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Travis Barker & Kourtney Kardashian Celebrate Halloween Early as Sid & Nancy: See Photos

Halloween isn’t until next weekend, but that isn’t stopping Travis Barker and Kourtney Kardashian from celebrating a little early.

The newly engaged couple shared photos of their spot-on costumes as ill-fated punk-rock couple Sid Vicious and Nancy Spungen. The blink-182 drummer wore a black leather jacket, spiky black wig and Sid’s signature padlock necklace to embody the Sex Pistols bassist, while Kardashian wore a sheer fishnet shirt over a black bra with a curly blonde wig to dress up as the rocker’s girlfriend.

Of course, the story of Sid and Nancy doesn’t have a happy ending: Spungen was found dead from a stab wound at New York’s Chelsea Hotel  in October 1978 after a night with Vicious, who was charged with her murder but ended up dying of a heroin overdose four months later before he could stand trial. The couple was immortalized in the 1986 biopic Sid and Nancy, with Gary Oldman and Chloe Webb starring as the pair.

See photos below:

Barker and Kardashian announced their engagement Sunday via Instagram posts with the simple caption “forever.” The couple — who have been friends for years — reportedly began dating in January before making it Instagram-official on Valentine’s Day, when Kardashian shared a photo of their intertwined hands and Barker commented with a black-heart emoji.

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Here’s Where Genre-Bending Albums From Lil Nas X, Halsey, Miley Cyrus & More Landed for 2022 Grammys

Even before first-round voting for the 64th annual Grammy Awards opened on Friday (Oct. 22), we knew that some albums wouldn’t be in the expected genre categories. Kacey Musgraves’ star-crossed was moved from best country album to best pop vocal album, while Bo Burnham’s Inside (The Songs) was slotted in best compilation soundtrack for visual media, not best comedy album, as had been expected.

These were hardly the only albums that wound up on the Grammy ballot in places you might not expect. That’s bound to happen as artists increasingly cross genres. Albums often wind up right on the border between two or more genres. In those cases, the Recording Academy’s screening committee endeavors to put it in the most suitable category.

Here are some of this year’s borderline albums, and where Grammy voters can find them on the online ballot. (Voters have until Nov. 5 to make their choices.) Nominations will be announced Nov. 23. The winners will be revealed Jan. 31, 2022.

Lil Nas X’s Montero and Doja Cat’s Planet Her are both vying for nods as best pop vocal album rather than best rap album.

Kylie Minogue’s Disco is competing for best pop vocal album rather than best dance/electronic album. The dance icon was nominated in the latter category with X in 2008.

Halsey’s If I Can’t Have Love, I Want Power is vying for best alternative music album. The album’s co-producer, Trent Reznor, has been nominated three times in that category, for Nine Inch Nails’ The Downward Spiral (1993), The Fragile (1999) and Hesitation Marks (2013).

Various albums somewhere on the line between pop and rock wound up in different categories. Imagine Dragons’ Mercury Act 1 and Twenty One Pilots’ Scaled and Icy are both competing for best pop vocal album, while Machine Gun Kelly’s Tickets to My Downfall, Miley Cyrus’ Plastic Hearts, John Mayer’s Sob Rock and Paul McCartney’s McCartney III are vying for best rock album.

Imagine Dragons’ Evolve was nominated for best pop vocal album four years ago. Cyrus’ Bangerz was nominated in that same category seven years ago. Mayer has been nominated in the pop vocal album category twice — for Continuum (2006), which won, and Battle Studies (2010) — and in best rock album once, for Try! (also 2006). McCartney has yet to receive a nomination for best rock album, but he has been nominated for best pop vocal album twice — for Chaos and Creation in the Backyard (2005) and Memory Almost Full (2007) — and best alternative music album once, for Liverpool Sound Collage (2000).

The Black Keys’ Delta Kream is vying for best contemporary blues album. Should the album win, this would be the third album genre in which they have prevailed. Brothers won the 2010 award for best alternative music album. El Camino took best rock album two years later.

Carrie Underwood had two No. 1s on Top Country Albums during the eligibility period (Sept. 1, 2020 to Sept. 30, 2021) but neither is competing for best country album. Underwood’s Christmas album My Gift is vying for a nod as best traditional pop vocal album. Her sacred album My Savior is vying for a nod as best roots gospel album, rather than best contemporary Christian music album or best gospel album. (Surprising fact: Underwood is a seven-time Grammy winner, but she has yet to be nominated for best country album.)

Bad Bunny’s El Ultimo Tour del Mundo and Anuel AA & Ozuna’s Los Dioses are among the albums vying in the new best musical urbana album category. Bad Bunny won last year for best Latin pop or urban album. He had two nominations two years ago for best Latin, rock or alternative album.

Ty Dolla $ign’s Featuring Ty Dolla $ign and Bryson Tiller’s Anniversary are both vying for nods for best progressive R&B album rather than best rap album and best R&B album, respectively.

Ani DiFranco’s Revolutionary Love is vying for a nod as best R&B album. The veteran artist has received three nominations for best female rock vocal performance and two for best contemporary folk album.

