Nick Cannon is addressing the possibility of having more kids.

In a new interview, the 42-year-old Masked Singer host was asked whether he wants to continue expanding his family after welcoming his 12th child in December 2022.

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“God decides when we’re done, but I believe I definitely got my hands full,” Cannon told Entertainment Tonight. “I’m so focused. I’m locked in. But when I’m 85, you never know. I might.”

Cannon announced the birth of his 12th child, daughter Halo Marie, with model Alyssa Scott, in late December. He is now father to five daughters and seven sons.

The TV host and rapper, who recently launched his Future Superstar Tour, shared his secrets with ET about balancing work and family life.

“Everybody thinks it’s time management. It’s energy management,” Cannon said. “Once we’re all aligned, the flow is a lot easier. If there’s any kind of low frequencies or dissension in there, that’s what messes up the scheduling.

He continued, “As long as we’re all on the same page and we all got the same goal — to be the best parents we could possibly be — that works and then the scheduling is the scheduling.”

Cannon also noted that he’s thankful to be in a position to offer his children a bright future.

“It’s a blessing, man. Like, hopefully, because of what I am able to do, my kids can do whatever they want to do, to be able to be in a position that if they want to be a nuclear physicist, I know somebody at an Ivy League school that I could [hit up],” he said.

“If they want to go into the military, if they want to be artists, if they want to be actors, it’s a thing where we have the capability,” he continued. “Let’s start talking about it now so we can help your dreams come true.”

Cannon shares twins Monroe and Moroccan with ex-wife Mariah Carey, and twins Zion and Zillion with Abby De La Rosa, who gave birth to her third baby with Cannon, Beautiful Zeppelin, less than two months prior to Halo’s birth.

He is also dad to Golden Sagon, Powerful Queen and Rise Messiah, whom he shares with Brittany Bell; Legendary Love, whose mom is Bre Tiesi; and Onyx Ice Cole with LaNisha Cole.

Ariana DeBose is opening up about her show-opening musical medley at the 2023 BAFTA Awards.

During an interview on BBC Radio 2’s The Zoe Ball Breakfast Show, the Oscar-winning singer and actress spoke out for the first time since receiving backlash on social media after performing an original rap in honor of the female nominees at the Feb. 19 awards show in London.

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Host Zoe Ball opened the conversation by praising DeBose’s performance, which mixed a high-energy medley of Eurythmics‘ “Sisters Are Doin’ It for Themselves” and Sister Sledge’s “We Are Family” with a rap number that named-checked famous actresses like Angela Bassett, Viola Davis and Jamie Lee Curtis.

“You know what, you might be one of the few,” the West Side Story film reboot actress responded in a video of the interview, which was shared through TikTok on Saturday (Feb. 25). “I’ll take it, because you’re my people.”

The radio show host added, “It was a woman, singing and dancing, being magnificent, celebrating women onstage. Come on!” DeBose agreed, saying, “That’s what I wanted to do.”

“Honestly, it’s not like I’m like, ‘Hey BAFTA, let me in!’ They actually called me, believe it or not,” the actress-singer continued. “But that was the assignment. Like, ‘Come celebrate women,’ and I was like, ‘Absolutely!’ We did that and it was fun. Not gonna lie, I had a blast.”

DeBose went on to say that Elvis director Baz Luhrmann found her after the show and gave her positive feedback about the performance. She also noted that “gay Twitter seemed to like it, so that’s good. I’ll take it.”

But not all viewers enjoyed the musical medley. Following the performance, DeBose faced an avalanche of snarky criticism and memes on social media, which led to the star deactivating her Twitter account.

After the show, BAFTAs producer Nick Bullen came to DeBose’s defense. “I think it’s incredibly unfair, to be frank. I absolutely loved it,” Bullen told Variety. “Everybody I’ve spoken to who was in the room absolutely loved it. She’s a huge star, she was amazing.”

Another admirer of DeBose’s rap was Lizzo, who recreated the viral rap moment during a recent concert. DeBose caught wind of the TikTok video and reposted it on her Instagram page. “The internet is wild y’all!” the West Side Story star wrote. “Appreciate all the love.”

Watch a portion of DeBose’s BBC interview on TikTok below.

@bbc

“A woman celebrating women” 🧡 👏 Ariana DeBose talks for the first time about that iconic BAFTAs performance! #BBCRadio2 #BBCSounds #iPlayer

♬ original sound – BBC – BBC

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The process of collecting public performance royalties from DJ sets has long been a tricky one in the United States, with uneven data collection processes often obscuring what songs are played at dance festivals. That makes it difficult for artists with the rights to the music to get paid what they’re due.

