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Halsey is quite literally the greatest impersonator. As the star gears up to release their album, The Great Impersonator, later this month, she took to Instagram to reveal that leading up to the drop, she’ll be “impersonating a different icon every day and teasing a snippet of the song they inspired.” The first icon is […]
Fashion designer Don C sat down with the Ghetto Runways podcast for an extensive two-part interview recently and spoke on how he met Ye and the late Virgil Abloh. He credited music executive John Monopoly with originally connecting everybody.
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“John put me on, put Ye on, and put Virgil on,” he said about Monopoly. “And John intentionally introduced me to Ye and Virgil… At 14, 15 years old, this man John Monopoly is like, ‘Man, I got a cousin, man, he into fashion, if he add some sh—t to what you doing Ye, you gonna be on another level.’”
He also spoke on the viral fashion photo of himself, Ye, Virgil, Fonzworth Bentley, Taz Arnold, and Chris Julian at Paris Fashion Week in 2009, and revealed they took the photo to make a statement for not being let into a venue. “Man, we were just trying to express ourselves. When I look at that picture now, we was lookin’ crazy,” he started. “We had the courage to do that, so I’m happy we did. It opened the doors for everybody.” He then said the picture was Ye’s idea. “Ye was a true visionary because he was intentional about it… He was saying like, ‘Man, we gotta get these pics, too, because it’s gonna be like moments in history.’”
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Adding, “We couldn’t get into fashion shows when we first started wanting to go to fashion shows. But being from Chicago, a guy from the nightlife community, you know how to parking lot pimp. You know how to clown at the door… I don’t know if you notice, but that street shot wasn’t at no fashion show. That was outside a fashion show. We was just making a movement because they wouldn’t let us in. And guess who let us in? Karl Lagerfeld.”
Don C reveals the infamous 2009 Paris Fashion Week photo was Kanye’s idea & was taken because they couldn’t get into any shows”That wasn’t in no fashion show. That was OUTSIDE a fashion show. We was just making a movement because they wouldn’t let us in” via Ghetto Runways pic.twitter.com/sssUM9tnqj— Andrew Barber (@fakeshoredrive) September 25, 2024
Don C also mentioned that he’s working with John Monopoly about properly telling his story, so that his friend can get his flowers.
You can watch the full interview here and here.
Annie Lennox is reflecting on the mass tragedies that have unfolded in the Middle East since Hamas launched its deadliest attack yet on Israel exactly one year ago.
Sharing a series of infographics via Instagram on Monday (Oct. 7), the politically outspoken musician took a moment to mourn all the casualties that have occurred over the past 12 months — from the 1,200-plus Israelis who lost their lives when Hamas descended on Israel on Oct. 7, 2023, to the countless Palestinians (Associated Press estimates more than 41,000) who have died in Israel’s war efforts against the terrorist organization in the year since.
“This is a heavy day – one year after the events that were to create a ‘tipping point’ in this decades long situation of discord and brutality,” Lennox wrote. “I had always hoped things might change for the better.. but tragically – that is not the case. On Oct 7th 2024 we are looking at a potential ‘forever war’ situation, with the entire Middle Eastern region on the brink of being completely drawn into it.
“Today’s career politicians have no moral compass and the ‘never again’ understanding has evaporated in plain sight, with ‘human rights’ shredded into pieces,” she continued. “We humans are capable of tremendous achievements and indescribable atrocities.”
The Eurythmics frontwoman also encouraged followers to “reflect upon the sanctity of life..and the qualities of peace, compassion and empathy.”
“I am for ceasefire and peace,” she added in the comments. “That is ALL I call for. I deplore anti – Semitism as much as I deplore the killing, wounding and continuous displacement of children, women and innocent Palestinian civilians.
“And of COURSE I want to see the innocent hostages returned safely to their families,” Lennox concluded. “This tragically doesn’t seem to be a priority for [Israeli Prime Minister] Netanyahu and his government.”
