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The guys of Fun and Paramore’s leading front women Hayley Williams recently collaborated, covering Goyte’s ‘Somebody That I Used to Know’.  The group performed the hot track that is currently playing overtime on the radio these days at BBC Radio 1 Live Lounge. Watch the video.

If Kanye West’s fashion collection – eponymous, DW, or by whatever name you call it – can’t cut it for the runway, is High Street the next short step down? Possibly. The Mirror reported that West had lunch with Topshop boss Sir Philip Green last week, and the rapper expressed interest in creating an exclusive women’s line for the retailer. Although West has not confirmed the report, a source told The Mirror: “Kanye has wanted to work with Sir Philip Green for some time. They were in the restaurant for several hours tossing ideas back and forth.

“Kanye is obsessed with the female shape so if he did a range it would be pretty revealing – not for wallflowers.”

With a tailored look, West’s Topshop line would be inspired by Balmain, Givenchy, and Azzedine Alaia.

Green, on the other hand, denies the information. He shot back, calling the report preposterous: “I had lunch with him and, sorry, do I have to report who I have lunch with in the Daily Mirror? He was very hungry. So was I. That’s what happens at lunchtime.

“There was no conversation going on. He’s a friend of my son.”

Perhaps Green caught a glimpse (or read the scathing reviews) of West’s first official collection at Paris Fashion Week in the fall. Essentially, every aspect of West’s collection (called DW at the time, but the rapper claims it’s simply Kanye West) was torn apart. Critics were appalled by the materials used – leather and fur for a spring collection? – and found the collection’s styles ill-fitting and too derivative (every other designer has been doing the bandage dress and color blocking over the past year, so what makes West’s line different?). Some, however, found the atmosphere the best part of the event.

West was lukewarmly received after the completion of his first show and later shot back in defense of his “season-proof collection” and designing skills, stating: “This is my first collection. Please be easy. Please give me a chance to grow.”

Based on what you’ve seen of Kanye’s line, should he continue in fashion or just stick with hip-hop?

Talks about a supporting tour for Lady Gaga’s sophomore album Born This Way have been going on since June, but now, the news is definite. Although an official statement has not been released, the Mother Monster revealed the early details late last week through her Twitter account. She wrote: “The Born This Way Ball will perform 110 shows around the world. The opening dates are out today, with more announcements to ensue. THE FIRST 11 OF THE BORN THIS WAY BALL TOUR DATES RELEASED HERE http://twitpic.com/8hc5l3”

Inviting fans to click on a link, Gaga unveiled the first part of her Born This Way Ball dates in Southeast Asia, Japan, and Australia. Supported by Live Nation Global Touring, the Born This Way Ball won’t hit North American shores until early 2013.

As a follow-up to her extremely successful Monster Ball tour, which grossed $188 million over 167 shows, the Born This Way Ball takes the singer to parts of the world she has yet to perform in. After finishing up the Pacific Rim dates by July, the “Marry the Night” singer heads over to Europe for August, and a slew of Latin American dates are expected to finish off 2012. North America is scheduled for January to March 2013.

Gaga, additionally, revealed a special feature for fans for the upcoming tour. Dubbed “The Monster Pit,” this general admissions area is geared toward extremely devoted Little Monsters – those who spend the night outside the concert venue in costume just to score good seats. Discussing it on Twitter, she told fans: “Entry to ‘The Monster Pit’ is relegated to the fans who have arrived first, waited all night, + dressed to ‘Ball.’ Every night Haus of Gaga will choose fans from The Monster Pit to come back stage + meet me! These tickets are NOT more expensive.”

Unlike her contemporaries, Gaga isn’t taking a break any time soon. Aside from this extensive tour, the pop star has been in the studio working on a follow-up to Born This Way. Progress and a release date, however, have not been announced.

If Madonna’s Super Bowl XLVI performance is an indication of a successful comeback, she’s sure to hit the tops of the charts once MDNA hits stores. Yet, even with the “Give Me All Your Luvin’” singer’s solid halftime show, the media is more concerned with guest performer M.I.A.’s brief but obscene gesture. While M.I.A. may end up paying the FCC fine, Madonna was unaware her guest singer flipped the bird.

In an interview with Ryan Seacrest last week, the pop singer/director/fashion designer mentioned: “To tell you the truth, I didn’t even know about it. I actually didn’t know about it until I left. I was really surprised. I didn’t know anything about it. I wasn’t happy about it. I understand it’s punk rock and everything, but to me there was such a feeling of love and good energy, and positivity, it seemed negative… It’s such a teenager…irrelevant thing to do. There was such a feeling of love and unity there. What was the point? It was just out of place.”

Do you agree with her sentiments? Or, much like Janet Jackson’s fashion malfunction, is this incident being blown way out of proportion?

Aside from all this, Madonna is satisfied with her performance. She told Seacrest: “It was one of those things, like getting through a war and surviving and actually doing really well — winning the war!”

“Give Me All Your Luvin’” – the new track played at the halftime show – has since debuted on the Billboard Hot 100 at No. 13.

According to TMZ, however, M.I.A. is likely to foot the bill for the incident. Sources told the celebrity gossip website that she signed a contract with the NFL (there’s no word about Madonna or other guest performer Nicki Minaj), in which she agreed to pay any funds to the NFL if the FCC goes after NBC. In the present time, however, the “Paper Planes” singer has not spoken with the media about her action.