But one music market with a firm grasp on the performance royalties collection and distribution process as it relates to the dance world is The Netherlands, where electronic music is deeply woven into the country’s social fabric.

Buma/Stemra, one of the world’s most progressive collective management organizations (CMOs) for electronic music producers, operates within a live music market that generated 34 million euros ($36 million) in public performance royalties in 2022. Of this revenue, 7.2 million euros ($7.6 million) came from dance festivals, with roughly 1 million euros ($1.1 million) from clubs, making dance music comprises a quarter of the Netherlands’ total performance royalties

Since dance music incorporates so much different music from different artists in a set, that leaves a lot of rights holders to be identified. For this, Buma/Stemra uses audio fingerprinting technology that monitors and identifies songs played during sets.

“In the Netherlands, we have such a wide range of successful DJs with worldwide success,” says Juliette Tetteroo, accounts manager of dance events at Buma/Stemra. “As Buma/Stemra, that’s also why we find it really important to be at the front of developments like fingerprinting technology.”

For its fingerprinting, Buma/Stemra primarily uses Amsterdam-based DJ Monitor, an electronic music monitoring technology. DJ Monitor functions much like Apple-owned audio-recognition mobile app Shazam, identifying tracks within its library — a database of roughly 100 million songs submitted to DJ Monitor by global performance rights organizations (PROs) — and creating set lists for any given set with 93% accuracy, the company reports. (Billboard‘s recently published lists of the top 50 tracks and the top 50 artists played at Dutch dance festivals in 2022 was made with data collected by DJ Monitor.)

DJ Monitor is one of a number of music recognition technologies, including Pioneer’s KUVO, that can make the monitoring and reporting of DJ sets easier and more accurate. Buma/Stemra says that DJ Monitor has the highest identifying rates of all audio fingerprinting technology.

DJ Monitor is currently employed by CMOs in France, Germany, Finland, Belgium, Australia, New Zealand, the U.K. and The Netherlands, where it fingerprints 70% of all festivals. (Another fingerprinting company, Soundware, is also used by some Dutch events.)

Buma/Stemra’s work collecting performance royalties from a given event begins well before any tracks are even played. The CMO begins by determining licensing fees for any given event; for festivals with revenue lower than 110,000 euros ($116,000), the festival organizer pays the standard 7% licensing rate for events. This percentage is based on the assumption that more than two-thirds of songs played during the course of a given event are in Buma/Stemra’s repertoire. (If the event organizer provides a setlist showing that less than two-thirds of the music played was Buma/Stemra repertoire, the licensing fee drops to between 3% and 5%.)

For festivals with revenue higher than 110,000 euros, the event organizer provides Buma/Stemra with audio from the events to be fingerprinted. The festival can submit the audio manually, or upload it to the Buma/Stemra server, where it is then fingerprinted by DJ Monitor. The festival can also let DJ Monitor monitor audio during live performances, in which case DJ Monitor tech is implemented at every stage at the festival.

For bigger events, Buma/Stemra pays for fingerprinting costs, as, they say, it serves their goal of paying royalties on every song played at a given event.

“Our goal is to work towards one-on-one collection and distribution,” says Tetteroo. “It is all about the quality of what we do. [Paying for fingerprinting costs] also helps in encouraging organizers to pay, because they know that the money they pay goes to the composers and their publishers of the songs that have been paid. This is why we happily invest in technology that points in this direction.”

Buma/Stemra receives hundreds of songs from any given festival, given that most events host multiple stages and often run for three days. DJ Monitor typically identifies between 80% to 90% of this music (more than 80% if monitoring electronic music; 90% if monitoring open format/pop music) and sends formatted lists of the data to Buma/Stemra. Buma/Stemra imports this data, 60% to 70% of which is typically imported automatically — given that roughly that amount of music from any given event is recognized as something already in the Buma/Stemra database.

The percentage that’s not automatically recognized goes to an outsourced supplier in India that works to manually identify it. Money collected from a festival is then divided and paid out based on a system that assigns points to songs.

Given that a certain percentage of songs aren’t recognized, hundreds of hours of unclaimed music aggregates over the year because, says Buma/Stemra’s music processing manager Rob van den Reek, “we have a real lot of festivals here in the Netherlands.”

