Back to Top

adidas EQT’s 30th Anniversary Continues With The HANON x Race Walk “Working Men’s Club”

Before the Three Stripes took the footwear world by storm with BOOST-cushioning, it garnered a cult-like following with its adidas EQT series.

Throughout 2021, the brand’s Equipment collection has been celebrating its 30th anniversary via both solo and collaborative endeavors. Recently, the United Kingdom’s HANON has unveiled yet another tally in the latter category with its adidas Race Walk “Working Mens Club” collaboration. Dipped in a “Mesa/Orange/Brown” color palette, the latest take is one of the first times the silhouette has retroed since debuting in 1991. Corduroy and suede construction across the pair’s upper sits atop a black foam and gum brown rubber outsole, design cues nodding to the uniquely British drinking establishments of the 1990s. Additionally, sock-liner features a patterned inspired by the carpets of these cultural relics. HANON stamps its logo on the insole and heel, with the latter area featuring it in embroidered fashion.

Enjoy images of the pair here below, and find the adidas EQT Race Walk “Working Men’s Club” arriving to HANON-Shop on November 11th.

For more from adidas, check out the remaining YEEZY release dates 2021.

Where to Buy

Make sure to follow @kicksfinder for live tweets during the release date.

Hanon x adidas EQT Race Wallk “Working Men’s Club”
Release Date: Nov 12th, 2021 (Friday)

Color: Mesa/Brown/Orange

Mens: N/A
Style Code: GY5393

EuropeNov 12th, 2021 (Friday)



© Sneaker News, 2021. |
No comment
Add to

The post adidas EQT’s 30th Anniversary Continues With The HANON x Race Walk “Working Men’s Club”
appeared first on Sneaker News.

The post adidas EQT’s 30th Anniversary Continues With The HANON x Race Walk “Working Men’s Club” appeared first on Sneaker News.

Posted in News | Leave a reply

How Hits by Drake, Ye & More Get Released Before Songwriter Pay Splits Are Settled

Over the past few months, some of music’s biggest stars have released No. 1 projects on the Billboard 200 chart without determining the final percentages each songwriter owns on all the album’s tracks. Among them, Kanye West’s Donda, Olivia Rodrigo’s hit singles “good 4 u” and “deja vu” from her album SOUR, Drake’s Certified Lover Boy, and Young Thug’s Punk, which hit No. 1 on the Billboard 200 chart last week. With numerous samples and multiple features, the album’s songwriting and production credits are listed on digital service providers (DSPs), like Spotify, but the exact percentages of ownership and royalties each writer will take home for their work on the album — “splits” in industry speak — was still being figured out at the time of release. 

This is not a new phenomenon. “It happens a lot, and it’s incredibly frustrating,” says Nick Myers, a United Kingdom-based manager who works with songwriters and producers. While labels typically require all parties to settle their splits on the master recording prior to release — using producer and artist-to-artist agreements — publishing tends to be a more lengthy and complicated process on average. As a result, some songwriters are left in limbo for months, and in rare cases, over a year before their splits are decided by each of the songwriters’ teams. In the meantime, their royalty payments can wind up delayed, misappropriated or, in some cases, lost altogether. 

Delays in the determination of songwriter splits occur for a variety of reasons.  One is the lag time that usually takes place between the writing of a song and its release. “Often it’ll be two or three years,” explains Jon Weiner, half of the songwriting and production duo The Roommates who have had hits with Demi Lovato, Dominic Fike, Selena Gomez and more. “By then, people have a hazy memory about what they wrote.” 

While many songs’ splits are as straightforward as dividing the pie into equal portions for each contributor, in other cases, quantifying how much a writer contributed to the overall song becomes inexact and emotional, with each team arguing over mere percentage points. Often when the latter occurs, the song’s creation was complicated — for example, written by a group of writers in one room and then tweaked and edited in two or three more other rooms of different collaborators. In such cases, the writers in one room don’t know how much they contributed compared to writers in the other rooms. Other times, the song contains sampled or interpolated material. In Travis Scott’s five-minute epic “Sicko Mode,” 29 writers are credited — some who were in the room at the time of the song’s creation, and some who were not. The late Christopher Wallace (The Notorious B.I.G.), is credited, for example, because his song “Gimme The Loot” was sampled on the track. 

