The Rockets and Yao’s reps are frightened over his future, and the concern is the most base of all: Does Yao Ming ever play again?

“The realization has hit them that this is grave,” one NBA general manager said.

For now, the Rockets have privately told league peers it could be a full season before Yao might be able to return to basketball. Multiple league executives, officials close to Yao and two doctors with knowledge of the diagnoses are describing a troubling re-fracture of his navicular bone. Three pins were inserted a year ago, but the foot cracked in the playoffs and isn’t healing.

“It sounds like he’s missing most of next season, if not the entire 82 games,” one league executive who has had recent discussions with the Houston front office told Yahoo! Sports. “That’s all that [the Rockets] will concede quietly, but they know it’s probably much worse.”

Houston general manager Daryl Morey refused comment on Monday and a team spokesman said the Rockets will not have further comment until Yao undergoes additional medical tests.

There’s no reason for the Rockets to disclose the severity of the injury, nor the uncertainty over Yao’s future. Before the Rockets go public with a dire diagnosis, they plan to send him to three more specialists this week, a source said. For now, the Rockets have season tickets and sponsorships to sell. For now, the Rockets will publicly decry these doomsday revelations as premature, but this is the reality that they’re working under within the organization.

This has turned into an impossible situation for the Rockets’ capable GM. Even if Yao plays again, Morey knows it’s just a matter of time until his lower body breaks down. His feet and ankles just can’t support the mobility of his 7-foot-6 frame.

With four surgeries in three years, the Rockets worried they were reaching a breaking point. Well, it’s here. After missing 86 games in the previous three seasons, the 28-year-old Yao missed a mere five this past regular season before injuring his foot during the Rockets’ second-round playoff series against the Los Angeles Lakers .

It wasn’t until last week when Houston issued a statement saying Yao’s fractured foot hadn’t healed properly, that he would be unavailable “indefinitely.” Prior to Thursday’s draft, Morey tried desperately to trade into the high lottery to take Spanish prodigy Ricky Rubio (notes) . Houston needed a young star, but had too few assets to make a deal with Memphis or Sacramento. It seemed odd to teams that Houston had thrown Shane Battier (notes) and Aaron Brooks (notes) into offers within weeks of pushing the NBA champion Lakers to seven games in the Western Conference semifinals.

Now, the Rockets have tough decisions to make: Do they keep pushing Tracy McGrady (notes) and his expiring contract on the market or let the $22 million expire next summer? So far, Morey is getting offered bad contracts and junk talent for him. What’s more, does Houston re-sign Ron Artest (notes) to a $40 million-plus contract when contention is no longer viable? Why not create cap space for the summers of 2010 and 2011? Why not get younger now? Yao could opt out of his contract next summer, but odds are that Houston won’t be so fortunate.

The Rockets should do themselves a favor and just start over. That isn’t easy in a sophisticated and rabid NBA market like Houston, but what everyone long suspected has reached fruition: Yao and McGrady are no longer a faulty foundation, but a collapsed one. Houston needs to proceed with an understanding that they’re no longer chasing the Lakers, but beginning again.

Rest assured, Houston has long been fearful that Yao’s responsibilities to the Chinese national team were rapidly contributing to his breakdown, and perhaps they’ve finally been met. Yao wouldn’t have missed the Beijing Olympics for the world, but it was clear he wasn’t fully healed in those Games. The Rockets paid a price for his nationalism, his obligation and now the darkest fears are close to confirmation: It isn’t just a season on the brink for Yao Ming, but perhaps a career.

Hailed as "one of the realest niggas you will ever know," the Ft. Myers-based rapper has already established a phenomenal underground and street presence on the strength of his infamous mixtapes and live show. Plies is a real life block hugger who happened to learn how to tell his story in rhyme. This is why the streets love him. And he reveals his revelations of earning stripes with the summer '07 release of his Big Gates/Slip-N-Slide/Atlantic debut, "THE REAL TESTAMENT."

Born in Ft. Myers, Florida, a city famous for its year-round warm weather, pristine sandy beaches, and inviting tourism, Plies was raised on the not-so-sunny side of town. "It's a small town, but it's a town that reflects so much to me. You've got two separate sides? you've got the serious side, then you've got the gutter side. I called it Pakistan because kids 11, 12 years old were running around with choppers and shit." Despite coming of age in the Michigan Court Projects, Plies says he wouldn't change it for the world. "The only thing adversity does is reintroduce you to yourself."