Buma/Stemra publishes this unclaimed music on their website, where artists can find and claim their songs. Artists are able to make a claim for up to three years after the song is posted online. If no one has claimed it after three years, the money owed to all unclaimed music is divided between rightsholders included in what’s called a “reference repertoire” — or a Buma/Stemra-compiled sample of common songs played at festivals. Introduced four years ago, this claiming system adds another layer of transparency — and more opportunity for creators to get the money they’re owed.

“Transparency is one of the benefits that stands out the most from the way we work,” says Buma/Stemra marketing manager Annabel Heijen. “That’s where we’ve made the most progress.”

There is one fault with the Buma/Stemra system that’s in the process of being addressed. Currently Buma/Stemra pays out based on the length of a full song that’s registered — not how much of it was actually played in a DJ set. If a song was registered at a length of three minutes, but only played for two minutes, Buma/Stemra pays based on that full, original timestamp. Buma/Stemra is currently building a new system that will pay out against the real timestamp identified during DJ sets that the organization expects to release by the end of 2023 or early 2024.

When Brad Paisley started playing potential songs from  his forthcoming album Son of the Mountains for Universal Music Group Nashville president Cindy Mabe, she told him, “Make music that matters, that’s not disposable.” 

Gentle ballad “Same Here” was in the first batch that he played her, and Paisley certainly took that message to heart. The song, which came out Friday (Feb. 24), celebrates our similarities no matter where we’re from or the language we speak and ends with the audio of a conversation between the country superstar and Ukrainian president Volodymyr Zelenskyy. The release date is not coincidental: Today marks a year since Russia invaded its neighbor. 

UMGN sent the track to radio, but even Paisley, whose 12th No. 1 on Billboard’s Country Airplay chart was last February’s “Freedom Was a Highway” with Jimmie Allen, doesn’t expect it to garner much play and he’s fine with that — even though, as he points out, “It’s a very country record,” with Jerry Douglas on dobro and Dan Tyminski on mandolin.

“The label [was] so great about it, realizing this isn’t going to be the feel-good hit of the year and this isn’t even going to be something that’s going to work long term at a radio station, it’s not going to research [well]. There’s a speech at the end  of it, but this needs to exist in whatever form we can have it to present it,” Paisley says, adding there will not be a radio edit without Zelenskyy. 

He says UMGN has been nothing but supportive. “It’s been a great team effort to sort of say, ‘Okay, I’ve got a new home. This is what I’m working on. The first thing is ready on this really important date and then we’ll start giving you these others as well, painting the picture I want to paint.’ And you can imagine how good that feels.” 

Though Paisley’s move to UMGN’s EMI imprint from Sony Music Nashville was only announced earlier this week, the deal was actually done close to a year ago and Paisley has been hunkered down writing the new album for months. He wrote “Same Here” shortly after the invasion with Lee Thomas Miller and Dawes’ Taylor Goldsmith. 

The war “was really weighing on me,” Paisley says. “I have been in the gym the night it started and I remember working out watching the news and it was just the most surreal scene, all those taillights leaving Kiev. I’ve been touring Europe lately and it’s like looking at that, it’s like, ‘Holy cow, that looks like every city we play.’ It wasn’t like anything I’ve ever seen in my lifetime.”

Paisley had conversations about performing it on NBC’s all-star special Ukraine: Answering the Call, which ran July 3 and featured Paul McCartney, Billie Eilish, Sheryl Crow, Alicia Keys among others. He talked with MSNBC anchor Nicole Wallace, who spearheaded the benefit, about the song and she said she could get it to some Ukrainians. Paisley initially thought about a refrain of the title sung in Ukrainian several times at the end. “And then I thought, ‘Would President Zelenskyy like to have the last couple of minutes and have a discussion with me on the ways we’re the same?’”

Because of security reasons, Paisley declines to give more details about how the song actually got into Zelenskyy’s hands (“I feel like I’m in The Bourne Identity,” he says half in jest).

The Zoom date with Zelenskyy moved around a fair amount but was finally slated so they could record the conversation for the song and also talk about United24, a charitable program to rebuild and restore Ukrainian homes destroyed by the current war. All proceeds from the song will go to the charity, for which Paisley is an ambassador. “We’re hoping to build housing for 4,200 people,” he says. “Rebuild the things that were bombed out, which, as you’d imagine, is just changing daily.”

Paisley stresses that he did not give talking points to Zelenskky, who needed none, but the two discussed they ways we’re all the same, in terms of loving our families and our countries. “He could have done 25 minutes at the end of this song on the ways were the same, but we hand selected [parts of the] conversation that really felt so relevant.  I’m very, very proud of what he said. He’s a really charismatic and earnest, sincere guy.” 

