Latest News
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string(95) "DJ Drama Opens Up About Overcoming ‘Dangerous’ Five-Figure A Year Opioid Addiction #DJDrama"
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string(163) "DJ Drama has opened up about overcoming an opioid addiction that saw him spending nearly six figures per year on pills.
The Generation Now boss joined the Brok..."
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string(138) "DJ Drama has opened up about when he had to overcome a recent opioid addiction which involved him checking into rehab during the pandemic."
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string(9) "Liam Hess"
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string(106) "Mark Ronson on Crafting the Emotionally-Charged Soundtrack for Sabato De Sarno’s Gucci Debut #MarkRonson"
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string(106) "Mark Ronson on Crafting the Emotionally-Charged Soundtrack for Sabato De Sarno’s Gucci Debut #MarkRonson"
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string(174) "The musician Mark Ronson shares the story behind the show’s carefully chosen songs—and his burgeoning friendship with Sabato De Sarno, the new creative director of Gucci."
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string(174) "The musician Mark Ronson shares the story behind the show’s carefully chosen songs—and his burgeoning friendship with Sabato De Sarno, the new creative director of Gucci."
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string(5000) "This afternoon, in a cavernous former aircraft factory within the headquarters in Milan, unveiled his for the Italian house in the most hotly-anticipated debut of the season. Yet almost as striking as the sleek, minimal looks being paraded down the runway was the soundtrack that accompanied them: a cinematic string opening featuring the voice of Lykke Li gently fading into that of the XX’s Romy, before a grand finale that included a toe-tapping remix of the Italian pop classic Mina’s “Ancora ancora ancora.” All of that came from a collaborator De Sarno knew he could trust: . Except it turns out—somewhat surprisingly, given his regular presence on the Fashion Month circuit—that it’s the first time Ronson has soundtracked a fashion show. “I like new experiences,” said Ronson the day before the show. “I like humbling experiences, where you might need to go back to the drawing board a few times. I don’t have an ego about that. So I’ve really enjoyed it.” It all began around a month ago, when Ronson—who has a long-standing relationship with Gucci that stretches back over a decade, having DJed a number of their events over the years—was connected with De Sarno to discuss his plans for the brand. “We had a little bit of a chat about his vision for the show, and this ‘ancora’ concept,” said Ronson, referring to the campaign that has seen the multi-layered Italian word for “again” or “still” emblazoned across buildings around the world in the lead-up to the show. “It was really about coming back to something, or falling in love again.” Naturally, one of the first songs that sprang to mind for De Sarno was Mina’s 1978 hit, which he then sent to Ronson—who quickly became obsessed. “It has tinges of things that I’ve done before, but it’s also a very epic, Italian sweeping ballad,” said Ronson. “So I preserved a lot of things that are really beautiful about the original, like the vocals and the strings, but then gave it a new beat and added my thing to it. Sabato was telling me about all this other amazing Italian pop music from the ’70s and ’80s that was important to him, so I went down the rabbit hole on that.” Given the decade-hopping spirit of De Sarno’s collection, however, Ronson also wanted to sprinkle in a few more contemporary touches. After De Sarno told Ronson that his 2019 album of “sad bangers” was a particular favorite, the musician decided to incorporate a ghostly remix of the Lykke Li-featuring title track at the beginning, and when they were discussing contemporary artists whose sensibility might dovetail neatly with De Sarno’s vision, they quickly landed on Romy, a mutual friend of the pair who recently released her debut solo album . (The soundtrack deftly moved between Li’s melody from “Late Night Feelings” and the soulful, yearning vocals of Romy’s “Loveher.”) For Ronson, the experience felt most akin to scoring a film—a realm he ventured into for the first time recently, with his chart-topping soundtrack for Greta Gerwig’s “Us musicians or producers are used to serving one master, which is to get the best song possible,” he said. “But what I realized by doing this is that you can have a great piece of music that Sabato would be happy to play in his car on a Sunday night, but it doesn’t necessarily align with how he's viewing his collection, or what he wants people to feel. Although at some point, if you’re