As the “Sweet Dreams” artist pointed out, the violence in Gaza has been unrelenting since the Oct. 7 attacks. As Israelis gathered to pay tribute to the people they lost that day with memorial services Monday, AP reports that Hamas was simultaneously firing rockets at Israel alongside Hezbollah, an allied militant organization from Lebanon. Meanwhile, Israel is continuing to assail both Gaza and Lebanon as tensions mount with Iran, and Palestinians are facing rampant hunger and homelessness across the country.
Lennox is far from the first musician who has supported a ceasefire amid the crisis. Dua Lipa, Paramore, Cardi B, Megan Thee Stallion, Reneé Rapp, Hozier, Muna and more have also all called for an immediate end to the violence in Gaza, while Drake, Jennifer Lopez, Adam Lambert and several more stars signed an Artists4Ceasefire letter to President Joe Biden and the U.S. Congress in October 2023.
In a series of Instagram Story posts over the weekend, Foxy Brown attempted to debunk rumors that she and Jay-Z had a sexual relationship when she was underage.
Brown famously made her debut in 1995 on LL Cool J‘s posse cut “I Shot Ya” alongside Def Squad’s Keith Murray, the late Prodigy, Fat Joe and, of course, LL when she was just 19 years old. However, most remember her getting her start opposite Jay-Z on the 1996 hit single “Ain’t No N—a,” from his debut album Reasonable Doubt, and the two continued to feature on each other’s tracks, where she would often play Bonnie to his Clyde in terms of themes and subject matter.
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Brown initially posted and addressed a screenshot of a tweet alleging Jay made her sign an NDA, among other things, calling it “fake news.”
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“In icon business! Miss me wit that fake news,” Foxy wrote. “NDA? Ain’t a MF alive could stop my story. NDA on my sh– gon’ run 100 mill.”
She then posted a screenshot of a YouTube video saying she’s breaking her silence about Jay-Z and references one of her IG Stories where she tells someone, “My story will shock to your core! I don’t play victim. But I had to step away for a min, for my sanity, or I would’ve been dead,” in response to a fan giving her positive words about here resolve.
“Stop playin’ wit my name, dyin’ for a comment,” Brown said. “Can’t spin me with the sucker sh– to take Hov down. Betta ask bout’ the cloth I’m cut from.”
Unfortunately Foxy Brown had to take to Instagram and clear up those disgusting rumors about her and JAY-Z. This is about the 4th time she’s had to do so. pic.twitter.com/2EkeZMtAcY— 💎🍾 (@TheRocSupremacy) October 6, 2024
She then added: “Comprehension is a lost art” and “Y’all want me to be anti-Hov so bad. FOH. Post that.”
They want Foxy Brown to be Anti-HOV so bad. 😭😂😩 It’s never gonna happen, she is cut from a different cloth. 🔥🔥 pic.twitter.com/3gU4HizBsQ— Foxy Brown ☆ (@withslantedeyes) October 6, 2024
The rumors about their relationship started when Nas mentioned their alleged relationship on 2001’s diss song “Ether,” on which he rapped, “Foxy got you hot ’cause you kept your face in her p—/ What you think, you getting girls now ’cause of your looks?”
The rumors have ramped up on social media since Diddy was arrested.
The Flaming Lips are calling on fans for help after instrumentalist Steven Drozd’s daughter went missing. Both Drozd himself and frontman Wayne Coyne took to their social media pages on Monday (Oct. 7) to share a missing person poster of 16-year-old Charlotte “Bowie” Drozd, who has been missing since around 11:30 a.m. on Saturday. According […]
Nestled amid the stark beauty of the Sonoran Desert lies Arcosanti, an experimental urban utopia designed by visionary architect Paolo Soleri.
Located roughy an hour north of Phoenix, Ariz., the remote futuristic eco-city drew roughly 2,500 attendees to the long-awaited return of FORM. First launched in 2014, the three-day music event became immediately beloved for transcending the typical festival experience. As modern festivals continue to compete in a grueling live events industry fighting to stay relevant while competing to be credited for the best-synchronized drone show or which dance stage had more LED screens, FORM rebels against the status quo by cultivating the meaningful connection between musicians and fans. And when it comes time for the music, there are no VIP sections or even artist backstage tents — just musicians walking amongst fans, equally admiring the architectural marvel of the property. And when it’s time to perform, the small stone amphitheater sets the stage for a community of present-minded individuals to sharing a cohesive moment, no frills, just music.
