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  1. Other drivers have taken notice of Abt’s tactics but, sitting second on the leaderboard, Nick Heidfeld has chose not to revert to them for now… Coverage of the Long Beach ePrix will begin with qualifying on FS2 at 5:30 p.m. ET Saturday, with LIVE race coverage starting immediately after at 6:30 p.m. ET on FS1. X
  2. https://www.reddit.com/r/IAmA/comments/4cqzv5/im_nick_jonas_and_i_was_in_a_sibling_boy_band_ask/ reductive...
  3. "Lady Gaga's 30th bash didn't end well for her producer, DJ White Shadow, who had $15k worth of gear jacked outside the party ... according to cops. White Shadow -- who produced Gaga's "Born This Way" and "ARTPOP" albums -- had been on deck duty at the No Name Club event with a ton of A-listers in attendance. According to the police report ... around 4 AM White Shadow and a pal were leaving the venue with all his gear when they got into it with a photog (not one of ours) who was hurling derogatory comments at them. Cops say White Shadow and his pal left his gear and approached the pap, but when the tiff ended they realized someone had swiped the equipment ... including computers, hard drives, a watch and headphones. Total loss ... $15,810." Source LG5 leak coming in a few hours
  4. Marina and the Diamonds is officially taking a break from music. Due to her busy touring schedule, since releasing her third album "Froot," Marina has confirmed she will be taking a hiatus from music. "In terms of taking a break, no, that doesn't feel weird at all," Marina said, during Wednesday's "FAQin' Hell" video chat. "I've been traveling for a year and a half, and it's something I need to do creatively." The "Primadonna" singer also confirmed that this video chat marked the official end of the "Froot" era, which was a hugely successful time in her career. The album debuted at No. 8 on the Billboard Top 200 Albums chart, which was her highest placement to date. "Froot" also allowed Marina to embark on her "Neon Nature" tour, which featured dates all around the world, including North America, Europe and South America. Due to how much she loved her "Froot" experience, Marina had mixed emotions about ending the era. "It feels very bittersweet ending this era, because I've enjoyed it so much, and it's been so helpful for me creatively," Marina explained. She added, "It's been an absolute dream. I achieved so many things that I've been trying to for many years. Now, I'm gonna take a little break to do some different things. I've been on the road for seven years. I've had an amazing, amazing experience. This isn't goodbye for good, it's just for a short while." The success and personal growth Marina experienced with 2015's "Froot" may have affected her future music. Last year, Marina revealed to her fans that she may have said everything she needed to on "Froot," and she was uncertain as to whether or not she had another album in her. "I don't know about that," Marina said about releasing another album after "Froot." "'Froot' was so satisfying for me, and I finally felt like I had been understood as a person and as an artist. There's not that same hunger and ambition. There's a different kind of hunger for other things." Marina's third album "Froot" is available for purchase now. Source
  5. Do you the Net Worth of World Highest Paid Athlete Floyd Mayweather!
  6. A year after Jay Z, Beyonce, Nicki Minaj, Kanye West, Rihanna and a host of other A-list musicians gathered for a splashy launch event for Tidal, the artist-owned streaming service is celebrating by releasing a report card that details its first year. Tidal claims to have passed 3 million paid subscribers across the 46 countries in which the service is available, roughly 2.5 million more than it had when it originally launched in late 2014, before the service was acquired by Jay Z last year. The service co-owned by the aforementioned artists, along with Madonna, Alicia Keys, Arcade Fire, Calvin Harris, T.I., Coldplay, Daft Punk, Deadmau5, Jack White, Jason Aldean, J. Cole, Rihanna, Damian Marley, Indochine, Lil Wayne and Usher, has made progress despite being heavily maligned by critics and other artists. That said, it still lags behind rival competitors. Apple Music, which launched a few months after Tidal's flashy rollout, boasts 11 million paid subscribers, and just last week, Daniel Ek, the CEO of the nearly 10-year-old Spotify, announced the service had hit the 30-million mark of paid subscribers. However, only Apple has come close to Tidal in terms of exclusive releases from major acts. Prince debuted his latest album, "HITnRUN Phase Two" exclusively on Tidal, and the service remains the only place where you can stream his discography. Lil Wayne, who is currently in the middle of a lawsuit with his longtime label, released an exclusive album to Tidal last summer. Beyonce and Nicki Minaj nearly broke the Internet when they debuted the video to "Feeling Myself" on the service. Beyonce used Tidal to drop the lo-fi clip to an exclusive track, "Die for You," and also sent a jolt before the Super Bowl with her new single, “Formation,” which she offered for free download on Tidal. Tidal's bumpy rollout of Rihanna’s “Anti” album resulted in 1.4 million downloads in less than 24 hours, and the record was also streamed 14 million times in its first 14 hours of release. Shortly after Rihanna's release, Kanye West used Tidal for the unconventional launch last month of his new album, “The Life of Pablo.” He debuted the album at a chaotic listening party/fashion show for a sold-out Madison Square Garden that also served as the debut for his Yeezy Season 3 clothing line. After Tidal's live stream -- which at one point crashed under the weight of some 20 million people -- West announced digital copies of the album were for sale via his personal website and streaming on