Emmy winner Jackée Harry is starting the new year with a youthful appearance. The Sister, Sister actress revealed in an interview with Entertainment Tonight(ET) that she received a deep plane facelift. This procedure lifts muscle and fat, restoring youthful contours. Harry went to the Lasky Clinic Surgical Center, located in Beverly Hills, where the procedure took four hours and involved Harry having her face and neck lifted. According to Harry’s surgeon, the cost ranges from $40,000 to $250,000. Harry explained to the outlet that her concern was loose skin on the sides of her face. While she was terrified of the procedure, she was also eager to get it done. She mentioned a few naysayers who suggested that she shouldn’t follow through with the idea. “When you constantly want something that bad, you gotta do it,” she said. “And I discovered I wanted it that bad. It’s terrifying but exciting.” She name dropped other celebrities that she used as inspo for her facelift.”‘The Ricki Lake’ special I call it. And then Kris Jenner, up close it looks really good.” She mentioned actress Jane Fonda and the late, Diahann Carroll who “told me I should have it done at 35.” View this post on Instagram In the almost 4-month post-op photo, shared by her doctor, Harry’s facial skin is visibly lifted and wrinkles appear to be smooth. “Like many of our patients, we discussed her desire to keep her expressive and animated face while maintaining her natural beauty,” Dr. Davis wrote in the caption of the before and after post. “She didn’t want to look like anyone but herself, and that’s something we strive for. Now, she is nearly three and a half months post-op with about three more months of healing ahead of her.” View this post on Instagram Harry is seemingly overjoyed with the results so far. “They call it snatched,” Harry said of the reactions to her facelift. “I’m yanked.” “I have no qualms about how old I am or who I am,” she said. “This helps, it boosts it. It pushes it forwards, so why not?” Harry is best known for her breakout role as Sandra Clark on NBC’s “227.” She gained further notoriety for her role as Lisa Landry on the ABC/The WB sitcom Sister, Sister.

As Chris Brown’s dog attack lawsuit moves closer to trial, his attorneys are pushing to keep the proceedings tightly centered on the alleged incident itself. The singer’s legal team has asked the court to exclude references to past controversies, arguing that unrelated history could cloud a jury’s judgment. Their position is straightforward: the case should hinge on the facts of one encounter, not on Brown’s public reputation. Whether the judge agrees could shape the tone of the trial. According to Rolling Out, Brown recently filed a motion seeking to prevent Patricia Avila and her daughter, Maria Avila, from referencing his 2009 assault case involving Rihanna. That case concluded years ago, with Brown completing probation, community service, and counseling after pleading guilty. His attorneys argue that reopening that chapter offers no legal relevance to the current civil dispute. They maintain that introducing it would risk unfair prejudice rather than clarify liability. The lawsuit itself stems from allegations by Maria Avila, who claims she was seriously injured after being attacked by Brown’s dog, Hades. Court filings describe lasting harm, including nerve damage, facial disfigurement, and partial vision loss, with surgery potentially required. The severity of those injuries has drawn significant attention to the case. Brown’s team, however, disputes claims of negligence. Brown’s defense leans on reports and procedural focus as trial nears In support of their defense, Brown’s lawyers cite an Animal Control report documenting an immediate response after the incident. Officer Angela Hooks noted that Brown and a security guard reacted quickly when Avila screamed. The defense also asserts that the dog had no known history of aggression. They further argue that Avila ignored security warnings about approaching the animal without supervision. The case unfolds as Brown faces other legal developments. A separate $500 million lawsuit he filed against Warner Bros. and Ample was recently dismissed. In that matter, Judge Colin Leis ruled that a docuseries examining Brown’s past relied on documented legal records and fell within protected reporting. As the dog attack lawsuit heads toward trial, Brown’s legal strategy is becoming increasingly clear. His attorneys are aiming to keep jurors focused on the specific allegations before them. The court’s rulings in the coming weeks will determine how narrowly that focus can be maintained.

