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Welcome to SNX DLX, your weekly roundup of the best sneakers to hit the internet! This week the overall theme seems to be the “outdoors,” as we’re treated to a handful of sneaker drops that combine warm and earthy colors with some sporty and functional silhouettes. I guess winter is behind us!

Is it actually? No, but let’s pretend things are warming up for the sake of our own sanity.

Highlights this week include Salehe Bembury’s latest collaboration, which sees the designer linking up with the British shoe brand Clarks for a triple drop of vibrant lugger-style sneakers. Elsewhere New Balance is dropping two new colorways of the 990 and 990v3 dubbed the Seasonal Collection and Brain Dead and ASICS are teamed up for two psychedelic renditions of the Gel Nimbus 9.

Notice any big names missing? Yeah, Nike, they’ve managed to put one notable sneaker out this week but nothing truly exciting. Even Adidas is bringing the fire with its new NMD S1 MAHBS! Do better Nike, we’re counting on you to truly get the 2023 sneaker season kicking.

For now, here are the six best drops of the week.

Terminator High Noble Green

Are ’80s sneakers making a comeback? Nike seems to think so. The brand’s only notable release this week is this ’85-era classic, the Nike Terminator High. There aren’t any modern updates to this sneaker, Nike is dropping it unaltered and “straight from the vault,” which means if you pick it up it’ll probably be the most uncomfortable and least supportive pair of shoes you’ll ever own.

But it sure looks cool! Featuring a crisp white leather upper and Noble Green accents, the Terminator High is truly fashion over function.

The Nike Terminator High Noble Green Is set to drop on January 26th for a retail price of $125. Pick up a pair via the Nike SNKRS app.

Salehe Bembury x Clarks Mud Moss Lugger

One of our favorite things about Salehe Bembury is that you just can’t pin him down. Nobody really knows what he’s going to make next, when you think he’s going to zig, he zags every time. The designer landed on everyone’s radar when he first redesigned some forgotten New Balance silhouettes, and rather than doubling down like Teddy Santis or Joe Freshgoods, he started designing Crocs. Now he’s linked up with Clarks for an early rendition of their Lugger.

Dubbed the “Mud Moss” this lugger-style shoe features a Lichen suede upper with leather and fabric accents, a crepe rubber sole, and an asymmetric lace-up system that adds a modern streetwear sneaker vibe to the style.

The shoe is available in unisex sizing and drops in three colorways including dark green, orange, and taupe.

The Salehe Bembury x Clarks Mud Moss Lugger in Dark Green, Orange, and Taupe is out now for a retail price of $200. Pick up a pair at the Clarks webstore.

New Balance MADE in USA 990 Seasonal Collection Tan w/ Green

New Balance’s best runner is getting a new colorway! Dropping as part of a double sneaker pack dubbed the “Seasonal Collection,” this 990 features a mixed upper of leather and mesh with hairy suede panels above an ENCAP midsole and that elegant MADE in USA line construction.

The colorway is warm and earthy combining tan and brown with deep forest green accents on the heel and ’N’ logo. Leave it to Teddy Santis to oversee such an elegant and eye-catching take on one of NB’s best silhouettes.

The New Balance MADE in USA 990 Seasonal Collection w/ Green is set to drop on January 26th at 7:00 AM PST for a retail price of $189.99. Pick up a pair at the New Balance webstore.

New Balance MADE in USA 990v3 Seasonal Collection Tan w/ Green

Nike who?

New Balance has slowly been reaching for Nike’s crown for a while now and we’re starting to prefer NB to the old Swoosh. Is that crazy? While no one will be able to compete with Nike’s frequency of releases, New Balance always brings the quality and we’ll take quality over quantity any day.

What a great week for people who love green shoes. If you’re not feeling the understated vibes of the 990, this 990v3 is for you. Dropping as part of the “Seasonal Collection,” this v3 trades in the hairy suede for a sleek upper of nubuck leather and mesh above a pale olive ENCAP midsole and an NDurance rubber outsole. The overall color tones are darker here compared to the v1, with a deep forest base and rich Carmel-colored panels.

The New Balance MADE in USA 990v3 Seasonal Collection Tan w/ Green is set to drop on January 26th at 7:00 AM PST for a retail price of $199.99. Pick up a pair at the New Balance webstore.

