Ahead of her performance and speech at the global climate conference COP26 in Glasgow this weekend, AURORA has spoken to NME about how she believes that “we can either be the generation who fixes the damage of the generations before us, or the generation who truly doomed Mother Earth”.

Taking place until November 12, the COP26 summit is aiming to bring parties together to accelerate action towards the goals of the Paris Agreement and the UN Framework Convention on Climate Change.

Tomorrow (November 6) Norwegian phenomenon AURORA will headline the UMA Entertainment Group’s special not-for-profit event during COP26, which will include panels, talks and live music. All profits from the event will be donated to Brian Eno’s EarthPercent charity, as well as a selection of social impact charities in Glasgow.

Having always been very vocal about her climate activism through her interviews and music, AURORA told NME how involving art in the conference “made sense” because “sometimes matters like the environment can get too political, so we need to inspire the emotional part”.

“I love Mother Earth, and for me it’s a very emotional case to be fought for our world and our environment,” she said. “She gives so much to us, and we just take and take and take. It’s so unbalanced and wrong. We’ve managed to taint something really beautiful with an ugliness.

Asked what her aim for the event would be, the ‘Runaway’ singer replied: “I want to get across how much this matters. I strongly believe that we have time to turn things around and make things better. If we don’t do something now, one day we’ll find that it’s too late to reverse all the damage that we’ve already done. We’re fighting for the wellbeing of all living things.”

Describing the current state of affairs as “heartbreaking”, AURORA said that the powers that be need to take heed of the warning signs before it’s too late.

“We’re already noticing the natural disasters, the weather changing, the water rising, the forests burning,” she said. “So many people and animals are suffering from the consequences of global warming. It’s always the richest people causing the most damage, but noticing it the least.

“People don’t seem to care about a problem until it directly affects them, which is very uninspiring and boring. Let’s just do something new and change because we can. We can either be the generation who fixes the damage of the generations before us, or the generation who truly doomed Mother Earth.”

She added: “It makes so much sense to fight for our world because it’s supposed to be eternal. We’re just visitors and we’re ruining it. It’s about saving the soul of humankind and proving who we are. We need to repent and do something.”

Aurora performs at The Roundhouse (Picture: Getty)

Asked about how she felt the music industry was handling the response to the climate crisis, AURORA admitted that “we’re never doing enough” – but positive changes could be seen. She hailed Coldplay’s efforts to reduce the environmental damage of their upcoming world tour, but said that it wasn’t so easy for smaller acts.

“I feel like there are many inspiring people out there who are doing what they can,” she said. “Asking all artists to change and go out of their way while touring to be more environmentally friendly is also like blaming people for not recycling the piece of plastic that their raw chicken came in.

“When you can, you should, and Coldplay are successful and rich enough to be able to. However, there are smaller artists out there who can’t handle that pressure. It’s more for the artists with the economy, knowledge and possibility to actually change their touring life. It’s a very hard balance to find because most of us have to tour to survive and cope with the guilt of flying all the time. But if you can do small changes, then I think it’s important to know that you don’t have to be perfect.”

It’s a notion that she applied to the wider world, calling on everyone to “do what they can” without being threatened by the bigger picture.

“It’s so important to not be intimidated by things you don’t understand [and] not feel incapable of making a real change,” she said. “We all have the power to affect the world around us by speaking our truth and fighting for what we think is worth fighting for.

“I try to do my part, but it’s about doing more than just talking about it. Talking is important to inspire people to care about what a big and important battle this is, but I’m bored of just talking about it. I’m very keen on doing more, joining organisations and supporting people who are doing the actual work.”

While noting the power of the individual, she also argued that COP26 should result in pressure being mounted on the 20 companies who are responsible for 35 per cent of all energy-related carbon dioxide and methane worldwide.

“I’m tired of people blaming the everyday people who are trying their best and generally don’t know where to begin outside of recycling and doing our little part,” she said. “It’s time to really demand the change from the big guys who are doing the real damage.

“Do what you can – that’s my biggest wish. If you have the space or capacity then help.”

And how would she feel if she met environmental activist icon Greta Thunberg while she was in town?

“I love her!” AURORA replied. “Even though she’s very well-spoken and intelligent and knows her area so well, I feel like she’s a very good example of the balance we need in talking about matters that are both political and emotional.

“That’s why she inspired so many young people – because nobody talks to us in such a warm, emotional, intelligent, real and desperate way.”

Greta Thunberg

This comes after Patti Smith claimed that the climate movement was “the most important thing in the world right now” ahead of COP26, while Massive Attack launched a campaign to target corporate “greenwashing“.

AURORA will perform and speak at ‘Beyond The Green’ tomorrow (Saturday, November 6). She will be headlining the event’s live music bill, with Sam Fischer and BEMZ (DJ set) also set to perform. DJ sets will be provided by Groove Armada’s Andy Cato, Sarra Wild and Darwin during the after-show event.

She also recently announced her new album ‘The Gods We Can Touch‘ – due for release on January 22, 2022 – before heading out on a UK and European tour from February through to April next year.

The post AURORA on COP26: “We’re fighting for the wellbeing of all living things” appeared first on NME.

Bring Me The Horizon played an intimate show at Whiskey A Go Go in Los Angeles earlier this week – you can see footage from the gig below.

READ MORE: Bring Me The Horizon live in London: a spectacular cyber-punk circus

Ahead of their performance at Knotfest Los Angeles tonight (November 5), the Sheffield band put on a special warm-up gig at the 500-capacity Whiskey A Go Go on Wednesday (November 3).