lucky, you end up in the same fever dream, and then everything that you do instinctually seems to be what the other person needs.” Naturally, the close collaboration involved in bringing the soundtrack to life—first with a series of back and forths between Ronson’s New York studio and Gucci’s Rome headquarters, and then over the past few days as they applied the finishing touches together in person—has also led Ronson and De Sarno to strike up a friendship. “I mean, we still have two more days to fall out,” Ronson said with a laugh. “He has such an incredible energy. And despite what anybody else might find to be this crazy pressure, it being his first time as creative director of a house, he just puts everybody at ease. It’s not like he isn’t looking over every single detail, but it’s not this kind of running around, barking orders, putting people under stress. He has a great energy, and it’s inspiring.” Unsurprisingly, as Ronson’s parting shot before he leaves Milan, he’ll also be DJing the afterparty—meaning it might take a moment or two longer until he and De Sarno can toast to the show’s success. “Everyone can celebrate while I’m DJing though,” he said. “Plus, I’ve DJed many Gucci parties over the years, and it’s never me stuck in the corner not having fun.” And after spending the past few days together getting to know De Sarno and his team, will that help guide his DJ setlist at all? “Oh yes,” Ronson joked. “I’m just going to play �"
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string(5000) "This afternoon, in a cavernous former aircraft factory within the headquarters in Milan, unveiled his for the Italian house in the most hotly-anticipated debut of the season. Yet almost as striking as the sleek, minimal looks being paraded down the runway was the soundtrack that accompanied them: a cinematic string opening featuring the voice of Lykke Li gently fading into that of the XX’s Romy, before a grand finale that included a toe-tapping remix of the Italian pop classic Mina’s “Ancora ancora ancora.” All of that came from a collaborator De Sarno knew he could trust: . Except it turns out—somewhat surprisingly, given his regular presence on the Fashion Month circuit—that it’s the first time Ronson has soundtracked a fashion show. “I like new experiences,” said Ronson the day before the show. “I like humbling experiences, where you might need to go back to the drawing board a few times. I don’t have an ego about that. So I’ve really enjoyed it.” It all began around a month ago, when Ronson—who has a long-standing relationship with Gucci that stretches back over a decade, having DJed a number of their events over the years—was connected with De Sarno to discuss his plans for the brand. “We had a little bit of a chat about his vision for the show, and this ‘ancora’ concept,” said Ronson, referring to the campaign that has seen the multi-layered Italian word for “again” or “still” emblazoned across buildings around the world in the lead-up to the show. “It was really about coming back to something, or falling in love again.” Naturally, one of the first songs that sprang to mind for De Sarno was Mina’s 1978 hit, which he then sent to Ronson—who quickly became obsessed. “It has tinges of things that I’ve done before, but it’s also a very epic, Italian sweeping ballad,” said Ronson. “So I preserved a lot of things that are really beautiful about the original, like the vocals and the strings, but then gave it a new beat and added my thing to it. Sabato was telling me about all this other amazing Italian pop music from the ’70s and ’80s that was important to him, so I went down the rabbit hole on that.” Given the decade-hopping spirit of De Sarno’s collection, however, Ronson also wanted to sprinkle in a few more contemporary touches. After De Sarno told Ronson that his 2019 album of “sad bangers” was a particular favorite, the musician decided to incorporate a ghostly remix of the Lykke Li-featuring title track at the beginning, and when they were discussing contemporary artists whose sensibility might dovetail neatly with De Sarno’s vision, they quickly landed on Romy, a mutual friend of the pair who recently released her debut solo album . (The soundtrack deftly moved between Li’s melody from “Late Night Feelings” and the soulful, yearning vocals of Romy’s “Loveher.”) For Ronson, the experience felt most akin to scoring a film—a realm he ventured into for the first time recently, with his chart-topping soundtrack for Greta Gerwig’s “Us musicians or producers are used to serving one master, which is to get the best song possible,” he said. “But what I realized by doing this is that you can have a great piece of music that Sabato would be happy to play in his car on a Sunday night, but it doesn’t necessarily align with how he's viewing his collection, or what he wants people to feel. Although at some point, if you’re lucky, you end up in the same