Adidas NMD S1 MAHBS Oatmeal

Pharrell is doing some truly interesting stuff over at Adidas with his Humanrace line of sneakers. It might not bring the sort of eyes and excitement that Adidas’ collaborations with Beyonce and Bad Bunny bring, but now that Yeezy is a thing of the past, it’s the only collaboration that truly feels unique and original. This week’s NMD s1 MAHBS sports a textile upper with a canvas shroud, a TPU-encapsulated BOOST midsole, and a mix of earthy oatmeal tones and bright blue accents.

The NMD strikes an interesting balance between utilitarian functionality and asymmetrical design details. It feels like it has its foot dipped into two different style aesthetics simultaneously.

The Adidas NMD S1 MAHBS Oatmeal is set to drop on January 27th at 7:30 AM PST for a retail price of $230. Pick up a pair via the Adidas CONFIRMED app.

Brain Dead x ASICS Gel Nimbus 9 Rio Red (Almost Apricot) Night Shade (Laurel Wreath)

There was an era (nearly twenty years ago) when running shoes were strictly function over fashion. They weren’t designed to be seen, they were designed to support you and get you where you needed to go. But as functional-forward as those original running sneakers were, they actually looked pretty dope and futuristic. And now they’re in the streetwear ecosystem, which means the colorways are looking better than ever.

This week Brain Dead teamed up with ASICS for two new colorways of the brand’s legendary Gel Nimbus 9 runner. Featuring polyester mesh, polyurethane leather, and synthetic upper, Brain Dead dressed up this segmented midsole sneaker in two vibrant and loud colorways, including Rio Red and Night Shade. It’s not every week that ASICS catches our eye, but we’re always on the lookout for new designs out of Brain Dead.

Brain Dead x ASICS Gel Nimbus 9 Rio Red and Night Shade are out now for a retail price of $170. Pick up a pair at the Brain Dead webstore.

In a new interview with Zane Lowe, Cordae says he has enough songs with “RNP” and “Two Tens” collaborators Anderson .Paak and J. Cole to release a full EP.

And if I may be so bold, he should release that immediately, just for me, because it would make me very happy.

Cordae appeared on the Apple Music 1 radio show to talk about the new track, “Two Tens,” and during the course of the discussion, revealed that not only has he recorded enough songs for the above-mentioned EP, but he’s also got about 17 full-length albums besides that.

“I made a lot of songs last year,” he said. “I think last year I recorded literally 180 songs. I know some artists record like a thousand songs, but it feels like that’s the most songs I recorded in the year, for sure. Last year, it was also the most touring I did, so I’m proud of myself for still recording 180 songs.”

While discussing his chemistry with .Paak, he revealed the wealth of material he’d recorded with the older artist. “We literally got a mix tape full of joints of me and .Paak on — well, we got an EP full of joints with me, .Paak, and Cole beats… It’s because this is really my friend. Other artists be like, ‘Ph that’s my brother,’ or, ‘Oh that’s my man,’ saying that sh*t just to sound cool. I don’t really have too many friends, to be honest. He’s one of my real life genuine friends.”

You can check out the full interview here.

After the missed opportunity that was Black Adam, the DC Extended Universe could really use a win. Shazam! Fury of the Gods could be that win. The sequel to 2019’s unexpectedly terrific Shazam! has Zachary Quinto returning as Billy Batson / Shazam, along with Adam Brody, Rachel Zegler, Djimon Hounsou, Lucy Liu and and Helen Mirren as evil sisters. No one is having more fun in franchise films than Helen Mirren.

You can watch the Shazam! Fury of the Gods trailer above. Listen for a well-timed Game of Thrones reference (Warner Bros. Discovery synergy!).

“It’s sort of an extension of the first movie,” director David F. Sandberg told Entertainment Weekly about the sequel. “He finally found a family in that movie. But now, we see him struggling a bit now that they’re growing up. He’s holding on very tightly to his family because he doesn’t want everyone to just scatter and go do their own thing. He just found his family, and he wants to have them all together.” Sandberg also revealed what Mirren said during her first day on set: “Yeah! We need more p*ssy power on set! We’re here now.” You hear that, Vin?

Shazam! Fury of the Gods opens on March 17.