Plies first became involved in music because of his brother. "He started pursuing music, and I saw his vision," explains Plies. "It wasn't a dream of mine. It kind of happened accidentally. But at the same time, I'm a believer that nothing happens on accident."

Accidental or not, Plies and his brother, Big Gates, started Big Gates Records in the late 鈥?0s. The small label had three artists and dropped a handful of independent albums, but not from Plies. In fact, the now rapper refused to touch the mic in the beginning. It wasn't until he became frustrated trying to teach one of his artists a particular hook that Plies grabbed the mic. "He never could get the hook down, so the next day I let my brother hear the hook, and he told me to stay on there," recalls Plies. The song, "Tell Dem Krackers Dat," spread quickly through South Florida and fell into the lap of Miami-based powerhouse Slip-N-Slide. Impressed by Plies' movement, the nationally distributed label made him an offer he couldn't refuse.

Plies describes his major label debut, "THE REAL TESTAMENT," as "the most anticipated situation in the streets right now." And rightfully so. On the album's Nitti-produced buzztrack, "Got 'Em Hatin'," the Ft. Myers bad boy explains exactly why underachievers are jealous of his 26-inch rims, blue diamonds, and stacks on deck. Over an up-tempo beat of menacing synths, heavy bass drops, and sparse snares, Plies boasts: "Some wanna see me broke/Some wanna see me in the Feds/The haters hate you when you're living/Love you when you dead/He just a mad rapper/He ain't blew yet/The streets don't feel him/I ain't have to go through that."

But Plies is about more than just moneymaking and bussing heads. On the breezy, mid-tempo "Shawty," Plies and fellow Florida boy T-Pain serenade their ghetto queens like only a true thug can: "Soon as I seen her, told her I'd pay for it/'Lil mama the baddest thing around and she already know it."

"I ain't got real problems," says Plies. "I've got the problems that come with being successful, but I ain't got real problems. There's some dude in the world that just got a life sentence today. That's a real problem. I make reality music. I don't make music that's out of touch. There's so much in the world that I can talk about that'll help people through their struggles." It's this key philosophy that differentiates Plies from other rappers.

In addition to "THE REAL TESTAMENT," Plies wrote the somber, slow-moving song "Bid Long" (not featured on the album) to specifically address those locked up in the prison system. Atop simple bass and snare and high-pitched piano chimes, he harks about how people tend to turn their backs when you have a 40-year prison sentence: "Nobody loves you when you got nothing to give/But when you got it, they love you when you're out here/They was my friends when they was out/And they are my friends now/Right now, they need me the most so I got to help them out."

"I like to win in life, but to me, every dude who's in the prison system has lost it," explains Plies. "To me, that's not impressive." Plies has plans to embark on a nationwide prison tour, in hopes of reaching out to those currently locked up who come from the streets.

"I'm always coming up with reality situations in my music," says Plies. "I never run out of shit to talk about. As long as I'm in these streets, I'll always have something to talk about."

Please Excuse My Hands

Hip-hop music, once a platform for creative expression and friendly competition, has, sadly, become a popularity contest. With record sales down and ringtone dollars up, rookies searching for that "one big hit" seem solely concerned with being deemed "cool." Lyrics have side-stepped, giving way to dance-instructing "rappers" more concerned with sparking the new "Macarena" than being hailed as an MC.

On the outside looking in at such followers is Lupe Fiasco. Rather than conform to music industry standards, Fiasco (born Wasalu Muhammad Jaco) has trail-blazed his own path to critical acclaim. Possessing head-spinning wordplay and a topical range more akin to the underground than the mainstream, the 25-year-old lyricist has proven that talent can still make waves in the rap gam e.

Born and raised in the seedy, confrontational West side of Chicago, Illinois, Fiasco grew up like the regular urban survivor. What wasn't common, however, was the means by which he carried himself. Comic books and literature of all genres cluttered his bedroom floor, and a skateboard replaced your typical drop-top Cadillac. Influenced by the Californian gangsta rap of artists such as Spice 1 and Ice Cube, Fiasco gradually grew leery of such negative messages, gravitating toward the dazzling lyricism of the likes of Nas and Jay-Z.