Singer Tremaine Aldon Neverson, known professionally as Trey Songz, filed a civil lawsuit Tuesday in Jackson County Circuit Court over a January 2021 incident at Arrowhead Stadium during the AFC Championship Game. Neverson alleges he was assaulted, arrested and detained after being heckled by nearby fans. The petition names the Kansas City Police Department, Government Employees Health Association and Whelan Event Services as defendants. A jury trial was demanded in the case, according to the filing. The lawsuit claims the incident took place at GEHA Field at Arrowhead Stadium on Jan. 24, 2021. Neverson was an invitee to the game, the petition states. It also states that Whelan Event Services provided security at the stadium. Claims focus on security response and police conduct According to the petition, “Plaintiff was heckled by attendees seated in his proximity because of his notoriety.” The lawsuit continues, “The verbal heckling escalated into threats and harassment against Plaintiff Tremaine A. Neverson which resulted in Defendant Whelan Event Services and Defendant KCPD being summoned to Plaintiff’s seat location.” Once they arrived, the petition alleges, “Upon arrival Defendant Whelan Event Services and Defendant KCPD did not exercise any professional duty to take reasonable care to protect Plaintiff Tremaine A. Neverson, from the actions of the unruly, aggressive, and intoxicated attendees.” Instead, the filing alleges, “the Defendants Whelan Event Services and Defendant KCPD physically assaulted, wrongfully arrested, handcuffed and detained Plaintiff Tremaine A. Neverson in jail.” The petition further states, “Plaintiff was charged with trespassing, resisting arrest and assaulting a police officer, all charges were subsequently dismissed.” Plaintiff alleges negligence and long-term harm Neverson’s lawsuit includes a negligence claim and alleges multiple failures in security and police conduct. It states, “That all named Defendants and Defendants’ agents, servants and/or employees were careless, negligent, and acted in bad faith in the exercise of duty.” Among the listed allegations, the petition states, “Defendant KCPD used excessive force,” and “Defendant KCPD wrongfully detained and unlawfully arrested Plaintiff.” The suit also argues that the defendants had “a legal duty to take reasonable measures to protect invitees and other persons legally upon its property, including Plaintiff.” The petition claims the incident caused lasting damage. It states, “Tremaine A. Neverson was caused serious, permanent, and progressive injuries to his person, and professional reputation.” It also alleges he incurred losses, including “medical care and treatment, loss of work, loss of reputation and loss of income.” The petition asks the court to enter judgment “in an amount that is fair and reasonable,” along with costs and other relief.

Kanye West’s breakthrough single “Through The Wire” remains a landmark in modern music, widely praised for its audacity and lasting influence. Yet new details reveal a striking twist: despite the song’s success, West has reportedly never profited from its publishing rights. Across the 2000s and 2010s, he built a career defined by record-breaking sales, awards, and cultural influence. Still, this early hit—a cornerstone in his rise—yielded no financial gain tied to its composition. On a recent episode of the And The Writer Is podcast, producer and songwriter David Foster explained the unusual absence of West’s writing credit. Although West played a central role in composing and producing the track, his name is missing from the official “Written by” listings on platforms like Spotify. Instead, credit goes solely to Foster, Tom Keane, and Cynthia Weil—the writers behind Chaka Khan’s 1984 hit “Through the Fire,” which West sampled heavily in his song. Foster detailed the negotiation, revealing that West initially requested “50 percent” of the writing rights. Foster says he was open to the arrangement, but Weil refused, declaring, “‘F*ck that. No, he gets nothing.’” The result left West without compensation, while the original writers retained full credit for the track. Kanye West Got Zero Publishing on Through The Wire “He got nothing.” pic.twitter.com/98aoInYo4p — Henri Fjord (@henri_fjord) January 20, 2026 Looking Ahead: West’s Next Chapter Despite this early hurdle, West has consistently embraced creative risk, turning experimentation into a hallmark of his career. His upcoming project, Bully, is scheduled for release on January 30, 2026, and has already become one of the most pre-saved albums on Spotify, demonstrating his devoted fanbase’s anticipation. Yet questions remain about how listeners, both longtime and new, will engage with his latest work amid the scrutiny that often accompanies his releases. Bully will include 13 tracks with no featured artists, highlighting West’s focus on his personal vision and artistic narrative. As anticipation builds, fans and industry observers alike will be watching to see how this next chapter unfolds and what it reveals about one of music’s most influential and provocative figures.