fever dream, and then everything that you do instinctually seems to be what the other person needs.” Naturally, the close collaboration involved in bringing the soundtrack to life—first with a series of back and forths between Ronson’s New York studio and Gucci’s Rome headquarters, and then over the past few days as they applied the finishing touches together in person—has also led Ronson and De Sarno to strike up a friendship. “I mean, we still have two more days to fall out,” Ronson said with a laugh. “He has such an incredible energy. And despite what anybody else might find to be this crazy pressure, it being his first time as creative director of a house, he just puts everybody at ease. It’s not like he isn’t looking over every single detail, but it’s not this kind of running around, barking orders, putting people under stress. He has a great energy, and it’s inspiring.” Unsurprisingly, as Ronson’s parting shot before he leaves Milan, he’ll also be DJing the afterparty—meaning it might take a moment or two longer until he and De Sarno can toast to the show’s success. “Everyone can celebrate while I’m DJing though,” he said. “Plus, I’ve DJed many Gucci parties over the years, and it’s never me stuck in the corner not having fun.” And after spending the past few days together getting to know De Sarno and his team, will that help guide his DJ setlist at all? “Oh yes,” Ronson joked. “I’m just going to play �"
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string(80) "Jermaine Dupri Enlists Jacquees on New Single ‘Pick It Up’: Listen #Jacquees"
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string(69) "Beyoncé Meets Fan Who Missed Renaissance Due To Wheelchair #Beyoncé"
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Milan Fashion Week was the setting chosen by the Italian brand Moncler to present to the world its new collaboration with the singer..."
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Hot 21 Radio
Pusha-T Sees Pop Smoke Beating Tyler, The Creator For Album of The Year SOHH.com
sohh July 17, 2021
Pop Smoke 95
Virginia Rap OG, Pusha T, makes a big splash as one of the many features on the late New York drill rap icon Pop Smoke's second posthumous album FAITH. King Pus
Share Pusha T Has Faith for Pop Smoke Going Platinum, to Tyler, The Creators Disadvantage This week marks the release of Pop Smokes album FAITH which has taken over the internet since its release. It is stacked with features from Dua Lipa to Pharrell Williams, but one song in particular has been the talk of the town. Pop Smoke, Pusha T, and Kanye West unite to create the albums third track Tell The Vision in which Pusha T had a vision of the albums future. In the track he discusses how he sees FAITH going platinum and that Tyler, The Creators latest critically acclaimed release Call Me If You Get Lost only has the status of album of the year for now. Look, Tyler got the album of the year, for now / But Pop about to drop, I see the platinum in the clouds / Now Push about to drop, so real trappers stick around / The crown is only for the king, they tryna place it on a clown. Many found the diss surprising since Pusha T and Tyler have worked together in the past on songs like Trouble On My Mind. In addition to this when speaking on a Discord AMA sessionin March of 2020 he mentioned that he got 9 beats from Tyler, The Creator and that some have potential to be on his upcoming projects. Despite all of this, Pusha T made sure to hype up Pop Smoke and himself on Tell The Vision even if it was to Tylers dismay. Pusha T Hints At Something Big In addition to the Pop Smoke album feature, King Push has been getting fans pumped about possible new tunes coming together. The hip-hop veteran has lit up social media with a sneak peek of himself linked up with longtime friend and producer Pharrell Williams. Pusha T went to his Instagram page back in March with the must-see shot. The pic features him and Skateboard P in the same recording studio together presumably working on a new audio anthem. If kilograms is the proof, I done sold the Golden GooseI got em baby Im Jim Purdue, Cocaines Dr. Seuss Self The Difference Is Pusha Ts Legendary Exclusive Production Team In a December 2020 Instagram Live session Pusha said at the moment the only producers working on his next album were Kanye West and The Neptunes (Pharrell Williams and Chad Hugo). As of right now its only Ye and Pharrell and The Neptunes, Im sorry. Thats it. Aint nothing to talk about. Pusha T + The Neptunes Have A Long History The Neptunes helped introduce the worldto The Clipse almost 20 years ago. Back in 2002, Pharrell and Chad did all of the production for Pusha and Malices classic debut album Lord Willin, and for their 2006 second effort Hell Hath No Fury. King Push is closely connected to Kanye, who hired him as president of G.O.O.D. Music a few years ago.
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