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The holidays are here, which means Christmas music has fully infiltrated the charts, radio and mall speakers alike. Most of that music precedes this year, from traditional classics sung by Bing Crosby, Nat King Cole and Brenda Lee to contemporary hits from Mariah Carey, Kelly Clarkson and Michael Bublé — all names that regularly appear […]
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Mariah Carey is definitely in the midst of her season as evidenced by her Christmas-themed tour, which stopped in Brooklyn earlier this week. Among the celebrities in the crowd, Rihanna was in attendance with Jason Lee and the Fenty Beauty founder got one of her billionaire boobs signed by Mariah Carey.
In a video shared on Jason Lee’s social media account, Rihanna was seen having a fangirl moment as she attempted to get Carey’s attention. With a security escort in tow, Carey floated to Rih-Rih’s section near the front of the stage and reached over the security barrier to greet one another. With the two superstars having the moment, a pen made its way to Carey’s hand as the Bajan businesswoman lowered her skintight white top and exposed her left breast to get signed in red ink.
Taking the microphone, Rihanna says to the sold-out Barclays Center crowd, “Mariah Carey is signing my t*t, y’all. This sh*t is f*cking epic!” which sparked a heavy round of applause. Afterward, the two embraced and the crowd cheered as they parted ways.
Carey was in Brooklyn for the final date of her Christmas Time tour, which suffered a previous delay due to illness.
Check out the moment below.
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Photo: Getty
Reggaetón star De La Ghetto shared stories from his 20 years of hitmaking in an intimate VIP Q&A at the White Claw® Sessions Powered by Billboard in Los Angeles. Watch the full interview to learn more about him, from his secret love of rock to how his career evolved as he became an independent artist.
Though White Claw® Sessions Powered by Billboard has come to a close, the fun isn’t over — White Claw® Sessions will continue into 2025, so stay tuned for more exciting Sessions with your favorite artists!
Don’t miss your opportunity to Grab Life By The Claw™ with your crew. Make sure you’re signed up for White Claw Shore Club to find out how you can be at the next Sessions, plus get access to exclusive sweepstakes and prizes, epic drops and community vibes.
Leila Cobo:So welcome to Billboard and White Claw here in beautiful Miami Beach. It’s a little bit windy. I hope I have my clip in case my hair goes all over the place. But we’re so lucky to have one of the greats of Latin music here. One of the greats of Reggaeton, urban music, trap, funk. This guy does it all. He has 15 songs on the Billboard Hot Latin Songs chart, he currently has a song on the Billboard Hot 100. Ladies and gentlemen, let’s give it up for De la Ghetto!
De la Ghetto:Good evening, everybody. How’s everybody feeling? We’re here. White Claw and Billboard in the building. Leila, you’re looking great.
So do you, honey. I’ve been running into you all over Miami, like, three times in the last few months.
Easy, Easy. Last time was on the panel.
On the panel, then at the Grammys.
I didn’t want to say.
No, no.
I don’t want Billboard to get mad.
In that other award right?
There were a couple of music awards.
That other award that wasn’t Billboard.
I don’t want to say.
No, let’s not. You were very fashionable all those times and tonight, too. Tell us what you’re wearing because these are white leather pants.
These are white leather pants, purple Nikes. I’m a Nike fanatic with the dunks and Air Forces.
Keep watching for more!
Billie Eilish and Finneas may be a Grammy-winning musical duo, but can they bring those talents to the classroom? Julian Shapiro-Barnum sets out to find out in a new episode of his Celebrity Substitute series released on Thursday (Dec. 19), where the siblings drop by a first grade class at Garvanza Elementary School in Los Angeles. […]
When Cuban actor Héctor Medina read the script for Los Frikis, he immediately knew he wanted the leading role of Paco. Initially contacted as a sort of consultant for the film, Medina was familiar with the story about a group of punk rockers in early ’90s Cuba who, in search of freedom, deliberately injected themselves with HIV to live in a government-administered rural treatment retreat and create their own utopia.
