Kanye West and Bianca Censori go viral yet again after Grammys afterparty video resurfaces
It happened in February during a Grammys event at which Bianca performed a karaoke version Adele's Rolling In The Deep.
In the resurfaced video Kanye can be seen running his hands over Bianca's body as their tongues meet. SCROLL DOWN FOR VIDEO
The video went viral this week as Bianca jetted into Seoul, wearing perhaps her most surprising look to date - a completely covered up-outfit.
In a departure from her usual flesh-flashing attire, Bianca, 30, showed hardly a shred of skin as she touched down into the South Korean capital alongside her spouse, 48.
She wore black leggings, furry leg warmers, and a taupe messenger cap.
Kanye dressed similarly in all-black, opting for a zip-down sweatshirt, leather pants, and suede footwear.
The couple's outing comes about a week after Censori appeared in scantily-clad photos, which were photographed by her rapper husband and shared to Instagram.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Daily Mail
3 hours ago
- Daily Mail
Fans stunned after discovering photos of Guy Sebastian 'arrested' and with a black eye: 'The whole country is in shock'
A fake image of Guy Sebastian with a black eye has gone viral on social media - and clicking on it takes users to a scam website. The Australian singer, 43, was seen with a swollen and bruised eye in an AI image that popped up as a YouTube ad on Tuesday. It is accompanied by an alarming caption that reads: 'The whole country is in the [sic] state of shock after yesterday's news. 'Guy Sebastian says goodbye to his normal life. The police have arrested him.' Clicking on the ad takes users to a scam website, which attempts to get their personal details. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's new showbiz newsletter to stay in the loop. Daily Mail Australia has reached out to Guy Sebastian for comment. Guy is one of Australia's most recognisable music stars, and his image is likely being used to lure unsuspecting users due to his high public profile. It is the second time in the past month the singer's image has been used by scammers, after a similar picture of him with a black eye was shared in June. While the picture was clearly fake, many Reddit users questioned why they were seeing the image online. 'Anyone else getting spammed with weird fake Guy Sebastian news story ads?' one person asked. 'I wonder how they choose what celeb to target. Someone enough people know to maybe be interested, but not know well enough to know it's bull***t,' another wrote. It comes after Guy recently recalled the time he was held at gunpoint by multiple police officers in Los Angeles on suspicion of grand theft auto. The Australian singer said a knee was placed on his body while a gun was pressed against his face into 'wet concrete'. During an interview on Nova's Smallzy's Surgery with Kent 'Smallzy' Small in April, Guy recounted his terrifying ordeal. The incident, which occurred in 2011 when Guy was living and working in the United States at age 29, was confirmed by his management to the Sydney Morning Herald at the time. Guy told radio host Smallzy his car - 'bought on eBay' - was illegally towed by a dodgy company and taken to an undisclosed location without telling him. The company was attempting to exploit a legal loophole, which allowed them to sell impounded cars if they were not claimed by the owner within three months. Upon picking up his car from the impound lot, Guy called police to notify them that the car was no longer missing or stolen. After 45 minutes of being left on hold, Guy decided to drive to a local car wash while he waited to speak to police. 'One police car pulls up in the next wash bay. I'm on the phone to the sheriff and I see another pull up. Next, there's cops with guns drawn, screaming: "ON THE GROUND!"' he explained. The car was still showing in the police system as stolen, as Guy had not yet changed the status.
