Ciara Reinforces Her Passion for Music with ‘CiCi’, Her First Album Since 2019 

Ciara poses for a portrait on Monday, Aug 18, 2025, in New York. (AP)
Ciara poses for a portrait on Monday, Aug 18, 2025, in New York. (AP)
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Ciara Reinforces Her Passion for Music with ‘CiCi’, Her First Album Since 2019 

Ciara poses for a portrait on Monday, Aug 18, 2025, in New York. (AP)
Ciara poses for a portrait on Monday, Aug 18, 2025, in New York. (AP)

Ciara will deliver a new bundle of joy on Friday, but it’s not the fifth child her husband publicly flirts with her about.

“It’s time. Honestly, I’ve been working on this album for almost five years,” said the R&B-pop superstar. “I put a lot of blood, sweat, and tears, as they would say, into this project ... I literally gave birth to two babies while I was making this project, too. So, a lot has happened.”

Expanding her 2023 seven-track EP “CiCi,” it’s the Grammy winner’s first album since 2019’s “Beauty Marks,” her first as an independent artist.

“I was still actively putting out music on the project. So, it’s not like I was five years chillin',” said the “Level Up” artist. “If I ever stop loving the process and experience, then I'll stop. But I have so much passion for it and I just feel so fortunate that 21 years later, from my first album ‘Goodies’ to now, that I still have the same excitement I had as a little girl.”

Her eighth studio album, “CiCi” includes songs from the EP such as “How We Roll,” her 2023 Chris Brown collaboration which reached No. 1 on Billboard’s R&B digital song sales charts, “Forever” with Lil Baby and the sensual bop, “Low Key.” But the 14-track full-length record, with writing and production from Theron Thomas and J.R. Rotem, separates itself with appearances from Tyga, BossMan DLow and Busta Rhymes. Latto also joins her on “This Right Here,” an anticipated reunion with Jazze Pha who executive produced her 2004 debut, hitting No. 3 on the Billboard 200.

One of the preeminent stage performers in her class and lauded for her dancing, Ciara owns smashes like “Goodies” which topped the Billboard 100, “Oh” featuring Ludacris, “Body Party,” and “Promise.” Four albums reached the Billboard 200 top 10, including 2006’s “Ciara: The Evolution” which hit No. 1.

In an era where music is often released rapidly, Ciara's leisurely pace has been questioned by fans and critics, wondering if she’s traded her love for music for a perceived socialite lifestyle with her Super Bowl-winning husband, Russell Wilson.

“I feel like I don’t have to explain anything to anybody,” said the “Ride” singer, who's recently released collaborations with several Asian artists. “Not every year has been about music. And sometimes, it’s been about me just growing as a human. Sometimes, it’s been about me finding my way obviously as a mom, and then I have family now and my husband, being there for him. These are all real things.”

It’s a perception she aims at on “Run It Up” with BossMan Dlow, singing, “No matter how many points I put up on the board, you know they gon’ hate / I’m in a league of my own, I’m a wife and a mom / ... You ain't gotta worry, you know that we straight.”

“I go from the stage to the classroom. I go from the classroom to the football field to support my husband. Then, I got on my schedule we’re gonna go school shopping tomorrow,” said the 39-year-old who wrote on every song. “That’s how my life is, but I would not have it any other way.”

Other standout tracks include the previously released slow jam “Ecstasy” which she later remixed with Normani and Teyana Taylor, and the feel good “Drop Your Love,” sampling “Love Come Down” from Evelyn “Champagne” King. She continued her two-step groove on “This Right Here,” recreating the nostalgic magic with Pha and resurfacing his memorable “Ci-araaa!” ad-lib.

“It’s always been love with Jazze and I ... there was behind-the-scenes type of stuff that was beyond he and I,” referring to the producer who crafted her megahit “1,2 Step” with Missy Elliott. “People want the classic him. They want me to be me, too, in that moment. And so, I feel like we accomplished that.”

Becoming one of the first celebrities to gain Benin citizenship as part of a recent law by the small West African nation granting rights to descendants of enslaved people, Ciara hopes to shed light on the country, as well as the continent which has exploded globally in the music market thanks to Afrobeats.

She’s also expanding her Why Not You Foundation, the nonprofit founded with Wilson in 2014 to help disadvantaged youth with educational and personal development resources. With Why Not You centers already in Atlanta and Pittsburgh, they plan to expand in the New York-New Jersey area. Wilson signed with the New York Giants during the offseason.

