More Stunning Pics From The Grammy Award

Stunning pics from last night Grammy award....

Taylor Swift Wins Top Grammy But Kendrick Lamar Totally Stole the Show

                Taylor Swift made history Monday as the first woman to win the top Grammy twice, but rapper Kendrick Lamar took home five awards and delivered an electrifying, politically charged performance that rocked the gala.

The top prizes on the music industry’s biggest night mainly went to mainstream chart-toppers, with Swift taking the Album of the Year prize for “1989” and the retro party anthem “Uptown Funk” winning Record of the Year.

Swift, who has transformed from country prodigy to pop superstar, won three prizes on the night, all for work off “1989,” which was one of the best-selling US albums of the past decade.

         The 26-year-old, who has fashioned herself as a feminist campaigner, spoke to her legions of girl fans as she accepted her second Album of the Year award.

“I want to say to all the young women out there – there are going to be people along the way who will try to undercut your success or take credit for your accomplishments or your fame,” Swift said.

“But if you just focus on the work and you don’t let those people sidetrack you, someday when you get where you are going, you will look around, and you will know that it was you and the people who love you who put you there,” she said.

In 2010, Swift also accomplished a major feat when she won Album of the Year for “Fearless,” becoming the youngest artist to take the prize as she recorded it when she was 20.

        Swift has also created waves in the music industry by becoming the pre-eminent foe of Spotify, the leading streaming service, which she charges is unfair by allowing a free tier.

The Recording Academy, which runs the Grammys, used the national broadcast to urge better compensation for artists, while stopping short of criticizing any company in the fast-growing streaming industry.

While Swift won the top award, the most Grammys went to Lamar, whose album “To Pimp a Butterfly” offered an innovative meditation on race relations with infusions of jazz and spoken word.

Lamar, whose song “Alright” has become an unofficial anthem for protesters against police abuse, took five awards out of 11 nominations — the most nods for a single artist in one night since Michael Jackson earned 12 following his massive “Thriller.”

In a politically charged yet genre-spanning appearance, Lamar shuffled onto stage as part of a chain-gang as a jazz saxophone merged with a heavy guitar on “The Blacker the Berry.”

          As his performance transitioned to “Alright,” Lamar – his face painted with a bruise – metaphorically walked back to his African roots in a performance with rhythmic dancers in traditional garb before a firepit.

“This is for hip-hop,” the 28-year-old Lamar said, receiving the award from gangsta rap legend Ice Cube. “We will live forever – believe that.”

Record of the Year went to “Uptown Funk,” a dance track with echoes of early Prince by Mark Ronson featuring Bruno Mars.

Ronson, a longtime producer from Britain who has notably worked with superstar Adele, found unprecedented success in his own right with “Uptown Funk,” which spent a near record 14 weeks at the top of the US Billboard singles chart.

The 40-year-old Ronson, who also put on a well-received performance at last week’s Super Bowl, said he was still getting used to his success.

“I would be just as happy and proud if I produced it,” he said of the song, which also won the Grammy for Best Pop Duo/Group Performance.

“I’m a record producer, not a pop star,” he said.

     English singer and guitarist Ed Sheeran won for Song of the Year, which recognises songwriting whereas Record of the Year looks at overall singles, for “Thinking Out Loud” – a bare love ballad that has become a favorite at weddings.

Meghan Traino, 22, won another key award, Best New Artist, after the breakthrough success of “All About That Bass,” her tongue-in-cheek doo wop take on weight struggles and self-acceptance.

Trainor broke down in tears as she accepted the award, thanking Epic Records executive L.A. Reid who signed her after hearing h

Lamar Odom’s ex partner and children arrive in Las Vegas (photos)

Lamar Odom's ex-partner Liza Morales and his two children Destiny, 17 (with her head down in a hat), and Lamar Junior, 13, have arrived in Las Vegas to join a bedside vigil at the Sunrise Hospital where he is being treated and fighting for his life after he was found unconscious. See more photos after the cut...

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Lola Omotayo celebrates her son's 7th birthday with a loving message

Peter and Lola Okoye's son Cameron Okoye turned 7years old today and his Mum-Lola had this special message for him. "My Cameron you are 7 years old today! Happy Birthday my darling baby. You will always be mama's baby. I give God the glory for your life. I am blessed and lucky to have you for a son. You are my pride and joy, my everything! My Mr. Intelligent. I love you more than words can ever describe. May you continue to go from glory to glory and from strength to strength IJN! May you never seize to make us happy and proud of you and even if you do, we will still love you unconditionally. We love you so much Cameron-Jayden Chinonso Oluwafemi Mattvey Okoye! God bless you and keep you healthy and safe in Jesus Name".@peterpsquare @lolaomotayo

Soundcity hate us, they don't play our music-- Psquare peter okoye

Peter okoye posted on his twitter account saying watch other TV station which he didnt mention soundcity, he later tweeted "dear fans , we see your complaints about our video on soundity ,just to clear the air they refused to play us"
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Olamide opens up on his relationship with his baby mama

   Olamide has opened up on his relationship with his
baby mama and long time girlfriend, Adebukunmi
Suleiman.The rapper says though they are still
together, he has no plans for marriage now.He told
popular radio host, Andre Blaze..