The Guardian
3 hours ago
- The Guardian
Kamikaze: An Untold History review – a bewilderingly brutal act of collective desperation recalled
Going by the raw numbers, Japan's use of kamikaze pilots in the dying days of the second world war was an effective military action. While the country lost almost 4,000 of its men by asking them to fly planes laden with explosives into enemy ships – a task that entailed certain death – the losses on the other side were closer to 7,000. But it was a bewildering act of collective desperation that still has the ability to shock, and tells us a lot about the futility of modern warfare and the power of mass hysteria in times of conflict. Kamikaze: An Untold History is a documentary by the Japanese public broadcaster NHK that could have been a very powerful film at 60 minutes but is still impactful at an exhaustive hour and a half. It starts with the first suicide pilots who flew in October 1944, as the Americans advanced inexorably across the Pacific towards mainland Japan. The programme is determined to commemorate individuals who perished, beginning with 20-year-old Hirota Yukinobu. There is clear footage of his plane hitting an aircraft carrier and creating a large explosion on deck, having taken a hit to the wing on its descent: we can well imagine the last moments of a young man's life being filled with fear of failure and perhaps the physical pain of fire in the cockpit, followed by a final split-second of realisation that his mission had been accomplished. What is even more extraordinary was what happened once the first wave of kamikaze pilots had flown. Newsreel propaganda, shown in cinemas nationwide, lauded the men as something beyond heroic: 'With your departure,' said one proud announcer, 'you have joined the gods.' It was thought that a nation that was willing to resort to such measures could not possibly lose, and that if Emperor Hirohito were forced to negotiate for peace, this show of strength would enable a more favourable deal. The men became superstars. The home village of 19-year-old Terashima Tadamasa erected a stone monument to his memory, and local dignitaries attended his funeral. In one of several interviews recorded in the 2000s and 2010s with first-hand witnesses, who have since died, the sister of 23-year-old Ishii Mitoshi recalls how hordes of well-wishing strangers made it hard for her family to grieve for him. Pilots had their final written statements read out on national radio ('Mother, are you well? I will not squander the 21 years of life you have given me!'). As the slogan '100 million kamikaze' became popular, schoolchildren wore headbands expressing support for the men, while adults who were not physically fit to serve often proved to be particularly fervent amateur agitators, urging the kamikaze on. The film is a straightforward historical account, so it doesn't debate the spiky moral and philosophical conundrums the kamikaze phenomenon raises. War requires the mass sacrifice of human life, often in the form of strategies that will certainly lead to heavy losses for your own side. The emotional pull of last year's American-made second world war drama Masters of the Air, for example, was provided largely by the idea of men being sent on missions from which many would not return. What is the logic in feeling inspired by the selflessness of soldiers who had a tiny chance of survival, but horrified by those who had none? Clear answers are not to be found here but, as we gaze at photographs of squadrons of men under the age of 25, whose whole adult lives were rehearsals for their death, we have to ask why. The slightly baggy back half of the film does give us more to chew on, as it looks at those who weren't selected, or who volunteered with some reluctance. Documents are found that suggest the Japanese navy rejected some men's applications if they had scored top marks in aptitude tests: at a time when few Japanese families could afford higher education, university graduates saw their peers become kamikaze pilots and wondered whether the country really wanted to turn its brightest minds into ammunition. More distressing than the tales of those whose privilege didn't protect them are reports of kamikaze mania driving men of all backgrounds to sign up unwillingly. We hear how they felt that the political climate gave them no choice: the dynamic that is always in place during conflicts, where it is treasonous to criticise the war effort, crushed any dissent. The kamikaze strategy gave Japanese citizens hope. The film ends by glimpsing the atomic bombs hitting Hiroshima and Nagasaki, brutal events that showed that hope to be false. Whether that made the gestures of the kamikaze pilots more or less noble than any other war death is a question that can't ever be answered, but this film shines new light on it. Kamikaze: An Untold History aired on BBC Four and is available on iPlayer.
