TIME viral

Husband Secretly Tapes Wife Breaking It Down to Salt N’ Pepa

The flow is strong with this one

If you want to sing along to Salt N’ Pepa’s “None of Your Business” in your car and bust out a few dance moves while you do it, that’s nobody’s business but your own— unless it turns out your husband is secretly taping your expert flow, and then the video goes viral.

A woman was just trying to show off her secret rap powers and enjoy a little car karaoke complete with adorable shoulder-dusting maneuver and well-choreographed hand moves, when she realizes her husband is playing Candid Camera. The look of horror on her face when she realizes her husband has been secretly taping her is one everyone can relate to. At least her husband had the good sense to title the video, “the cutest gangsta I know. My wife.”

As the video goes viral, the couple may have lost some trust in their relationship, but they gained the knowledge that the world loves a respectable Salt N’ Pepa cover.

[H/T Digg]

Read next: This Couple Tricked Everyone Into Being in Their Pregnancy Announcement

TIME Music

TV on the Radio Talks Seeds: ‘Much to Our Surprise, We Know What We’re Doing Now’

JUCO

“It’s my favorite record that we’ve made,” says TV on the Radio's Tunde Adebimpe

TV on the Radio recorded their new album, Seeds, far from their usual stomping grounds of Brooklyn. “I loved living in Williamsburg,” says the band’s garrulous frontman Tunde Adebimpe. “But I was in New York for 22 years. I think I can give LA two or three.”

Not that Adebimpe holds any grudges against Brooklyn: “It’s where we grew up, doing what we were doing. It was a really vital time for that area of Williamsburg and the Lower East Side. They were coming on the tail end of perhaps mythologized cultural milestones of the ‘80s. A lot of people at our age at the time — early 20s or 30s—slogged over there at the time and started doing our thing. We just wanted to impress each other, I don’t think we were thinking of any attention from the outside. It was great as a launch pad. I made some great friends there and went through some pretty transformative experiences.”

He does hold one grudge against the changing neighborhood, though: “Go visit the J. Crew that just opened where our studio used to be. We recorded two albums there. Now it’s a J. Crew.”

For their return to the studio, TV on the Radio — Adebimpe, Kyp Malone, Jaleel Bunton and Dave Sitek — set up shop in Sitek’s home studio in Los Angeles, a process that Adebimpe said was surprisingly fun and easy. “It was nice to be somewhere where you’re not exactly on the clock and worried about how much everything is costing you,” says Adebimpe. “It was pretty much the same situation as when we started making music. We started in a loft that Dave and I lived in in Williamsburg. It was super beat up and affordable and we would basically drink way too much coffee and smoke weed and stay up all night making dumb beats and writing a rhythm.”

“It kind of went back to that, except this time the loft wasn’t so beat up and we weren’t as worried about the cops showing up and kicking us all out,” says Adebimpe.

Adebimpe was surprised by how easy it was to record Seeds, the band’s fifth studio album, which is scheduled to be released on November 18. “It was really fun and went really quickly, and I think taking some time off was the key to that,” he says. “Much to our surprise, we know what we’re doing now. It hasn’t always been like that, so it was nice to find out that we could just go do that and have something that we’re really excited and proud of at the end of it. We put ourselves through a self-imposed meat grinder and we’re very happy with the result.”

On the new album, Adebimpe shares songwriting duties with Kyp Malone. “We had about 65 sketches when we came in the studio,” says Adebimpe. “It’s not as crazy as it sounds, because we had some time off between albums.” Three years, to be precise — as the band grieved over the death of bassist Gerard Smith in 2011.

“We’re always writing. Some of them are real sketches for songs and some would be someone humming into the phone for ten minutes,” says Adebimpe. “I recently went into my iTunes to see how many voice notes I had amassed in the last three years or so and there were 7,594.” He doesn’t know how many of those notes became songs, but “it’s definitely not all of them” — even though, he deadpans, “every single one of those voice memos is a hit.”