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“I was born in 1989. It was the year the socialist wall fell and in 1990, what is called in modern Cuban history the Special Period, began, which is a deep energetic, economic food crisis,” explains the actor in an interview with Billboard Español. Additionally, it was forbidden to listen to rock and roll and having long hair could get you arrested, he adds. “So, the Frikis were very marginalized. It’s a story that even in Cuba is very little known.”
Written and directed by American filmmakers Tyler Nilson and Michael Schwartz, Los Frikis, an independent film inspired by true events, arrives this week in theaters in the United States after making the rounds in the festival circuit, where it has received a variety of awards.
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Medina, who left the island about eight years ago and lives in Miami with his wife and two children, not only ended up landing his dream role, but also a credit as a co-producer thanks to his contributions to the film, which was shot in the Dominican Republic (as it could not be done in Cuba).
The movie also stars Eros de la Puente as Gustavo, Paco’s younger brother; and Adria Arjona (daughter of Guatemalan singer-songwriter Ricardo Arjona) as María, the sweet caretaker at the retreat. The cast also includes Luis Alberto García and Jorge Perugorría, among others.
Produced by Academy Award winners Phil Lord and Christopher Miller, Los Frikis received an R rating from the Motion Picture Association of America for language, sexual content, some graphic nudity and drug use. It premieres on Friday, Dec. 20 in New York and Los Angeles, and on Dec. 25 in markets including Atlanta, Boston, Chicago, San Francisco and Miami.
Below, Medina details his rigorous physical and emotional transformation process to bring Paco to life, the role music plays in the film and the reception this work has had so far.
Los Frikis
Courtesy of Wayward/Range
How did this project come to you?
The project came to me through producer Rebecca Karch Tomlinson, who contacted me to ask some questions about the dialogues and some events that happen in the script. It was more or less something like a review. Of course, I read the script and I [was] totally impressed by how two Americans have written a script about Cuba, such a believable story about my country, and how they want[ed] to do it — and also want to do it with Cubans. And of course, I also fell in love with the story and my character, Paco. From there, I said: “I want to be here, and I want to be Paco.”
Did you have to audition for the role?
Well, yes. They told me, “If you want to be Paco, you have to fight like everyone else and do the casting.” I remember that I did the last scene in the movie, and as soon as they saw the scene, they called me and said, “Are you ready? You’re going to be Paco.” From there began a very tough process of character construction and transformation that was truly a most beautiful experience, because Michael and Taylor have a very particular and very strong method of working with the actors and creating this atmosphere, and get to the point that you are not trying to play the character, but you are the character. And that allows you, once you are on set, to feel confident, to be able to improvise, because they also give you that freedom. It is a very substantial work process; there are many scenes in the film that were not in the script.
You completely disappear into the role, to the point that at the beginning of the film I was looking for you, I didn’t recognize you. How was your transformation, physically and emotionally, into this character? I know you lost weight, you have the mohawk, you lose a tooth in a scene…
It was a very intense, rigorous process. From the first day I had to give up everything gluten and sugar; I only had seltzer water as a reward and one meal a day, which was a little bit of chicken and a little bit of spinach. It included heavy training, running and walking more than four or five miles a day. Then came the process of learning to play music. Mike and Taylor are so specific that they knew every detail. For example, at that time in Cuba there were no American electric guitars, there were only Japanese guitars, Russian amplifiers, Russian basses, and the drums were made with what was found, sometimes even drawers, and they had those specific types of instruments sent to us so we [could] learn how to play them. We got to a point where we even started playing our own music and putting lyrics to it and giving concerts, like in the movie.
Music plays a fundamental role in this story, with Paco as the guitarist in his rock band. Did you play before or did you have to learn for the film?
