“The Rock” Dwayne Johnson And Flo-Rida Show Off Their Physiques At Wrestlemania Wrestlemania XXVIII went down in Miami Sunday and Flo-Rida and “The Rock” were in fine form for the event. Ladies if you had to choose between these two muscle-bound dudes, Which One Would You Hit??? Mmmmmmmmmmmmmm. Diddy was also in the building. Check out more pics below: Retna More On Bossip! Dirty Secrets: 10 Lies Men Tell Women That Women Don’t Want To Know The Truth About Anyway Just Stay Away: The Biggest Comeback Fails Of All Time Matrimony-Dom: Meagan Good Is Offcially Engaged To Be Married To Her Preacher Boyfriend DeVon Franklin Must Be Nice: Did Chris Brown Make It Rain On Boo Thang Karrueche By Buying Her A $175K Whip Just Make RihRih Jealous???
‘We’re gonna see who the greatest of all time is,’ Cena tells MTV News of Sunday’s WM 28. By Rob Markman, with additional reporting by Josh Horowitz John Cena Photo: MTV News With the anticipation for WrestleMania XXVIII coming to a boil, you kind of get the feeling that Dwayne “The Rock” Johnson and John Cena don’t really like each other. Seriously, how would you feel if the Rock called you a girl? “He literally uses the same material over and over and over again and convinces people that it’s still funny,” Cena told MTV News recently, brushing the insult aside. The two towering masses of muscle will face off on April 1 at the Sun Life Stadium in Miami Gardens, Florida, during the main event for the 28th edition of the WWE’s annual WrestleMania throwdown. But the tension between the two has been building for years. In a February interview with MTV News, the Rock got personal. “Here’s the thing about John Cena: He’s such a good girl, really good woman,” Johnson joked. “At the end of the day, he knocked on my door, I’m gonna answer it. I’ve got a size-15 boot, and it’s gonna go right up his stink. Or his lady parts — either one.” Cena said he’s heard it all before. This Sunday, he promised, things will get serious for his opponent. “If I have lady parts, that’s OK, but you’re gonna pee and crap yourself at the same time when you realize you’re in the ring with a professional,” he said sternly. The 6’1,” 251 lb. hulk has been itching to fight the wrestler-turned-actor for seven years and now that he has his chance he doesn’t plan to waste it. “I got you man,” Cena warned “The Tooth Fairy” star. “I know things about you that you don’t even know about yourself,” he said, addressing the Rock, who’s taking a short break from Hollywood to return to the ring, directly. “April 1, we’re gonna see who the greatest of all time is.” Who do you think will win the main event at WrestleMania XXVIII? Tell us in the comments!
MTV’s Gil Kaufman and James Montgomery hope the top nine will buck convention and show their age — in a good way. By Gil Kaufman and James Montgomery Jessica Sanchez on “American Idol” Photo: Fox So far this season, the finalists on “American Idol” haven’t done a great job when it comes to song selection. Whether it’s rescuing an obscure hair-metal tune by White Lion from history’s trash heap or stupidly picking the same Adele song in the same week, these kids don’t seem to have the magic touch. That’s why this week’s theme — songs from their idols — is so pregnant with promise. Finally, an opportunity for Heejun , Colton, Jessica, Hollie and the gang to break out of their predictable been-there-done-that-downloaded the-iTunes-single-and-already-deleted-it ballad ghetto. Show producer Nigel Lythgoe has already let slip on Twitter that we can expect to hear “Beyonce, Mariah, Miranda, Lifehouse, Daughtry, Led Zeppelin.” Zzzzzzzzzzz. So we know it’s already set in stone and nobody listens to us anyway (though they totally should), but here is what we would like to hear the top nine sing this week: Colton Dixon The Warped Tour wannabe has already proven his terrible taste in tunes (White Lion, Switchfoot), and we can only assume he’s going to move into the Lifehouse this week. We get the piano thing, but Colton needs to prove his rock bona fides with something uptempo and (relatively) contemporary, since he’s the only guy who has a “look” to speak of. How about the White Stripes’ “Fell in Love With a Girl”? Or Radiohead’s “Creep”? — Gil Kaufman Word on the street — or the Internet — is that he’s going to do a Lifehouse song, which, OK, seems perfectly fitting (anyone who’s read my “Idol” report cards knows how I feel about this guy). But since we’re swinging for the fences here, I’m going to suggest C.Dix go outside his comfort zone and take on Death Cab for Cutie’s “I’ll Follow You Into the Dark.” It’s plenty somber, and it plays directly to his strengths: namely, being kinda wussy and connecting on a deeply soulful plane with his female fans. Imagine