She’s definitely inspired me.”
In her new Apple TV+ documentary Selena Gomez: My Mind and Me, the star goes deeper than ever before on her journey through mental health struggles. “I guess when we started to record footage of the Revival Tour, we initially thought that we were gonna do a concert tour video, and during the tour I had to cancel it because I was going through a lot of stuff personally. So we decided to stop,” she explained of the project’s origins.
“Then the Kenya trip kind of came up and we decided we wanted to record that trip. So it really wasn’t gonna be a documentary until the end when we filmed all the stuff and where I am now,” the singer continued. “I can tell that it was gonna be something bigger than just a puff piece…I want it to be about the conversation around mental health and ways that we can change the conversation. I feel like a human sacrifice. I’m like throwing my personal life in to hopefully have this conversation be bigger and transcend.”
Live. A note. A melody. A passing riff. It’s fleeting, one-of-a-kind artistry. Few know this better than Deadheads.
Related
Dead & Company Announce Final Tour: See the Full List of Dates
In the 160-odd years since audio was first recorded, many a musical legend has attempted to bottle the elusive magic of their live performances. Some successfully. Others less so. But few rock bands have produced anything as influential as Europe ‘72, the Grateful Dead’s triple live album, chronicling their wild ride through The Continent in April and May that year. Released 50 years ago on Nov. 5, 1972, it remains one of the most commercially successful albums by the Dead. It’s also perhaps their one release most responsible for The Live Cult of the Dead – the cultural movement that today is still very much alive and well. It’s the gateway drug for prospective Deadheads. While bootleg tape-traders can argue over which recording of what show during which era is the band’s best, Europe ’72 is their best-known and most widely acclaimed.
By the early 1970s, it had already been a long strange trip for the Grateful Dead. What started in 1964 as the trad-folk group Mother McCree’s Uptown Jug Champions quickly and temporarily became The Warlocks by 1964, before the core group—singer-guitarist Jerry Garcia, singer-rhythm guitarist Bob Weir, keyboardist Ron “Pigpen” McKernan, bassist-vocalist Phil Lesh and drummer Bill Kreutzmann—settled on Grateful Dead by ‘65. From their first show at Ken Kesey’s Acid Tests, the band was at the center of the 1960s psychedelic and counter-culture explosion in San Francisco’s Haight-Ashbury neighborhood. Second drummer Mickey Hart and lyricist Robert Hunter joined in ’67, and the band then went on a run of classics, starting with the heavily experimental (1968’s Anthem of the Sun and 1969’s Aoxomoxoa) before moving out of SF to Marin County, Calif., to reinvent the Americana sound with their legendary psych-folk duo of Workingman’s Dead and American Beauty (both 1970).
It was an incredibly productive period for the Dead. In ’69, the band released their first live album, Live/Dead, for which the band’s audio engineer, Owsley “Bear” Stanley, adopted then-revolutionary new gear and techniques, including 16-track recording and a microphone splitter that cleaned up the sound. Recorded at SF’s Fillmore West and the Avalon, the LP introduced exploratory renditions of tracks like “Dark Star,” “St. Stephen” and “The Eleven.”
“Studio versions could never do those songs justice,” Kreutzmann said in his 2015 memoir, Deal.
In ’71, they followed up with a self-titled live album, lovingly known as Skull & Roses for its iconic cover art, which introduced tracks like “Bertha,” “Wharf Rat” and “Playing in the Band.” Then, in early ’72, Garcia dropped his eponymous debut solo album, shortly followed by Weir’s solo release, Ace. It all helped add to the Dead’s live repertoire.
A few more lineup changes occurred during this time: Hart began a three-year absence in ‘71, leaving Kreutzmann as the Dead’s sole drummer. Keyboardist Keith Godchaux joined in September ’71 to help prop up the 26-year-old Pigpen, who was by then in and out of the hospital with health problems. And finally, Godchaux’s wife Donna, a onetime session singer for Elvis Presley, joined as a backing vocalist. The stage was now set for Europe ’72.
“Magical stuff was happening in ’72,” longtime crew member/manager Steve Parish said in Amazon’s four-hour documentary A Long Strange Trip. “Stuff that to this day, I can’t explain. They we repushing us into the light, and the light was bright.”
On the Dead’s first extended European tour, the group played a total of 22 shows (most of them clocking in north of three hours) starting and concluding in London, and hitting Copenhagen, Frankfurt, Hamburg, Paris, Amsterdam, Munich and others in between. It was a 50-person traveling circus of family members, wives, girlfriends, friends, kids, roadies, dealers and hanger-ons. Live, the band leaned into the kaleidoscopic, yet dusty, psych-Americana sound of Workingman’s Dead and American Beauty with slithering guitar solos and rollicking rhythms. Each night’s full set was recorded with a future release in mind—the band was in debt to their label and the tour needed to be profitable. They jammed into the night aided by a bottle of distilled LSD smuggled across the Atlantic on the plane.