There are also instances where more successful and better-known artists, who did not participate in the songwriting process, threaten to ditch a song they planned to release unless its songwriters forfeit a piece of their publishing with the artist, a practice condemned by the authors of The Pact, an open letter to the music industry released in March that seeks better treatment for songwriters.  

Samples and interpolations are often pointed to as the most convoluted part of publishing splits, and they are often the source of delays. While a sample is the use of a portion of a prior recording in a new work, an interpolation occurs when an artist re-records a portion of another artist’s song. This can be anything from the borrowing of a melody or a lyric (or both). Some of this year’s biggest hits have contained these extra clearances, including “good 4 u” by Olivia Rodrigo (for its interpolation of “Misery Business” by Paramore), “Way 2 Sexy” by Drake (for its sample of “So Sexy” by Right Said Fred), and “Kiss Me More” by Doja Cat and SZA (for its interpolation of “Physical” by Olivia Newton-John. The practice is growing because now that music publishers see interpolations and samples to revive old hits in their back catalogs and collect royalties on current radio smashes without lifting a finger. Some, like Primary Wave, are even hosting their own writing camps, encouraging songwriters to lift melodies and lyrics from old songs and spin them into new creations. 

But with an influx of new sample and interpolation requests coming in, which involve tracking down the sampled or interpolated song’s writers and receiving approval from each of them (including songwriters who are retired and have not updated their contact information and the estates of those who are deceased), the clearance departments at publishing companies are faced with heavy demand. “They are inundated,” says Myers, who works with the sample-heavy electronic genre. Anecdotally, he says it “can take six months just to receive an acknowledgement of your clearance request sometimes.” Because of the delays, artists often proceed without full clearance and release the song anyway, but Harry Roberts, a partner at the law firm of Roberts & Hafitz PLLC, warns, “Once [the song] is out there, I think you’re more likely to find yourself giving up more than you otherwise wanted.” 

Rodrigo’s “good 4 u” was released prior to determining the publishing splits for its interpolation of Paramore’s “Misery Business.” Although a source close to the situation says Rodrigo and the rock act’s reps were in touch regarding splits prior to its release, the single’s No. 1 debut on the Hot 100 in May and its longevity on the chart (24 weeks as of Nov. 6) may have affected negotiations between the two parties. Three months after the song was released, Paramore’s writing team was added to the writing credits and allotted 50% of the publishing for the single retroactively, which Billboard estimates has totaled over $1 million in publishing royalties so far.  

“Whenever we have a split dispute arise, we always tell our songwriters, ‘Congratulations you have a hit song,’ because nobody would bother to claim publishing on a song that was making no money,” says Rhea Pasricha, head of A&R, West Coast for Prescription Songs.   

The decision to release a song without finalized publishing splits is often made by the performing artist’s label to meet a timely release schedule, but the ramifications of the hastened release are felt by those in the publishing ecosystem most and can lead to royalties being withheld from songwriters, or, in some extreme cases, lost altogether. ASCAP, for example, will hold onto performance royalties for a song for up to a year, but after that, the royalties will not be redeemable. BMI, on the other hand, will not hold onto royalties for songs in publishing limbo unless there is a court order (stemming from an infringement lawsuit) or if every writer credited on a song in dispute agrees to send a notice confirming this. For YouTube, songwriters who do not submit publishing splits from the beginning will find it difficult, and in some cases impossible, to claim royalties retroactively once the percentages are decided, especially in territories outside the U.S. 

One source, working in business affairs at a major publishing company says, however, that some “best practices” have been put in place to help remedy this issue. In the instance of unresolved splits, the publisher (or label in the case of unresolved master splits) will pay out monies based on whatever “tentative split information [they] have.” Though this is a helpful compromise, this could mean money is misappropriated in the meantime. “The key to getting more accurate and faster accounting,” they explain “is having splits confirmed by all interested parties in the registry as quickly as possible.” 

Licensing opportunities for film, TV, and commercial synch licenses are also at risk if percentages of publishing ownership for the requested song are not settled beforehand. “If splits are not 100% confirmed and registered properly, we could miss out on those licensing opportunities,” says Pasricha. This is especially true for opportunities with quick turnarounds, like serialized TV shows, that do not have time to wait for songwriters and their teams, to gather split information. “Occasionally, a song will get licensed with splits TBD, and then the synch fee sits in purgatory until everyone has agreed to splits that add up to 100%,” adds Pasricha.  