I played acoustic guitar, but I remembered like two or three chords that they taught me in my neighborhood, back in Cuba, when I was a child, so I didn’t remember very well. In other words, working with the guitar was the most difficult for me, because on top of that, I have no musical ear, I admit. What I do have is a rock and roller spirit and being bold. And also this thing [where] I don’t like to give up, I like obstacles and I like to transform and work hard. I like a challenge.
Did you know about the real Frikis story before getting involved in this project?
Yes, I knew vaguely. I was born in 1989. It was the year the socialist wall fell and in 1990, what is called in modern Cuban history the Special Period, began, which is a deep energetic, economic food crisis. There were shortages of all types of products. In addition, there were also prohibitions: listening to rock and roll music was frowned upon, and for having long hair you could be imprisoned. So, the Frikis were very marginalized. It’s a story that even in Cuba is very little known.
I had an uncle who was a rock and roll lover, and when I was a teenager he took me to a place called Pista Rita, where they played exclusively rock and roll. Going to those places with him at 13, 14 years old, I was able to see Nelson, who was like an urban legend that we had in that town, of course with the spiked mohawk, black boots, tattoos — a very transgressive image. And yet, when I got to know him well, I remember that he handed me a cigarette and he had a great sense of protection with all the boys there. In other words, he greatly encouraged that family spirit, not a gang spirit, but music and family spirit. There was nothing illicit or illegal. It was a feeling that united us with a passion for music, for rock and roll.
From what you say, he sounds a lot like Paco, doesn’t he?
Yes. Paco’s character is not specifically based on a real character, but on several, like all the characters in the film. Paco has a lot of Papo La Bala, one of the leaders and singers of the punk rock band Eskoria in Cuba, who has since died; and he has a lot of that from my personal side, having known him [Papo La Bala].
What made you say “this role has to be mine” when you read the script?
First, the transformation I had to undergo. Second, that he was a difficult character and had a lot of energy; I wanted to do something like that, different. And also, perhaps most importantly, that as a Cuban artist I wanted to say many things that Paco also says — and feels. Feeling that almost kamikaze spirit of freedom above all else, I wanted to share that. I think that was what drove me the most.
You’re not only the leading actor, you are also credited as co-producer. What was your role in that regard?
I think what I did the most was contribute. I mean, I wanted this movie to happen so badly, I wanted this dream to come true so much, that without realizing it I began to contribute to the casting, to writing the lyrics of the songs, changing them and a little bit [of] the scenes. I got involved a lot. In fact, I even designed the logo that appears at the beginning, the Lord Miller logo. I have done so many things. And I feel so grateful and so good that I have always done that. Every time I go into a project I give my all, but the truth is that it is the first time that they have recognized me not only for doing my job as an actor. I think it says a lot about the producers and directors of this film. I am very grateful to them.
Now that Los Frikis will reach a wider audience after its festival run, what do you hope people take away from it?
I really don’t expect anything. I have a very nice feeling about this film through the different screenings we have been to. It is a tremendous delight to turn around and see people’s faces. I believe that it is not an educational film or one that has a specific verbal message for people, but rather a management of a bundle of emotions, a journey of various emotions that in the end stirs your soul and leaves you thinking and perhaps doing what I call the movie after the movie. I think that is the greatest achievement of this film. More important than a verbal message, is that of an emotion, and it shows.
Héctor Medina
Carlos Eric Lopez
Tres Generaciones Tequila, a 50 year old brand introduced by the family that elevated tequila to a symbol of Mexican pride, and Billboard are partnering together for a year-long celebration of music’s transformative power to unveil the top songs that have energized, uplifted and excited six select cities, known as the ‘Get Up Anthems.’ These playlists are curated through a mix of editorial insight and data analytics, and honor the songs that define each city’s history and culture.
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We’re at the last stop of the six city Get Up Anthem’s tour: Los Angeles—quintessential for the city of dreams. Inside a Glendale studio, adorned with moodiness and odes to the city’s star quality, hip-hop heavyweights The Game and D Smoke sat alongside Billboard editor Carl Lamarre. Hosted by Rocsi Diaz, the roundtable celebrated LA’s storied musical legacy, with “It Was a Good Day” serving as the focal point. Over glasses of Tres Generaciones Tequila, the group delved into the song’s enduring impact, debating its place within the pantheon of West Coast classics and its role in shaping the cultural identity of Los Angeles.