In the end, the best 17 tracks were chosen for Europe ’72, including the introduction of a handful of new tunes: “He’s Gone,” “Jack Straw,” “Brown-Eyed Women,” “Ramble on Rose” and “Tennessee Jed,” most of which never saw release in the form of a studio version, adding more value to Europe ’72 as a stand-alone album.
Extended, energetic improvisations abound, and post-tour overdubs eliminated most of the crowd noise (some new vocal takes were added, too). The tour de force is Garcia’s messianic closer, “Morning Dew,” recorded at the last show of the tour in London. It’s a Canadian folk tune, recounting a conversation between the last man and woman alive on earth following a nuclear apocalypse, but heavily interpreted by the Dead and Garcia: “Walk me out in the morning dew my honey,” he sings, his guitar gently reassuring, Pigpen’s organ lines floating beneath. “I’ll walk you out in the morning dew my honey. I guess it doesn’t really matter anyway.” Garcia reportedly played the version on the live album with his back to the crowd, tears running down his face.
Europe ‘72 was one of the first triple-record rock albums to be certified gold, and has since been certified double platinum. The Dead’s best-selling live album also marked a coda: the group’s final recording with Pigpen, who died the following year.
In 2011, all recordings from the tour were released as Europe ’72: The Complete Recordings—across 73 CDs.
And the legend roles on. After Garcia’s death, in 1995, the band’s various members carried the torch, performing their classics in too many incarnations to mention. In 2015, members of the Dead unexpectedly partnered with John Mayer for a new band, Dead & Co. Yes, “Your Body Is a Wonderland,” Rolex-collecting, Jessica Simpson-dating Hollywood pop-blues playboy John Mayer. At first, it was a very curious partnership. Many Deadheads were livid. Now, in hindsight, it feels like destiny. The band’s live shows over the past seven years have drawn millions and been positively embraced by Deadheads. Meanwhile, the band’s quarterly archival live release series, Dave’s Picks, have delivered their highest chart placements in recent years. And in summer 2023, the Dead & Co. will wrap up their run with a series of shows across North America. It’s one of the hottest tickets on earth.
But that won’t be the end of the Dead or their Cult of Live.
“Being alive, means continuing to change,” Jerry Garcia said in A Long Strange Trip. And The Dead never die.
Zac Brown Band has added singer and musician Caroline Jones as a full-time band member, the group announced on Thursday (Nov. 3). This makes her the first and only female in the eight-member group.
Jones first opened for Zac Brown Band on their 2017 tour and continued as an opener for the next two years. The band asked her to join their 2021 The Comeback Tour as a guest band member, and welcomed her back as a guest member for their current Out in the Middle Tour. Jones also performed with the group during this year’s CMA Festival and 2021’s CMA Awards, as well as the band’s stint opening for the Rolling Stones at Atlanta’s Mercedes-Benz Stadium.
Brown has become a mentor for Jones and is a co-producer on her song “So Many Skies,” featured on her album Antipodes. The album debuted at No. 4 on the iTunes Country chart, and also features her song “Come In (But Don’t Make Yourself Comfortable).” Jones also previously opened for Kenny Chesney on his 2019 Songs for the Saints Tour and teamed with Chesney and Jimmy Buffett for her song “Gulf Coast Girl.”
See Zac Brown Band’s upcoming tour dates below:
Nov. 4 – Los Angeles – Hollywood Bowl+
Nov. 4 – Los Angeles – The Hotel Cafe (That Girl In The Band Tour)
Nov. 6 – Oakland, Calif. – Oakland Arena+
Nov. 18 – San Diego, Calif. – WonderFront Festival+
Nov. 19 – Phoenix, Ariz. – Chase Field+~
+Special Guest Robert Randolph Band ~ Special Guest Sam Hunt
Widespread showers and thunderstorms are expected in the Ozarks from late Friday afternoon through early Saturday morning.
The National Weather Service says the highest storm chances will be from Friday afternoon through the evening.
The National Weather Service says there are chances for isolated strong to severe storms, with damaging winds and quarter size hail the biggest threats.
Isolated tornadoes will also be possible.
We’ll have updates on any watches and warnings on 93-3 A-M 560 KWTO.
First Country is a compilation of the best new country songs, videos & albums that dropped this week.
Brothers Osborne with The War & Treaty, “It’s Only Rock N’ Roll (But I Like It)”
A pair of duos, Brothers Osborne and The War & Treaty, take on a Rolling Stones classic. It’s part of the upcoming tribute album Stoned Cold Country, honoring the 60th anniversary of the Rolling Stones. TJ’s basement-deep vocal, commingling with the raw, vibrant vocals from The War & Treaty’s Tanya Trotter and Michael Trotter Jr., make for an electrifying, swaggering musical moment. They will perform the song live at the upcoming CMA Awards on Nov. 9.
Maren Morris, Humble Quest: In Rare Form
Morris is offering fans a new, raw look at seven songs from her album Humble Quest (which dropped earlier this year), including “I Can’t Love You Anymore,” “Tall Guys” and the title track. Accompanying the release is a short film, featuring Morris, accompanied by piano and drums, performing stripped-down renderings of these songs — illuminating lyrics that scour through a range of emotions, from maturing love (“I Can’t Love You Anymore”) to searching for the balance of self-fulfillment (“Humble Quest”).