Though most disputes over songwriting splits are finalized before most royalties start landing in a writer’s bank account — typically around 12 months after a song’s release — risking or delaying publishing royalties is a major concern for songwriters. “As a songwriter, this is how you eat. It is how you live. You put gas in your car and pay your bills with publishing money,” says Weiner.  

While artists can earn money through touring, merchandise and brand partnerships, songwriters do not have the public profile to cash in on such revenue streams. Even producers have clearer, more insured payments. Because producer fees (an upfront sum for their labor, provided by the artists’s label from the recording budget) are an industry standard, producers “will definitely see revenue on the masters side,” says Zach Gurka, manager for A-List songwriter Emily Warren and one of the lead organizers of The Pact. Songwriters, however, do not earn any money on the master recording side of the release (which is more likely to be solidified prior to release), nor do they receive any comparable upfront fee that producers are typically paid, except in the case of a major songwriter who has enough leverage to ask for one. 

It is an issue with no clear solution, and many of those affected agree that lengthy songwriting split negotiations will always be a part of the business at some frequency. Although there are methods in place today to help soothe the royalty pay out problem, unresolved splits could stand to get even more complicated in the future as more products, including many powered by blockchain, attempt to speed up royalty payments or make them instantaneous. In the case of songs with no official splits, instant and/or decentralized royalty payments could prove disastrous — with much of the royalties misallocated or lost in the shuffle.  

Still, some publishers, managers, and writers remain cautiously optimistic for improving splits negotiation speeds in the future although no one interviewed for this story could point to a specific effort to solve this issue. “Change is plausible, but everything in this industry is interconnected,” says Gurka. “Everyone has to be on the same page.”

Posted in News | Leave a reply

Mariah Carey, Cardi B, Jay-Z, Lizzo, Anderson .Paak & More of the Week’s Biggest Winners (Nov. 5)

Mariah Carey executed the merriest transition from Halloween this past Sunday to the Christmas season.

But awards season is also on the horizon, with Cardi B doing the honors of taking over the 2021 American Music Awards right before Thanksgiving.

And Doja Cat has a Rhythmic Airplay chart achievement to be grateful for before the year closes out.

Take a look at Billboard’s weekly roundup and the “awards” it’s giving to this week’s headlines.

Happiest Music News: Cardi B announced as host for 2021 American Music Awards 

Okurrr! Cardi B will host the 2021 AMAs, where she’s up for three awards — including two for her Billboard Hot 100 No. 1 hit “Up.” The show is set to air live from Los Angeles’ Microsoft Theater on Nov. 21. Read more about where Cardi falls in the history of AMAs hosts here.

Savviest Music News: Anderson .Paak launches new record label with Universal Music Group

Anderson .Paak announced on Tuesday (Nov. 2) that the Grammy-winning musician and one-half of Silk Sonic launched a new label, APESHIT INC., in partnership with UMG. “I wanted to start a label that sets fire to a new generation of artists, who can play while performing,” he said in a statement about the performer-focused label venture he started. Learn more about it here.

Quickest Music News: Jay-Z joins Instagram for one day… then deletes his account 

Hov flew under the radar on Wednesday (Nov. 3) when he quietly rejoined Instagram under the handle @jayz to promote the new Western film he co-produced for Netflix, The Harder They Fall. But the account, which accumulated more than 2 million followers and only followed his wife Beyoncé back, has already been deactivated only after a day. Learn more about Jay-Z’s short-lived stay on IG here and here.

Most Record-Breaking News: Doja Cat passes Drake for most rhythmic airplay No. 1s this year 

Doja Cat beats out Drake with the most No. 1s (4) on Billboard’s Rhythmic Airplay chart in 2021, after “Need to Know” leapt to the top slot. She also becomes the first woman to land four No. 1 hits on the tally in a calendar year since Rihanna in 2012. Learn more about her chart feat here.

Most Festive Music News: Mariah Carey announces the start of Christmas season and new holiday special 

At the stroke of midnight on Monday (Nov. 1), the Queen of Christmas herself summoned the holiday spirit by smashing pumpkins and singing her 1994 classic “All I Want For Christmas Is You.” And she’ll be giving all the Lambs a treat with her second Apple+ special titled Mariah’s Christmas: The Magic Continues, which will feature her “Fall in Love at Christmas” collaborators Khalid and Kirk Franklin. Watch MC bring on the Christmas cheer here and learn more about her new holiday special here.