the squeals when he keens “Love of mine … ” Or, shoot, maybe he goes super current and does Fun.’s “We Are Young”? — James Montgomery Hollie Cavanagh We get it, Hollie, you are the tiny queen of the gigantic ballad. But what you haven’t done yet is show us some personality. Here’s your chance. Go with an uptempo song that’s fun but isn’t by a singer known just for their soaring vocals. Perhaps Katy Perry’s “Firework”? — Kaufman We know she can sing. We also know that she relies w-a-a-y too heavily on torchy, big-time ballads as a result. So this week, I’m hoping she changes things up a bit, shows some personality and covers a super-pop tune like Katy Perry’s “Hot N Cold” or “Part of Me.” Or maybe she splits the difference and does Lady Gaga’s “Born This Way”? She needs to have fun up there, because I get the creeping suspicion that voters might be getting bored with her, which could mean she’s getting dangerously close to elimination. And that would be a shame. — Montgomery DeAndre Brackensick What do you do with this guy? He’s got the falsetto and, apparently, a look that the ladies love, but he’s low on stagecraft and just never seems comfortable in his own skin. There may be no better song for him to tackle than Maxwell’s cloud-chasing falsetto ballad “Prettywings.” It makes him sound now and it’s so in his ballpark, it’s sick. — Kaufman Still waiting on him to have his breakthrough moment (though his hair remains a constant highlight each and every week), and since this week’s theme is apparently “Idols” — and since J.Lo keeps dropping references to it — I’m just going to assume the inevitable: He’s doing a Bob Marley song. But which should he choose? “Three Little Birds” would showcase both his voice and his impressive bobbing skills, though how amazing would it be if he switched things up and did Pete Tosh’s “Legalize It”? Steven Tyler would probably leap onstage and sing it with him. — Montgomery Phillip Phillips Phil’s problem is he’s kind of no fun. He won’t listen to Tommy or Jimmy about clothes or music, and he kind of just turns every song into a Dave Matthews grumble. I could go one of two ways with this guy: either a hushed, not growly ballad by Bon Iver like the Grammy bait “Holocene,” or something fun and light like Jason Mraz’s “I’m Yours,” which everyone loves! — Kaufman Another, uh, favorite of mine ( loved what he did on “Movin’ Out,” especially the part where he turned it into an ungodly growl-fest … ), and if you think he’s not doing Dave Matthews tonight, well, then you’ve never watched his feet while he plays. All kidding aside, I’m hoping he goes outside the box, maybe does Nick Drake’s “Pink Moon” or Jeff Buckley’s “Grace.” Neither of those things will actually happen, of course, and according to Nigel Lythgoe’s Twitter account, someone’s doing Daughtry, so it’ll probably be him. It’s definitely in his, uh, zone. So I’ll say he does “What About Now.” — Montgomery Heejun Han Best-case scenario is Hee Han comes out and does a “Weird” Al Yankovic song and just gets it over with. But if the “funny” finalist insists on hanging around, he also needs to break out of ballad jail and go for something a bit faster, but not as jokey as his Billy Joel performance. My pick: Green Day’s “Wake Me Up When September Ends.” — Kaufman I was going to suggest he do the “Nyan Cat” song , since it’s nearly as annoying as he is. But since that seems like a longshot at best (though, with Heejun, you never know), and given the buttery loverman shtick he keeps foisting down our throats each week, I’m thinking he goes R&B. Perhaps Usher’s “U Got It Bad”? D’Angelo’s “Untitled (How Does It Feel)”? Or maybe he goes into full-on Operation Shutdown mode and just cover’s Beck’s “Sexx Laws”? Anything to speed up his inevitable exit. — Montgomery Skylar Laine It’s hard being the only country girl. While the temptation is to break out of that gilded cage, one way spunky Laine can mix it up is by choosing a new classic by an old star. What about the Jack White-produced “Van Lear Rose” by Loretta Lynn done in a bluesy/jazzy style? — Kaufman Gee, I wonder if she’ll do a country tune? Lythgoe hinted on Twitter that someone’s doing a Miranda Lambert song, so I’ll go out a limb and suggest it’ll be her. Which means get ready for a version of “The House That Built Me,” y’all! Other, less inevitable suggestions? Since she got so many Reba comparisons, perhaps “You Lie” or “What If,” or a classy, brassy take on anything from the Patsy Cline songbook (“Crazy”? “I Fall to Pieces”?). — Montgomery Joshua Ledet How Ledet went from being one of the front-runners to a potential also-ran is a mystery to me, but needless to say, he needs to bring it this week. We know he can do church, but can he do something