Tidal before the album became a Tidal-only exclusive. He later revealed he'd never release it on Apple, although on Monday he released the Rihanna and Swizz Beatz-assisted single "Famous" to both Apple and Spotify. Despite, and likely because of, "The Life of Pablo's" exclusivity to one streaming site, people acquired West’s album in great numbers -- even if they refused to sign up for Tidal. More than 500,000 people had downloaded pirated versions of the album in the week after the album was released. West has been tinkering with "Pablo" in real-time on Tidal, upending the notion of a finished album, and according to the service, the album was streamed 250 million times in its first 10 days of release. Tidal has also rolled out exclusive video content from Madonna, Usher, T.I. and Harris, and has livestreamed dozens of events over the last year, including Jay Z's Budweiser Made in America Festival and Hot97’s Summer Jam, along with concerts from J. Cole and Beyonce. Source
  7. Kanye West's new album The Life of Pablo racked up 250 million streams in its first 10 days of availability on Tidal, according to a press release the service made available today. The album-specific reveal was tucked within the larger announcement that Tidal has cracked three million paid global subscribers, and it's a surprise given that West had instructed Tidal to withhold the album's streaming numbers when it was first released in February. If you use the conversion factor Billboard employs when putting together its weekly album charts — 1,500 individual streams equalling a single album sale — then The Life of Pablo moved approximately 167,000 equivalent album units in a week and a half. If they're accurate, The Life of Pablo's streaming totals align nicely with another of Tidal's major exclusives, Rihanna's ANTI. While that album was downloaded over 1.4 million times in its first 24 hours available, the bulk of that figure stemmed from a Samsung-sponsored free giveaway. When ANTI was made widely available for a full week on iTunes and other streaming services, it moved roughly 170,000 equivalent album units. A more interesting point of comparison is Justin Bieber's Purpose, which set a record for first-week streams on Spotify when it was released last fall. The tracks that make up Purpose were streamed 205 million times in their first week of availability, a rate that equates to just over 290 million streams over 10 days. That's a bigger number than The Life of Pablo achieved, but it's dependent on a little extrapolation and originates from a service with a much larger user base. (Spotify just reached 30 million paid subscribers last week, and it has tens of millions more free users.) There's bound to be some skepticism over The Life of Pablo's streaming figures, and with good reason: how does a service with only three million paid users rack up 250 million streams of a single album? Some fans likely used free trials to put the album on repeat, trials that may yet expire; the push Tidal gave the album may have helped to inflate its play counts. If anything, the revelation is just more proof that it's never been harder to figure out whether or not an album is a commercial success. The Verge
  8. Last year, Lil Wayne filed a lawsuit against his label, Cash Money, for $51 million, and now he’s going after CM’s parent company, Universal Music Group. According to The Hollywood Reporter, Tunechi filed suit on Monday in California, claiming that he hasn’t been paid properly for profits from discovering and signing artists like Drake, Nicki Minaj, and Tyga to his label, Young Money, which is a subsidiary of Cash Money and Universal. The suit alleges that Universal instead has used those earnings to repay itself for a previous $100 million advance to Cash Money: “With Universal’s knowledge of Lil Wayne’s rights to partial ownership and profits from those artists, Universal and Cash Money entered into a series of agreements which, among other things, diverted Lil Wayne’s substantial profits to repay debts of Cash Money,” the suit claims. “As a result, 100% of the profits that should have been paid to Lil Wayne as a result of his ownership of Drake, Nicki Minaj and Tyga records have been seized by Universal to repay debts that were neither incurred by nor were the obligations of Lil Wayne.” Wayne’s attorney, Howard E. King, echoed that in a statement. “Universal should be grateful and respectful to Lil Wayne for the millions of dollars in distribution fees and profits they have earned on the artists he brought to the company, instead of seizing all of his profits on those artists in a desperate attempt to recoup the tens of millions of dollars they are owed by Cash Money Records,” he said. Universal, though, denies any wrongdoing. “It should be no surprise that we learned of the lawyer’s complaint through the news media,” a spokesman for the label told THR. “We don’t intend to dignify this with further public comment except to say that we will vigorously contest it and that the merits of our case will carry the day.” Source
  9. Leonardo DiCaprio, Adrian Brody, and Fisher Stevens made a trek to the lowland rainforests of Indonesia’s Leuser Ecosystem in Sumatra this week to protest the construction of palm oil factories. These are some of the last intact jungle ecosystems in Asia that are capable of supporting Sumatran elephants and their herds. The three Hollywood heroes visited the Gunung Leuser National Park in support of the campaign by Forest Nature and Environment Aceh to eliminate the expansion of palm oil plantations. Adrian Brody extolled the importance of this eco-system by taking a video with local children. “Yayyy!!! Let’s not forget the sweet kids in Sumatra who deserve clean air instead of their lowland rainforests being slashed and burned to make more palm oil,” said Brody in the Facebook post.