Clipse arrives at the 2026 Grammy Awards with renewed visibility, earning five nominations across some of the ceremony’s most competitive fields. The duo is also confirmed to perform alongside longtime collaborator Pharrell Williams during the February 1 broadcast at Los Angeles’ Crypto.com Arena. The show will air live on CBS beginning at 8 p.m. ET. Streaming will be available on Paramount+ as well. For Clipse, the evening represents both a reunion and a statement of longevity. While specifics about their performance have not yet been disclosed, anticipation continues to build as organizers roll out additional announcements. The ceremony will also feature a segment highlighting Best New Artist nominees, including Addison Rae, Alex Warren, KATSEYE, Leon Thomas, Lola Young, Olivia Dean, SOMBR, and The Marías. That portion of the program is expected to spotlight the genre’s evolving landscape. More performers, including Clipse, are likely to be revealed closer to the event. Let God Sort Em Out’ Scores Multiple Grammy Nods The nominations stem from Let God Sort Em Out, the group’s first collaborative album in more than ten years. The project is nominated for Album of the Year and Best Rap Album. Additionally, “Chains & Whips,” featuring Kendrick Lamar, is recognized in the Best Rap Performance category. “The Birds Don’t Sing,” featuring John Legend and Voices of Fire, earned a nod for Best Rap Song. “So Be It” is nominated for Best Music Video. Together, the selections reflect a broad critical reception across both performance and production, and this is a significant milestone for Clipse as a group. Released in July, Let God Sort Em Out includes contributions from Nas and Tyler, The Creator, with production handled by Pharrell Williams. Pharrell received three Grammy nominations connected to the album. He is also nominated for Best Music Film for Piece by Piece. The ceremony will be produced by Fulwell Entertainment in partnership with the Recording Academy. Ben Winston, Raj Kapoor, Jesse Collins, and Trevor Noah will serve as executive producers. The Grammy Premiere Ceremony will stream earlier that day from the Peacock Theater beginning at 3:30 p.m. ET. Notably, Clipse maintains a major presence throughout this year’s awards timeline.

For much of the past year, Ne-Yo has found his personal life drawing nearly as much attention as his music. The Grammy-winning R&B singer recently addressed the scrutiny during an appearance on the BagFuel podcast, where he spoke plainly about the attention surrounding his polyamorous relationship. His tone was neither defensive nor performative. Instead, he treated the moment as an opportunity to set boundaries. Ne-Yo made it clear that criticism of his lifestyle carries little weight in his daily life. “The dissatisfaction that exists does not concern me; it’s theirs to navigate,” he said. He emphasized that public disapproval has not altered his sense of fulfillment. “I wake up with a smile every day,” he added, before drawing a line between curiosity and intrusion: “If you find my life displeasing, simply look away. It is as straightforward as that. I am astonished by how much time people dedicate to their negativity directed at me.” As the conversation unfolded, Ne-Yo expressed frustration with how discussions about his relationships have overtaken recognition of his career. After more than 20 years in the music industry, he suggested that his accomplishments often take a backseat to speculation about his personal choices. “It’s not conventional to be this open about my relationships, and I recognize that. However, it feels disheartening when that is all that is discussed about me,” he said. “I have an extensive catalog filled with hits and Grammy awards — let’s engage in conversations about my music and achievements instead of merely my romantic situation.” Between Partnership and Public Scrutiny, Ne-Yo Defines Love on His Own Terms He has previously elaborated on the structure of his love life during an appearance on Sherri, describing it as “one relationship with three people.” Ne-Yo explained that while he maintains multiple partners, the arrangement does not allow for reciprocal relationships on their end. That condition, he acknowledged, was not initially defined. “I favor partnership over possession,” he said. “I aim to cultivate a joint experience rather than claim ownership over someone. If exclusivity is a facet of our partnership, it remains exclusive to me.” Outside of his relationships, Ne-Yo is also a father of seven, with children from multiple partnerships, including his former marriage to Crystal Renay. After their divorce in 2023, he publicly acknowledged his polyamorous lifestyle and introduced the partners involved at the time. While public interest continues to follow that chapter of his life, Ne-Yo appears resolute in how he frames it. For him, the story remains larger than the headlines—and rooted in a career he believes still deserves the spotlight.