In 2004, Fiasco signed with Atlantic Records - even launching his own company, 1st & 15th Entertainment - and began recording his debut, Lupe Fiasco's Food & Liquor. Fiasco's first major look came on fellow Chi-town native Kanye West's hit single, "Touch The Sky," where Fiasco delivered a show-stopping verse. The buzz gained from that song transitioned the gumshoe rapper into his first official solo single, the skateboard-meets-rap gem "Kick Push." Inspired by his own quirky hobby, Fiasco delivered a metaphorical tale of uplift through the eyes of a thrashing, four-small-wheel riding skater boy.

Released to extensive critical lauding and media embrace in September of 2006, Lupe Fiasco's Food & Liquor (executive produced by good friend, and one-time mentor, Jay-Z) set the stage for a career that promises longevity. As a result, Lupe landed a remarkable three Grammy nominations - including Best Rap Album, and Best Rap Solo Performance and Best Rap Song for "Kick Push."

Now, ready to capitalize on such promise, Fiasco has returned with his second offering, Lupe Fiasco's The Cool. A largely conceptual tour-de-force, the album's title is inspired by a standout track from Fiasco's debut, a hustler-turned-zombie epic also called "The Cool." This time around, Fiasco introduces three new characters - Michael Young History (The Cool before his death), The Game (a male personification of a hustler's damaging influences), and The Streets (a female embodiment of an urban area's corrupt allure).

The potent sense of thematic execution comes across perfectly on "The Coolest," a highlight of Lupe Fiasco's The Cool that serves as a prelude to the earlier track, "The Cool." Detailing Michael Young History's fall from glory to tragedy at the hands of his lover, The Streets, Fiasco employs his unique brand of imagery: "If the rain stops and everything's dry / She would cry so I could drink the tears from her eye."

Elsewhere, Fiasco strays away from his characters to comment on his own rise to fame, an issue that clearly causes discomfort. Look no further than the first single, "Superstar," produced by Fiasco's closest collaborator, Soundtrakk, and beaming with poignant unease: "A fresh, cool young Lu / Trying to cash his microphone check, 2, 1, 2 / Wanna believe my own hype, but it's too untrue / The world brought me to my knees, what have you brung you?"

Primarily produced by Soundtrakk, and also featuring contributions from a diverse array of atypical instrumentalists (including Fall Out Boy's Patrick Stump), Lupe Fiasco's The Cool is evidence that Fiasco is anything but average. Rather than follow up a monumental '06 year - capped by his three Grammy nods, four BET Hip Hop Award nominations, and recognition as GQ's "Breakout Man of the Year," amongst other accolades - with an obvious attempt to further crossover, the young wordsmith has crafted a dense, dark, and atmospheric examination of life's pleasures. Whether negative or positive, what people consider to be "cool" ultimately dominates their every move, and Fiasco is completely aware of this.

In hip-hop's popularity contest, Lupe Fiasco is the observer, a thinking man brave enough to dictate the acute thoughts that his peers ignore. Now, that is cool.

Here is his new video Paris Tokyo

Before making himself famous through his unique style, Soulja Boy had Mr. Collipark to convince. The producer who has spotted star quality in Ying Yang Twins at first looked at him with a deep frown. Collipark at one point said, "To an adult who doesn't know what's going on with him, it appears to be a fad.

But if you do the research and look at the real fans, his presence is like a cult. Matter of fact, he didn't even have a single per se when I signed him. It was beyond a record; it was his whole lifestyle: how he dressed, his shades with his name on them, the shoes he chose to wear. It was all of that and the music was another part of what he brought to the table. Part of Soulja's magic that blew him up, even before I got to him, was that the kids looked at his music as something that was just theirs. It was something they could have that nobody else could have." Soulja, now needs no further assurance that he's in it to be big.

Soulja, known as DeAndre Wade when he was still anonymous, was born in Chicago, Illinois on July 28, 1990 but has been moving a couple of times due to his parents' separation. At 6 years old, the rapper moved to Atlanta with his mother and little brother but only to endure a very harsh life. Although he was financially poor, Soulja never failed to find attraction of the city that offers thick music influence. "I ain't have nothing to do just go to school," Soulja recalled. "I used to be real smart, a straight A student. But music affected my grades, I ain't gonna lie." It was there that he met rapper Young Kwon and got introduced to the music world. Kwon taught him to make beats and even recorded his first song , an experience regarded priceless by Soulja. However, monetary problem kept pressing in and while he was in eight grade of Batesville's South Panola High School, his father took him to live in Mississippi.