Ice Cube’s “It Was a Good Day” distills the essence of West Coast hip-hop into a singularly iconic track. Released in 1993 on The Predator, its smooth production, vivid storytelling, and cultural resonance immortalize it as a cornerstone of Los Angeles’ musical legacy. Over a soulful, nostalgic beat, Ice Cube captures a rare day of peace and joy amidst the turbulence of South Central LA, embodying the broader West Coast aesthetic of the era.
The track’s production, helmed by DJ Pooh, achieves emotional depth through masterful simplicity. Built around a sample from The Isley Brothers’ “Footsteps in the Dark, Pts. 1 & 2,” the beat reimagines its dreamy guitar riffs in a hip-hop framework, exuding nostalgia and serenity. Understated elements—a mellow bassline, restrained drum programming, and sparse melodic keys—amplify Cube’s narrative, letting his words drive the track. The relaxed tempo and sunlit vibe epitomize G-funk’s laid-back yet resonant sound, placing it firmly in the lineage of West Coast greats like Dr. Dre while maintaining Ice Cube’s unique identity.
More than a song, “It Was a Good Day” offers a snapshot of early ’90s Los Angeles, blending realism and escapism. Ice Cube’s lyrics chronicle a dreamlike day—basketball games, favorite fast food, cruising the streets—untainted by violence or adversity. The specificity of his imagery, from local radio shoutouts to South Central landmarks, grounds the track in LA’s cultural fabric, rendering it both personal and universal. This fusion of optimistic storytelling and authentic detail makes the song a heartfelt ode to the city.
The cruising imagery and relaxed beat capture LA’s sun-soaked, car-driven ethos, cementing the track as a sonic emblem of West Coast life. It contrasts sharply with gangsta rap’s grittier portrayals, providing a moment of respite that resonated deeply with audiences and expanded the emotional scope of hip-hop.
Decades later, “It Was a Good Day” remains a benchmark for storytelling and production in hip-hop, inspiring countless artists. Its iconic status has led to numerous samples and references, from Beyoncé’s “Partition” to Kendrick Lamar’s “DUCKWORTH.,” which mirrors its narrative focus on transformative moments. Beyond direct interpolations, the track’s introspective yet celebratory tone continues to influence music across genres, solidifying its place as a timeless masterpiece.
The song’s genius lies in its balance of realism and aspiration. Ice Cube’s vivid storytelling invites listeners into a world where, for one day, everything aligns perfectly. Its production—a perfect marriage of G-funk’s smoothness and hip-hop’s grit—encapsulates Los Angeles’ essence. As both a personal narrative and cultural artifact, “It Was a Good Day” stands as a testament to hip-hop’s power to encapsulate time, place, and emotion, securing its legacy as a cornerstone of West Coast music and one of the most beloved tracks in Ice Cube’s storied career.
Taylor Swift celebrated her 35th birthday with an Eras Tour themed birthday party. Keep watching to see her sparkling event! Narrator:Taylor Swift goes all out for her 35th birthday. The “Fortnight” singer celebrated by having an Eras themed party. An Instagram post from Brittany Mahomes, wife of NFL Chiefs QB Patrick Mahomes, showed the former […]
Some songs have the rare ability to define eras, celebrated for their infectious beats, groundbreaking production, vivid storytelling, and timeless appeal, earning them the status of true classics. In partnership with Tres Generaciones Tequila, a brand that champions the journey and not just the destination, we continue our exploration to round up the top Get Up Anthems over this next year from six iconic cities: Houston, Atlanta, New York, Chicago, Los Angeles, and Miami. Guided by curated panels, we dive deep into each city’s vibrant sonic history, highlighting tracks that embody resilience, authenticity, and innovation while celebrating the power of music to inspire listeners to rise and chase their passions.