Rich Brian looked ahead to his film-acting debut as Uproxx’s April 2022 cover star, and the Justin Chon-directed music drama Jamojaya made its debut at the 2023 Sundance Film Festival last weekend. In it, Brian portrays an up-and-coming Indonesian rapper at a crossroads: He wants to hire a new manager and sign to a US label, but that would mean firing his father (Yayu Unru) as his manager.

To celebrate Jamojaya, Brian dropped “Sundance Freestyle” on Wednesday, January 25, alongside Daniel “Cloud” Campos-directed video that finds Brian deliciously playing a diva actor.

It starts with people rushing to prepare the set of the fictional Talking Film talk show. Brian arrives in extravagant fashion, as the studio’s doors open up to an entourage leading the way for Brian on a motor scooter. When the host, Chet Buckley, offers up a handshake, Brian turns away from him and doesn’t say a word while someone adds one more dash of hairspray.

Buckley attempts to ask Brian questions about Jamojaya, but Brian stays mute and stares at Buckley behind dark sunglasses. The wall behind them collapses, prompting Brian to launch into his “Sundance Freestyle.”

Brian raps as flashing cameras and microphones crowd around him, and then he’s joined by fabulous background dancers.

“I just took a flight to Utah, man, that’s the first time,” he reflects over a catchy, synthesized beat. “Walkin’ off the plane, steam breathin’ snow darkened by the shades / I’m just stayin’ warm, sippin’ on my third wine / Face gettin’ red now / I don’t need a sun tan, press weak / Get you used to hearin’ certain questions / Like, ‘How you feel to be at Sundance?’”

As beach balls fall from the sky, Brian relishes how far he’s come in five years and watching his “first movie” with his friends, which turns “everything else into nonsense” and marks a major accomplishment despite the fact “I’m only on my second project.”

“Sundance Freestyle” comes after Brian finally released “Vivid” featuring $NOT in November — a similarly introspective song but romantically focused.

Watch “Sundance Freestyle” above.

Rich Brian is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

Remember that viral TikTok featuring a trilingual 16-year-old idol who had a sick rap flow? Well, if you didn’t know, her name’s Cocona from the global girl group XG.

Yesterday (January 25), the seven-member girl group kicked off their 2023 with a new single album, Shooting Star, featuring the lead single of the same name. The bass-bumping, hip-hop track is an ode to space with metaphorical lyrics of reaching the top with confidence. (“Taking off from the ground it’s amazing / So outta this world, I’m in space / Now I’m going up, headin’ to the stars / Wouldn’t trade it out for another life, no”)

According to an official press release, “the releases are the essence of XG itself and represent the group’s energy and the mission of ‘Believing in yourself and being whatever you want to be.’” In addition to the dreamy supporting track, “LEFT RIGHT,” is described as “a song inspired by synthetic notes, sharp drum sounds, and powerful trap beats and finished with XG’s unique vocals and raps. The lyrics ‘The only direction I know’ reinforce XG’s positive and empowering philosophy.”

XG is a Japanese girl group based in South Korea that debuted last year under XGALX, a subsidiary label of Japanese company Avirex. Although the septet is based in South Korea, all members are Japanese and sing in English — pushing their title as a global girl group. The group comprises Jurin, Chisa, Hinata (Japanese-Korean), Harvey (Japanese-Australian), Juria, Maya, and Cocona.

Watch XG’s exclusive live performance of “Shooting Star,” released today, below.

To call BMF a story about drug dealers is a wrongful choice and only scratches the surface of a multi-layered structure that would reveal so much more if you dug a bit more into it. The show retells the stories of Demetrius “Meech” Flenory and Terry “Southwest T” Flenory and their Black Mafia Family organization, which became one of the country’s highest-profiled drug organizations from the late ‘90s into the 2000s. The show does so by also shedding light on Detroit environment the brothers grew up in, the circumstances they were forced into, the decisions they made as a result, and their goal to do right by their loved ones day in and day out. In a world that constantly places Black and brown bodies at a disadvantage, especially in systemic ways, the Flenorys might tell you that they made lemonade out of the lemons that life dealt them.

Countless TV shows have recounted stories of the past, even stories similar to that of BMF, but one of the reasons that make the show truly unique is its real-life connection to the subjects of the show. The series stars Demetrius “Lil Meech” Flenory Jr. as his father, a role that was given to him after 50 Cent, one the executive producers on BMF, handpicked by him and put him through acting classes for two years in preparation for the series.