Wizkid’s Made in Lagos is vying for a nod in the recently renamed best global music album category.

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for King & Country, CeCe Winans, We the Kingdom, KB & Jason Ingram Among GMA Dove Awards Winners

Unity and joy led the evening during this year’s GMA Dove Awards, with uplifting performances from CAIN, Lauren Daigle, Natalie Grant, KB, We The Kingdom, CeCe Winans and more. The show aired Friday night (Oct. 22) on TBN and SiriusXM and was filmed in Nashville at Lipscomb University’s Allen Arena.

The ceremony launched with a sweet surprise for Gospel Music Association president/executive director Jackie Patillo, who has spent 10 years at the helm of the organization. Patillo was honored with the inaugural distinguished leadership award, which will be named after Patillo going forward.

“I am speechless,” Patillo said. “And so honored and so grateful. This is a calling, y’all. This is a mission. This is not a job. Even though some days are hard. But I love you. And I’m grateful. And I believe in unity in Christ. I believe we can celebrate our diversity in ways that will show the world that they’ll know we are Christians by our love. I believe in the power of God through the Word and through the message in your songs. So thank you. I’m so grateful and I’m awestruck over this.”

Natalie Grant and Jonathan McReynolds served as affable co-hosts for the evening; this marked McReynolds’ first time co-hosting the event, while Grant previously hosted in 2007.

We the Kingdom gave the first performance of the evening, bringing the churning folk-rock of “God So Loved” to the stage and welcoming international children’s choir His Little Feet. The first award of the evening, contemporary gospel album of the year, went to Koryn Hawthorne’s I AM.

From there, this year’s GMA Dove Awards seemed to easily blend performances from CCM, gospel, rap/hip-hop, worship, Southern gospel and more into a seamless showcase for the breadth and depth of the genre as a whole, from the hard-hitting hip-hop of KB, Hawthorne’s simmering R&B, the folksy worship style of Daigle, The Isaacs’ bluegrassy “The American Face,” CAIN’s amalgam of rock, country and folk, and the congregational worship style of Elevation Worship.

Grant and CeCe Winans, two of gospel and Christian music’s premier vocalists, held court during the evening. When Grant took the stage, a silence immediately fell over the crowd and attendees stood to attention as she performed “My Weapon,” teaming with the Belonging Co. choir to offer a commanding, string-filled performance.

Winans has had a banner year, collaborating with Carrie Underwood on “Great Is Thy Faithfulness” (from Underwood’s My Savior album) and having her own “Believe for It” currently residing in the top 15 on Billboard’s Gospel Airplay chart. She offered a stunning live rendition of the song that was both powerful and elegant.

Winans, one of gospel music’s most highly awarded entertainers, added to her accolades, winning in four categories during the evening, including gospel artist of the year, gospel worship album of the year (Believe for It), gospel worship recorded song of the year (“Believe for It”) and Inspirational song of the year (“Great Is Thy Faithfulness” with Underwood).

Later in the evening, We the Kingdom returned to the stage as winners in the contemporary Christian artist of the year category. They also took home the pop/contemporary album of the year honor for Holy Water. The members of the multi-generational group, led by popular songwriter/producer Ed Cash, hugged each other after taking the stage to accept the honor.

Jason Ingram also took home four honors during the evening, including songwriter of the year (non-artist).

“I’ve been doing music a long time and this means so much to me,” said Cash, who is also known for his work writing CCM hits such as Chris Tomlin’s “How Great Is Our God” and “Made to Worship.” “This means so much because I have seen God move in my family in miraculous ways.” Of winning the honor, he said, “God saw fit for whatever reason, so I want to give Him all the glory.”

Key collaborations during the ceremony included Mali Music and McReynolds joining forces on “Best Thing” and “Jump Ship,” and Dante Bowe’s collaboration with Kelontae Gavin. Later, Matt Redman guested on KB’s performance of “10k,” which includes a snippet of Redman’s “10,000 Reasons (Bless the Lord).”

In addition to delivering one of the most electrifying performances of the evening, KB offered one of the evening’s most impactful acceptance speeches, for his win in the rap/hip-hop album category for his project His Glory Alone.

“Wow. I was 16 years old when somebody gave me a Christian hip-hop CD. It had a dude on the front cover that had dreadlocks like mine, a red bandana going across his forehead and a red bandana going across his mouth and the album was called Bloody Streets. I said, ‘Listen, I have no degree in Lifeway Christian Bookstores, but this is not Christian rap, this man’s about to rob a bank.’ He said, ‘No, this is Christian hip-hop. You take it home.’ I was in a dark, dark place. I took that album home. I listened to it front to back and the eighth song was a gospel presentation and I believed on Jesus listening to that album,” he said, as the crowd cheered. “I vowed to the Lord Jesus that I would spend my life trying to reproduce that moment for people all over the world.” Turning to acknowledge Wes Writer, one of his collaborators on the album, he added, “It just dawned on me: The gentleman behind me, Wes, who helped create this project, heard my album several years ago, believed on Jesus and now he’s helping me make records.”