After a five-year hiatus, the festival returned even stronger this past weekend (Oct. 4-6) with a genre-blending lineup of killer acts — including Jamie xx, St. Vincent, Bonobo, Skrillex, Thundercat, James Blake and more.
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Walking into Arcosanti is like stepping onto a movie set from a dystopian sci-fi flick. Brutalist concrete structures, bathed and baked in the Arizona sun, create a visually arresting contrast from the typical major music festival experience. But even after tickets for this year’s FORM sold out in less than 24 hours after the announcement of its return, the boutique festival never lost sight of the key elements that made it so beloved in the first place.
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Here are the top 10 takeaways from the weekend.
1. Stage Dive Into Sustainability
Arcosanti’s eco-conscious philosophy and commitment to sustainability permeated every aspect of the festival. Locally sourced food trucks like Tamale Shoppe and the Phoenix Culinary Collective offered up delicious and eco-friendly sustenance, while readily available water refill stations and a robust composting system minimized waste. The full event execution demonstrated a step in the right direction for the industry and was a tangible reminder that eco-consciousness and a great time can go hand-in-hand.
FORM Arcosanti 2024
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2. The Arcology Awakens
The festival stages weren’t just platforms for musical performances; the permanent structures are architectural marvels seamlessly integrated into the landscape and the festival fabric. The Amphitheater, which was topped by a parachute that allowed peeks of desert stars above, captured the intimate essence of St. Vincent, whose Saturday night set was a last minute addition to the lineup. She strummed away on her guitar, sharing moments of bliss with the mesmerized fans seated only a few feet away. Meanwhile, the grand archways of the Vaults stage pulsated with raw energy that enveloped fans in a vortex of bass-thumping sounds.
3. A Starry-Eyed Symphony
The Sonoran Desert transformed into a celestial canvas at night. With minimal light pollution in the remote area, the Phoenix Astronomical Society hosted evening stargazing sessions on the rooftop overlooking the main Amphitheater. On Saturday night, attendees were able to peek into a cosmic light show through high-resolution telescopes as Angel Olsen played in the background, for an experience that was pure magic. The experience was a poignant reminder of our place in the grand scheme of the universe, a feeling that resonated throughout the weekend, even when the music ended.
Beck
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4. Beck’s Back in the Desert
Beck, one of the festival’s late addition headliners, delivered a set dripping with nostalgia, tongue-in-cheek stage banter and sonic experimentation. From classics like “Loser” to cuts from his 2019 album Hyperspace, he masterfully navigated his performance, keeping the crowd energized and engaged. It was altogether a testament to his enduring influence and ability to capture the hearts of fans year after year.
5. Jamie xx’s Curated Chaos
Coming off the release of his latest album In Waves, Jamie xx took to the Vaults stage with a cigarette in one hand and beer in the other, clearly prepared to deliver. (Minutes before he went onstage, the British producer was seen still on his laptop, excitedly working on his set.) When the show started, the Grammy-nominated artist flexed his prowess, delivering a masterclass in weaving opposite genres into tunes that left the crowd pulsating with a sense of euphoria.
Overall, his performance was a testament to the beauty of FORM, in how it creates a sonic sanctuary for artists to comfortably experiment, an ambience that helped make it possible for Jamie to dance and smile onstage as he traversed bold transition, like going from trance mix of Ghetto 25’s “Don’t Stop” to a guitar-laden build-up to Led Zeppelin’s “Whole Lotta Love.”
6. Kim Gordon, Forever a Sonic Siren
Sonic Youth legend Kim Gordon brought a dose of raw energy to the Arcosanti Amphitheater. Backed by a killer band, she revisited iconic hits like Sonic Youth’s 1990 song “Kool Thing” and showcased newer material that pulsed with an undeniable urgency. Her voice, a potent mix of vulnerability and strength, resonated throughout a crowd illuminated with moody lighting, reminding us of her enduring influence.