He brought the last six months of voice notes with him into the studio and they served as the starting point for the album. “We usually narrow it down to about 20 tracks or so, and then pick which 10 or 12 we want to work on,” says Adebimpe. “I think the key to this record sounding the way it sounds and the clarity and simplicity of the songs is that we worked really quickly and didn’t over-think things. If something didn’t get finished in two or three days, we would just drop it. It was quick and dirty.”

Additionally, Seeds is more upbeat than the band’s 2011 album Nine Types of Light. “We just tried to have as much as we possibly could,” says Adebimpe. “Not in that we wanted to make a ‘party record’ but in the sense wanted to make the album we want to hear now, the one we wanted to hear when we were 16 and the album we want to hear, hopefully, when we’re 60.”

“It’s my favorite record that we’ve made,” he says. But is he the sort of person who thinks every record is his favorite at the time of its release? He laughs. “Oh God, no. I really, really want to tour this record, and that’s not a thing I ever say.”

Seeds is due out just as the album that introduced the band to the world, Desperate Youth, turns ten — not that Adebimpe spends much time thinking about the past. “I haven’t listened to Desperate Youth since about six months after we finished it,” says Adebimpe, who admits he just bought all his band’s old albums on iTunes but hasn’t gotten around to listening to them yet. When pressed, Adebimpe admits that he’s still proud of Desperate Youth. “I love those songs and I’m really proud of everything that we’ve done, but it’s mostly really encouraging to realize that we’re still doing this after ten years, or 13 years, really, since Young Liars came out.”

When Desperate Youth was released, much was made of the fact that TV on the Radio was one of the very few predominantly black bands making indie rock. Ten years later, it’s still true. “I feel like it’s changed maybe a hair,” says Adebimpe. “There’s some young bands like Unlocking the Truth and The Bots that are around.”

For Adebimpe, though there’s nothing wrong with sticking out. “By and large it’s not a bad thing to not fit in,” says Adebimpe. “It’s the whole idea of punk rock — or old punk rock. I have no idea what it’s turned into now. But the punk that I grew up around — if you win, you’re still a punk. If you don’t win, you’re still a punk.”

TIME Videos

Baby Can’t Stop Dancing To Magical Birthday Card

Hamsterdancing all the way to nap time.

There’s an old truism that babies usually prefer playing with the wrapping paper to the actual present, but some kids never even make it to the gift.

Take the tiny tyke in this video, who seemingly never quite got around to opening the present, because she is too darn busy busting a move to the chipper tune blasting out of the birthday card.

As “The Hamsterdance” plays from the musical card, the baby shows off her diaper-shaking dance moves until she gets a little too exuberant and accidentally causes the card to close. She quickly figures out what needs to happen to keep the party going …at least until nap time.

TIME Television

Watch Seth Meyers Go Full Sorkin in Four Minutes Flat

Aaron Sorkin couldn't have done it better himself

Aaron Sorkin may be done with television, but television isn’t done with him yet. Last night on Late Night, host Seth Meyers managed to pull off the perfect Sorkin parody in just four minutes flat. Filled with the famed writer’s trademark ping-pong dialogue, walk-and-talk conversations, dramatic camera close-ups, impassioned speeches and random paper hand-offs that were perfected on the sets of The West Wing and The Newsroom.

Meyers, who honed his own sketch-making craft during his time on Saturday Night Live, not only managed to nail the Sorkin lexicon, but was also able to work in the fact that comedian Amy Schumer set a very high bar for Sorkin parodies with her own sketch, “The Foodroom,” starring Josh Charles as a patriotic restaurant manager.

The only thing that gave Meyers the edge on Schumer? Getting Sorkin himself to appear in the sketch.

TIME Music

Stromae Snags Lorde, Pusha T, Q-Tip and HAIM for ‘Meltdown’

Praise the Lorde for the latest from The Hunger Games: Mockingjay - Part 1 soundtrack

The Hunger Games: Mockingjay Part 1 soundtrack is the Lorde-curated gift that just keeps giving.

On the heels of the officially-released Lorde track “Yellow Flicker Beat,” its Kanye West re-working, and the Ariana Grande and Major Lazer dance-floor jam “All My Love” comes an unofficial leak of Stromae’s star-packed number, “Meltdown.”