Elevation Worship collected wins in four categories through its work with Brandon Lake and Kari Jobe. “Graves into Gardens,” featuring Lake, was named worship recorded songs of the year, while “The Blessing” from Elevation Worship, Jobe and Cody Carnes was named song of the year. Elevation Worship’s work with worship music collective Maverick City Music on the album Old Church Basement won worship album of the year, while Lake was named songwriter of the year (artist). “Graves into Gardens” also picked up a win for recorded music packaging of the year.

Maverick City Music has stormed up Billboard’s Christian and Gospel charts with “Jireh” (which featured Elevation Worship, Chandler Moore and Naomi Raine) and their current single “Promises” over the past year, and took home a Billboard Music Award earlier this year for top gospel album. At the GMA Dove Awards, the group took home the new artist of the year honor.

For King & Country’s Joel and Luke Smallbone earned the evening’s biggest honor, artist of the year. It was one of three wins for the duo during the ceremony. Last year, they earned a Billboard Christian Airplay hit with “Together,” featuring Kirk Franklin and Tori Kelly, and this year followed with “Amen.”

“It’s been a little bumpy, It’s been a strange couple of years,” Luke told the audience, and sharing his own struggle with throat surgery a few months ago. “For about five days, you can’t say a word. So you wait in suspense to find out what’s going to happen,” he recalled the days following the procedure.

“I felt good until about two days after the surgery until some of those thoughts came through my mind: ‘What if I can’t do this any longer? What if my voice is taken? What If I can’t do this with my brother anymore? What if I can’t write songs or perform?’ When you start asking those questions, it comes to a point where you think, ‘Who am I if I can’t sing?’” Luke said. “I felt God say really, really clearly, ‘It’s never been about a song that you can sing. It’s never been about a performance, a show,  about the mistakes you’ve made in the past, or the good things or failures that may take place in the future. I love you.’” He added, “I stand up here…more convinced than ever that the power of music is transforming.”

See a selected list of winners below:

Song of the year: “The Blessing,” from Kari Jobe (writers: Kari Jobe, Chris Brown, Cody Carnes, Steven Furtick)

Contemporary christian artist of the year: We the Kingdom

Gospel artist of the year: CeCe Winans

Gospel worship album of the year, Believe for It, CeCe Winans

Gospel worship recorded song of the year, “Believe for It,” CeCe Winans

Artist of the year: for King & Country

New artist of the year: Maverick City Music

Worship recorded song of the year: “Graves into Gardens,” Elevation Worship feat. Brandon Lake

Rap/hip-hop album of the year: His Glory Alone, KB

Southern gospel album of the year: Change Is Coming, Joseph Habedank

Contemporary gospel album of the year: Koryn Hawthorne

Inspirational film of the year: A Week Away

Songwriter of the year (nonartist): Jason Ingram

Songwriter of the year (artist): Brandon Lake

Rap/hip hop recorded song of the year: “Deep End,” Lecrae

Pop/contemporary recorded song of the year: “Famous For (I Believe),” Tauren Wells

Inspirational recorded song of the year, “Great Is Thy Faithfulness,” Carrie Underwood feat. CeCe Winans

Pop/contemporary album of the year: Holy Water, We The Kingdom

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Simmons says he’s not ‘mentally ready’ for Sixers return

LOS ANGELES – Ben Simmons has told the Philadelphia 76ers he is not ready to resume playing for the team, multiple US media reports said on Friday in the latest twist to the saga surrounding the Australian star. Simmons, who was suspended for the Sixers’ opening game of the season on Wednesday after a reported […]

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J. Cole Reveals His ‘Vision’ During The Off-Season LA Tour Stop With 21 Savage, Ari Lennox & More

J. Cole lit up the stage during his Off-Season Tour stop at Inglewood, Calif.’s Forum arena on Thursday night (Oct. 21). During his set, the North Carolina native paid homage to his Fayetteville hometown, welcomed surprise guests and showed off his impressive music catalog by performing tracks spanning from his May album The Off-Season — which hit No. 1 on the Billboard 200 — back to his 2010 mixtape Friday Night Lights.

The hitmaker emphasized the importance of staying true to one’s craft and performed some of his classics, including “Nobody’s Perfect,” “Work Out,” “Can’t Get Enough” and “Power Trip.” Here’s a recap of some of the most exciting moments during Thursday night’s show.

J. Cole Reveals Surprise Guests Stars Ari Lennox & Bas

The audience was ecstatic when J. Cole finally hit the stage around 10 p.m. local time. The Grammy-winner made an NBA-starting-lineup-style grand entrance, with cameras following him from the locker room backstage as he made his way through the arena sporting a Los Angeles Lakers-inspired “Dreamer” jersey.

On the stage, complete with flashing lights and a basketball hoop that literally spat fire, J. Cole opened his set with his track “95 . S o u t h,” which he followed with “A m a r i” and “Applying . Pressure.”

Between songs, the rapper opened up about his experience as an artist and the importance of working through the stage fright that comes with performing his personal-favorite songs that weren’t received as hits. “I had a vision for this tour,” he told the audience. “I wanted to be able to come out in these big a– f—ing arenas … and step on these big a– stages and be able to deliver these real mother f—ing bars to y’all, you know what I mean? Give the bars to the people, you feel me?”