 "We’ve been cool from way back and we’ve
been together for almost 5 years now. It’s
not just some random chic that came

Olamide and Baby mama

around from nowhere. That’s just it. But the
question of marrying her, that one is very
hard to answer because Olamide is not
God. Only God knows tomorrow.”

Fast rising YBNL recording act,beat his boss to scoop the 'Beat of lagos' award.

Fast rising YBNL recording act, Adekunle Gold
beat his boss, Olamide Baddo to scoop the ‘Beat
of Lagos’ 2015 award.
Other music acts in the category include
Patoranking, Olamide, Koker and Kiss Daniel.
The singer has just won a plot of land in Lekki
courtesy of Adron Homes.

OMG!!! Funke Akindele Gets Married To Nigerian Rapper Falz (See Photos)

  I’m sure you ran in here, lol. Don’t worry these
new pictures are only for a new movie Funke is
shooting titled “Jenifa’s Diary 2″. Could you
imagine if these two were actually getting
married for real? see photos here

Wizkid, psquare and others to Headline Glo's slide and bounce concert

 Nigeria’s entertainment circle is set to experience fun as telecoms operator Globacom has
concluded arrangements to stage the star- studded Slide and Bounce concert. The concert
kicks off in Ibadan, Oyo State, on August 29, and is billed to berth in 10 other locations across
the country. It will parade the best artistes in the nation’s music industry.
In a statement released on Monday, Globacom stated
that the show “is packaged for the delight of our
teeming subscribers in all the selected locations and
adjoining cities and towns in order to give our loyal
customers the best entertainment experience they
can imagine”.
Globacom listed the 11 locations that will host the
reloaded Glo Slide and Bounce concert
to include Ikeja, Ikorodu, Egbeda, Surulere and
Victoria Island in Lagos. Other cities
include Ibadan, Port Harcourt, Abeokuta, Ijebu
Ode, Benin and Abuja.
The statement further indicates that artistes billed to
perform at the concert include PSquare, Wizkid,
Flavour, D’banj, Wande Coal, Korede Bello, MI, Burna
Boy, Di’Ja and Bez. Others are Edem and Kakee from
Ghana, and Sessime from Benin Republic. DJ Xgee,
DJ Neptune, DJ Tops and DJ Jimmy Jatt will mount
the jukebox while the trio of Gbenga Adeyinka, Okey Bakassi to anchor the show
 The company assured the first 100 fun seekers to
arrive at the various venues for a photo session with
Glo superstars such as Mama G, Funke Akindele,
Odunlade Adekola, Mr. Ibu, Chiwetalu Agu and Ini
Edo. They will also receive branded gift items from
Globacom.  