Thinking that he had left his opportunity to be a musician behind, Soulja never expected that it took more than just talent to reach success in music industry. With better condition, Soulja was able to access the Internet which proved to be very effective in catapulting his career. Through the technology, he started recording songs , movements, and videos with a camera which he later sent him first surge of fame. Together with Arab, he went professional by forming a hip-hop duo called The 30/30 Boys and hiring Michael Sykes aka Miami Mike as their manager."First we uploaded songs to SoundClick, where people can comment on your songs, rate them, and download them," Soulja explained on his attempt to claim fame. "We were getting good responses, so I set up my website, www.souljaboytellem.com to help push my name."

He was then gearing a solo career while retaining Arab as a close friend. Already gaining Internet success, Soulja took the next step to make his name more sonorous. Moving back to Atlanta in 2004, he met manager Derrick Crooms who is also behind Ying Yang Twins' success. It was through him that Soulja tasted his first live gig, taking place at a teen nightclub in Indianapolis, Indiana. "The first time I stepped onstage was wild," he said. "The show was so crunk that I was worried about doing a wack show. But then I just calmed down and did it." After that Collipark began to notice him and through Collipark Music Imprint, Soulja was signed to Interscope. From then on, he has been releasing several mixtapes like Soulja Boy 2005, Soulja Boy 2006, Dem 30/30 Boyz, and most recently, Stacks On Deck. Still in the starting line of his career, Soulja has Collipark's confidence. "He's really an entertainer," Collipark said. "His stage show is phenomenal. I put his stage show up.

Now Here is The Leak song Seniorita

Weezy said records that hit the mixtapes and Internet prematurely, like "Prostitute Flange" and I Feel Like Dying," will definitely be included on The Leak. But the records you hear will be "bionic" versions of the bootlegged songs you're already familiar with.

"I'm a perfectionist," he explained. "I'mma change a couple verses, couple of lines. I ain't gonna change nothing up where it f---s up the song, I'll just make it more complete. There are songs out there that weren't finished; I'll add hooks, third verses. We're working for the fans."

As for his album of new material Carter III, the lyrical dynamo is looking at a tentative target release date of February 12 ( see "Lil Wayne Blames Nelly For Tha Carter, Vol. 3 's Delay" and "The Making Of The Best: Lil Wayne Plots His Path To The Top"). Justin Timberlake, Timbaland and Kanye West have all contributed to the official album. Those songs are safe and secure ... for now.

"I can't stop it," Wayne said about his music being bootlegged. "I think there is no stopping it. I'm creating a new thing. When my stuff comes out it's, 'Maaaan, you heard that song?' I'm starting a new trend."

Since Wayne debuted "Gossip" at the BET Hip Hop Awards last week, many people have speculated that the song is a dis record aimed at 50 Cent. Weezy denied it Thursday, but to hear his full explanation, check out Mixtape Monday on October 29. He also talks about his plans for a new version of "Duffle Bag Boy" and why he's not putting out any mixtapes this year.

This Is Lil Wayne - Mr Carter (Da Carter 3 Exclusive)

The transformation from Jeremy Saunders to 2 Pistols has been several years in the making. And his story, which illustrates the lives of so many young men like him, is both a cautionary tale and a motivational one. With the release of his debut album, DEATH BEFORE DISHONOR, he is one step closer to establishing himself as a street artist with passion, dedication and talent.

“Music has always been apart of my life,” says 2 Pistols. “For as long as I can remember. But I never thought about making a career out of it. For a long time, it was all about football.”

The former running back had an illustrious career, rushing for 1,700 yards at Tarpon Springs High School in Tarpon Springs, Florida, just outside of Tampa. There was a dream of playing professional football. “Yeah, but I was only 5’7” and 145,” he says with a sigh. “I knew that wasn’t gonna happen!”

Fate stepped in and guided him down a different path. He sat in the back of his classes in high school, often jotting down lyrics without really thinking about it. “Around my way, we sometimes call certain kinds of girls, ‘Dirty Foot’. It’s just a silly thing, a girl who is trying to get your money and don’t have nothing of her own is a Dirty Foot. I was just messing around and wrote a song about it.”