The dark synth dance track from the as-yet-to-be-released soundtrack pairs the Belgian dance superstar with rapper Pusha T, hip-hop legend Q-Tip and California dream rockers HAIM, as well as Lorde herself. The combination sounds unlikely, but so does bacon and chocolate and we all know how well that works. An ’80s-influenced kinetic earworm, expect “Meltdown” to get people bobbing their heads from here to Panem.

The Hunger Games: Mockingjay – Part 1 soundtrack is officially due out 11/18 on Republic.

 

TIME Television

Alfonso Ribeiro Talks About Heading to the Semi-Finals on Dancing with the Stars

WITNEY CARSON, ALFONSO RIBEIRO
Adam Taylor—ABC

From The Carlton... and beyond!

“I’ve been wanting to do this show since the beginning,” says Alfonso Ribeiro of finally getting his chance to star on Dancing with the Stars, which heads into its semi-final round on Monday. “18 seasons have passed and now I’m here and I’m excited and happy to be doing it.” And why did it take so long for the actor to get a chance at taking home the show’s coveted Mirror Ball trophy? “Good question,” he laughs.

Now that the former Fresh Prince of Bel-Air star is there, he’s been making the most of his time on the show, consistently topping the leaderboard and impressing the judges with his fast-paced routines.

While Ribeiro is known for inventing The Carlton dance on The Fresh Prince of Bel Air, when asked if he knew was such a good dancer, he was quick to dispel the notion. “I never thought that this would be as easy as it’s been in terms of picking up the choreography and be able to do it and switch dance styles and make it work,” says Ribeiro. “I had no clue that it was going to be like this. It’s been a lot of fun. I think that is a testament to Witney Carson and her ability to teach me and make it work for me.”

Carson, who recently went salsa dancing with Ribeiro and the cast to celebrate her 21st birthday, is the youngest pro on the show — but Ribeiro, the second-oldest contestant left in the competition, doesn’t mind getting bossed around by a youngster. “It’s not about how old she is, but how much she knows in terms of dance. As long she’s just bossing me around on the dance floor, we’re good,” says Ribeiro. “We laugh about it all the time.”

The partnership has produced some tremendous routines, including a memorable jazz number that incorporated Ribeiro’s famed dance move, The Carlton. Over the course of the show, both the judges and the fans have responded to the good-natured charm and high energy that Ribeiro brings to the dance floor. “The kind of love that I’ve gotten from the fans and the public has been incredible,” says Ribeiro. “With The Carlton dance and doing J. Lo’s ‘Booty’ with the salsa, we’ve gotten a lot a lot of love, and we never really expected that.”

The fact that Fresh Prince fans are still turning out in droves isn’t exactly a surprise for Ribeiro, though. “It’s just a testament to the show and what we were able to do,” he says.

“It is kind of crazy that the show ended 20 years ago and people are still in love with it, but it just shows that the writing was great, the characters were great and the playing of those characters was great,” says Ribeiro. “It’s kind of cool to know that people are still loving it.”

Yet Ribeiro is anxious for people to realize that he’s much more than Carlton Banks and his namesake dance routine. “I certainly don’t want people to just think of me as that guy who did The Carlton dance 20-plus years ago,” says Ribeiro, who admitted to having struggled with the character he played on Fresh Prince. “I don’t have a love-hate relationship with it anymore. Now it’s just love for what I’ve done in the past, but there was a period of time where it was difficult and I couldn’t get past the feeling that I was getting typecast and I couldn’t really get the work that I wanted to get, creatively, because of that role.”

Ribeiro and Carson gave the fans what they wanted, namely The Carlton, early in the competition, but there was a strategy behind that decision. “By doing it earlier in the competition, fans were able to experience the entire ride with us,” says Ribeiro. “They found out that I was on the show, because we got so much publicity for doing The Carlton. They could see that and then say, ‘Wow, he’s doing all this other stuff, too, and he’s doing great and he’s having fun and has great energy and a great personality and a great partnership.’ It’s about the journey.”