In a recent Apple Music conversation, A$AP Rocky spoke thoughtfully about his relationship with A$AP Ferg. He offered a candid assessment shaped more by time than tension. The remarks arrived without theatrics. In this way, they presented a portrait of two artists whose paths have diverged while mutual respect remains. Rocky framed the distance not as a rift, but as a consequence of growth. Rocky acknowledged that he and Ferg have not spoken in some time. However, he emphasized that his feelings toward his longtime collaborator remain unchanged. He admitted that Ferg’s decision to remove “A$AP” from his name struck a personal nerve. Even so, it never turned into bitterness. “I haven’t seen Ferg in a minute, man,” he said. “I’ll always love Ferg. He’s got a good heart. That decision to drop A$AP? It bothered me, but I wish him the best.” While Rocky did not rule out the possibility of reconnecting in the future, he made clear that his attention is currently focused elsewhere. Furthermore, his tone suggested closure rather than conflict. This signaled an acceptance that not all bonds move forward in the same way. The Present Reality of A$AP Mob Ferg has yet to publicly respond to Rocky’s latest comments. However, he addressed the group’s status in an interview last year with Touré. “I don’t think there is A$AP anymore,” Ferg said, pointing to the absence of new group music or projects like Cozy Tape. While acknowledging the collective’s cultural impact, he suggested that its structure has fundamentally changed. Ferg added that public perception of A$AP Mob has long centered on himself and Rocky. “While people cling to the legacy we built, when you think of A$AP, it’s primarily about me and Rocky in terms of music. Our journey was bolstered by the likes of Bari and Yams. Yet we emerged as the primary faces of this movement. We came together as a group and found joy in that synergy. Even so, we’ve since evolved into separate entities.”

In November, Drake found himself at the center of a legal dispute with Italian photographer Gabriele Galimberti, who alleged copyright infringement over an image featured in the music video for “What Did I Miss?”, released that July. Galimberti claimed that the arrangement of firearms appearing at roughly 14 seconds closely mirrored visuals from his own work, The Ameriguns. The case drew attention from fans and industry observers alike. In turn, it added another layer of scrutiny to Drake’s creative output. The lawsuit also touched on broader controversies surrounding both men. Galimberti faced backlash for a Balenciaga campaign featuring children with teddy bears dressed in S&M-inspired outfits. Meanwhile, Drake recently contended with public accusations from Kendrick Lamar during a highly publicized exchange. As the filing noted, “In light of Kendrick Lamar’s lyrics accusing Defendant Graham of pedophilia and the subsequent dismissal of Defendant Graham’s defamation lawsuit, it is apparent that Defendant Graham sought to insinuate that he, like Plaintiff, would ultimately be cleared of such allegations,” highlighting the complex intersections of reputation, art, and public perception. Drake Clears Legal Hurdle as Fans Anticipate Ninth Album AllHipHop reported that the copyright suit has now been dismissed “with prejudice,” preventing Galimberti from bringing the claim to court again. The resolution appears to leave each party responsible for their own legal costs. However, no further details have been disclosed. For Drake, the ruling represents a clear legal victory. It removes a potential hurdle and allows him to focus on his creative pursuits. This legal triumph arrives as anticipation grows for Drake’s ninth studio album, ICEMAN. Although an official release date has yet to be confirmed, insiders suggest it could arrive soon. This has sparked excitement among fans eager for new music. As Drake navigates both the courtroom and the studio, his standing in the music industry remains robust. This reinforces his influence in shaping contemporary hip-hop culture.