Most Fashionable Music News: Lizzo, Tyler, the Creator and more appear at Gucci fashion show

The stars aligned for the Gucci Love Parade Tuesday night (Nov. 2) on Hollywood Boulevard, where Lizzo, Billie Eilish, Miley Cyrus, Tyler, the Creator and more artists were among the seated crowd. And Jared Leto and Macaulay Culkin were among the models who strutted down the Walk of Fame runway. Read more here.

Posted in News | Leave a reply

Listen to Scarlett Johansson cover U2 with Bono in ‘Sing 2’ trailer

A new trailer for Sing 2 has been released, soundtracked by a cover of a U2 classic from Scarlett Johansson.

READ MORE: SING – film review

The actress will reprise her role as Ash the porcupine from the 2017 original animated film, alongside Matthew McConaughey’s Buster and Reese Witherspoon as Rosita the pig.

Joining the singing animals this time around is U2 frontman Bono, who plays a rock star lion named Clay Calloway.

As such, the new trailer features Johansson singing U2’s ‘I Still Haven’t Found What I’m Looking For’, before Bono’s vocals swoop in during the closing seconds.

U2 have even contributed an original song for the animated sequel, titled ‘Your Song Saved My Life’, which will feature on the official soundtrack.

The soundtrack will feature a variety of covers by the cast, including versions of Prince’s ‘Let’s Go Crazy’, The Weeknd’s ‘Can’t Feel My Face’, Coldplay’s ‘A Sky Full Of Stars’ and fellow U2 classic ‘Where The Streets Have No Name’.

Johansson is also set to cover ‘Heads Will Roll’ by the Yeah Yeah Yeahs in the sequel.

Other names on the cast include Taron Egerton, Tori Kelly, Nick Kroll, Halsey, Pharrell Williams, Letitia Wright, Eric Andre, Chelsea Peretti and Bobby Cannavale.

Johansson has released a few albums over the years, including 2008’s ‘Anywhere I Lay My Head’ which featured covers of Tom Waits‘ songs.

Sing 2 is set to be released in UK cinemas January 28, 2022.

The post Listen to Scarlett Johansson cover U2 with Bono in ‘Sing 2’ trailer appeared first on NME.

Posted in News | Leave a reply

Kanye West says the “worst thing” he ever did was sign Big Sean

Kanye West has said that the “worst thing” he ever did was sign Big Sean, explaining that he doesn’t “rock with” the Detroit rapper anymore.

READ MORE: Real friends: Kanye West’s best collaborations, from ‘Slow Jamz’ to ‘Highlights’

West – now legally known as Ye – took part in a lengthy, wide-ranging interview on Revolt‘s Drink Champs podcast last night (November 4).

At one point in the conversation, co-host N.O.R.E. asked Ye: “Pusha [T] or Big Sean?” which seemed to excite the rapper and producer, who started his reply by saying: “Oh, I love this!”

Before continuing, West got up, walked to the other side of the room and picked up an ‘R.I.P.’ headstone prop. “I already decided that when I die, on my tombstone it’s gonna say: ‘I deserve to be here because I signed Big Sean,’” he said.

Confused by his answer, N.O.R.E. said: “I’m not quite sure of your pick,” after which co-host DJ EFN interjected to say: “Big Sean, he’s saying. I think.” N.O.R.E. then asked for clarification.

“No, I’m saying that the worst thing I’ve ever done is sign Big Sean,” answered Ye. At this point, N.O.R.E. told everyone to clap because he misheard the answer, thinking he said “best”. When he learned what was actually said, the rapper turned host was shocked.

“Nah man, they let that – I know this man mama, bro,” said Ye. “You know what I’m saying? I changed this man family and both John Legend and Big Sean when I ran for office got used quick by the Democrats to combat they boy that actually changed they life.

He added: “That’s some sell-out shit and I don’t rock with neither of them and I need my apology. “N***as is scared.”

Prior to hearing Ye’s comments, Sean told Twitter: “I just got asked to be on the next Drink Champs so I’m assuming Ye talkin crazy.”