After teaching Paisley how to say “same here” in Ukrainian, Zelenskky says in the song, “We speak different languages in our life. Yes, but I think we appreciate the same things – children, freedom, our flag, our soldiers, our people. The biggest treasure we have. And friends. And we’re proud of our army who defends our freedom and will defend our lives.” The president also many a few suggestions that Paisley incorporated into the last verse.  Paisley hopes to include video clips of their conversation into the music video for “Same Here.” 

Thursday (Feb. 23), Paisley posted a video to his Instagram account mentioning the new album and song. Many of the comments were supportive, but,  unsurprisingly, a fair number of comments were critical of his support of Ukraine. Comments were disabled on his posts today— one promoting the song (which features cover artwork by his oldest son) and a subsequent post featuring a snippet of his appearance on Fox & Friends this morning. 

His team turned off the comments on the posts today because “you want [the song] to stand alone. I don’t want to be a site for bots to have their day. I want that to be a pure spot to see what I’m saying,” he says. “We’ve had to do that a few times retro-actively where something starts to get hijacked and it’s like, ‘C’mon, that isn’t what my site exists for, my site exists to present what I’m doing.’”

But Paisley adds, “I welcome discussion over this. Everybody’s opinion matters. So that person that hates it, they’re just as valid as me. They can hate it. It’s okay. I’m good with that. ‘I hope you’ll listen to other things and If I’ve lost you, I’ve lost you.’”

Paisley says the song fits in perfectly with his new album, which is about “a kid from West Virginia, looking at the world today.” He won’t talk many specifics yet, but says another song on the album addresses the opioid crisis: West Virginia has been hit hardest of all the states with drug overdoses. There are other issue-oriented songs, but he adds, “As much as I’m dealing with topics that are timely, it goes down very smoothly. I don’t do it in a way that’s any different than George Jones would do it or different than Merle Haggard would do it.” 

As far as other guests on the album, he’s keeping quiet, only to add, with a laugh, that Zelenskky is the only world president with a cameo on the set coming later this year.

Gracie Abrams talks about her newly released debut album ‘Good Riddance’, her biggest influences, opening up for Taylor Swift on her ‘Eras’ tour, doing her own tour, and more!

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After scaring up more than $124 million at the box office, M3GAN is setting her sites on streaming. The horror film about a lifelike doll who goes rogue, which was released to Prime Video and other digital platforms in January, dropped on Peacock on Friday (Feb. 24).

The plot centers around Gemma (Allison Williams) a tech professional who becomes caretaker to her 8-year-old niece, Cady (Violet McGraw), after the girl’s parents die in a car accident. Gemma has trouble juggling her newfound parenting role and busy job, so she gifts Cady with an artificially intelligent doll (created by her job) to keep her company.

The doll, voiced by Jenna Davis, starts out nice enough, but things start to backfire when she rebels against Gemma, goes on a rampage and kills several people — including the neighbor’s dog.

Ronny Chieng, Brian Jordan Alvarez, Jen Van Epps, Lori Dungey and Stephane Garneau-Monton star in the film from Universal Pictures/Blumhouse.  

M3GAN is directed by Gerard Johnstone, from a screenplay written by Akela Cooper and based on a story by Cooper and James Wan. The film is produced by Wan and Jason Blum.

Williams, Mark Katchur, Ryan Turek, Michael Clear, Judson Scott, Adam Hendricks and Greg Gilreath are executive producers.

‘M3GAN’: How to Stream Online

M3GAN is now streaming for free on Peacock. From must-watch movies to hit shows and sporting events, Peacock carries over 80,000 hours of entertainment that you can stream from anywhere on the Peacock app or at Peacocktv.com (use ExpressVPN to stream Peacock from outside the U.S.).

Peacock starts at $4.99 a month for ad-supported streaming or $9.99 to stream without commercials. The annual plan is $49.99 for Peacock Premium and $99.99 for ad-free streaming, but Peacock is reportedly offering 50% off its annual plans when you enter code “UMRWKXQECB” at checkout.

Peacock
$4.99/month

If you want to own a digital copy of M3GAN, the movie is available on Prime Video and other digital platforms such as VUDU, Google Play and iTunes (click here to buy the M3GAN Blu-ray or DVD).

‘M3GAN’ on Prime Video
$19.99/buy

Watch the trailer for M3GAN below.