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Los Angeles’ music scene is the heartbeat of West Coast hip-hop, defined by G-funk grooves, cinematic storytelling, and a celebration of street culture, freedom, and pride. From the smooth funk-infused beats of “It Was a Good Day” and “Nuthin’ But a G Thang” to the anthemic energy of “California Love” and “Still D.R.E.,” these songs capture the soul of LA—a city where ambition meets artistry, and struggle gives rise to triumph. LA’s playlist reflects a rich legacy of innovation and influence, blending the grit of South Central with the sunny vibes of the West Coast.
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The Top 10 Get Up Anthems from Los Angeles were crafted through a blend of editorial expertise, data-driven analytics, social impact, and personal sentiment to create a ranked list of songs that have inspired, captivated, and energized the City of Angels. Spanning decades from 1992 to the present day, LA’s playlist [click HERE to play] features tracks that represent the city’s vibrant cultural history and unmistakable sound, hand-selected by local icons The Game and D Smoke, Billboard editors Carl Lamarre, and moderated by Rocsi Diaz.
Did they get it right? Or were they off the mark?
Check out the Top 10 Get Up Anthems from Los Angeles:
10. “BPT” – YG (2014)
“BPT” from YG’s debut album My Krazy Life is a raw, unapologetic tribute to his roots in Bompton (a nickname for Compton). Produced by DJ Mustard, the track features a minimalist, hard-hitting beat driven by claps and menacing synths. YG’s aggressive delivery and vivid storytelling capture the reality of gang life and his rise in the rap game. The song’s unfiltered depiction of LA street culture resonated deeply within Compton and other parts of Los Angeles, while commercially, it helped establish YG as one of the leading voices of West Coast hip-hop’s new generation.
9. “Regulate” – Warren G feat. Nate Dogg (1994)
“Regulate” is a storytelling masterpiece that combines Warren G’s vivid narrative with Nate Dogg’s melodic hooks. Produced by Warren G, the track samples Michael McDonald’s “I Keep Forgettin’ (Every Time You’re Near),” giving it a smooth, soulful feel. The lyrics recount a night of danger and triumph on the streets of Long Beach, showcasing the duo’s chemistry. Released on the Above the Rim soundtrack, the song became a massive commercial hit and a defining moment for G-funk. Locally, it solidified Warren G and Nate Dogg as pillars of the West Coast sound, while globally, it introduced a broader audience to the genre’s laid-back yet gritty appeal.
8. “We Can Freak It” – Kurupt (1998)
Kurupt’s “We Can Freak It” is a smooth West Coast anthem that blends G-funk with soulful production by Battlecat. The track features atmospheric synths, a hypnotic bassline, and Kurupt’s laid-back delivery, creating a vibe-perfect for cruising through LA. Lyrically, it explores themes of nightlife, relationships, and escapism, capturing the essence of West Coast living. Though not as commercially successful as other G-funk hits, it resonated deeply within LA, becoming a staple in local hip-hop circles. Its mellow yet infectious sound remains a favorite among fans of ’90s West Coast rap.
7. “Nuthin’ But a G Thang” – Dr. Dre feat. Snoop Dogg (1992)
“Nuthin’ But a G Thang” is a definitive G-funk anthem that introduced the world to the chemistry between Dr. Dre and Snoop Dogg. Built around a sample of Leon Haywood’s “I Want’a Do Something Freaky to You,” the production features lush synths, a funky bassline, and a laid-back groove. Snoop’s effortless flow and Dre’s polished delivery made the track an instant classic. Released as the lead single from The Chronic, it became a commercial juggernaut, bringing West Coast hip-hop to mainstream audiences. Locally, it encapsulated the essence of LA’s party culture and street life, while globally, it redefined the sound of hip-hop in the early ’90s.