Oli Sykes and co. ran through some of their older material as well as a bunch of tracks from last year’s ‘Post Human: Survival Horror’ EP, including: ‘Dear Diary’, ‘Teardrops’, ‘Ludens’, ‘Parasite Eve’, ‘Itch For The Cure (When Will We Be Free?)’ and ‘Kingslayer’.

Bring Me were joined by Yungblud at one point for a wild performance of their collaborative single ‘Obey’. Other famous friends who were in attendance but didn’t perform included Papa Roach’s Jacoby Shaddix and TikTok star Jeris Johnson.

The band shared a rehearsal video for the show, which you can see below along with footage and pics from the gig.

fR0m tHe sTReEtS oF n0RtHerN EngLanD t0 HoLLyWo0D’ – Wh1sKy a g0 Go, yOu WeRe w1Ld pic.twitter.com/rbuWCiOidT

— Bring Me The Horizon (@bmthofficial) November 5, 2021

Os fãs subiram no palco em Drown, ontem, no Whisky a Go Go

| rogerwlyons via Instagram pic.twitter.com/0TElu4Lpv9

— Bring Me The Horizon BR (@BMTH_BRA) November 4, 2021

pic.twitter.com/NyMbcyShHu

— Bring Me The Horizon (@bmthofficial) November 5, 2021

Whisky a Go Go, Los Angeles (03.11.21)

@theworkofjar & Nicole Lemberg pic.twitter.com/BsjGlznrq1

— Bring Me The Horizon BR (@BMTH_BRA) November 4, 2021

Bring me the horizon at Whisky a go go pic.twitter.com/w7eNHf4ELX

— bmthstanforlyfe (@bmthstan4lyfe) November 4, 2021

bring me the horizon at the whisky a go go was one for the books pic.twitter.com/Zitd0Yscbe

— inet (@lifegonewild) November 4, 2021

You can see Bring Me The Horizon’s Whiskey A Go Go setlist below:

‘Dear Diary’
‘Teardrops’
‘MANTRA’
‘The House Of Wolves’
‘Medicine’
‘Happy Song’
‘Ludens’
‘Parasite Eve’
‘Shadow Moses’
‘Wonderful Life’
‘DiE4u’
‘Itch for the Cure (When Will We Be Free?)’
‘Kingslayer’
‘Follow You’ (Acoustic)
‘Drown’
‘Obey’

Meanwhile, BMTH’s Oli Sykes and Jordan Fish have been in the studio with Sigrid. “Just wait til you hear what we wrote,” the Norwegian singer captioned a clip of the trio, adding the hashtag “#Rocktober”.

Sigrid also shared a photo with Sykes and Fish on Instagram, calling the musicians “legends”.

Bring Me The Horizon recently returned with ‘DiE4u’, the next taste of their ongoing ‘POST HUMAN’ project. Speaking to NME about the song, Sykes explained that its lyrics delve into his battles with addiction.

He said: “This song is triumphant for me in a way because it’s me finally accepting that I’m not someone who can drink alcohol, smoke weed or do any of these things because I just have a problem with it and it always goes down the same road.

“That’s not something that I’ve been able to admit to myself. This song is a defiant stamp of me saying, ‘No, I’m making a choice now. I can’t keep doing this for the rest of my life because it’s only going to end up one way’.”

The post Watch Bring Me The Horizon play intimate LA Whiskey A Go Go show with Yungblud appeared first on NME.

Drake has shared a music video for his latest single ‘Knife Talk’, which features 21 Savage and Three 6 Mafia‘s Project Pat.

READ MORE: Drake: every single album and mixtape ranked and rated

The track is from the Canadian rapper’s sixth studio album ‘Certified Lover Boy’, which was released in September.

The horror film-inspired video is directed by Pablo Rochat, with black and white visuals that include vintage cartoons, old archival clips and shots of the three rappers casually chilling while wielding huge knives.

Over the menacing Peter Lee Johnson and Metro Boomin production, Drizzy raps: “Yeah, I heard Papi outside/ And he got the double-R droppy outside/ Checked the weather and it’s gettin’ real oppy outside/ I’ma drop this shit and have these pussies droppin’ like some motherfuckin’ flies.”

You can watch the video for ‘Knife Talk’ below:

Upon its release, Drake’s ‘Certified Lover Boy’ broke new Billboard records, matching a record set by The Beatles in 1964. The rapper is now the only act alongside The Beatles to have monopolised the entire Billboard Hot 100 Top Five in a week.

He also become the first artist ever to claim as many as nine of the Top 10 positions in a single frame. Justin Bieber and The Kid LAROI‘s ‘Stay’ were the only songs in the Billboard singles chart that weren’t by Drake at the time.

Last month, a writer on 00s teen show Degrassi: The Next Generation revealed that Drake threatened legal action against the show, in which he co-starred, over a wheelchair storyline.

In a recent oral history of the show to mark its 20th anniversary, writer James Hurst explained that Drake – who appeared as Jimmy Brooks in the Canadian drama from 2001 over seven seasons – pursued legal action after his character wound up in a wheelchair.

Meanwhile, a man impersonating Drake has been performing the rapper’s songs in LA clubs. Footage of “Fake Drake” began circulating on social media last month after Tory Lanez spotted him at a number of nightclubs in Miami.

The post Watch Drake’s horror film-inspired new video for ‘Knife Talk’ featuring 21 Savage and Project Pat appeared first on NME.

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.

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

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.”

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.

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.

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 pic.twitter.com/xUJNlolKf0

— 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.

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: https://t.co/2KDyfqDnQw pic.twitter.com/pXRPb3H4VH

— 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.

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.

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

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 Nike.com launch soon.

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

Images: Nike

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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 NewBalance.com and select retailers.

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

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