a bit more pop? I say have some fun and do R. Kelly’s “Happy People.” It’s mostly midtempo, but Josh could surely throw some fire into the middle to make it ignite and prove again that he can handle modern music. — Kaufman What to do with Josh? He can sing practically anything, though after a rough couple of weeks, perhaps he needs to get back to basics: Gospel. Maybe he does Kirk Franklin’s “Looking for You”? If he’s looking for something a little more, uh, contemporary, does he dare bring the “Mantasia” thing full-circle and do the fabulous Fantasia’s “I Believe” or “When I See U”? — Montgomery Jessica Sanchez We get it: The tiny girl can blow the roof off the dump. Ballads? Check. After her disastrous “Turn the Beat Around,” J.Sanch needs to show us she can do dance floor as well as prom night. It’s gotta be Rihanna, and I give her a choice: “Only Girl (In the World),” or “We Found Love.” — Kaufman She’s doing Beyonc
Jada Pinkett-Smith is ready to ROCK again! After revamping the band she started in 2002 (which was booed off the stage at previous shows), Jada released a behind the scenes video for “Wicked Evolution’s” new single, Burn.
‘We’re happy with what we wrote,’ Winter tells MTV News, confirming that he and Keanu Reeves reprised their characters while developing the script. By Josh Wigler, with reporting by Josh Horowitz Alex Winter Photo: MTV News God gave rock and roll to you, and if you’re lucky, he’ll give you a brand new “Bill and Ted” adventure as well! That’s the plan, at least, according to one half of the dimwitted duo: Alex Winter, who starred as Bill Preston Esq. in both “Excellent Adventure” and “Bogus Journey,” isn’t just hoping for a “Bill and Ted” reunion, he’s getting close to making it actually happen. “I think the reality is that there probably will be another one,” Winter told MTV News during a recent interview. Indeed, Winter and co-star Keanu Reeves both recently confirmed that a third “Bill and Ted” script is finished (and totally excellent). Of course, given how long it’s taken to get the third movie off the ground — “Bogus Journey,” their last appearance, hit theaters in 1991 — arriving at a universally agreed-upon idea wasn’t an exact science. “We just kicked ideas around [over the years] and eventually, we kicked one idea around that clicked,” Winter said. “It felt timely. Funnily enough, it felt better because so much time had gone by. What would it be like to revisit those guys now? From a comedy standpoint, it felt kind of cool to revisit two galvanized comic characters a chunk of time later, [exploring] what you can do with that from a comedy perspective.” Though much time has passed between the last “Bill and Ted” and now, Winter admitted that it’s “very possible” that Bill and Ted themselves, despite their age, haven’t grown up with the times — though he would neither confirm nor deny their current maturity level. What he would say, however, is that the next “Bill and Ted” adventure would focus heavily on the rock and roll spirit that’s always been present in the franchise. “What’s happened to rock and roll in the last 20 years? The movie’s going to get in and play with some of that stuff,” he said. “Where is rock? Where are we? What’s happened to the whole idea of saving the world — or what hasn’t happened? There’s a lot to play with there.” There’s so much to play with, in fact, that Winter and Reeves both slipped into character on more than one occasion while developing the new “Bill and Ted” script. “Yes, we did. It’s really sad how easy it was [to get back into character],” he laughed. “You go away and do all this other stuff and go, ‘I’m not Bill, that’s absurd!’ … And then me and Reeves got together, and suddenly we’re the characters again. We didn’t even mean to. We just started riffing on it. When we were doing notes and me and Reeves started riffing on the dialogue, it’s just, oh my god. Yeah, it’s in there. God knows.” “Bill and Ted 3,” which has a title that Winter won’t reveal just yet (“But it’ll say it all,” he promised), still has obstacles in the way. No, there are no Evil Us’s to consider, but the script does not yet have a green-light. According to Winter, though, he’s more than happy with the project as it stands, even if it never makes it to the big screen. “It’s something we think is a very fun thing. We had a lot of fun developing it, and the guys are amazing writers,” Winter said of working with longtime “Bill and Ted” writers Chris Matheson and Ed Solomon. “We had a lot of fun with the script. We’re happy with where it’s at now. If it goes forward, great. If it doesn’t, we’re happy with what they wrote and what we came up with.” Tell us what you think of the most excellent “Bill and Ted” news in the comments section!