As for the biggest challenge he’s faced on the show, Ribeiro is quick to say that the biggest difficulties have been physical. “I’ve hurt my toe, I’ve hurt my knee and I’ve hurt my groin and that means that for the past five weeks I haven’t been able to give 100% of my energy and not be able to do anything full out until show time, because I know when I do go full-out I’m going to re-injure it. It’s just this nagging injury that’s been there the whole time,” says Ribeiro. “It’s been hard emotionally, because I want to give it 100%, but I just can’t.”

When asked what he had in store for the semi-finals and, presumable, the finals, Ribeiro hedges. “We’re working on some things. We’re still in the creative process.” But make no mistake: Ribeiro wants to win, and not just to show the producers who made him wait 18 seasons for a chance to compete on the show.

“I absolutely want to win it,” Ribeiro says. “It’s hard to maintain that level of focus. Your body gets tired and your mind gets tired. There will be days where I think, if I make it to the finals that will be fine, and then my very next breathe will be heck no, I’ve got to win this thing. Witney and I are giving it our all every day and I’m hoping that will be enough to get us all the way to the end.”

If it is, Ribeiro already knows where he will put the trophy: “I won another show about 8 or 9 years ago called Celebrity Duets. I’ll put the Mirror Ball right next to that trophy.”

The semi-finals of Dancing with the Stars air Monday at 8/7c.

 

TIME Music

Azealia Banks Releases a Barely SFW Video for ‘Chasing Time’

Banks' album Broke with Expensive Taste is out now

Get More:
Azealia Banks, Chasing Time, Music, More Music Videos

Azealia Banks released a black-and-white video for her break-up track “Chasing Time,” one of the more noteworthy songs on her newly-released, long-anticipated album, Broke With Expensive Taste. The bittersweet and breezy dance-rap track, which was released as a single a few months ago, serves as a great reminder that when Banks is good, she is very very good.

The beautifully minimalist clip features Banks dancing through the drama in an ever-changing wardrobe, including one Lil Kim-worthy ensemble that leaves little to the imagination while remaining firmly PG-13. In the post-Kardashian era, it’s hard to know what’s SFW and what’s NSFW anymore, so watch at your own peril.

TIME Television

Concert for Valor: Watch Performances by Rihanna, Eminem, Bruce Springsteen

Carrie Underwood, Dave Grohl and the Zac Brown Band all performed at the concert for veterans

HBO’s Concert for Valor drew hundreds of thousands of fans to the National Mall in Washington, D.C., with millions more tuning in on television screens and radios across the country to hear performances by Rihanna, Eminem, Bruce Springsteen, Carrie Underwood, Dave Grohl, Metallica and many more.

The Concert for Valor was staged to boost awareness of veterans’ support groups, raise funds for veterans charities and salute the troops who do so much for the country. Fans came out in force to support the cause and to see stars like Dave Grohl, the Zac Brown Band, John Oliver, Meryl Streep, Steven Spielberg, Will Smith and Tom Hanks, who all seemed to mirror the sentiments summed up by Jamie Foxx,”I came because it’s just the right thing to do.”

Jennifer Hudson performed “The Star Spangled Banner” to open the concert. After a video message from U.S. President Barack Obama, she was joined onstage by Jessie J for a powerful performance of David Guetta’s “Titanium.”

Dave Grohl greeted his hometown crowd, “We’ve got a lot of heroes here tonight, we’re going to sing for them.” He then launched into acoustic versions of some Foo Fighter favorites like “Everlong” and “My Hero,” which turned into a tear-jerking, flag-waving singalong anthem.

Zac Brown band deliver a rousing rendition of “America the Beautiful” and were soon joined on stage by Bruce Springsteen and Dave Grohl for a rollicking rendition of Creedence Clearwater Revival’s “Fortunate Son,” which some viewed as a controversial song choice due to its anti-war sentiment.

After the Black Keys whipped the crowd into a frenzy with their tracks “Fever” and “Howlin for You,” Carrie Underwood, pregnant and in heels, performed her song “See You Again.” (Read about the military family that changed how she sings the song here). Then backed by the Singing Sergeants of the US Air Force, she performed “Something in the Water” followed by a crowd-pleasing version of “Before He Cheats.”