The Guardian
11 hours ago
- The Guardian
Blackpink review – K-pop queens bring fun to New York with a little fatigue on the side
In 2023, the four women of Blackpink – Jennie, Jisoo, Lisa and Rosé – stood on top of the world. In the seven years since their 2016 debut, the K-pop quartet became the biggest girl group of all time, off the back of delirious hooks, hard-ass stunting, cut-glass choreography and relentless work. With billions of streams, sold-out stadiums and YouTube viewership records in their wake, the group became the female face of the boundary-annihilating force that is K-pop, taking pandemonium and hype as its calling card; with the exception of their slender physiques, everything about the band was huge. Their 2023 headliner set at Coachella – the first Asian and all-female group to headline one of North America's largest music festivals – served as a jet-fueled exclamation point on global domination. I stood in the crowd that night feeling like I'd been leveled by a sonic boom, in the best way. Much has changed in the two short years since then. The band went on unofficial hiatus for each member's respective solo careers, and the four subsequent releases – Jennie's Ruby, Jisoo's Amortage, Lisa's Alter Ego and Rosé's Rosie – all attempted to escape the Blackpink shadow with halting success; the group's two rappers, Lisa and Jennie, also launched English-language acting careers on HBO, in The White Lotus and The Idol, and returned to Coachella as solo acts with plenty of bombast but less horsepower. The once ascendant wave of K-pop, buoyed up by the massive crossover success of Blackpink and all-male peers BTS, stalled out abroad and lost traction at home, global ambition and misfiring albums costing musical identity and momentum. The pop banger remains, however, a universal, enduring language, and at New York's Citi Field on Sunday night, Blackpink flexed their mastery of the genre with a tour of their energy drink-style hits – unabashedly manufactured, relentlessly upbeat, the highs jagged, aggressive and borderline hallucinatory. Just two years after their last world tour, Blackpink is back for what is billed as a reunion, with the band in a precarious if still victorious position; the last North American stop of their Deadline World Tour (is the deadline age? Solo success? Fleeting consumer attention?), at a stadium in one of the largest Asian American communities in the US, is an undeniable celebration, a spectacular if familiar show of force. It's also evidence of the wandering focus of a band now comfortably at the top; despite the alleged urgency of the deadline, the 2.5-hour show is more slack than Blackpink standard, the girls still stunting but no longer out for the kill. (With the exception of Lisa, the group's hardest member by far, who remains lethal, her dancing never less than crisp.) Numerous times during the group's typically maximalist set – three acts and an encore, spliced with two-to-three-song solo diversions for each member – I caught the look of fatigue on their faces. A drop of the elbow here or a slip of the mean mug there, though quickly smothered by the pyrotechnics, army of industrial backup dancers, lasers, general swirl of stadium sound and camera work that largely denied the pleasure of seeing all four in formation, in favor of one or two singers at a time. And fair enough – the New York July night was so oppressively humid that I was dripping in sweat just standing there; after the head-banging bombast of Boombayah, all four were forced to acknowledge the air's palpable resistance to any movement, or as de facto spokesperson Rosé put it: 'It is REALLY hot today.' The goodwill of faithful Blinks – fittingly for the band, a stadium of many languages, diehard adults next to awed children with merch-toting parents in tow – largely covered for any lapses, and was rewarded with high-octane delights. New single Jump, making the girl power lineage explicit – 'So come up with me, I'll take you high / That prima donna, spice up your life' – layered itchy club beat, weapons-grade bass and tweaking choreography with lasers, fireworks and smoke for a full dose of undiluted, undeniable hype that got the crowd up. At their best, the siren call of 'Blackpink in your areaaaaaa' remains as potent as ever. Less so with the solo diversions, each introduced with interludes of overdone music video imagery of the luxe life – Vegas and city lights, diamonds and furs – that underscored their relative lack of precision. Jennie delivered obligatory stunting, Jisoo sensible pop, Rosé surprising ballads – her solo section, in which she went full Taylor Swift mode with the guitar, provided the most western-style pop moments of the show. If the solo sections hammered home one impression, it's that Lisa alone, in her dragon-skin suit and formidable sneer, has the jet fuel for a solo career. Also, that as a unit, the members' combined strengths covered their weaknesses like an airtight shield. It was a palpable relief, then, when they reunited following Rosé's turn for the pure force of breakout track DDU-DU DDU-DU, the wattage re-upped by camaraderie and their view of the finish line. Individually, they are pop artists in a crowded field, each neutralized and overwhelmed by the familiar elements around them. Together, they steamroll. And so it was that Sunday's finale of Like Jennie, in which all four came together to perform a song that Jennie just performed solo, briefly showed the stamp of Blackpink magic: the beat rips, the head-bopping with slick glasses is distinctly Jennie, but nothing hits quite like the four of them moving together.