“Success to me is yes, putting out music. Being the best artist I can be, hopefully being known as one of the best to ever do it ... But it’s not solely in that,” she said. “People lose themselves because they didn’t live. I don’t want to be that girl – I’m not going to be that girl."



Movie Review: Stephen Curry's Animated Basketball Movie 'GOAT' Is a Disappointing Air Ball

 Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
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Movie Review: Stephen Curry's Animated Basketball Movie 'GOAT' Is a Disappointing Air Ball

 Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)

You'd expect an animated basketball movie with four-time NBA champion Stephen Curry in the producer's chair to be an easy lay-up. So why is “GOAT” such a brick?

Despite a wondrously textured, kinetic world and some interesting oddball characters, the movie is undone by a predictable, saccharine script. It’s as easy to see the steps coming as a Curry three-pointer arching into the net.

The movie has the kind of lazy, thin writing that feels like it all could have derived from a Hollywood happy hour gettogether: “Bro, bro. Wait. What if the GOAT was an actual goat?”

It centers on Will Harris, a goat with dreams of becoming a great baller, voiced by “Stranger Things” star Caleb McLaughlin. Undersized and an orphan — again with the orphans, guys? — Will is a delivery driver for a diner and late on his rent. He's a great outside shooter but a liability in the paint, unless he learns, that is.

He lives in Vineland — a hectic urban landscape with graffiti and living vines that choke the playgrounds — and is a rabid supporter of the local franchise, the Thorns. His idol is veteran Jett Fillmore, a leopard who's the league's all-time leading scorer, nicely voiced by Gabrielle Union. The Thorns are a bit of a mess, despite Jett's brilliance.

The game here is called roarball, a high-intensity, co-ed, multi-animal, full-contact sport derived from basketball with a hollow ball that has small holes. It's a “Mad Max” sport — ultraviolent, unofficiated and the dangers lurk not just from the beefy opponents but from the arena itself. The championship award is called the Claw.

The best part of the movie may be the environments for the other arenas — lava in one, a swamp with stalagmites and stalactites in another, plus an ice-bound one and another with desert sandstorms and rocks. Homefield advantage is a big thing in this league.

There seem to be only two kinds of points scored here — blazing windmills, cutting tomahawks and spectacular alley-oop dunks or slow-mo threes from so far downtown they might as well be in a different zip code. No mid-range jumpers, bro.

This universe is divided into “bigs” and “smalls” — rhinos, bears and giraffes on one side, gerbils and capybara on the other — and Will is deemed a small. “Smalls can’t ball,” he is told, condescendingly.

But Will — thanks to a viral video — improbably gets signed to the Thorns by the team's owner (a cynical warthog voiced wonderfully by Jenifer Lewis). It's seen as a shameless publicity stunt that no one wants, especially Jett, who needs a winning season after being taunted by “All stats, no Claw.”

Now, predictably, in Aaron Buchsbaum and Teddy Riley script, comes the bulk of the movie, giving a steady “The Karate Kid” or “Air Bud” vibe as it charts Will's steady rise to honored teammate and franchise future, despite Jett insisting she's not ready to go: “I’m the GOAT. I’m not passing the torch.”

The lessons are good — the importance of teamwork and believing in yourself — but the testosterone-fueled violence on the courts is WWE extreme. There are unnecessary plugs for Mercedes and Under Armor, and hollow slogans like “Dream big” and “Roots run deep.”

Some of the most interesting characters end up on the Thorns, a fragile, somewhat broken team that includes a rhino (voiced by David Harbour), a delicate ostrich (Nicola Coughlan), a gonzo Komodo dragon (Nick Kroll) and a desultory giraffe (Curry).

The Komodo dragon, named Modo, is the best of the bunch, an insane, unpredictable creature full of electricity. “If Modo was any more of a snack, he’d eat himself,” he declares. Could he get his own movie?

Directed by “Bob’s Burgers” veteran Tyree Dillihay and Adam Rosette, “GOAT” is targeted to Gen Alpha, leveraging cellphone screens and online likes, virality and diss tracks. It's not as funny as it thinks it is and tiresome in its overly familiar redemption arc.

Another potential basketball GOAT — Michael Jordan — gave us a clunker of a live-action- animated basketball movie in “Space Jam” exactly 30 years ago and “GOAT,” while not as bad as that mess, is an air ball none the same.