  10. Q: As she went around the crowd answering the audience’s questions, I felt as if it was my duty to get one burning question. What’s next? Carly: "If there was a way in my dream dreams, I would love to show some of the songs that I created in the making of this last album, cause there was so many. [...] So in my dream of dreams I think having some of those songs be released not too far from now would be awesome. [...] It's something I'm thinking about" My eyes lit up to here that there could be a potential second part of this amazing pop album. Security comes by to say one last question – I take the opportunity to ask her something fun. http://wmscradio.com/e-mo-tion-2-0-carly-rae-jepsen-and-more/
  11. As Madonna’s stage antics make headlines, the media is insinuating that she’s having a public breakdown over a custody battle. The innuendo isn’t just baseless. It’s misogynistic. It’s a powerful thing when a superstar cries. We demand their blood, sweat, and tears on their way to song-and-dance perfection, but we don’t ever want to see that blood, sweat, and especially tears. It’s why the media reacts on a spectrum from awe to deeply unsettled when we do.It’s a visceral reminder that these icons aren’t only commodities and characters, to be exploited and picked apart and celebrated and judged. They’re also humans. Beyoncé cried once on stage while accepting a MTV Award while holding her daughter and kissing her husband, after the media had whipped up a hurricane of hysterical reports about their impending divorce. It made her seem, for the first time in a long time, like a real person. Remember when Britney Spears broke down in a 2005 interview with Matt Lauer? In case you have forgotten, each frame has been GIF’d for easily accessible mocking more than a decade later. It was an early indication of a terrifying psychological and emotional freefall that was to come. It was also a wake up call to the tabloid birds of prey that had circled the vulnerable pop star: there’s a human consequence to acting like vultures. Lady Gaga cries a lot. It’s her cue to us that something is “important.” Adele does, too. It’s a reminder that those emotions she belts about are genuine. But it’s Madonna—the icon that begat all the other artists mentioned above, the untouchable Material Girl and still, quite possibly, the most famous entertainer in the world—that has us flummoxed. Madonna is the Queen of Reinvention. And recently, if countless headlines are to be believed, her latest reinvention is a bit of a mess. Those headlines are, of course, crass, baseless, speculative, and sexist. But here’s what they are in response to. Earlier this month, Madonna cried on stage in New Zealand while talking about her 15-year-old son, Rocco. “There’s no love stronger than a mother for her son,” she said, breaking down. She then addressed the “challenging times” she was going through—a reference to the ugly custody battle over Rocco with her ex-husband Guy Ritchie—and dedicated a performance of “La Vie En Rose” to her son. It’s interesting to compare the reaction to that incident to the one after Adele did the same exact thing. Just last week the British singer broke down in tears on stage after acknowledging that her son, Angelo, was in the audience watching her perform for the first time. Adele was greeted with the internet’s chorus of awwws. Madonna faced a firing squad of WTFs. Of course, context matters, and it’s not just the crying that has everyone intrigued. Madonna is in the midst of one of those horrific, very public—and therefore even more horrific—custody battles that tabloids salivate over and that celebrities are raked through the coals over. It’s been occupying headlines since December, when Madonna began fighting to have Rocco return to New York City, where he attends school and lives with his mother. Rocco had been traveling with Madonna, who was crisscrossing the globe on her Rebel Heart concert tour, when he followed his own—excuse the pun—rebel heart and decided he’d prefer to stay with his father, reportedly because he preferred his more casual parenting style and missed his British friends. A U.K. judge agreed that the legal battle could be moved to the U.S., which is considered a win for Madonna, but admonished the parents for fighting and wasting the last years of their son’s childhood arguing over custody. “As I observed during the course of the hearing, summer does not last forever,” the judge said. “The boy very quickly becomes the man. It would be a very great tragedy for Rocco if