2 Pistols’ brother encouraged him to record the song, even if only for fun. “I recorded the song and I pressed up a few copies and gave it away. But it wasn’t a big deal.” And then, several weeks later, he went to a local teen nightclub and heard the DJ playing the song. “I was kind of shocked,” 2 Pistols explains. “The people in the club actually knew the words to my song. That’s a crazy feeling—to put out a song you think no one will hear and then people are singing along to it in the club.”

That night, a local rapper took the stage to perform his own single at the club and 2 Pistols stood by, watching and observing. “The guy was just not that good,” he explains. “And he could tell by my face that I thought he was whack. So he looks down at me in the crowd and asks me if I think I could do better. I said ‘hell yeah, I could!’”

In a scene worthy of the big screen, 2 Pistols took the stage, grabbed the mic, cued the DJ to play “Dirty Foot” and ripped his very first show. No rehearsal, no preparation. “It was crazy!” says 2 Pistols. “But it was at that point that I thought music might be my hustle.”

2 Pistols will be the first to admit that music wasn’t his first hustle. He’s unapologetically open about his past in the drug game. “I did what I had to do to make money,” he says. “And I’ve paid the price for that too.” While in jail several years ago, he had an epiphany. “I’m sitting in jail for trying to get money and I’m thinking about how I could have used that money to press up my own CDs,” he explains. “I knew when I got out, I was going to take matters into my own hands.”

True to his word, when he was released, he took every dollar he could round up and invested in himself. He started by promoting parties and concerts in the Tampa area. The goal was triple-fold. He could make money by having top acts come to Tampa. Then he would perform as the opening act for the shows, ensuring that he could build his own buzz. And he would be able to cultivate relationships with artists that would help him as well. With this plan, 2 Pistols brought acts like Plies, Rick Ross, T-Pain , Lil Boosie and the Shop Boyz to the Tampa area for shows.

At the same time, he began establishing his own crew, a clique called Blood Money Union, a loose conglomerate of DJs, producers, lyricists and vocalists. “I have to be honest,” 2 Pistols says, “No one is messing with my crew right now—no one. And people are finally beginning to recognize what we’ve got going on.”

Everything about him is unique from his name to his flow. The name 2 Pistols is a nod to his twin-like personality. “As a Gemini, people would always say I had two different sides to me,” he explains. “But because I was living that street life, instead of calling me something like Two Face, my nickname became 2 Pistols.”

His multifaceted personality extends from his nicknames to his musical influences. “I was always one of the only cats down here in the south, driving around listening to Beanie Sigel and Jay-Z ,” he says with a laugh. “Some of the stuff I listened to down here didn’t have a lot of depth. And good music is good music—no matter where it comes from.”

With stellar production by the Grammy Award-winning J.U.S.T.I.C.E. League, 2 Pistols brings raw emotion and feelings to his work, particularly on “She Got It,” an undeniably radio-friendly track featuring the ultra-hot T-Pain.

With T. Pain’s distinct sound layered under the bass-heavy dramatic track and 2 Pistol’s aggressive delivery, “She Got It” is a no-brainer. The slick and polished production makes it both commercially viable and club-worthy while the content and the lyrics work for all fans of street life narratives.

What may be very surprising about 2 Pistols is that his subject matter is not just limited to the raw and illegal elements of street life. He’s wholly unafraid to express how he feels about relationships as well. “When I first started writing lyrics, it was because I had things I wanted to say that I wouldn’t necessarily talk to my boys about. So rhyming became a way of expressing myself,” he says That sentiment is evident on songs like “You Know Me,” which finds 2 Pistols explaining to the women in his life that there are some things he just can’t change about himself. And that if she wants to be with him—she’ll have to deal with it. “It’s something that a lot of people can relate to,” he explains. “I know a lot of men who have to have that conversation with women. And I know a lot of women who just don’t want to hear it.”  

One of the highlights of the album is a standout track titled, “Blinded.” With an intriguing sample from the movie BLOW, 2 Pistols spits verses on the hazards of navigating the entertainment industry while trying to maintain his everyday life.

“I know people who get some shine in this game and lose sight of who they are. That’s not me. I haven’t changed just because I have a record deal—people around me are actually the ones changing. And on this song I talk about how that feels.”

2 Pistols is the complete package. He’s edgy without having to brag about it. He’s authentic without being over the top. He’s confident without being cocky. And in addition to being talented on the mic, he’s humble enough to learn by watching and he’s never satisfied with the status quo.