‘I’m getting ready as we speak,’ she tells MTV News of this year’s tournament, tipping off Monday. By James Montgomery Ke$ha Photo: Getty Images Last year, based mainly on her attitude, the fact that she plays an AK-47 shaped guitar and the presence of photos like this , Ke$ha was given an 11 seed in MTV’s Musical March Madness tournament — and promptly lost by a huge margin to U2 in the opening round. Of course, she’s spent the past 12 months fuming over that early exit, and now, she’s going to get her shot at redemption. Not only is Ke$ha back in the 2012 MMM tournament — which kicks off Monday — but she’s beefed up her rock credentials: working with the likes of Alice Cooper , channeling the “sexiness” of ’70s rock on her new album, recording a (genuinely pretty great) cover of Bob Dylan’s “Don’t Think Twice, It’s Alright” and spending time snorting Tums with Wayne Coyne. So, yeah, this year, she’s ready to knock off the field of 63 other acts gunning for the MMM trophy — a brimming bracket that includes defending champions Green Day , upstarts Fun. and good pals the Black Keys , to name just a few — and reign supreme. But just in case all that rock-and-roll prep work isn’t enough to put her over the top, well, Ke$ha has another secret weapon at the ready: an incredibly toned pelvic floor. “I’m getting ready as we speak. I’m doing Kegels,” she told MTV News, while throwing phantom punches at an unsuspecting cameraman. “Vote for me!” MTV’s 2012 Musical March Madness tournament begins Monday, March 12, when we’ll unveil the full field of 64 bands that will battle for this year’s championship. Winners are determined by fan votes, so if your favorite act made the cut, it will be up to you to guide them to glory. You can rally the troops on Twitter using the hashtag #MMM — but get ready, it’s gonna be a war.
Teenage rapper unveils his major-label debut, filled with feel-good tracks that prove he can hold his own against more seasoned MCs. By Rob Markman Diggy Simmons Photo: Andrew H. Walker/ Getty Images NEW YORK — Diggy Simmons took one step closer to his Unexpected Arrival when the teenage rapper unveiled his album for press, the music industry and their daughters, nieces and little sisters Tuesday night at Tribeca Cinemas in New York City. Team Diggy served up his signature Jetsetters non-alcoholic drink to the teenage crowd who gathered to take the first listen to the rap rookie’s major-label debut, which is due out March 20. Last week, at the rehearsal for BET’s upcoming “Rip the Runway” fashion and music show, MTV News caught up with Diggy to talk about his anticipated debut. “It’s just going to show the world,” he told us at the February 28 shoot. “People have gotten different pieces of me doing my thing from the freestyles to the mixtapes and different things, but this is a full project of original music and it’s just me taking that to the next level of what people really aren’t expecting. The title really speaks for itself.” Unexpected Arrival begins with a spoken-word intro and leads into the rock-tinged “Hello World.” It’s a chest-pounding proclamation befitting of the son of rap legend Run, but young Simmons is without a doubt his own artist. Diggy proves he can spit with the best of them. On “88,” he manages to hold his own against LOX luminary Jadakiss. He pulls similar lyrical stunts on songs like “Tom Edison” and “The Reign” while still catering to the teenage girls squealing at the front row of his shows. The LP’s first single, “Do It Like You” featuring Jeremih, is already a proven winner, currently at #13 on the Billboard R&B/Hip-Hop Songs Chart and still rising. On “4 Letter Word,” Diggy explores L-O-V-E with a youthful, wide-eyed optimism, and on “Special Occasion,” he celebrates like a young man should. It isn’t all perfect though. “Unforgivable Blackness” is an honest attempt at depth, but the socio-politically charged track seemed to stick out like a sore thumb on an album filled with feel-good music. But on Tuesday night, the starstruck crowd gushed in approval at each track. Among his true fans, Diggy could do no wrong. Related Artists Diggy Simmons
