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Prior to this, the Atlanta hip-hop star angered Busta after he turned down his rap battle invite, claiming that the Brooklyn-bred rapper was too old to go against him in a song battle.

Nov 2, 2020
AceShowbiz – Busta Rhymes believes that T.I. should be grateful for not going against him in a “Verzuz” battle. During his appearance on Hot 97’s “Ebro in the Morning”, Busta claimed that he would easily beat down Tip, who previously turned down his challenge for a song battle.
“Let’s be clear. You said that you didn’t think me and T.I. would be a good ‘Verzuz’,” Busta told Ebro in the Friday, October 30 episode. “Direct response to that: Neither do I. It would be uncivil, that a**-beating.”
Referring to Fat Joe, Busta went on to say, “But what I’m saying is, I never asked to do a ‘Verzuz’ with T.I. That’s my brother and I love him, but I never asked to do a ‘Verzuz’ with him. Joe Crack was telling me that I see what was going on between him and [50 Cent]. And when 50, you know, kind of brushed him off, did I also hear this thing that T.I. was expressing about his issues with New York MCs.”
“[Joe] asked me if the opportunity to do a ‘Verzuz’ against T.I., would I do it? Motherf**king right,” Busta said on Hot 97. “And that don’t just go for T.I., that goes for any artist from any timeframe, any era of hip-hop.”

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“T.I., it is intriguing to me that you have such a concern with New York MCs,” the Brooklyn-bred rapper said. “I wanna understand what that’s about. But, from one brother that loves you to my brother that knows I love him, I’m begging you to step in the ring with me. I’ma bust yo a** … Come on T.I., let’s have fun.”
“I worked hard throughout these years, man, and I’ve been very consistent throughout these years. And I speak from a place of pride,” he continued. “I’m speaking from a place of being very clear of the fact that I’ve earned my right … to be very, very confident. I’m not speaking from a ‘stroking my own ego’ place, but I don’t think anybody can actually have a problem with me actually stroking my own ego if I chose to. Because I’ve earned it–justifiable so. Bust anybody’s ass on any stage, don’t matter who was the lineup … Bust anybody’s a** on whatever record that I had to be on….”
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Prior to this, T.I. turned down Busta’s rap battle invite because the latter was too old. “Busta’s one of the most phenomenal talents of our time, man,” Tip responded to the challenge. “I salute and respect Busta a whole lot. I just think the generational gap might be a little too much.”
Busta was quick to hit back at Tip. “It’s okay to let people know that you backed down from this ‘Verzuz’ offer. It’s okay, Tip. You’ve ‘respectfully declined.’ I guess that’s the fancy way to say that you turned down this ‘Verzuz’ battle,” the Brooklyn rapper said in his video. “You want to talk about generational gap? That’s a very respectful way of not saying that you don’t really want to sit in the smoking section with me and that you actually just turned down the opportunity to do this ‘Verzuz’ battle with me. It’s cool, Tip. You can say it, King of the South!”

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The stage of the Felsenreitschule, a theater carved from the side of a mountain in Salzburg, Austria, is about 130 feet wide. During concerts, artists come out from catacombs at the side, beginning a walk to the center that, depending on nerves, can feel punishingly long.The 21-year-old violinist María Dueñas made that journey under the spotlights for her debut at the prestigious Salzburg Festival one night this summer. But, instead of nerves, she felt comfort the moment she saw the seated orchestra.“I could tell, that I was in a safe space,” she said the next morning over coffee.She looked beyond the lights to the full house, taking in the audience’s energy. Once she found her place, nestled in the semicircle of the Vienna Radio Symphony Orchestra, she raised her bow and let out a steady, then soulful open G at the start of Bruch’s First Violin Concerto. During the slow second movement, she listened to the hall as she played and noticed that she couldn’t hear people breathing.Dueñas with the Vienna Radio Symphony Orchestra at the Salzburg Festival.Marco Borrelli/Salzburg Festival“That, for me,” she said, “is a very good concert.” Stunned silence is common at performances by Dueñas, who, in an industry always eager for the next prodigy, has emerged as something particularly special: a strong-willed young artist with something to say, and the skill to say it brilliantly.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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Speaking to Zane Lowe on Apple Music, the ‘Thank You, Next’ hitmaker talks about working together with the ‘Born This Way’ singer on their new single ‘Rain on Me’.
May 23, 2020
AceShowbiz – Ariana Grande had a great time working with Lady GaGa on their new single “Rain on Me”, revealing the “Poker Face” singer was hands-on when it came to all aspects of the collaboration.
The “thank u, next” singer had no idea what to expect when she signed on to work with GaGa and now reveals it was one of the most fulfilling collaborations.
Speaking to Zane Lowe on Apple Music on Friday (May 22), Ariana said, “She does do a really fantastic job riding that line of being like, ‘Hey, it is what it is’, but also, like, ‘I’m going to give you a f**king show, and I’m going to pick every color that’s on the screen – every lighting, every shot, every wig that every dancer is wearing. Every, everything. I’m going to pick, I’m going to help Ari with picking her make-up and her hair…’ ”
“It’s awesome. I really love seeing her have the point of view, and such gentleness at the same time. And respect for another artist at the same time.”
Grande also admitted she loved enjoying pure pop moments with her new pal, “It feels so fun to be a part of something so upbeat and, like, straight pop again, because I do feel like it’s been a minute since I’ve done something that poppy, and that’s funny because I am a pop person, but it’s just, everyone knows that my heart is kind of rooted in the R&B influence music that I make, and that’s where my heart is, but it just felt so good and fun and happy to dip a toe into her world a little bit, and to try this on for size.”
“The video is so GaGa and so fun. I had so much fun. I was like, ‘I’ve never dressed like this in my life. I’m just having the best time.’ ”