In a revealing discussion with DJ Akademiks, A$AP Rocky addressed the long-speculated tensions with Drake. This gave fans an unusually direct look at the personal dynamics behind the headlines. Rocky spoke candidly about friendships and rivalries in the music world. He unpacked the often-complex emotions that fuel public disputes. Moreover, his willingness to engage openly has sparked conversation online, as listeners weighed his perspective against years of speculation. Akademiks highlighted the transparency Rocky brought to the conversation. “I put it to him straight,” he recalled, describing his question about whether romantic entanglements played a role in the feud. Rocky responded without hesitation, admitting a personal dimension: “I ain’t gonna cap with you,” confirming that women were a factor in the perceived rivalry. The exchange offered a rare glimpse into how personal and professional lives can collide in the rap industry. The conversation also reflected the broader patterns of conflict in hip-hop. Akademiks remarked, “There’s a plethora of rappers with grievances against one another, yet many refuse to articulate the root causes directly. They shy away from saying, ‘This dude messed with my girl; how could I ever be cool with him again?’” Rocky’s openness illuminated the emotions that often remain hidden behind public personas. Akademiks Reveals Inside Details From His A$AP Rocky Interview Akademiks opens up about his interview with A$AP Rocky and confirms he directly asked Rocky about the rumored beef with Drake. Ak’s Question:He told Rocky straight up that he believes the tension between… pic.twitter.com/5jWuJhMAaE — Cousin Tino (@TINOISFUNNY) January 21, 2026 Rocky’s Hints Stir Speculation as Rap Rivalries Remain Unresolved The conversation also reflected the broader patterns of conflict in hip-hop. Akademiks remarked, “There’s a plethora of rappers with grievances against one another, yet many refuse to articulate the root causes directly. They shy away from saying, ‘This dude messed with my girl; how could I ever be cool with him again?’” Rocky’s openness illuminated the emotions that often remain hidden behind public personas. The dialogue comes as Rocky prepares to release his fourth studio album, Don’t Be Dumb. Fans believe the album contains tracks that may reference Drake. On “Stole Ya Flow,” Rocky raps, “First you stole my flow, so I stole yo’ b*tch,” blurring the line between artistic influence and personal history. While listeners speculate on the implications, Rocky maintains ambiguity. This leaves room for interpretation while fueling discussion. Nonetheless, Drake has not publicly responded to Rocky’s comments, and fans remain attentive. They are eager to see how these dynamics might influence future collaborations or continued rivalry.

Travis Scott is finally clearing the air about those viral videos that show him seemingly smashing laptops whenever he’s next to a DJ. According to the UTOPIA superstar, the internet hasn’t been getting the full story. LAS VEGAS, NEVADA – FEBRUARY 10: Travis Scott performs onstage during Michael Rubin’s 2024 Fanatics Super Bowl Party at the Marquee Nightclub at The Cosmopolitan of Las Vegas on February 10, 2024 in Las Vegas, Nevada. (Photo by Rich Polk/Getty Images for Fanatics) In a new interview with Rolling Stone, Travis addressed the compilations circulating online that paint him as someone who wilds out behind the DJ booth. He says many of the moments are misunderstood and taken completely out of context. “A lot of these times y’all see these videos, I’m walking up to somebody else’s computer, and they’re asking me to do something I don’t want to do in that time,” he explained. What Actually Goes Down According to Travis Scott, it’s not about disrespect or rage it’s about bad equipment and the chaotic, energy-filled environment. Travis revealed that many of the laptops he’s handed are already messed up, with broken keys and lagging systems. @rawcert @Travis Scott love to destroy things #travis #fypシ゚ #fein #tiktokgermany #clubshow #paris ♬ Originalton – RAWCERT “A lot of these fools’ computers are just f***ed up… the Command keys aren’t working,” he said. He even admitted to replacing one of his “homies computer” after a “turnt” DJ session. For Travis Scott, DJing isn’t about popping out for appearances. It’s about the music, the culture, and the feeling.  @much The DJ was trying SO hard to keep it together [: @Brainchild] #travisscott #cactusjack #goosebumps ♬ original sound – MuchMusic “It’s not even, like alcohol or nothing,” he continues. “It’s literally just pure energy. Like no one sees the other side of the camera, like the fans and, you know, people just like going so crazy. And I don’t like being in a club just to stand and pop out. I don’t go to a club to stand and pop out.”