“We got the hits, we grateful for that,” he said as the crowd cheered. ” … If there’s one thing I love about doing these shows in LA, it’s a lot of people that have been f—ing with me since day one in LA. I remember, I feel like Los Angeles really appreciates these motherf—ing bars.”

As the night progressed, J. Cole welcomed surprise star Ari Lennox onstage to perform their collaborative hit “Shea Butter Baby.” Lennox then performed her solo track “BMO,” also from her debut studio album Shea Butter Baby. Bas hit the stage as well, to perform “Down Bad.” Lennox wore a black gown while Bas wore a jersey, keeping with the night’s basketball theme.

J. Cole Reunites With 21 Savage & Morray 

In what initially appeared to be the show’s grand finale, J. Cole reunited with fellow performers 21 Savage, Bas and Morray to perform the latter’s collaborative track “My Life.” Morray was the show opener for Thursday night’s concert. During his opening act, he performed his smash hit song “Quicksand.”

“I ain’t gonna lie, this has been the best night on tour,” J. Cole said.

After the trio left the stage and the lights went out, 21 Savage surprised fans by returning to perform his song “No Role Modelz.” He wrapped up his Inglewood performance with his track “Middle Child.”

21 Savage Celebrates 29th Birthday Onstage

Prior to J. Cole’s set, and after performing some of his own fan favorites, including “Bank Account,” “Ball W/O You” and “Rockstar,” 21 Savage announced that he was celebrating his birthday. The Grammy-winner officially turned 29 on Friday (Oct. 22). Led by producer Metro Boomin, who was also onstage with 21 Savage, the audience was thrilled to ring in the big day for the artist and sang “Happy Birthday.”

Comedian Druski Takes Center Stage

Moments after 21 Savage’s performance, comic Druski hit the stage and made the audience laugh hysterically. At one point, Druski danced as the DJ played a series of romantic throwback tunes, including Mario’s “Let Me Love You” and T-Pain’s “I’m Sprung.” But the icing on the cake was when he joked that he was the fifth member of R&B group Pretty Ricky and performed a cartwheel as he lip-synced the group’s top 10 Billboard Hot 100 hit song “Grind With Me.”

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Watch SEVENTEEN Talk ‘Growth’ on ‘Attacca’ EP & Getting CARATs Involved in Their Music: Video Interview

SEVENTEEN returned Friday (Oct. 22) with their ninth EP Attacca, and in a new interview with Billboard News’ Tetris Kelly, the group is opening up about their quick comeback after Your Choice, the album’s message of love, and getting CARATs involved in the music-making process.

The 13-member K-pop group is spoiling fans with new music, releasing Attacca just four months after June’s Your Choice EP, and they’re not planning to slow down anytime soon.

“We’re not taking any breaks,” Hoshi says, with S.Coups adding: “We worked even harder since we’re not able to meet everyone in person right now. We wanted to connect more frequently, at least through our music.”

Your Choice: 8th Mini Album debuted at No. 1 on Billboard’s Top Album Sales chart, selling 20,500 copies in the U.S. in the week ending June 24, according to MRC Data, and SEVENTEEN are excited to keep reaching new heights on Attacca. “We’re very glad that we’re able to show our continuous growth and we’re so thankful to our CARATs who made all this possible,” Mingyu says about the new project.

The group said their new song “Rock With You” from the album is for “fearless lovers,” and they think that message of love is always important.

“The kind of love we tried to illustrate through this album relays the message that regardless of where you stand and how you may look, ‘you’ will always be the best and most precious existence to ‘me,’” S.Coups explains. “And conversely, no matter where we may be, or what we may look like, we all can be a most cherished existence to someone else.”

SEVENTEEN is offering fans the chance to make their own version of “Rock With You” by releasing an audio kit with the song’s stems and encouraging fans to play around with the track. “We were sure that this would be a project that would have SEVENTEEN’s unique color to it and also something our CARATs would absolutely love,” Woozi tells Billboard News. “And as a result, we’re having so much fun listening to all the amazing music our CARATs are creating.”

Watch SEVENTEEN’s full Billboard News video interview above.


We make our own music
Now, it’s your turn! Make and share your own music
Let’s play with SEVENTEEN

2021.10.22 1PM (KST)
2021.10.22 0AM (ET)#세븐틴 #SEVENTEEN#Attacca#Rockwithyou#SVT_Rockwithyou

— 세븐틴(SEVENTEEN) (@pledis_17) October 15, 2021

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U.S. voices concern about China’s treatment of NBA

WASHINGTON  – The United States voiced concern on Friday at China’s actions against the National Basketball Association, after Boston Celtics highlights were absent from a Chinese streaming platform following a player’s online criticism of China’s treatment of Tibet. Celtics backup center Enes Kanter this week tweeted a video of himself expressing support for Tibet and […]

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Caetano Veloso Tells the Story of How His New ‘Meu Coco’ Album ‘Just Happened’

Over 50 studio and live albums and multiple soundtrack contributions, Brazilian artist Caetano Veloso finally makes the leap from habitual musical partnerships to composing and producing an album entirely on his own.