It only took about 20 years from conception to writing to development to shooting to the most notoriously protracted post-production saga in recent memory, but Kenneth Lonergan’s embattled epic Margaret finally had the festival premiere it deserved Saturday night in Manhattan. In its own way, even that event was chronologically vexed. The special screening — part of the Film Society of Lincoln Center’s annual Film Comment Selects series — came a few months after distributor Fox Searchlight gave the tale of an Upper West Side teenager transformed by her role in a fatal bus accident the most cursory release possible: One week in Los Angeles and New York, then out of theaters entirely before a critical groundswell rallied on its behalf in the heart of awards season. The campaign yielded the occasional fruit — Best Actress consideration for leading lady Anna Paquin here , Best Supporting Actress consideration for Jeannie Berlin there — but more than anything, it spotlighted Margaret ‘s breathtaking range of fascinations and flaws , a spectrum stretched over the film’s contractually mandated 150-minute running time (pared down from a rumored maximum of four hours) and a six-year behind-the-scenes drama that was once said to involve as many lawyers as it had editors. On Saturday, though, Lonergan — accompanied onstage afterward by lead editor Anne McCabe and every available cast member including Jean Reno, J. Smith-Cameron (pictured above with Lonergan) and Lonergan’s best friend (and eventual post-production patron) Mathew Broderick — had no intention of dwelling on Margaret ‘s tortured route to the screen. Not that Film Comment editor Gavin Smith didn’t give the writer-director his best shot, asking Lonergan to recount Margaret ‘s evolution from a 167-page script to the film we saw Saturday night. “I know that’s a long story,” Smith said, “but I think there’s a chance for you to correct some misinformation about the project.” “Well, I don’t really want to correct any misinformation about the project,” Lonergan replied, his voice pitched barely above a mumble. “Maybe you could narrow it down a little bit, because from writing the script to casting it to shooting it to editing it, there are so many steps involved. Is there any particular element?” “Well,” Smith said, “at a certain point in the process — and maybe this is a question for Anne, your editor — you arrived at a cut that was considerably longer than the cut that other parties involved with the project wanted it to be.” “No, uh…” Lonergan began. “Actually, the fact is we had a lot of cuts of the film. We did a lot of screenings. This is the cut that we ended up with and that we got released. I’m very pleased with this cut. It’s part of any normal process to go through a series of cuts, and you try to make it shorter or you try to make it longer or you try to emphasize this or that element of the process. And a lot’s been written about it — none of it accurate — and I don’t want to deflect the question too much, but I’m frankly more interested in talking about the actual content of the film and the script and all that. I think that it’s just more in the nature of movies. It’s like writing a script: You have a lot of different versions and you settle on [one]. Rembrandt said [when asked], ‘How do you know a painting’s finished?’ ‘It’s when you can’t think of the last brushstroke,’ he said. In this case, the version that got released is the version that got completed in… I think 2008? And I think it’s wonderful. I’m very proud of it. I think Anne is, too, as far as I know.” “Definitely,” McCabe said from the far end of the stage. “I don’t think she’s ashamed of it. So I think I…” Lonergan paused. “I’m much happier talking about the film itself, or the script or the actors or the process of shooting or anything, anything, anything but that, for God’s sake. The rest of it is so boring, and it’s all wrong anyway. I don’t even know what happened. But I’m very glad it’s here now, and I’m very, very proud of it.” Anyway, Margaret ‘s drawn-out post-production has nothing on a gestation period that commenced decades ago — in 11th or 12th grade, to hear Lonergan tell it, when a classmate of his confided having witnessed an accident much like the one that sets off the film’s cataclysm of guilt, shame, shattered innocence and debilitating self-absorption. “It always stayed with me, and I always wanted to write about it,” Lonergan said. “It always cropped up in various things that I was writing over the years, and I finally had the idea for the whole film sometime around 1990… in the early ’90s. But I had other things lined up first to write, and I probably ended up writing it around 2000. It was just the idea of something that big