After seeing the clip, he returned to the platform to respond: “Was just wit this man, he ain’t say none of that!!! And this was after the interview! I’m dying laughing at you @kanyewest.”

Sean’s post was accompanied by some photos of him, Ye and Hit-Boy, which Sean claims were taken after Ye conducted the Drink Champs interview.

He added: “I can’t wait to go on drink champs now!!!”

Was just wit this man, he ain’t say none of that!!! And this was after the interview! I’m dying laughing at you @kanyewest

— Sean Don (@BigSean) November 5, 2021

I can’t wait to go on drink champs now!!!

— Sean Don (@BigSean) November 5, 2021

It comes after Sean announced last week that he had left West’s G.O.O.D. Music record label in order to secure himself “a bigger cut” of profits.

The rapper announced on Twitter that he was exiting Ye’s label after 14 years. A fan asked him: “Damn no more GOOD Music for Big Sean?” to which he replied: “That’s a forever brotherhood, but business wise, I had to start getting a bigger cut! I worked my way out that deal.”

Elsewhere in the interview, West defended his decision to perform alongside Marilyn Manson and DaBaby, while describing the Me Too movement as “power and politics”.

“All the Me Too… like, when I sit next to Marilyn Manson and DaBaby right after both of them got cancelled, for five songs, you know, it’s like they can’t cancel us all,” Ye said. “They’ll hit you with the accusations of somebody who you was with 10 years ago.”

He continued: “And also, there’s women who’ve been through really serious things, pulled in alleys against their will – that’s different than a hug, but it’s classified as the same thing.

“It’s power and politics. You know, power-hungry maniacs and just control. This is 1984 mind control we’re in.”

The post Kanye West says the “worst thing” he ever did was sign Big Sean appeared first on NME.

Posted in News | Leave a reply

Avril Lavigne announces new single ‘Bite Me’ coming next week

Avril Lavigne has announced the release of a new single called ‘Bite Me’, which is set to arrive next week.

READ MORE: Avril Lavigne – ‘Head Above Water’ review

It comes after the Canadian singer-songwriter revealed on Wednesday (November 3) that she has signed to Travis Barker‘s label DTA Records.

With the announcement – which followed her performance on the Blink-182 drummer’s House Of Horrors live-stream – she teased the arrival of a new song, writing on Instagram: “Should I drop my first single next week?”

Today (November 5), Lavigne took to Twitter to officially announce the single which is entitled ‘Bite Me’.

“Are you ready to ‘BITE ME’?” Lavigne wrote. “My new song, November 10th.” She also shared a pre-order/pre-save link which you can click here.

Are you ready to “BITE ME” ? My new song, November 10th. Pre save now:

— Avril Lavigne (@AvrilLavigne) November 5, 2021


Travis Barker teamed up with Elektra to launch DTA Records in 2019. “I wanted a label partner that I trusted with true artist development,” he said at the time. “As an artist, it’s important to me that an artist’s vision is protected at all costs.”

Lavigne recently joined forces with Barker on Williow’s pop-punk single ‘Grow’. Back in December 2020, she was pictured in the studio with the sticksman’s friend and collaborator Machine Gun Kelly.

“So are we ready for new music in the new year or what?” she asked fans at the time. “Lemme know.”

In February, Lavigne confirmed that her seventh album was “done”. It will follow on from 2019’s ‘Head Above Water’.

Last week she announced a UK and European tour for 2022, which includes a three-night billing at the O2 Academy Brixton in London as well as a show at Manchester’s O2 Apollo.

Avril Lavigne’s 2022 tour dates are as follows:

MARCH 2022
25 – Manchester, O2 Apollo
27 – London, O2 Academy Brixton
28 – London, O2 Academy Brixton
29 – London, O2 Academy Brixton

The post Avril Lavigne announces new single ‘Bite Me’ coming next week appeared first on NME.

Posted in News | Leave a reply

Paul McCartney says his parents were “the original inspiration” for his Beatles and solo music

Paul McCartney has said his parents were “the original inspiration” for his songs with The Beatles and his solo career.

READ MORE: McCartney 3, 2, 1 review: a gimmick-free deep dive into The Beatles’ oeuvre

He said that although there had been “so many” influences on his songwriting, his parents had the largest impact.