Dr.dre to release last album after 16 years

Dr. Dre doesn’t surface often — since N.W.A. disbanded in the early 1990s, he’s released just two albums and supervised one compilation — but when he does, he exudes what feels like decades’ worth of tension. A recurring theme of Dr. Dre’s lyrics and self- selected narrative is sacrifice. He walked away from Death Row, leaving behind his 50 percent ownership stake, worth millions of dollars, to secure his creative freedom and security. On his albums, he labors hard behind the scenes as a producer but is generally reluctant to hog the spotlight, instead showcasing others on his coattails. And when he raps, it’s often with exasperation — not boasts, but sighs. “I’m very aware hip-hop needed something to carry it/ So I married that bitch and swung down in that chariot,” he raps, somewhat bafflingly, on “Genocide,” a hard-snapping song from “Compton” (Aftermath/ Interscope), his third album, and first in 16 years. On “All in a Day’s Work,” he’s more succinct: “Though I gave everything to this game, they still complain.” No one else in hip-hop has built as impressive and seemingly bulletproof a reputation with as little material. He’s been one of hip-hop’s signature musical innovators, from N.W.A.’s gangster rap to his own G-funk to Eminem’s carnivalesque novelties and beyond. And yet for no one else is resentfulness so central. In part, that’s because of the decade-plus tease of “Detox,” the greatest example of performance anxiety in hip-hop history. He first announced it as his third album, after “The Chronic” (1992) and “2001” (1999), in 2002; only a couple of weeks ago did he finally admit defeat. “I didn’t like it,” he conceded during his radio show on Beats 1, the Apple Music station. “I don’t think I did a good enough job.” (Last year, Apple bought Beats Electronics, of which Dr. Dre was one of the principals. He subsequently boasted that he was “the first billionaire in hip-hop.”) Carrying hip-hop on his back has been relatively light work for Dr. Dre, when he has deigned to do it, but what he wants, mostly, is to be a conduit for others — to get out of the way. “Compton” — which was inspired by “Straight Outta Compton,” the new N.W.A. biopic Dr. Dre was an executive producer on — is a combination of utter confidence and hodgepodge distraction. Musically, it’s ornate and grand-scaled, and somehow also deft. But there’s almost an open-door policy in place for collaborators, meaning attack dogs like the new Compton superstar Kendrick Lamar coexist alongside more dubious talents, like the young Dre protégés Justus and King Mez. (In this, it recalls the scattershot 1996 compilation “Dr. Dre Presents... The Aftermath.”) But those are microconcerns, and Dr. Dre is macrominded. His true peers aren’t other hip- hop producers, not even tenured greats like Kanye West or Pharrell Williams of the Neptunes or even DJ Premier, the New York formalist who produces one song here, “Animals,” in a sort of fantasy-league, best- of-both-coasts arrangement. All of them, even the ambitious Mr. West, focus primarily on how small parts of songs interact to create the whole. You can hear the gears at work. Dr. Dre, by contrast, is more concerned with atmosphere, mood and texture. He has a production credit on about half of the songs on this album — and he uses samples elegantly, a dying skill — but he was involved with mixing all of them, and that’s a more important detail. Ever since “The Chronic,” it’s been clear that Dr. Dre’s real peers are film-score composers — say, John Williams or James Horner — who communicate emotional direction with broad, legible strokes that set the tone for the details to be sprinkled atop them. Because of that, Dr. Dre’s albums have always felt as if they’re about something other than the man himself. Primarily, they’re canvases for others: “The Chronic” was Snoop Doggy Dogg’s coming-out party, and “2001” was in part a showcase for Eminem, but also plenty of others (Knoc-turn’al, Hittman). Whether it’s out of generosity, reluctance, fear or habit, Dr. Dre rarely, if ever, wants to stand alone. Mainly, though, what “Compton” shows is that Dr. Dre isn’t wracked by self-doubt. He merely needs some kind of muse, something bigger than himself to believe in. In this case, the muse is both the city and the history on display in “Straight Outta Compton.” On “Talk About It,” he raps, “I remember selling instrumentals off a beeper,” and on “Talking to My Diary,” he recalls his early days in N.W.A. A sample of Eazy-E’s voice appears on “Darkside,” and “For the Love of Money” borrows its hook from Bone Thugs- n-Harmony, who were signed to Eazy-E’s label, Ruthless. Ice Cube appears, somewhat clumsily, on “Issues.” His former protégé Snoop Dogg (many years past the Doggy) is here, as are established Los Angeles rappers the Game, penetrating on “Just Another Day,” and Xzibit and Cold 187um (of Above the Law), both of whom shine on the ecstatically thumping “Loose Cannons.” Eminem is reliably crass on “Medicine Man,” including one particularly toxic line about rape. In light of the recent agonizing over the use of ghostwriters in hip-hop, it’s worth noting that Dr. Dre has long been understood to use young talent to contribute to his verses. Read the credits and listen to his verses, and it’s possible to make some educated guesses about who’s doing the puppeteering at different points on this album, whether because of the content — there are more flickers of political stridency than usual — or because of the flow, with Dr. Dre rapping in tricky syllabic patterns that his voice clearly doesn’t feel comfortable with. He tends to take on the qualities of whomever he’s sharing the song with, an odd concession from such a singular talent. That’s a form of hiding, too, though. And on “Compton,” he has at least one good reason to fade into the background: Mr. Lamar, who appears on three songs. Mr. Lamar is the photonegative of Dr. Dre — he’s a dense lyrical technician who can be all trees, no forest. As strong as his albums have been, he’s needed the caress of a Dr. Dre. “Deep Water” showcases each at their best — it’s more propulsive than almost anything on Mr. Lamar’s recent album, and still a sleek pairing for his dexterous verse. It’s an act of genuine intergenerational sharing: Each man’s approach to Compton is different, and personal. For years, Dr. Dre was authoring its story primarily through music; Mr. Lamar has made it the subject of his advanced-placement parables. Dr. Dre has said that “Compton” will be his “grand finale.” Maybe that’s because the torch is finally passed, and now he doesn’t owe anyone anything anymore.