happening to someone that young. The idea of having to deal with something that adult struck me as being a very compelling and interesting idea that stayed with me for… Well, I don’t want to tell you exactly how old I am, but then I was in high school and now I’m 49.” Other youthful, semi-autobiographical callouts crept out of that foundation as well. One of Margaret ‘s more contextually confounding scenes involves a classroom debate over the implications of a passage in King Lear ; playing one of the main character’s teachers, Broderick drew on his and Lonergan’s NYC high-school days in squaring off with not Paquin, but rather with her young castmate Jake O’Connor. The fierce sparring culminates in (spoiler alert?) the consumption of orange juice and a sandwich — just one of Margaret ‘s many tongue-in-cheek digressions borrowed from memory. Asked by O’Connor himself about the scene, Broderick demurred. “I don’t really have any thoughts,” he said. “I just say the thoughts that Kenny wrote. I think its pretty clear, that scene. It’s funny to me that people take your side. It’s also interesting because that really happened. Kenny and I both sat there while pretty much precisely that argument happened.” “That’s true,” Lonergan said. “That actually happened. That’s as best as I can remember the actual conversation. I’m pretty sure it’s pretty close.” “Even the sandwich?” Smith-Cameron asked. “There was a teacher we had — whom this was very loosely based on — who was hypoglycemic,” Broderick explained. “And he had a bad temper, sort of, and every now and then he’d be mad at somebody, and he’d take a sip of juice and have a bite of a sandwich.” “It was not in the script,” Lonergan said. “Matthew remembered that, and he brought orange juice and a sandwich for the scene. I had not remembered that. Yeah, we went to high school together. That scene on the rock where they’re smoking pot? Those two little girls are also Matthew and I.” The audience cracked up. “We didn’t intend to change the world,” Broderick said, “We just wanted to smoke pot.” The overall high spirits in the theater belied the reason many of its standing-room only crowd members attended: to hear Lonergan’s definitive take on how and why Margaret became the ” film maudit ” cited in the Film Comment Selects program guide . His reluctance to contribute to its mythology feels like his most telling directorial stroke; in a film as sporadically brilliant as it is rife with showy, uneven performances and blunt-force moral grandstanding, the only thing left for Lonergan to control is the texture of its history. We may never know how he and his collaborators settled on the Margaret we’ve gotten to know in recent months, which is exactly how Lonergan must have it for any chance to preserve its soul. Nevertheless, a telling insight into that soul came at the end of Saturday’s discussion as Lonergan elaborated on his depiction of New York City itself — long, panoramic views of Midtown Manhattan and the Upper West Side, headlights in its veins, the heavens thrumming with the skyscraper buzz of private lives and random aircraft watching over it all. The best, the worst, the unknown happens unceasingly all around us. Margaret deals with one young woman’s enlightenment — and resistance — to that physical reality, perhaps reflecting Lonergan’s own confrontation with creative compromise. “At the time I think it was always in the back of my mind about 9/11,” Lonergan said. “It was shot much closer to 9/11; in 2002, 2003, 2004, even 2005, you may remember, it was very hard to see an airplane go by and just look at it without getting a little nervous or without it having an extra reverberation. That’s faded now, I’d say. So that’s why we shot a lot of footage of airplanes. But the reason we shot so much footage of the city itself was because I just wanted her to be one [person]. That’s what she’s up against. It’s not evil, but just everybody else having their own lives. That is the inertia — the tremendous inertia — that she is unable to move in the direction that she feels is right.” Whether or not Margaret itself ever fully succeeded in moving in that direction for its filmmaker and its principals may never be known. But judging by the reaction of Lonergan’s audience on Saturday night — and the expansion of his audience as Margaret finds champions in film culture and beyond — the institutional inertia from whence Margaret came may yet succumb to a wave of curiosity and passion not unlike that of its creator. The kind that, paradoxically, we never see coming until the lights go down. Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter . [Top photo of Kenneth Lonergan and J. Smith-Cameron: WireImage]