any more of the precious and fast receding days of his childhood were taken up by this dispute.” Madonna’s Rebel Heart tour wraps this weekend, and its $1.31 billion in ticket sales cements the singer’s status as the top-grossing touring solo artist in history. But rather than cross the finish line to the cheers such an achievement warrants, she’s being greeted by a media controversy over a supposed custody battle-induced public meltdown. In recent stops on the winding leg of the tour, Madonna has started numerous shows late, a whopping three hours behind schedule at stops in Atlanta and Australia. Reports that she seemed intoxicated at certain performances were only amplified when she drank a cocktail on stage. (Madonna firmly denied ever being under the influence while performing.) At a concert in Melbourne, she called Guy Ritchie a “son of a bitch” and made a plea for a member of the audience to “please fuck me.” At an earlier concert in Nashville, she calledRitchie a “cunt.” And then there’s the most recent incident, in which she pulled down the top of a 17-year-old fan at a concert, exposing her breast. (The teen called it the “best moment of my life.”) All of this might ordinarily be written off or even celebrated as trolling concert antics from a pop star seasoned in the art of causing of a stir, were it not set against the backdrop of a child custody dispute—a setting that has given the media apparent carte blanche to make innuendo about Madonna’s mental health, and even her worth as a parent. Most frequently, the term “meltdown” has been thrown around. Most uncomfortable and inexcusable is an op-ed written by Piers Morgan, who argued in The Daily Mail that Madonna is a bad mother. (He claims his case argues that she was an “embarrassing,” not “bad” parent. The unforgivably misogynistic and hearsay content of his article proves otherwise.) Madonna, in an act more powerful in proving her humanity than crying, is actually responding to critics, calling them out on the inherent sexism of their takedowns. Following the reports that she was performing drunk, she commented on Instagram that it was all an act and part of a character in her show, and then argued, “Underlying all of this is sexism and misogyny which proves that not only do we not get equal pay but we are still treated like heretics if we step out of line and think outside the box!” What we’re seeing, then, is an intense reaction to glimpses of vulnerability and even a bit of woundedness from a person who, though she’s essentially already exposed every inch of herself physically, is exposing for the first time her internal struggles as she acclimates to the new reality of her life as a mother in the public eye. It’s being confused for weakness, and even mental illness. Really, it’s humanity. We’re accustomed to scandal, outrage, and purposeful titillation from the singer, which probably makes it harder to perceive any earnestness from her as authentic—to the point that we’re positing that she’s in the throes of a meltdown. Late this week, Madonna was in the headlines again, this time for nothing to do with her concert antics or custody battle over Rocco. She had—I’d like to add, hilariously—attempted to keep people from parking in front of her New York apartment by painting a yellow line on the curb in front of her house and putting up signs that parkers would be towed. This is unofficial and illegal. And it’s also kind of awesome. Responding to the hoopla the report had caused, she again turned to Instagram. “Yes Bishes I am Madonna and that is my driveway,” she wrote. “If people park in front of it I can’t drive in my driveway! So sorry the city doesn’t like the color yellow! We will paint a nice dull grey to keep our neighbors happy! Sorry! I’m saying 3 extra Hail Mary’s this Easter for this transgression!” It’s a perfectly Madonna response to something controversial. Her latest career reinvention is the “Unapologetic Bitch.” It fits what we used to know about Madonna, and it fits how she’s soldiering through what is obviously a rough personal time in an intensely public space. She’s being unapologetic about her feelings, and unapologetic about her vulnerability. We’re not used to seeing such things from Madonna. That doesn’t mean she’s melting down. It means she’s being human.
  12. Gigi Hadid Kesha Tony Bennett Jean Paul Gautier Nile Rodgers Ellen Twista William Shatner Marc Jacobs Dave Mustaine from Megadeth Ashton from 5 Seconds of Summer Gloria Gaynor Paris Hilton Howard Stern Tommy Thayer from KISS Tyler Oakley