Speaking at an exhibition of memorabilia from his own collection at the British Library in London via BBC News, in connection with his career-spanning biography, The Lyrics, he said: “Thinking about songs that I’ve written at every stage of my career, I came to realise that my parents, Jim and Mary McCartney, were the original inspiration for so much that I’ve written.

“My mum was very reassuring and, like so many women often are, she was also the one who kept our family going. She kept our spirits up.”

Paul McCartney: The Lyrics opens today! Our display of lyrics and photographs behind the most famous songs of all time is free for everyone to visit in our Entrance Hall, no need to book:

(c) Mary McCartney [1/2]

— The British Library (@britishlibrary) November 5, 2021

His father in particular inspired his 1990 solo single ‘Put It There’, the original drawing for the single’s artwork of which is included in the exhibition, alongside a collection of photographs taken by his family, including one of him writing the song ‘I Saw Her Standing There’ with John Lennon at his home on Forthlin Road in Liverpool.

“He loved to play with words, juggle them in his head, and he had loads of little sayings that were sometimes nonsensical, sometimes functional, but always rather lyrical,” McCartney said.

“When he was shaking your hand, he would say, ‘Put it there if it weighs a ton’.”

The free exhibition, which was launched today (November 5) and runs until March 2022, includes 35 previously unseen items from the singer’s personal collection and his own quotes about them.

The Lyrics, which came out earlier this week, was recently shortlisted for this year’s Waterstones Book Of The Year award.

The winner will be announced on December 21.

Meanwhile, McCartney recently played The Beatles’ ‘Get Back’ with Foo Fighters at the 2021 Rock & Roll Hall Of Fame induction ceremony earlier this week.

Dave Grohl and co. were among a number of acts being inducted into the legendary list of names in the Hall Of Fame this year at the Cleveland, Ohio ceremony.

The post Paul McCartney says his parents were “the original inspiration” for his Beatles and solo music appeared first on NME.

Posted in News | Leave a reply

This Stealthy Nike Air Max 90 Features Rich Blue Branding

As the Nike Air Max 90 continues to cement itself as an anchor in the Nike Sportswear category, it’s delivering ensembles for all style preferences. For its latest proposition, Tinker Hatfield’s iconic design has returned in a stealthy arrangement featuring contrasting blue flair.

Akin to previously-seen iterations, the newly-surfaced pair boasts a black and charcoal color combination across the mix of mesh, suede, leather and TPU that found on the upper. Textured, partly-hidden profile swooshes deviate from their dark surroundings with a contrasting white tone, which matches the “max” logo above the Air Max unit underfoot. Branding on the tongue label and heel introduce understated, but notable blue flair, while the sole unit reverts to a greyscale arrangement perfect for fall and winter.

Enjoy official images of the pair here below, and anticipate a launch soon.

For more from the Swoosh, check out the latest Nike Blazer Mid styles.

Where to Buy

Make sure to follow @kicksfinder for live tweets during the release date.

Nike Air Max 90 “Black/Grey/Blue”
Release Date: 2021
Color: Black/Grey/Blue

Mens: N/A
Style Code: DR0145-002

Images: Nike

© Sneaker News, 2021. |
No comment
Add to

The post This Stealthy Nike Air Max 90 Features Rich Blue Branding
appeared first on Sneaker News.

The post This Stealthy Nike Air Max 90 Features Rich Blue Branding appeared first on Sneaker News.

Posted in News | Leave a reply

Los Tigres del Norte Adds 2022 Dates To La Reunion Tour, Unveils New EP

Los Tigres del Norte has extended their current La Reunión tour with new dates for 2022, Billboard has learned.

The legendary Norteño band, which kicked off a tour in September, is set to continue with 40 confirmed dates in 2022, including Feb. 11 at Ontario’s Toyota Arena, Feb. 19 at San Jose’s SAP Center, March 12 at New York’s UBS, and for the first time in their career, Los Angeles’ Staples Center on April 2.

Billboard can confirm that full concert dates and venues for 2022 will be announced soon for the La Reunión tour presented by Zamora Live. To see ticket sales, click here.

In addition to going on tour, Los Tigres del Norte—Jorge Hernández, Eduardo Hernández, Luis Hernández and Oscar Lara—will premiere their upcoming EP, named after the tour, on Dec. 3. The set will include six tracks, including the previously released title track.