Meu Coco (My Head) is his first solo album of new songs in almost a decade. His last major world tour with longtime friend Gilberto Gil, in support of Dois Amigos: Um Século de Música, brought the multifaceted pair to the Solar amphitheater at Miami’s Bayfront Park. This time, we get to see Mr. Veloso across the screen.

“I just came back from a farm in Minas Gerais,” he says with a smile during a video conversation with Billboard. “We spent five days. It was kind of cold there. It was raining, but it was beautiful.” It’s 8 o’clock at night and his lightweight buttoned-up long-sleeve blue shirt hints that winter is coming to an end.

The musician’s latest project is an engaging experience on his artistic and personal perspective from the past few years — an experimentation that has more than delivered. Meu Coco is as appealing as it is unafraid to address topics such as politics, social and personal relations with the tenderness that characterizes him.  

Veloso’s last studio album, Abraçaço (2012), earned him a Latin Grammy for best singer-songwriter album, and Dois Amigos secured him and Gil a top 10 on Billboard’s World Albums chart in 2016. The latter was succeeded by two other live sets. The last one with Ivan Sacerdote, a clarinetist from Salvador, Bahia, is a compendium of old songs with minimalistic instrumentation that would’ve taken them across Brazil. “It was nice to have him playing by my side,” Veloso remembers. “We had two beautiful live evenings in Bahia alongside Felipe Geides, a young guitarist who is a genius. That was the beginning of something that was going to happen all around Brazil, but we had to stop because of the pandemic, and two years passed.”

Since then, the singer-songwriter, poet, activist, filmmaker and author immersed himself into little projects at home. “In February 2020, I came back to Rio from a summer in Bahia and was planning to record and meet with the dancers from the Folkloric Ballet of Bahia for my new album, but then everything halted, so I had to wait,” he laments. “I thought I had to wait for three months, and it turned out to be more than a year, so I decided to record whatever I had.”

After decades of manifold collaborative projects, Veloso dared to compose and produce an album entirely on his own in the confinement of his small studio in Rio. This time, however, he embraced current sounds through the musicianship of 25-year-old Lucas Nuñes, a friend and bandmate (Dônica) of his youngest son Tom. “It just happened so…,” Veloso chuckles. “I had songs I wanted to record. I had been homebound for a year already, and I couldn’t go back to Bahia to tour so I started to record with Lucas, who is a very talented musician, a great guy and can deal with studio techniques; just the two of us in my little studio here in Rio, and those sessions ended up becoming a complete album. Some people recorded at a distance, in different studios, like orchestras and arrangements, and some percussionists came one by one here to play with their negative COVID tests. That’s basically the story of how the album came to be.”

Meu Coco requires no Portuguese knowledge to understand its emotion. An album lyrically influenced by the avalanche of thoughts on his “coco,” an unlocked storage of memories and ideas that have influenced him throughout the years, and with a frank amazement at the consequences of his experiences. “This is my first album entirely of songs of my own, music and lyrics, throughout my whole career,” Veloso says proudly. “I have always recorded albums with songs written by me but always through a partnership and/or collaborations. I was here alone, and that granted me the space to compose everything from top to bottom by myself.”

It all started with a beat on Veloso’s guitar that outlined a central idea for the album. “I only had a beat,” he says as he holds an invisible guitar on his hands and chakum, chakum, chakum comes out of his mouth. “Then women names were the very first thing that popped in my head and I found that interesting because it led me to a whole road of conversations that I had had with Joao Gilberto, who after questioning our existence, once said, ‘We are Chinese.’ Then I tried to put melody and lyrics as I played that beat on the acoustic guitar in Bahia.”

To the rhythm of Márcio Vitor’s percussion and the arrangements by Thiago Amud, names like Luana and Janaína inspired the album’s title track. “It starts with Simone Raimunda from Bahia, a very young and beautiful model I met in the ’60s who now lives in Paris and whose artistic name Luana became very common for baby girls. The other one is Janaína, the daughter of a very famous actress whose name belongs to a goddess of African religion, the goddess of the seas, in Brazil. The curious thing is that the parents never knew the African origin of the names.”

On Meu Coco’s first single, “Anjos Tronchos,” Veloso brings out his most risky vein, a tune with rock nuances that provokingly tackles the technological wave and its negative effects, a subject he was somewhat oblivious of. “It’s a theme that I thought I wasn’t able to deal with because I don’t use it much, I don’t have a smartphone or use social media, but then all these thoughts arose, and I ended up writing a whole song.  It’s crazy, it makes sense and taught me a lot.”