6. “Last Time That I Checc’d” – Nipsey Hussle feat. YG (2018)
“Last Time That I Checc’d,” from Nipsey Hussle’s Grammy-nominated album Victory Lap, is a celebration of independence and success. Produced by Mike & Keys, the track features an infectious, hard-hitting beat that complements Nipsey’s assertive delivery and YG’s fiery guest verse. The lyrics emphasize self-made success and maintaining authenticity, a recurring theme in Nipsey’s music. The song resonated deeply within Los Angeles, highlighting the city’s entrepreneurial spirit and gang unity, as Nipsey and YG represented rival factions coming together. Commercially, it solidified Nipsey’s rise as a major force in hip-hop, while locally, it became an anthem of empowerment and pride for the streets of LA.
5. “Not Like Us” – Nipsey Hussle feat. YG (2018)
“Not Like Us,” one of Nipsey Hussle’s reflective tracks, exemplifies his dedication to empowerment and authenticity. Produced by Mike & Keys, the beat features soulful undertones and crisp percussion, allowing Nipsey’s motivational lyrics to take center stage. Released during a pivotal moment in his career, the track underscores his focus on self-reliance, entrepreneurship, and community upliftment. While it didn’t achieve widespread commercial acclaim, its message resonated deeply within Los Angeles, particularly in South Central, where Nipsey was a hometown hero. The song’s themes reflect Nipsey’s broader cultural impact, inspiring a generation of artists and entrepreneurs to prioritize legacy over fame.
4. “Still D.R.E.” – Dr. Dre feat. Snoop Dogg (1999)
“Still D.R.E.” marked Dr. Dre’s triumphant return to the forefront of hip-hop after a brief hiatus. Produced by Dre and Scott Storch, the track’s minimalist piano riff and crisp drum pattern became instantly recognizable. Snoop Dogg’s laid-back hook complements Dre’s confident verses, reasserting his dominance in the rap game. Released as the lead single from 2001, the song was both a critical and commercial success, signaling the resurgence of West Coast hip-hop at the turn of the millennium. Locally, it reinforced Dre’s status as an LA legend and pioneer of G-funk, while its sleek production and enduring appeal cemented it as a global hip-hop classic.
3. “California Love” – 2Pac feat. Dr. Dre and Roger Troutman (1995)
“California Love” is an iconic West Coast anthem that captured the grandeur and diversity of California’s culture. Produced by Dr. Dre, the track samples Joe Cocker’s “Woman to Woman” and features Zapp frontman Roger Troutman on the talkbox, adding a funk-driven, futuristic flair. Lyrically, the song celebrates the vibrant lifestyle of California, from the streets of LA to the Bay Area, with 2Pac’s fiery verses contrasting Dre’s cool, confident delivery. Released as 2Pac’s comeback single after his release from prison, it became an instant commercial hit and an enduring cultural staple. Locally, it was a rallying cry for West Coast pride during the height of the East Coast-West Coast rivalry, while globally, it solidified California’s place as a central hub for hip-hop culture.
2. “Gin and Juice” – Snoop Dogg (1993)
Snoop Dogg’s “Gin and Juice,” produced by Dr. Dre, is a cornerstone of West Coast G-funk. Its funky bassline, lush synths, and signature high-pitched whines, combined with Snoop’s smooth, laid-back delivery, create a quintessential party anthem. The lyrics reflect a carefree lifestyle centered around drinking, smoking, and enjoying life with friends—a sharp contrast to the gangsta rap narratives dominating the scene at the time. Released as the second single from Doggystyle, the track was both a commercial success and a cultural phenomenon. Locally, it represented the quintessential LA party vibe, from house parties in Compton to BBQs in Long Beach, while nationally, it introduced mainstream audiences to G-funk’s irresistible groove and Snoop’s effortless charisma, marking a new chapter in hip-hop.