Bowen * Young, “Dangerous Love”
Former Nashville actress/vocalist Clare Bowen teams with her husband, Brandon Robert Young, to form this new Americana duo. A spectral melody heightens the tension, trepidation and determination in the pair’s exquisite harmonies, as does the fact that the song was written two days after they experienced a harrowing home invasion. A promising release from this new duo.
Hailey Whitters, “New Baby for Christmas”
The onslaught of holiday-inspired tunes is upon us, but “Everything She Ain’t” singer Whitters offers a shining take on this 1957 George Jones track, ably taking on the traditional country melody and fusing it with her own twangy spin. Further capturing the fiddle-drenched, retro vibe of the song, Whitters recorded it at revered RCA Studio A in Nashville, where artists including Dolly Parton and Loretta Lynn have recorded.
Mickey Guyton, “I Still Pray”
Guyton’s commanding voice heightens the spiritual element to this piano-based track, which encourages those who are striving through any number of heartbreaks and painful situations. “When it rains it loves to pour/ That’s when my knees hit the floor,” she sings in this comforting mesh of spirit and song.
Brittney Spencer, if i ever get there: a day at blackbird studio
The newly signed Elektra artist releases her new three-song EP, if I ever get there: a day at blackbird studio. Known for songs including “Compassion” and “Sober & Skinny,” Spencer is also an honorary member of The Highwomen, and has opened shows for artists including Reba McEntire and Jason Isbell. She takes no prisoners on the sassy, frank and vulnerable “Better Than Friends,” and offers a relaxed version of The Chicks’ “Cowboy Take Me Away,” her intimate vocal high in the mix and supported by subdued instrumentation. The stately “A Hundred Years Old” is marked by the introspective musings of one learning permanent lessons from a broken heart.
Phil Vassar and Deana Carter, “Brand New Year”
Pianist-vocalist-songwriter Vassar teams with “Strawberry Wine” hitmaker Carter to offer this holiday track, which they co-wrote together with Steve Dorff. This elegant piano ballad is a quietly optimistic toast to an anticipated year of hope, love and goodness, bolstered by their smooth, easygoing vocal collaboration. A polished track worthy of addition to any holiday playlist.
Jason Aldean, “Christmas in Dixie”
Seventeen years into his recording career, Aldean releases his first holiday song, a cover of the 1982 Alabama hit “Christmas in Dixie.” The instrumentation is respectful of the original, though it builds into kind of sleek production Aldean’s records are known for. His warm vocal comes across as capable and comfortable, infusing the lyrics with his signature vocal twang, though the track of course lacks the front-and-center group harmonies that round out the Alabama original. Still, this is an sincere updating of a country holiday classic.
Alexander Gumuchian, aka bbno$, always felt called to help people. After his initial dream of professional swimming ended, he wanted to become a chiropractor. The Vancouver, B.C., native did graduate with a degree in kinesiology, but solidified his future in music upon completing his education. Since, successful albums like recess, eat ya veggies, and most recently, bag or die have earned the 27-year-old agency to fulfill his original purpose — both in his music and in giving back to his community. “I’m definitely helping more people than I ever could have touched,” he says.
Foundation
Growing up home-schooled by his mother, bbno$ was encouraged to learn how to read music and play piano. In 2008, as a young teenager, his brother’s friend suggested music production, too. But it wasn’t until high school, when he broke his back and derailed his aspirations of professional swimming, that he considered it. Soon enough, playing around with AutoTune during a casual hang with a friend led to an “epiphany” for bbno$ — and helped ease his depression following the injury. “I wish I had started earlier,” he says, “because I didn’t know there was this much fun in creating.”
Discovery
While studying at the University of British Columbia in 2017, bbno$ started writing two songs a day and releasing one a week. The momentum, he says, was fueled by the success of his now-friend and collaborator Yung Gravy, who bbno$ initially cold DM’d. (The two have since created two full projects and numerous singles together, including recent releases “touch grass” and “C’est La Vie.”) “I was like, ‘I’m going to spend every breathing moment trying to make [music] work.’ ” The payoff came two years later, when he released his cheeky, melodic rap single “Lalala” with producer Y2K on his college graduation day. By the summer of 2019, it debuted on the Billboard Hot 100 and spent 21 weeks on the chart, peaking at No. 55. The song’s success earned him five record deal offers, though he ultimately remained independent.
Future
“My financial adviser just told me I am essentially rich forever,” says bbno$, who in October released his seventh project since 2018, bag or die. He’s now thinking about his impact beyond music, including a desire to create a nonprofit organization on the downtown east side of Vancouver to combat the city’s opioid crisis. But don’t expect his output to slow: He’s already working on music for next year, starting with a project full of ballads that he hopes will draw in listeners outside of his current fan base. His 2023 goal, he says, is simple: “Drop as much music as I humanly can.”