Each song has its own life, each an honest recording covering a range of moods with songwriting that remains fascinatingly intuitive and an ability to regard moments as fresh through storytelling. Meu Coco overflows in colors and textures, with twists and turns that follow no order.  There’s Middle Eastern phrasing in “Cyclamen of Lebanon,” orchestrated by Jacques Morelenbaum, “an incurable romantic.” The peppered-funk carioca “Não Vou Deixar” (I won’t let it) references political oppression. “It could be about a love relationship but was inspired by the election of Brazilian president Bolsonaro,” Veloso continues. “The day he was elected, I said that the things he had planned wouldn’t happen because I would not allow them. I would repeat that in my head emphatically: ‘não vou deixar,’ ‘eu não vou deixar!’ Then, the son of a friend of mine, who was 5 at the time, was visiting with his mom and dad and heard me yelling those words and said, ‘Granddad is nervous,’ so I added that to the lyrics (O menino me ouviu e já comentou, O vovô tá nervoso”, o vovô…).”

“Autoacalanto” is much like a lullaby, a portrait of Veloso’s grandson on which his father Tom plays the guitar. Other names such as “Enzo Gabriel” also appear. “I never met anybody with that name but read in the newspaper that most Brazilian baby boys born between 2018 and 2019 were named ‘Enzo Gabriel.’ I remember that Enzo was fashionable because of a famous TV actress in Brazil who chose the name for her first son, so people copied that name, but I am not aware of where the combination of Enzo Gabriel came from. It was a something that just sprouted, and I found that fascinating.”

There’s also candomblé in “Giglia,” which summons Wilson Batista and Jorge Veiga, both renowned Brazilian sambistas, as well as bossa nova singer and composer Carlos Lyra and the great Milton Nascimento. “I had a sketch of a song, lyrics and melody, but the melody wasn’t defined so I asked my son Moreno to play the candomé percussion, which he did beautifully, and on top of it I created melody and rearranged the words.”

“Sem Samba Não Dá,” a samba bass and sertanejo-infused tune, takes him back to his origins. “I was pretty much done with the record, and then my friend Pretinho da Serrinha, a great musician of samba percussion, asked me, ‘You are not going to write or include a samba in your album?’” he recalls. “So, I wrote a samba for him that basically says, ‘Without samba, it doesn’t flow,’ and invited him to play; he’s a master.” The song also features Mestrinho on the accordion, whose style is influenced by forró tradition. “He understands what happens with sertanejo, which comes from central Brazil, the region of Sao Paulo and Mato Grosso,” he says. “The samba from Rio nowadays is mixed with these genres. The accordion is a trademark of that genre, and so I tried to cross it and land on a basic traditional samba refrain.”

Other sertanejo musicians, those who fuse it with samba and funk-carioca and Brazilian trap, are also featured on the lyrics. “There are those doing very interesting things in the favelas in Rio,” Veloso says. “It’s very inventive. I just find it incredible. There’s a guy whom I mention who is only 19 and very well-respected in the scene. My son Zac, who knows who’s who and what happens in the underground scene, introduced me to his music. He loves to study all those fusions, it’s a visceral feeling for him.”

I ask for one or two words to describe the album, and he immediately replies, “meu coco!” and laughs. “My nagging.” Seems Mr. Veloso has a genuine need to challenge himself since the upheaval of pop culture in Brazil gave way to the Tropicalia movement in the late 1960s, challenges that test his vocal ability, lyrically and stylistically.

We look back, 53 years ago to be exact, when Veloso was jailed with Gilberto Gil for voicing their political views through music. Much has changed since, and reflecting on when he was 26 years old, we ask what color and melody he gives those memories. “That’s a hard question to answer,” he muses. “I lived in London for two and a half years exiled, just after being detained for two months in Rio and four months in confinement in Bahia with Gilberto. It was a nightmare; I didn’t expect so much strangeness and suffering. Gilberto was more prepared to deal with it. It was depressing, and London became part of the present. I remember when I came back to Brazil, when an English-language song played on the radio in my car, I would change the station immediately. It became a little difficult for me to understand English.”

There is somewhat of a departure in sound from Veloso’s previous projects, yet the “nagging” in Meu Coco, a persuasive melancholic-yet-optimistic journey, is a portrait of different characters all weaved into his usual common denominator: sensibility. If you give it time, it’s an audio adventure.

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Fourteen Can’t Miss Sneaker News Headlines From October 16th To October 22nd


Dozens of sneaker designs have lasted the test of time from some of the biggest brands of the last 70 years. Yet, some of the most iconic models have made it to the current year by consistently showcasing an ability to adapt, not reacting on their laurels.

As it heads into 2022, the Nike Air Force 1 emerged in handfuls of reimagined arrangements courtesy of designers the likes of Matthew M. Williams. Furthermore, playful takes inspired by UNO introduced new color-blocking to the basketball-informed silhouette. Similarly, the Air Jordan 1 Low, which debuted in 1986, appeared in one of its boldest styles yet. Platform soles and cork sock-liners detour Michael Jordan’s first signature sneaker from any hardwood court, prepping it for runways across the globe. The low-top’s younger kin, the Air Jordan 4, also joined the select roster of basketball-sneaker-turned-golf-cleat, as its “Black/University Red” (“Bred”) colorway appeared with spikes made for the green.


Despite dedication to the future, top players in the sneaker space would be remiss to not revisit their archives from time to time. FILA recently did so, creating a special edition of the Grant Hill 1 covered in Sprite’s colors. Rumors also emerged that the Nike Air Max Penny 1 would begin a retro run in 2022 with original Orlando Magic-friendly styles. Expected by no one, Stephen Curry’s first signature sneaker with Under Armour was unveiled as retroing for the first time ever come November.