7. Bonobo Unhinged
Bonobo, largely known for his downtempo electronic and ambient soundscapes, delivered a bass-thumping, chest-pounding Saturday night set that invigorated a perhaps unsuspecting audience. With thumping house and high-energy techno mixes, he turned up the temperature and set the audience ablaze, a difficult task in the desert heat, but one he pulled off with style.
James Blake
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8. James Blake, Bathed in Sunlight
The U.K. multi-hyphenate’s recent crusade against the live event and ticketing industry saw him filling up independent music venues and cathedrals across North America over the past months, making FORM an idea setting for his emotional sonic landscapes. His stripped-down Sunday afternoon set, which included “Retrograde,” “Say What You Will” and “Godspeed,” was full of intricate nuances and delicate compositions, creating a sing-along that allowed the whole crowd to let their inhibitions go.
9. Community & Self-Reliance
This year’s event was troubled by a record heatwave that brought temperatures up to 100 degrees for campers. (All FORM attendees stay in adjacent camping and glamping areas.) Rather than cover themselves in Crisco and lay on a desert rock to accept their fates, a sense of community and cooperation washed over attendees. The FORM community rallied by sharing umbrellas with strangers, making space for newfound friends to sit closely side by side in air-conditioned listening room activations and offering patience and understanding for the hospitality staff, who worked tirelessly to pass out cold drinks and water throughout the festival grounds.
10. Beyond the Music
FORM Arcosanti wasn’t just about the music, although of course it was definitely a major highlight. Workshops on sustainable living, art installations scattered throughout the arcology, a poolside dance party, ambient outdoor sound stages and hifi vinyl listening experiences offered loads to do beyond the music stages. It was, once again, a festival that encouraged a sense of exploration and childlike wonder. At its core, roaming directionless and absent of intent was sometimes the best way to discover the true beauty of FORM.
Davido will celebrate his 32nd birthday in style this year. The Lagos-raised star is returning to his hometown of Atlanta for a Davido & Friends birthday bash concert on Nov. 21 at State Farm Arena. Explore Explore See latest videos, charts and news See latest videos, charts and news Tickets for the concert presented by […]
Olivia Rodrigo‘s first-ever concert in the Philippines was anything but sour on Saturday (Oct. 5), especially after the 21-year-old pop star donated all the net profits from her ticket sales to a charity supporting women’s health. Shortly after the Guts World Tour stop in Bocaue’s Philippine Arena concluded, Rodrigo — who is half Filipina — […]
As if the beef between Drake and Kendrick Lamar wasn’t already historic, the saga’s most enduring track, Lamar’s “Not Like Us,” enters the record books with an unprecedented 21st week at No. 1 on Billboard’s Hot Rap Songs chart. The single, released on pgLang/Interscope/ICLG, surpasses Lil Nas X’s 2019 juggernaut, “Old Town Road,” featuring Billy Ray Cyrus, for the most weeks atop the chart since its launch in 1989.
“Not Like Us,” released May 4 amid the height of the rappers’ feud, reaches the record through continued strong performance in the three metrics that inform the chart: streaming, sales and radio airplay.
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It wins a 20th frame at No. 1 on the Rap Streaming Songs chart thanks to 17.1 million official U.S. streams in the latest tracking week (Sept. 27 – Oct. 3), according to Luminate. With its newest week on top, it matches “Old Town Road” for the third-longest command among all titles. Desiigner’s “Panda” and Psy’s “Gangnam Style,” share first place, at 23 weeks each.
For sales, “Not Like Us” registered 2,000 downloads in the tracking week. Despite a 10% decline from the prior week, it pushes 4-3 on Rap Digital Song Sales, a list it previously ruled for nine nonconsecutive weeks.
Lamar’s smash also repeats at No. 7 on the all-genre Radio Songs chart, with 45.4 million in total audience impressions, a 3% slide. (All radio airplay, regardless of genre, contributes to a song’s rank on Hot R&B/Hip-Hop Songs.) The single dominated its core format this summer, with 15 nonconsecutive weeks in charge of the R&B/Hip-Hop Airplay list.