Music World Mourns Ghana's Ebo Taylor, Founding Father of Highlife

Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
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Music World Mourns Ghana's Ebo Taylor, Founding Father of Highlife

Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP

Tributes have been pouring in from across Ghana and the world since the death of Ghanaian highlife legend Ebo Taylor.

A guitarist, composer and bandleader who died on Saturday, Taylor's six-decade career played a key role in shaping modern popular music in West Africa, said AFP.

Often described as one of the founding fathers of contemporary highlife, Taylor died a day after the launch of a music festival bearing his name in the capital, Accra, and just a month after celebrating his 90th birthday.

Highlife, a genre blending traditional African rhythms with jazz and Caribbean influences, was recently added to UNESCO's Intangible Cultural Heritage list.

"The world has lost a giant. A colossus of African music," a statement shared on his official page said. "Your light will never fade."

The Los Angeles-based collective Jazz Is Dead called him a pioneer of highlife and Afrobeat, while Ghanaian dancehall star Stonebwoy and American producer Adrian Younge, who his worked with Jay Z and Kendrick Lamar, also paid tribute to his legacy.

Nigerian writer and poet Dami Ajayi described him as a "highlife maestro" and a "fantastic guitarist".

- 'Uncle Ebo' -

Taylor's influence extended far beyond Ghana, with elements of his music appearing in the soul, jazz, hip-hop and Afrobeat genres that dominate the African and global charts today.

Born Deroy Taylor in Cape Coast in 1936, he began performing in the 1950s, as highlife was establishing itself as the dominant sound in Ghana in the years following independence.

Known for intricate guitar lines and rich horn arrangements, he played with leading bands including the Stargazers and the Broadway Dance Band.

In the early 1960s, he travelled to London to study music, where he worked alongside other African musicians, including Nigerian Afrobeat pioneer Fela Kuti.

The exchange of ideas between the two would later be seen as formative to the development of Afrobeat, a political cocktail blending highlife with funk, jazz and soul.

Back in Ghana, Taylor became one of the country's most sought-after arrangers and producers, working with stars such as Pat Thomas and CK Mann while leading his own bands.

His compositions -- including "Love & Death", "Heaven", "Odofo Nyi Akyiri Biara" and "Appia Kwa Bridge" -- gained renewed international attention decades later as DJs, collectors and record labels reissued his music. His grooves were sampled by hip-hop and R&B artists and helped introduce new global audiences to Ghanaian highlife.

Taylor continued touring into his 70s and 80s, performing across Europe and the United States as part of a late-career renaissance that cemented his status as a cult figure among younger musicians.

Many fans affectionately referred to him as "Uncle Ebo", reflecting both his longevity and mentorship of younger artists.

For many, he remained a symbol of highlife's golden era and of a generation that carried Ghanaian music onto the world stage.


'Send Help' Repeats as N.America Box Office Champ

Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
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'Send Help' Repeats as N.America Box Office Champ

Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)

Horror flick "Send Help" showed staying power, leading the North American box office for a second straight week with $10 million in ticket sales, industry estimates showed Sunday.

The 20th Century flick stars Rachel McAdams and Dylan O'Brien as a woman and her boss trying to survive on a deserted island after their plane crashes.
It marks a return to the genre for director Sam Raimi, who first made his name in the 1980s with the "Evil Dead" films.

Debuting in second place at $7.2 million was rom-com "Solo Mio" starring comedian Kevin James as a groom left at the altar in Italy, Exhibitor Relations reported.

"This is an excellent opening for a romantic comedy made on a micro-budget of $4 million," said analyst David A. Gross of Franchise Entertainment Research, noting that critics and audiences have embraced the Angel Studios film.

Post-apocalyptic Sci-fi thriller "Iron Lung" -- a video game adaptation written, directed and financed by YouTube star Mark Fischbach, known by his pseudonym Markiplier -- finished in third place at $6.7 million, AFP reported.

"Stray Kids: The Dominate Experience," a concert film for the K-pop boy band Stray Kids filmed at SoFi Stadium in Los Angeles, opened in fourth place at $5.6 million.

And in fifth place at $4.5 million was Luc Besson's English-language adaptation of "Dracula," which was released in select countries outside the United States last year.

Gross called it a "weak opening for a horror remake," noting the film's total production cost of $50 million and its modest $30 million take abroad so far.

Rounding out the top 10 are:
"Zootopia 2" ($4 million)
"The Strangers: Chapter 3" ($3.5 million)
"Avatar: Fire and Ash" ($3.5 million)
"Shelter" ($2.4 million)
"Melania" ($2.38 million)