For the rest of us, a teenage dream becomes adult reality. For Katy Perry, it’s just an extension of pop star adolescence. Last week, Perry announced a special edition release of album Teenage Dream, which experienced its first hit with “California Gurls” nearly two years ago. Titled Teenage Dream: The Complete Confection, the deluxe edition hits stores on March 27, with first single “Part of Me” arriving on February 21.

The original resulted in five No. 1 hits for Perry, putting her on the same level as Michael Jackson for the greatest number of No. 1 hits per album. Some of these were, in fact, remixes, and listeners get to hear both the original tracks and radio versions, including the Kanye West-featuring “E.T.”, the Missy Elliott-featuring “Last Friday Night (T.G.I.F.),” and the Jon Brion-produced “The One That Got Away.” Additionally, three unreleased tracks and a seven-minute megamix by Tommie Sunshine of all six singles are added.

Regarding this decision, Perry said in a statement: “This is the complete story of ‘Teenage Dream.’ It was an incredible honor to tie the King of Pop’s Billboard Hot 100 record, but I’m moving forward and had a few things left to get off my chest. So this is the complete special edition of my album for my fans.”

Because the singer is holding off on recording a full follow-up, the Teenage Dream special edition will hold fans over for a while. The question is, however, if Perry scores another No. 1 single, will it be counted toward Teenage Dream’s total, allowing her to surpass Jackson’s record?

While the announcement for “Part of Me” was official yesterday, news in the fall about Perry going into the studio with producer Tricky Stewart should have set off a few bells. While Stewart claims he was simply fulfilling his contract, he told MTV News at the time: “Katy and I went into [the studio] just to address some issues with records that we had done in the past that didn’t end up going on ‘Teenage Dream’. So we are in the process of just listening and freshening up things and getting ready for something special she has going on.”

Successful artists across all genres occasionally further their careers and credibility by establishing their own record labels, from Kanye West’s G.O.O.D. Music to Korn’s Elementree Records to electronic dance producer Tiesto’s Black Hole Recordings. Maroon 5’s Adam Levine is the latest to do so. Levine’s new label 222 was announced last week, along with the signing of Glee’s Matthew Morrison – the first artist added to the roster.

Levine admits he has wanted to start his own label for a while, telling the press: “Starting my own label has been a long-time goal of mine, and I am thrilled to be at the point in my career where it is finally happening.”

Although known exclusively for Glee at the moment, Morrison made his debut more than 10 years ago in the Broadway version of Footloose. More infamously, however, he was briefly part of shortly-lived boy band LMNT, essentially an offshoot of O-Town from Making the Band. Morrison was replaced before the group released their first, and only, album.

Morrison’s sophomore album is expected to hit stores in the spring. About being signed to 222 and working with the Maroon 5 frontman, he said: “Adam and I share the same vision as we begin working on my record together.”

New label aside, the “Moves Like Jagger” singer started his second season stint on The Voice just a few weeks ago. Although the initial audition rounds are still going on, Levine developed a beef with American Idol judge Randy Jackson, who essentially called the NBC vocal competition a show for giving performers a second chance.

Levine was taken aback and, in response, made the following statement on The Ellen DeGeneres Show: “Shame on Randy Jackson for saying that, because he of anybody should know that if you’re in this business you need second, third, fourth, and fifth chance. So we love and embrace having that be a part of the show. It was an irresponsible thing to say.”

Who do you agree with – Levine or Jackson? Is a “second chance place” superfluous, or should television music competitions exclusively be devoted to discovering unknown and unsigned talent?

First reported by TMZ, former Death Row rap music mogul Marion “Suge” Knight was charged with marijuana possession after he was pulled over by Las Vegas police Wednesday night for an alleged traffic violation, according to police spokesman Laura Meltzer.

Knight’s black Bentley was searched by police, which resulted in less than one ounce of marijuana being found. Knight was ticketed for making an unsafe lane change, but a records check during the stop found that Knight had been wanted on three outstanding traffic warrants in Las Vegas. Knight was brought into the Clark County Detention Center, and, Meltzer added, he was later released on his own recognizance.

However, as TMZ has previously reported, Suge is currently on 3 years unsupervised probation for driving on a suspended license.

Knight has a long history of personal and legal troubles, including numerous arrests and bankruptcy claims. Knight sold Death Row Records to New York-based Global Music Group in June 2008. At its peak, Death Row released Dr. Dre’s debut The Chronic, which has sold over three million copies, Snoop Dogg’s Doggystyle, and Tupac Shakur’s All Eyez on Me. However, the label’s thuggish reputation, feud with Sean Comb’s Bad Boy Records, and Knight’s violent inclinations led to Dr. Dre leaving Death Row and saw the death of Shakur to a drive-by shooting.

Knight has long been suspected of Shakur’s East Coast rival The Notorious B.I.G.’s death, but no one has ever been charged with the crime.

In September of last year, Showtime announced they will air a documentary on Knight’s life directed by Training Day director Antoine Fuqua.

The Neighbourhood performing “Female Robbery”.

Jay-Z and Kanye West finally premiered the video for “Niggas In Paris”. In the dark, apocalyptic video is also included some live footage from their “Watch The Throne” tour and a short, one-second cameo from the song producer Hit-Boy.