Known as la voz del pueblo, or the voice of the people, Los Tigres del Norte have consistently spoken out against issues that directly impact the Latinx community. Through lyrics, documentaries and activism, the norteño band — whose career spans over five decades — has explored topics like immigration, gun violence and, most recently, cash bail reform.

Posted in News | Leave a reply

The New Balance XC-72 Goes Lunar With The “Moonbeam” Pack

Thanks to Casablanca, the New Balance XC-72 debuted to a wide array of bright colors. Their latest take on the silhouette, though, was a surprising display of subtlety, lacking the liveliness the pairs before it had in spades. This, however bad it may seem, proves to be a breath of fresh air; and soon, the GR equivalents will be following suit.

Among the first to arrive is the “Moonbeam” pack, a duo of colorways that explores both extremes of the same monochromatic spectrum. Atop one pair in particular, black assumes the helm, dressing up both the lateral and medial sides in blacked out suede, leather, and mesh. But straight down the middle, two different but still related off-white hits dress up every fixture, splitting the upper and tooling down the middle with very little breaks. This holds true with the accompanying pair, its execution similar in all ways save for the inversed arrangement.

Enjoy a close-up, official look at both options here and sit tight as we await their arrival on and select retailers.

In other news, the Off-White Air Jordan 1 Chicago is landing later this month.

Where to Buy

Make sure to follow @kicksfinder for live tweets during the release date.

New Balance XC72
Release Date: 2021
Color: Moonbeam/Black

Mens: $100
Style Code: UXC72DB1

Where to Buy

Make sure to follow @kicksfinder for live tweets during the release date.

New Balance XC72
Release Date: 2021
Color: Black/Moonbeam

Mens: $100
Style Code: UXC72DA1

© Sneaker News, 2021. |
No comment
Add to

The post The New Balance XC-72 Goes Lunar With The “Moonbeam” Pack
appeared first on Sneaker News.

The post The New Balance XC-72 Goes Lunar With The “Moonbeam” Pack appeared first on Sneaker News.

Posted in News | Leave a reply

Camila Cabello Talks Forthcoming Album ‘Familia’ & Single ‘Don’t Go Yet’ Appearing In ‘Just Dance 2022′

Camila Cabello is gearing up to release her third solo studio album, Familia, but is treating fans to a fun surprise while waiting for the record’s release. “Don’t Go Yet” — Cabello’s lead single from Familia –  is now featured on Just Dance 2022, and the singer sat down with Billboard to discuss the track being a part of the wildly popular interactive dance game, as well as what to expect from her forthcoming album.

“I knew obviously when my collaborators and I wrote the song that it was such a party, good-time song but I didn’t realize until I played the game that I was like, ‘Oh, it’s so perfect for dancing with your friends,’ and made me want to play Just Dance,” she said.

Speaking about her inspirations for “Don’t Go Yet,” Cabello shared that she listened to a lot of Latin music in her youth and got some of her earliest dance lessons from watching television.

“Growing up my family listened to a lot of Latin music, so a lot of salsa, Celia Cruz’s ‘La vida es un carnava,’ a lot of Latin songs,” the 24-year-old explained. “My first memories of dancing were watching High School Musical and The Cheetah Girls and group ensemble moments trying to learn the dance. I remember trying to learn the Soulja Boy and the Dougie and it’s such a bonding thing for people to be able to dance together. It’s so connecting.”

Though Cabello has yet to provide fans with a release date for Familia, the singer did share what the album means to her: “This album to me means community, I guess the opposite of you on your own. It’s more you with other people land sharing in that joy and success, whatever that means. Interdependence realizing how important everybody is in your life. A lot of it is inspired by my relationships: My relationships to my family, my relationship to my friends, my relationship to my partner…it’s all about connections with other people, hence, Familia.”

Posted in News | Leave a reply

First Country: Blake Shelton, Thomas Rhett, Gabby Barrett, Deana Carter & More

First Country is a compilation of the best new country songs, videos and albums that dropped this week.

Blake Shelton, “We Can Reach The Stars”

When Shelton wed Gwen Stefani in July, he penned his own wedding vows in the form of a song. Now, he’s letting the rest of the world hear the tender, emotional track. Delicate guitar work starts off this song, as Shelton reflects how he wishes they had met earlier in their lives.