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The work, by the Ukrainian composer Maxim Kolomiiets and the American playwright George Brant, is inspired by the accounts of mothers whose children were taken during the war.The Metropolitan Opera announced Monday that it had commissioned a new opera about Russia’s abduction and deportation of thousands of Ukrainian children, the latest action by the company to show support for war-torn Ukraine.The work, which will be written by the Ukrainian composer Maxim Kolomiiets, with a libretto by the American playwright George Brant, tells the story of a mother who makes a long and perilous trip to rescue her daughter, who is being held at a camp inside Crimea.While the characters in the opera are fictional, the story is based on real-life accounts by Ukrainian mothers who have described making the harrowing 3,000-mile journey from Ukraine into Russian-occupied territory, and back again, to recover their children from the custody of the Russian authorities.Peter Gelb, the Met’s general manager, said the aim was to “support Ukraine culturally in its fight for freedom.”“I can’t think of a better way of doing that,” he said, “than having an opera that actually documents an aspect of the war that underscores the individual heroism of the Ukrainian people in the face of the most dire and horrible atrocities and circumstances.”Kolomiiets, 42, a composer and oboist who has written two operas and an array of orchestral, chamber and solo works, said that he felt “a responsibility to create something great and to show something very dignified about my country.”Brant has been conducting research that will help him write the libretto.Sylvia Jarrus for The New York Times“The objective is not only to draw attention to Ukraine but also to shed light on similar situations around the world where mothers endure immense suffering while trying to protect their children,” he said. “I want people to empathize with this pain and use any opportunity they have, at various levels, to prevent this kind of pain from happening.”Brant, who is known for “Grounded,” an acclaimed Off Broadway play that the Met is also turning into an opera, said that he hoped to “contribute in a small way to Ukraine’s cause as it faces this staggering challenge to its existence.”Writing and staging new operas takes time. The Ukrainian opera, which the Met hopes will come to its stage by 2027 or 2028, is the latest display of the company’s support for Kyiv. The Met was one of the first cultural organizations to announce after Russia’s invasion that it would not engage performers or institutions that supported President Vladimir V. Putin of Russia, and it cut ties with one of its biggest stars, the Russian soprano Anna Netrebko.Since then, the Met has helped create the Ukrainian Freedom Orchestra, an ensemble of refugees who fled the war and artists who stayed behind, which has led two international tours. The company has also staged concerts in support of Ukraine and hung banners forming the Ukrainian flag across the exterior of the theater.The opera is being developed as part of a joint commissioning program by the Met and Lincoln Center Theater, which began in 2006.The idea for commissioning an opera by a Ukrainian composer came during a meeting last year between Gelb and Ukraine’s first lady, Olena Zelenska. The Canadian Ukrainian conductor Keri-Lynn Wilson, who is married to Gelb and leads the Ukrainian Freedom Orchestra, was also present. Ukrainian cultural officials spread word of the opportunity and received 72 applications from composers, which were vetted by the Met.The Met draped the opera house in the Ukrainian flag in February when it held a benefit concert for Ukraine.James Estrin/The New York TimesGelb said that the Met had selected Kolomiiets because of his experience in opera as well as his deep understanding of Ukrainian musical traditions. Zelenska praised the project, saying in a statement that “the pain of Ukrainian mothers that the world should hear will be heard.”Russia’s abduction of Ukrainian children has received wide attention, especially after the International Criminal Court earlier this year issued an arrest warrant for Putin for war crimes, saying he bore criminal responsibility for the children’s treatment. The court also issued a warrant for Maria Lvova-Belova, Russia’s commissioner for children’s rights, who has been the public face of a Kremlin-sponsored program in which Ukrainian children and teenagers have been taken to Russia.Brant said he had been moved after reading news reports about Ukrainian mothers. The opera will feature workers from Save Ukraine, one of several charity groups helping mothers make the trek to find their children.“I feel like there’s thousands of stories that could be told and should be told about this conflict, but this one seemed to convey both the scale of the horror that the Ukrainians face and the courage and resilience of its people,” Brant said.Kolomiiets, who has been living in Germany since last year, said he expected his score would be “gentle, naïve, emotional and even dramatic.” He said that he tries to envision a peaceful and thriving Ukraine.“The story has a happy ending,” he said of the opera. “And it’s really important for us to have a happy ending right now.”Anna Tsybko contributed research. More

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