1. “It Was a Good Day” – Ice Cube (1992)
“It Was a Good Day” is a quintessential track that perfectly encapsulates the relaxed yet gritty essence of Los Angeles in the early ’90s. Produced by DJ Pooh, the smooth, soulful sample of The Isley Brothers’ “Footsteps in the Dark” provides a mellow, nostalgic backdrop for Ice Cube’s reflective lyrics. The track’s narrative vividly describes a rare, violence-free day in South Central LA, showcasing the stark contrast between everyday struggles and moments of peace. Its debut on the The Predator album resonated deeply with audiences, both commercially and culturally, offering a rare positive perspective amidst the turmoil of the post-Rodney King riots era. Locally, it became an anthem for LA residents, a celebration of fleeting joys in a city plagued by systemic challenges, while nationally, it solidified Ice Cube’s status as a master storyteller.
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To close out 2024, which Skechers has dubbed the “Year of the Dogg,” legendary rapper turned style icon Snoop Dogg dropped it like it’s hot with a new sneaker collaboration, Skechers x Snoop Dogg: Sizzle.
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Starting at $90, the Skechers x Snoop Dogg: Sizzle collection is ideal for the basketball court, as well as casual wear throughout the day.
Styles vary from mid-top with the Buckets OG to low-top with the Toke Slip-ins court sneakers, while pairs are made with premium leather uppers with Skechers’ signature “Air-Cooled Memory Foam” insole for cushioning and bounce on the court.
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The Skechers x Snoop Sizzle Toke Slip-ins offer a lace-up and low-top look that’s sleek and easy to put on, thanks to the sneaker company’s “Heel Pillow” design for comfort and stability. The sneakers come in five colorways, including blue and yellow, black, navy, white and purple.
Meanwhile, the Snoop Dogg: Sizzle – Buckets OG features buttery smooth and perforated sections throughout the toebox for airflow and speed, as heel trims are stylish with paisley prints on the collar for a bit of flair. There are five colorways available for these pairs, such as purple, rust, black and white
The Snoop Dogg: Sizzle collection also has shoes that come in the rapper’s Bored Ape NFT character “Dr. Bombay” Buckets styles, which come in two colorways, white and multi-camo and leopard, as well as black and multi-camo and leopard.Ahead, you’ll find the Skechers x Snoop Dogg: Sizzle collection in various colorways.
Skechers
Skechers Slip-ins: Sizzle, Snoop Sizzle Toke Slip-ins
In blue/yellow
Skechers
Snoop Dogg: Sizzle, Buckets OG
In purple
Skechers
Snoop Dogg: Sizzle, Buckets Bombay
In white/multi-camo and leopard
Additionally, the Snoop Dogg and Skechers collaboration has sneakers and slides available in Snoop One — also available in new limited-edition Skechers x Snoop Dogg: Snoop One, Gold Medal Snoop sneakers, which celebrate the rapper’s epic experience with Team U.S.A. during the 2024 Summer Olympic in Paris, France — and Arch Fit Footsteps styles with prices starting at $49.99 at Skechers.com. Shop the Snoop x Skechers collection, below:
Snoop Dogg: Snoop One, Gold Medal Snoop
In gold
Skechers
Skechers Slip-ins: Snoop One, Next Episode
In off-white
Skechers
Snoop Dogg: Arch Fit Footsteps, Rolling N Gold
In pink
Skechers
Skechers Slip-ins: Snoop One, Rhine-Stoned
In pink
Skechers
Snoop Dogg: Uno, Dr. Bombay
In hot pink
$49.99
$90
44% off
Skechers
Skechers Slip-ins: Snoop One, Rhine-Stoned
In black
Skechers
Snoop Dogg: Arch Fit Footsteps, Rolling Glitz
In black
Skechers
Premium Leather Slip-ins Snoop One, OG
In white
Skechers
Premium Leather Slip-ins Snoop One, Double G
In black/white
Skechers
Skechers Slip-ins: Snoop One, OG Tela
In gray/lime
$62.99
$90
30% off
Want more? Skechers has more sneakers in various styles and colorways available from the Snoop Dogg collection, below:
For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.