“This is just the beginning for me,” says 2 Pistols. “The fact that I’m even here means I’ve already accomplished so much. There’s nowhere else for me to go but up.”

Hailing from the tough streets of Hollygrove in the 17th Ward of New Orleans, he was first recruited by Cash Money bosses Bryan "Baby" Williams and Ronald "Slim" Williams. At a mere 11 years old, he had become the youngest artist on the Cash Money roster. The Williams' brothers tweaked and groomed Wayne's style, rearing him on early Cash Money artists like Pimp Daddy, UNLV, and BG. Starting off as a member of the super group, The Hot Boys (Juvenile, BG, Turk and Lil Wayne), Wayne shined as a true emerging rap talent, catapulting his solo career.

It should be known that Wayne didn't rap about adolescent issues, unlike most child rappers who perform bubblegum rap until their late teens, like Lil Bow Wow and such. He did, however, refrain from swearing in his rhymes at the behest of his mother.

Lil Wayne's old soul wisdom manifests itself in clever rhymes that balanced the young hustler's lifestyle with a sense of street reared insight. On a tribute to The Hot Boy brotherhood "Man, I Miss My Dogs," Wayne's sound is mature and exhibits much more skill. His voice is confident, deeper, and raspier than before. The body-bouncing first single, "Get Something," features party starter Mannie Fresh on the hook. As for the thematic content of his music, Wayne tackles more adult subjects including navigating life's paths, being a father, and managing money as a youth. The track "Ain't That A B!%$h" best exemplifies his growth as an artist. The song is an introspective account of the various misfortunes one confronts in life. Moreover, songs like "Travelin'," speak candidly to the experience Wayne has undergone in his tenure as a young hip-hop star. Here, Lil Wayne raps about the assortment of neighborhoods and communities he has seen in his voyages.

Juvenile and B.G. made their solo debuts first in 1999 and racked up a pair of simultaneous big hits, "Back That Azz Up" and "Bling Bling," respectively. Lil Wayne made his solo debut later that year and similarly came out of the gate with a huge hit, the title track of his album, Tha Block Is Hot (1999).

But the former Hot Boys hit in slump with their next releases, leading Cash Money to drop them from the label. However, they kept Lil' Wayne on their roster and his third album 2002's "500 Degreez" (the follow-up to his certified-gold sophomore release, 2000's "Lights Out") spawned a massive hit single "Way of Life", which helped the album become a massive selling success.

In 2004, Wayne Carter released 'Tha Carter'. This album is marked as a personal milestone as he claimed to have finally perfected his trade. It was also 'Tha Carter' that finally earned Lil Wayne mass notability outside the south as a lyricist because at that time (and even still today), southern rappers are stereotyped with little to no lyrical ability.

In 2005, Lil' Wayne went onto become the president of the Cash Money label at the age of 23, and started recording his next album, "Tha Carter, Vol 2". 'Tha Carter II' sold more than 238,000 copies debuting at no. 2 on the Billboard Top 200 albums chart and has been certified platinum. The lead single off the album, "Fireman", became a hit in the US, peaking at 32 on the Billboard Hot 100 chart. The second single, "Grown Man", was solicited to urban radios in January of 2006 in hopes of spreading to Top 40 Mainstream and then to the Hot 100, but failed to do so and failed to receive any attention due to lack of promotion and no video. The third single "Hustler Muzik" howerver, received a video, and gained minor attention also.

With five successful records under his blinged-up belt, Wayne has been credited as helping to kick-start the growth of southern hip hop. He is proud of this achievement and has said: "I love how the south is moving. What David Banner Lil' Flip and all of them are doing is hot. When we started, Baby and Slim declared the south was going to blow up and we did."

As well as his own material, Lil' Wayne - who is a trendsetter and popularized the term 'drop it like it's hot' which Snoop Dogglater called his comeback single - has also featured on tracks by other artists, including: Destiny's Child's "Soldier", 3LW's "Neva Get Enuf" and Paul Wall's "March", to name a few. Although he may like to put up a front with his hard, gangsta image, Lil' Wayne proved he has a big heart by taking time out after Hurricane Katrina hit his native New Orleans in 2005, to help raise money for the victims whose lives were ruined by the disaster.

Lollipop