The rapper performed his record “Good Feeling” during the Saturday activities for night two of All-Star weekend. Flo Rida Photo: MTV News Orlando, Florida– When it comes to music Flo Rida is a definite all-star, but before he made it big on the radio the Miami rapper had some pretty big hoop dreams. He didn’t get to shoot the rock this weekend but Flo set the Amway Arena on fire on Saturday night when he performed his hit single “Good Feeling” moments before the NBA kicked off their annual All-Star Slam Dunk Contest. “Early on with my boys, we played basketball and loved it so much and one day dreamed of playing basketball,” Flo told MTV News immediately after his performance. “So for me to go out there in an environment where I may not be an NBA player, but I’m definitely looked at as a celebrity as well, it’s just a blessing and I get chills just thinking about it.” Flo performed his Etta James-sampling “Good Feeling” flanked by a number of energetic dancers. It was a lively showing and for the rapper an unforgettable on as well. “I definitely enjoyed myself out there, you seen me jump around all over the stage,” he said. Performing during the live television broadcast was a thrill for Flo and so was watching the Slam Dunk Contest, which NBA baller Jeremy Evans won thanks to a move where he dunked two different basketballs in one jump. Flo Rida, an accomplished hit-maker who usually is out touring is also looking forward to spending time with his homeys during the star-studded weekend. “Besides that just hanging out with a bunch of my friends who I normally wouldn’t see around this time because I’m doing gigs,” he said when asked about his weekend highlights. Flo just narrowly missed his pal Rick Ross last night at the Sheltair Executive Airport Hanger in Orlando. Rozay threw an all-star bash and partied alongside Meek Mill, DJ Holiday and Maybach crew members Dre Films and Spiff TV. Ross and company left, just as Flo was coming in the club. No biggie though, the “Good Feeling” rapper kept the party going into early Sunday morning with R&B singer Pleasure P. What did you think of Flo Rida’s “Good Feeling” performance during the NBA’s All-Star Saturday festivities? Tell us in the comments! Related Artists Flo Rida
It’s the ROCK!!! A 12.76-carat pink diamond has been unearthed in an Australian mine, the largest ever found in the country. Christened as the Argyle Pink Jubilee, the diamond was found in mining giant Rio Tinto’s Argyle diamond mine in Western Australia’s East Kimberly region. The Argyle mine is the world’s largest producer of pink diamonds, with Rio Tinto reporting that the mine generates more than 90% of the global market supply. “A diamond of this caliber is unprecedented—it has taken 26 years of Argyle production to unearth this stone, and we may never see one like this again,” said Argyle Pink Diamonds Manager Josephine Johnson in a statement. Rio Tinto expects that after two months of assessment and planning, it will take ten days to cut and polish the diamond into a single stone. The finished stone will be offered for sale during the company’s annual Argyle Pink Diamonds Tender later this year. According to Australia’s Herald Sun, the diamond will be worth at least US$1.07 million. However, it is premature to judge the stone’s significance at this point, according to Sotheby’s Asia department head of jewelry, Chin Yeow Quek. “It is hard to judge a stone in the rough. It really depends on how large the rock will be polished downed to,” said Quek, explaining that diamonds tend to lose at least 50 perecent of their weight during the polishing process. “It also depends on the [intensity of] color and clarity,” he added. Ladies, this would make one helluva wedding ring wouldn’t it? Image via Rio Tinto Source More On Bossip! R.I.P. Whitney Houston: The First Look At The Official Obituary Of The Fallen Icon Sidepiece Showdown: The NBA’s Most Notorious (Alleged) Mistresses And Jumpoffs Korean R&B Singer Hospitalized For Paranoid Schizophrenia After Racist Twitter Rant Calling For A World Without Blacks! Breezy And His Boo Thang Hit The Beach… Do You Believe She’s Not Threatened By His RihRih Reunion?