Metallica was introduced by Jack Black and took the stage sounding loud and proud for a medley of “For Whom The Bell Tolls,” “Master of Puppets” and “Enter Sandman.” They ended their raucous set by dedicating the songs to the troops, “Finally, we get to play for our heroes!” and leading the crowd in a chant of “USA! USA!”

Bruce Springsteen returned to the stage for a stripped down, acoustic set including a haunting version of “Born in the USA,” and a bare bones “Dancing in the Dark” and dedicating his performance of “The Promised Land” to service members who just returned home.

Bryan Cranston did his best Heisenberg impression, encouraging everyone to hire veterans at their companies, before introducing Rihanna who looked like a sparkly Batgirl in a floor-length caped pantsuit to perform “Diamonds” and “Stay.” She was joined onstage by co-headliner Eminem for their hit “Monster.”


As Rihanna left the stage, Eminem made the most the concert being aired on HBO by encouraging everyone to “give it up for motherf–king Rihanna.” The crowd cheered, while the millions of people listening to the show on iHeartRadio undoubtedly enjoyed the beep. Eminem dedicated his track “Not Afraid” to the troops who came home and those who did not. He then launched into “Lose Yourself” and the crowd roared its approval.


Before the concert, officials predicted that the free concert would be the largest gathering on the National Mall in years, surpassing the Fourth of July and many presidential inaugurations. Proving the point, the Park Police tweeted out a photo of the impressive crowds gathered at the National Mall:

TIME viral

Watch 10 Hours of Princess Leia Walking in NYC

"Hey your worship..."

It wasn’t a long time ago in a galaxy far, far away, but recently, right here in the streets of New York City that Princess Leia silently walked the streets for ten hours and recorded every catcall, every “Hey Princess….”, every attempt to introduce her to an “aid” named Lobot that was flung at her.

It’s the latest parody of the Hollaback! PSA, which captured the experience of a woman walking the streets of NYC and getting catcalled to raise awareness about street harassment. The spoof manages to be fun to watch without making too light of the original video’s serious message.

As Leia drifted down the street wearing a conservative ankle-length, turtleneck white tunic and simple ear buns, she was called after by everyone from Darth Vader to creepy hooded Jawas to supposed good guy Luke Skywalker and even Boba Fett, who just walked silently along side her for several minutes. While obviously noted sleaze-ball Lando Calrissian hollered at his girl, even Jedi Master Yoda couldn’t help but shout-out to the princess who was just trying to mind her own business (and probably save Alderaan).

 

TIME Television

Dancing With the Stars Watch: Threesome Night Again

ARTEM CHIGVINTSEV, LEA THOMPSON
Adam Taylor—ABC

Dance like everyone is watching

Welcome back to Dancing With the Stars, where we are creeping ever closer to handing off the coveted Mirror Ball Trophy for one of the stars to shove onto their ornamental fireplace (or mention on their college applications). Tonight the competition is split into two parts: America’s Choice, where voters assign dance styles to the stars, and the much ballyhooed dance threesomes, which they insist on demurely calling “trios,” because this is ABC.

Here’s what happened last night on Dancing With the Stars:

Alfonso Ribeiro and Witney Carson: Tasked with dancing a foxtrot to Robbie Williams’ “Ain’t That a Kick in the Head,” Alfonso and Witney decided not to rely on impersonal social media to guide their footsteps. Instead, they took their choreography choices to the (wo)man on the street, who helped plan their routine. The result was Alfonso in a top hat and tails gliding across the dance floor. Bruno Tonioli dubbed him “Alfonso Astaire” and admired the ability to combine the glamour of a bygone era with some “Justin Timberlake” flair. 37/40

Tommy Chong and Peta Murgatroyd: After finding out that they were headed to the semifinals, Tommy and Peta floated on air for their Viennese Waltz. Julianne Hough assured him that he would be in the competition for a very long time. Bruno agreed that he was “very watchable,” but it was Len Goodman who gave the ultimate compliment, “From one old geezer to another old geezer, you are my hero.” Being a hero doesn’t mean high scores, though. 29/40

Lea Thompson and Artem Chigvintsev: For their samba to Maroon 5’s “Animals,” Lea got into character by donning a tiny tiger-striped bedazzled unitard, which when paired with her long flowing blond mane gave her a distinctly Thundercat look. In a good way. The judges loved the routine, but Carrie Ann Inaba wanted her to loosen up a bit and let loose her inner tigress. 34/40