Away from walks down memory lane, new propositions the likes of the Nike Air Max Dawn and ever-polarizing YEEZY FOAM RUNNER surfaced for the first time and in new styles, respectively. The Nike Kyrie 8 also emerged in official images for the first time, suggesting all parties involved are moving forward with the design.

For a look at all that and more, check out our top headlines from October 16th to October 22nd ahead.

The Air Jordan 4 “Bred” Tees Up As A Golf Shoe
For the green.
READ MORE: Bred Jordan 4 Golf
READ MORE: Stage Haze Jordan 1
READ MORE: Jordan 3 Cardinal Red
READ MORE: Rebellionaire Jordan 1
READ MORE: Hyper Jade Jordan Zion 1

Behold, The Air Jordan 1 Low Platform Sneaker
READ MORE: Jordan 1 Low Platform
READ MORE: Jordan 1 Varsity Red
READ MORE: Light Bone Jordan 1 GORE-TEX
READ MORE: Psychic Purple Jordan 1 Low
READ MORE: Teddy Bear Jordan 1 Low
READ MORE: Jordan 1 Low Siren Red
READ MORE: Jordan 1 Mid Brown
READ MORE: Jordan 1 Heritage White
READ MORE: Jordan 1 Mid Coconut Milk

The Nike Air Max Penny 1 Is Returning In 2022
Orlando Magic-friendly.
READ MORE: Nike Air Penny 1 Retro

This Week In adidas YEEZY
YZY SZN continues.
READ MORE: Clay Brown YEEZY 500

The Nike Dunk High Shines In “Moon Fossil”
More takes of Peter Moore’s design.

READ MORE: Navy Supreme By Any Means Dunk
READ MORE: Moon Fossil Dunk High
READ MORE: Navy Purple Nike Dunk High

The UNDERCOVER x sacai x Nike LDWaffle Is Ready To Release This Month
A trifecta.

Patta Has Two More Nike Air Max 1s On The Way
Ahead of the sneaker’s 35th anniversary.
READ MORE: Noise Aqua Patta Air Max 1
READ MORE: Purple Patta Air Max 1

Steph Curry’s UA Curry One Is Getting A Retro Release
Expected in November.
READ MORE: UA Curry One Retro

Nike Honors The 50th Anniversary Of UNO With The Air Force 1
The Air Force Uno.
READ MORE: UNO Air Force 1
READ MORE: Dia de Muertos Nike

This Week In New Balance
From Boston, with love.
READ MORE: Cream Casablanca New Balance XC-72
READ MORE: Washed Henna New Balance XC-72
READ MORE: Stone Island New Balance RC Elite

A$AP Nast’s Next Reebok Collaboration Is Revealed
READ MORE: ASAP NAST Reebok Zig Kinetica

Official Images Of The Nike Kyrie 8
Soon come.
READ MORE: Kyrie 8 N7

Two More Nike LeBron 19 Colorways Emerge
Made for “the kid from Akron.”
READ MORE: Dutch Blue LeBron 19
READ MORE: Hardwood Classic LeBron 19

Sprite And FILA Reunite On The Grant Hill 1
A nod to the 1990s.
READ MORE: Sprite FILA Grant Hill 1

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Teenage Rapper Einar Fatally Shot in Sweden

Award-winning 19-year-old Swedish rapper Einar was shot to death in southern Stockholm in an incident that media reports on Friday (Oct. 22) said was likely to be gang-related.

The case has shocked the Swedish entertainment world and highlighted what officials said was the urgent need to deal with growing criminal gang activity in the Nordic country.

Einar was struck by several bullets in the Hammarby Sjostad suburb south of central Stockholm and died on the spot late Thursday, police spokesman Ola Osterling told the Swedish news agency TT.

Police are looking for at least two suspects who allegedly shot the rapper.

The motive of the shooting remains unclear but the Swedish newspaper Aftonbladet reported that the rapper had received several threats recently. It said without providing details that Einar was shot from point-blank range, “execution style.”

According to the Swedish public broadcaster SVT, the rapper’s shooting was gang-related.

Einar, whose real name is Nils Gronberg, was born in Stockholm and rose to fame at the age of 16 when his song “Katten i trakten,” from his debut album Forsta klass topped the Swedish charts in 2019.

He won the song of the year award in 2019 and the newcomer of the year award a year later. Einar’s songs have been downloaded hundreds of thousands of times on Spotify.

“I understand that [Einar] meant a lot to many young people,” Swedish Prime Minister Stefan Lofven told SVT. “This is of course tragic. It is a young life that has been extinguished.”

Christian Democratic party leader Ebba Busch posted on Twitter that if politicians don’t take responsibility for dealing with gang-related crime, “we can’t stand up for human dignity or security in the country.”

Center Party leader Annie Loof said most people “have had enough of the senseless violence and want to see gang crime fought.”