The board of directors of Farm Aid — including Willie Nelson, John Mellencamp, Neil Young, Dave Matthews and Margo Price — have appointed Shorlette Ammons and Jennifer Fahy to lead the non-profit effective Jan. 1.
Farm Aid’s annual festival, the music industry’s longest-running concert for a cause, began in 1985 and has raised more than $80 million to support programs that help family farmers thrive. Across the decades, it has taken action to change the nation’s dominant system of industrial agriculture and promote food from family farms.
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Ammons and Fahy succeed Carolyn Mugar, Farm Aid’s first and only executive director, who was tapped for the role by Nelson when he launched the organization. She will continue to work as an advisor to Farm Aid. In addition, Farm Aid associate director Glenda Yoder is leaving the organization at the end of 2024 after 34 years. Yoder has been responsible for the launch of Farm Aid’s Homegrown Concessions, demonstrating that family-farm-sourced food could feed concertgoers on a huge scale.
Fahy joined Farm Aid in 2002 and has served as communications director since 2008, while Ammons has served as the organization’s program director since 2022. Together, they will share leadership responsibilities in the ongoing mission to cultivate a family farm-centered system of agriculture in America.
“There would not be 40 years of Farm Aid without Carolyn Mugar — and for all those years she’s made me look good!,” said Nelson in a statement. “ I am deeply grateful for her passion and commitment leading Farm Aid’s work, listening to farmers and always being a champion of grassroots organizations. Carolyn and Glenda rallied the Good Food Movement to bring people together in support of farmers.”
Mugar was recognized by Billboard on its 2020 Women in Music list. At that time, she noted that in the years since Farm Aid’s first concert in 1985, “what has changed is people’s consciousness.” Farm Aid supporters have recognized the links between its mission and “the good-food movement, the environmental movement, the whole issue of structural racism,” she said. “Farm Aid has been working with Black farmers and Black farm organizations since day one.”
From barnyards to backstage trailers, Mugar has networked nonstop on behalf of family farmers, herding artists and activists “like a collie dog,” she joked then. But inevitably, she has deflected and given credit for Farm Aid’s enduring impact to its leading artists: Nelson, Young, Mellencamp, Matthews and Price. “For all practical purposes, they lead Farm Aid — and they do not take prisoners. They really never give up,” she said then.
In a statement announcing her succession, Mugar said, “All of us at Farm Aid confidently trust that Shorlette and Jennifer are poised to lead Farm Aid’s next chapter to benefit farmers, eaters and our soil and water. We face urgent issues with the health of our planet, and I’m are thankful Farm Aid has a strong foundation for the next leaders to build upon.”
In addition to her deep experience managing communications for Farm Aid and co-producing its annual festival, Fahy holds a certificate in nonprofit management from Boston University’s Questrom School of Business. Ammons, who comes from a farm family in North Carolina, spent her career prior to Farm Aid addressing the systemic barriers that BIPOC, low-income and rural food and farming communities face. She has 20 years of experience in community leadership, training, education and engagement.
“My two-decade career at Farm Aid has offered me incredible opportunities to dig into a broad spectrum of the work and operations of the organization, for which I am grateful and proud,” says Fahy. “Farm Aid’s people are its greatest strength, and I am thrilled to deepen my work with all of the folks — from farmers and artists to our supporters, advocates, policymakers and everyone who eats — who make up this organization and this movement for thriving family farmers.”
“As a Black Southern woman who grew up in the family farm tradition, I have a deep understanding of the struggles of family farmers and rural communities,” says Ammons. “I know the ways that food and music bring folks together. So, for me, this transition has been taking place over the course of my lifetime of work and service. I’m excited to step into this role to live up to the legacy of Farm Aid’s leadership and the resistance that marginalized communities have demonstrated since the farm crisis of the 80s and throughout our shared history.”
Farm Aid will stage its 40th-anniversary festival in 2025. The venue and date of next year’s concert has not yet been announced.