As “Not Like Us” resets the leaderboard on Hot Rap Songs, here’s a review of the songs with the most weeks at No. 1 in the chart’s 35-year history:
Weeks at No. 1, Song Title, Artist, Date Reached No. 121, “Not Like Us,” Kendrick Lamar, May 18, 202420, “Old Town Road,” Lil Nas X featuring Billy Ray Cyrus, April 13, 201919, “Industry Baby,” Lil Nas X & Jack Harlow, Aug. 7, 202118, “Hot Boyz,” Missy “Misdemeanor” Elliott featuring Nas, Eve & Q-Tip, Nov. 27, 199918, “Fancy,” Iggy Azalea featuring Charli XCX, May 3, 201418, “Hotline Bling,” Drake, Oct. 10, 201517, “Panda,” Desiigner, April 23, 201617, “Mood,” 24kGoldn featuring iann dior, Oct. 24, 2020
The colossal single extends Lamar’s recent near-monopoly on Hot Rap Songs, with the rapper in the No. 1 spot for 27 of the last 28 weeks. Before “Not Like Us” took the throne, the Pulitzer Prize winner, Future and Metro Boomin ruled with their collaboration “Like That,” a six-week champ. In the past six months, only Eminem’s “Houdini” interrupted the Lamar blockade, by sneaking out a one-week rule in June.
ONE N’ ONLY, the six-member dance and vocal group from Japan, released their third EP, Fiesta, on Oct. 2. In the past, they melded J-pop and K-pop to create a “JK-pop” style, and in 2023 they established a new style, “Jatin pop,” which fused J-pop and Latin music. Their new EP Fiesta has an even freer approach, spanning all kinds of genres, including a foray into amapiano.
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Billboard Japan interviewed the group, which is constantly breaking new ground as a Japanese dance and vocal group. (Note: Member NAOYA was unable to take part in the interview due to a scheduling conflict.)
You’ve made a really lively EP with Fiesta I feel like it has more aggressive songs than your past work. What have your impressions been like?
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HAYATO: Well, first off, when we were creating the EP, we talked about wanting to make songs to lead our autumn tour. We wanted to make something that would get the audience hyped, like “EVOL,” turning shows into real parties. That’s why we made “Fiesta” our lead song. I think it’s an incredibly fun EP.
“EVOL” generates a lot of excitement, so it’s beloved by fans.
TETTA: Right. I think “Fiesta,” like “EVOL,” will turn up the energy levels in our shows.
HAYATO: The chorus is one you never get tired of, the song has a fast tempo, and both the lyrics and the choreography are incredibly upbeat. There’s also a part that we want all our fans to sing along with, so want to build up this song together.
TETTA: KAITA did the choreography for “Fiesta.” A lot of trial-and-error went into the chorus, too, and I think it turned out catchy and memorable. We stripped the choreography down a lot, making it easy to copy, and the dance is a lot of fun.
How many times have you worked with KAITA so far?
HAYATO: This is our fourth song, after “Hook Up,” “OPEN,” and “Last Forever.” The choreography is really catchy and easy to understand, and KAITA’s the same age as us, so he’s easy to talk to. That’s why the end result turned out so well.
REI: Ever since we established the “Jatin Pop” genre by fusing J-pop and Latin music in “EVOL” and “DOMINO,” we’ve written a lot of songs with Latin elements. “Fiesta” is especially catchy, and it has a great call-and-response section, so the audience will get amped up with us. KAITA, the choreographer, is part of RIEHATATOKYO, which has a strong hip-hop focus, so the choreography he created was really groovy. There’s a lot of depth to the rhythm, and that was combined with this Latin feel. They’re a great match. I don’t think there have been any other groups that combined Latin and Japanese elements like we have with Jatin Pop, so, just like our name, I think we’ve created a “one and only” song.