Swedish tabloid Expressen said that Einar’s songs often dealt with criminality including guns, drugs and violence and the rapper allegedly had strong connections with local criminal gangs. He had been seen hanging out and partying with gang members

According to Expressen, Einar was due to testify in a gang trial next week but Swedish prosecutors had earlier said they didn’t expect him to show up in court.

The rapper himself had earlier been convicted of minor drug offenses, an assault and illegal driving, among other things, SVT said.

Sweden has seen a rise in organized crime activity in the past few years and several gang-related shootings have occurred in Stockholm, Goteborg and Malmo.

In July, two young children were accidentally shot and injured by unknown criminals in a suburb just outside Stockholm and in August three people were wounded in a shooting in the southern city of Kristianstad that was linked to gangs.

A report by the Swedish national council for crime prevention said earlier this year that Sweden is the only European country where fatal shootings have risen significantly since 2000, primarily because of the violent activities of organized gangs.

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There’s No More Country Radio in NYC — Will It Ever Come Back?

Audacy sent reverberations through the country music industry Friday (Oct. 22) when it unexpectedly flipped New York’s WNSH-FM (94.7) to classic hip-hop, leaving the nation’s biggest media market without a terrestrial country radio station and industry observers wondering if country radio has any future there.

“I hate to say this because I’m a big believer in the market, but I would be very skeptical of another broadcaster coming in,” says RJ Curtis, executive director of Country Radio Broadcasters (CRB). “In that market, country is a niche format. We’ve known it was a struggle in New York City for a long, long time.”

Cumulus Media launched WNSH in New York in 2013, ending a decade-long gap in country radio programming there after WYNY-FM flipped to Spanish contemporary in 2002. Audacy (formerly Entercom) took over WNSH in 2019. In September, WNSH ranked 21st in the New York marketing, pulling in a 1.9% share of the local market, according to Nielsen Media. Its highest share over the past six months had been 2.5 in July.

“Clearly, Audacy saw a better opportunity with a different format. You can’t blame them for that,” says Joel Raab, country radio station and media consultant. “There’s a 2 share for country in New York if you just put it on and if you heavily market it, I think there’s a 3 share unless you put on personalities who appeal beyond the country format.”

WNSH’s departure from terrestrial airwaves is not seen as devastating for the country genre as WYNY’s demise was because of the rise in streaming and satellite radio over the last decade. Raab says it will be “somewhat more difficult” for artists — especially new acts — to penetrate the New York market, but “they have other avenues.” He continues, “You have [SiriusXM’s] The Highway, Spotify, Apple, Pandora, you name it. Ten years ago, these options were not nearly as available. However, None of them are free. That’s a big advantage with radio.”

“There’s certainly ways for people to get to the music if they want to, but we are sad that [country] is not part of the New York area any more as far as a radio signal,” says Royce Risser, executive vp promotion for Universal Music Group Nashville.

He adds that while the digital service providers and satellite radio will greatly fill any exposure gap, WNSH was able to provide local support that the other outlets cannot, in terms of sponsoring shows in the area or serving as a vital part of promotional efforts. “We’ll get by, but we would sure rather do it with a New York station,” he says.

Two other country radio stations remain in the greater metro area — Eastern Long Island, N.Y.’s WJVC and Monmouth, N.J.’s WKMK — but neither has a signal strong enough to New York City. Lack of a strong signal also hampered WNSH’s success, Raab believes. “WNSH was signal challenged,” he says. “They weren’t putting up a great signal on Long Island, where there would have been strong pockets of country music listeners.”

While the New York market may be missing acts like Luke CombsElvie Shane and Carrie Underwood on country radio, Risser says the WNSH flip should not be misinterpreted “to gauge how country is doing overall.” Adds Curtis: “I don’t think it signals that country music is in trouble. There’s been a long term challenge [in New York.] For 10 years many companies had the opportunity and stayed away, but we all want to see a big signal like New York have a country radio station.”

Audacy declined to comment beyond a press release announcing the switch, which notes that country programming will still be available on 94.7 HD2 and on Audacy’s app and website.

Assistance on this story provided by Gary Trust

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Hairy Suedes And Warm Tones Outfit The Nike GTS 97 “Koromogae”

To better celebrate the change in seasons, Nike is putting the Japanese custom of “Koromogae” into practice. And how they’re doing so is through a number of releases, this upcoming GTS 97 just one of many more to come.

Dropping exclusively in women’s sizes, the pair strings together both hairy suedes and warm tones. The latter is applied throughout the construction, with “Sail” dyeing the midsole and a slightly darker brown the paneling above. Then — between the earth-colored Swooshes, lace unit, and trademark text — the palette strays towards color, incorporating a light blue just across the medial.

Enjoy a more in-depth glimpse below and sit tight as we await the November 3rd launch on Nike SNKRS.

In other news, official images of all three UNDERCOVER sacai LDWaffle colorways have been unveiled.

Where to Buy

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

Nike Zoom GTS 97 “Koromogae”
Release Date: Nov 3rd, 2021 (Wednesday)
Color: N/A

Womens: $75
Style Code: DO2756-087

North AmericaNov 3rd, 2021 (Wednesday)


10:00 EDT

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