Bethany Mota and Derek Hough: America wanted Derek and Bethany to pretend they were a couple having a fight for their Viennese Waltz, because America apparently loves drama. At the end of the routine, Len wasn’t “transported to Vienna,” but he “was in Austria,” which is close enough. Julianne served up some word salad about Bethany’s journey and how she is a beautiful, vulnerable woman, and hoped that it connected with the audience. 36/40

Sadie Robertson and Mark Ballas: Mark choreographed a jive to a song by a band called Christian TV, which one can only assume is a subtle shout-out to Sadie’s much discussed faith. While the spirit may have been in the music, the judges weren’t moved. Carrie Ann thought Sadie lacked “strength in her torso,” which is apparently a key element to the jive, and Julianne simply stated that it wasn’t her favorite dance. 33/40

Janel Parrish and Val Chmerkovskiy: Riding the high of their perfect score from last week, Janel and Val are given the show-closing spot for their Jazz Age–themed quickstep. To top off those are-they-or-aren’t-they rumors, the dance ended with a big kiss and a bigger apology because apparently the patent leather shoes they were wearing stuck together. The judges didn’t mind, though, because much like Tom Cruise, the routine had all the right moves. 38/40

The Threesomes:

Alfonso and Witney and Lindsey: If aliens ever land on this planet and decide to watch a little television before decimating the planet, and they happen to catch the Matrix-influenced paso doble set to “Turn Down for What” delivered by a threesome of blonde baby bombshells and Alfonso, they may just decide to spare the world. Carrie Ann summed it up with her “two-word” critique: “DAY-UM.” 40/40

Tommy and Peta and Sharna: For their samba, Peta decided to choreograph a routine to Jason Derulo’s “Talk Dirty to Me” and paint Tommy as the dirty old man flying Chong Air and doing his best to enter the Mile High Club with two sultry stewardesses. The results were high-level ridiculous, and Bruno almost died from honking at the spectacle. The judges were already beside themselves at the end of the routine, and when Tommy pointedly said that dancing with the two women was “hard,” they all got the vapors and had to fan themselves with their paddles. 28/40

Lea and Artem and Henry: Leo got in touch with her inner dominatrix for her paso doble. Clad in black leather and looming over the men (wearing suspenders and no shirts, naturally) and stomping across the floor to Ram Jam’s “Black Betty,” Lea was the epitome of toughness. The judges loved it, especially the way she incorporated their advice and cut loose on the dance floor. 36/40

Bethany and Derek and Tony: As they prepared to fight their way into the semifinals, Derek decided to take some battle cues from Thunderdome to give their Argentine Tango more flair. Carrie Ann loved it, but couldn’t help but nitpick about a lack of traditional elements. The other three judges disagreed, though, because they just can’t help themselves. 38/40

Sadie and Mark and Emma: For their foxtrot, Mark staged a dance-floor battle with Sadie and Emma squaring off for his affections, which was clearly wish fulfillment on his part. While Sadie walked off the dance floor in tears, because she forgot the last few steps of the routine, the judges didn’t notice and Len stood up to pronounce it the dance of the night. Bruno claimed he couldn’t tell which dancer was the professional, and Carrie Ann and Julianne oohed and aahed over the routine (and the dresses). 40/40

Janel and Val and Keo: A jungle-themed samba with some seriously cover-your-eyes-kids moments, R-rated moves and jaw-dropping lifts. Julianne couldn’t help but point out that there wasn’t much samba content in the routine, but she didn’t care because the dance was so much fun to watch. Len thought it was fantastic too, but he had to deduct a point because a few some parts made him feel uncomfortable. 39/40

Safety first: After the last round of the night’s competition, Tom Bergeron announced that Alfonso and Witney, Bethany and Derek, and Janel and Val were all safe.

In jeopardy: Lea and Artem and Sadie and Mark were the last two standing.

Who went home: Lea. She left standing tall with a smile on her face and a desire to get back to work on Switched at Birth.

Best reason to come back next week: It’s the semifinals!

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