EIKU: And what’s more, it’s a blast to sing. You can really get into it, and I can just imagine everyone going crazy, carried by that Latin sound, so I’m looking forward to performing it live. Also, through our tour of all of Japan’s 47 prefectures, I’ve felt a change in how much more vocal our fans have gotten.
TETTA: Right! There’s this stronger feeling of unity, and in the audience participation parts, the crowd has gotten so much louder that it feels like they’ve all been practicing together in advance.
HAYATO: It’s so much fun sharing that feeling of excitement and energy with everyone.
KENSHIN: I think that by releasing a song like this, we’re helping create an even stronger sense of unity. I love the start of the second verse. It has this speed and this addictive quality that makes you want to listen to it over and over again. The song gets you fired up. The lyrics are also interesting, combining Japanese, English, and Portuguese.
HAYATO: The lyrics are all really easy to understand, too, so they’re easy to absorb.
KENSHIN: Yeah. Through our 47-prefecture tour from October 2023 to April 2024, we improved our live performance abilities. We were able to experience truly hands-on live shows, and we’ve grown so much.
TETTA: But we never had any down time! There were cameras filming us even while we were travelling between shows, so the only time we were truly alone was when we were asleep in our hotels. Partway through, I was like, “Where am I?” “Who am I?” (laughs) But thanks to that, I was able to focus exclusively on our shows, so I refined my vocals, and I grew more confident with each show. It was a great experience.
REI: It really was educational. Playing at small concert venues, close to the audience, I’d look at people further away and think that I needed to make it a fun show for everyone. I think the tour made me much better at performing live.
TETTA: We played several live shows in Brazil, and sometimes there would be a change of venue on the actual day of a show. Coming from experiences like that, the little problems that came up when touring in Japan were a breeze to deal with. (laughs)
KENSHIN: I became a lot more adaptable! (laughs)
That’s great to hear. Going back to the EP, “Burn it out” is a hard rock number, which is unusual for ONE ‘N ONLY. Listening to it, I could just picture you running around the stage.
HAYATO: We wrote that song precisely because we wanted to run around! We have an older song called “OPEN,” which has a strong rock feel. ONE N’ ONLY and rock go together really well. We wanted a song in our set list where we could go wild, so we picked “Burn it out.”
TETTA: I like rock in general, so singing that song is a blast. I feel like with a rock song, the way you perform live is different, so I’m looking forward to doing it live.
REI: The music for “R.U.S.H.” was written by JUNE (ONE N’ ONLY’s music producer) and HAYATO was involved in writing the lyrics. I hope listeners pick up on those creative aspects, as well.
HAYATO: I worked on the rap part. I wanted to use Japanese, too, so I picked words carefully. In JUNE’s songs, it’s pretty common for the Japanese parts to be broken down and given a more Western feel, with English mixed in, but if I was going to be taking part in the writing process, I wanted to have some clearly Japanese parts. I placed a lot of importance on the overall vibe, focusing on creating an atmosphere in which the words were clearly audible.
EIKU: I love “Too Much.” There’s some amapiano in there, so I hope people keep a close eye on our footwork. TETTA and I did the final switch-up, and I love the interplay in that part. It felt like we were jamming together, so I had a lot of fun.
HAYATO: The choreography also had some African dancing, and we’re developing and using some new steps, so I want fans to check out these latest moves, fresh from the floor.
EIKU: These new steps are like nothing I’ve ever seen when practicing the fundamentals. They’re really hard, so I’ve been watching tutorial videos and practicing.
KENSHIN: I like “ALL OUT.” We debuted this song in the final show of the 47 prefecture tour, but we wanted to make it clear in the lyrics that this was just one more step in our journey. NAOYA, HAYATO, and I wrote the lyrics to the song, and I didn’t have much previous experience with writing lyrics, so it was an incredibly fun time.
HAYATO: We wrote lyrics to accompany music from JUNE, and all of us really focused on the details. We’d show each other the lyrics we were working on while on the bus between shows, and we truly put our heart into the lyrics. Because of that, we were able to create a song with a strong message.
—This interview by Kana Yoshida first appeared on Billboard Japan