“Who are we to question God and his greater plan?/ You and me are a blessing,” he sings, his straightforward, unadorned delivery offering a glimpse into the earnest love he feels for his new bride. The track will be included on December release of Shelton’s Body Language deluxe album.

Deana Carter, “Strawberry Wine” (2021 Version)

Deana Carter commemorates the 25th anniversary of her 1996 debut album Did I Shave My Legs For This? with a special reissue. Two of her biggest hits from that album, “Strawberry Wine” and the title track, get a boost as Carter welcomes a sterling lineup of artists to join in. On the enduring (and CMA Award-winning) “Wine,” she welcomes Lauren Alaina, Martina McBride, Ashley McBryde, Kylie Morgan and Vince Gill to lend their talents, which infuses this song’s wistful remembrance of first love an appealing range of textures and emotional nuances.

Priscilla Block, “Peaked in High School” 

Block’s music first went viral on TikTok, as one of her previous releases “Just About Over You” gained traction and she landed a deal with country label UMG Nashville. With the aforementioned track in the top 20 on Billboard’s Country Airplay chart, Block has just released a new track that calls out a high school bully, whose glory days dwindled soon after those teenage years were over. As with “Just About Over You,” this track is deeply autobiographical, detailing Block’s grievances, before pointing out how her fortunes have changed.

“I got a deal/ You got divorced,” Block deadpans with her signature wit — though ultimately, the song is about pushing past the naysayers and following your own ambitions.

Thomas Rhett, “Slow Down Summer”

Rhett continues his penchant for songs about young love and nostalgia on this sweetly piano-based tune, which finds a young couple desperately clinging to those last moments of summer — and their short-lived romance.

Though Rhett released Country Again: Side A (the first in a two-part project) earlier this year, it looks like fans will have to wait until Fall 2022 for the second half of the project. The singer-songwriter just announced that “Slow Down Summer” is from a different project, Where We Started, set for early 2022. Rhett penned “Slow Down Summer” with Ashley Gorley, Jesse Frasure, and Sean Douglas — as well as Rhett’s father, recent Nashville Songwriters Hall of Fame inductee Rhett Akins.

Gabby Barrett, “Pick Me Up”

Following Barrett’s more pop-inflected, glossy No. 1 hits “I Hope” and “The Good Ones,” this talented artist’s latest offers a more organic, breezy vibe, thanks to a mix of jangly string work. “Get me out of my head and out of this town,” she sings in this relaxed, yet still commanding track, which she penned with Jon Nite and Ross Copperman.

Kameron Marlowe, “Steady Heart”

They are oil and water, but somehow their differences just seem to work. This steady love song is charged with sentimentality and rural imagery, from gravel roads and AM radios, and old pawn shop guitars meant for playing “Angel From Montgomery.” “When we come together/ We’re the best of who we are,” Marlowe sings. As a co-writer on the song, alongside Jessi Alexander and Dan Isbell, Marlowe also brings a certain relaxed authority to his vocal delivery. Lyrically, it’s more streamlined than his previous outing “Giving You Up,” marking another step forward in his creative progression.

LOCASH, “Beach Boys”

This track, which leads the duo’s newly-released five-track EP Woods & Water, interpolates The Beach Boys’ 1964 classic “I Get Around,” incorporating it into a song that sonically falls in line with the current output at country radio. But instead of singing the praises of a cool car, they’ve got an urge to “take the country to the beach, boys,” trading “Jack D” for Jose Cuervo, and swapping Tennessee for laid-back beaches.

Nate Smith, “Raised Up”

Smith’s first offering since signing to Sony Music Nashville is a promising one, building from an elegant piano to a righteously hooky chorus, while Smith possesses a gravelly vocal vibrato that surges with urgency. This track focuses on re-centering himself on the values and life lessons he was raised on.

“Any time I lose my way/ I turn the way I was raised up,” he sings in this soulful rock-country track he penned with Trannie Anderson and Jonathan Smith.

Randall King, “You in a Honky Tonk” 

King likes his lover best when she’s dressed up in the neon lights of a honky tonk. This Texas native’s got the effortless vocal delivery and barroom-ready, fiddle-soaked production nailed down, but this track doesn’t quite reach the same level as his previous excellent efforts such as “Record High,” “Another Bullet,” or “Tugging on My Heartstrings.”

Posted in News | Leave a reply