Flenory Jr. has taken things a new level in season two of BMF. Ahead of the halfway mark in this season and fresh off a renewal for season 3, we caught up with Flenory Jr. to talk about his character and dad’s unique qualities, the true meaning of BMF, and more.

With season 2 of ‘BMF’ in full swing, how has your perception of the acting world and wanting to be a part of it changed since you started with the show?

Season two is all about elevating for me. Especially [with] this being my second season ever and still being in my beginning, I wanted to be better than last season, of course. I wanted to show everybody my growth, I wanted to show people that I take this 100% seriously, and every season, I want everybody to be able to see my growth. The season’s about elevating at the end of the day, not only for me but for the whole cast. We have more acting, more action, just more everything, more dialogue. This season, we’re fighting different things, different obstacles to thrown at Meech and Terry’s way. Even though they’re both in the game together, Terry doesn’t feel how Meech feels. He isn’t a gladiator like Meech and Meech already knows what he wants to do. Terry’s still second-guessing you know, he wants to go legit. We’re fighting that obstacle between the two brothers and Meech has to show him and his crew that he could do anything alone or with them.

Meech is operating this group without Terry as his main partner. He’s able to make the necessary moves to maintain BMF, but what would you say is missing with Terry’s absence from the crew?

It still gives that drive, you know feeling? Meech, he gets in your face [or] he can kind of smooth talk into making you do what he wants you to do. Terry I feel, when you have a team, when you have two brothers that have the same type of drive, it’s different than just one person. It’s in that brotherly love and that drive they had, when he first started, playing together for everything. Now, he’s by himself. I feel he’s missing that other person, because B-Mickie is also not around, so he has to second-guess him too. Meech is like I told you, he’ll do things by himself and show people after the fact like, “Okay, I got it done without you. So you’re either gonna jump on board or I keep doing it without you.” [He’s] that type of person.

What do you love the most about the fact that season two is focused on building and strengthening the family that is BMF?

My dad was a very, very family-oriented guy. He loved his family more than anything, and you can see that in the show, but it’s kind of hard, but my dad wanted the whole world to know how much of a family-oriented guy was. His family was dealing with the conflict of not being able to pay their bills, even though they were working two or three jobs. So my dad already grew up with the mindset of “I’m going to be able to take care of my family. God can’t pay the bills, like yeah we believe in God, we go to church, but somebody has to step up and pay the bills.” He was always the head of the family, always thinking about the extra mile. He hated the position his parents were in. He and his brother were wearing holes in their shoes, going to school in 20-degree weather, inhumane conditions [in the] murder capital of the world? So it’s like do you watch your family suffer and live in poverty? Or do you do something about it?

In a past interview, Da’Vinchi made note of the impact acting on the show has had on him, so I’m wondering the same for you. How has your role on BMF altered your mental or perception of this world that you’re quite connected to?

It gave me a full 180 on life. I feel like it made me a better person, it made me look at things differently just because I was sheltered growing up. I had no clue how my dad grew up, it was just two totally different lifestyles. They sheltered me so I wouldn’t have to deal with the dark parts of the world. My dad had to grow up differently. His parents didn’t want him to grow up like that, but it was different. In that world, where it was the murder capital of the world, all he had was drug-infested communities. I’m blessed to be able to not have to go to that kind of thing, but it’s crazy to see how my dad grew up and had to be a man at such a young age and take care of his family with every doubt against him. I appreciate it, for sure.

Is there ever a point where Meech feels the need to return home? With the struggles Terry faces with Charles, it’s hard to imagine so, but why do you or don’t you think Meech reaches that point?

I definitely don’t want to give any spoilers. Terry is still trying to battle between both like, he doesn’t know what he wants. Meech is the type of person who doesn’t want to keep hearing the same thing over and over. He knows if he goes home, he’s gonna have to see dad’s attitude and maybe hear mom’s mouth about the same thing. He’d rather not come home and come home and he feels like it. Terry is a different person, they’re two totally different brothers. Meech is that type of gladiator who doesn’t want to deal with all that.

Charles frustrates a lot of people on social media, so I wanted to ask, how close is his character to that of Meech’s real-life dad?

[Laughs] Yeah, pops was an interesting guy. He was stern just because he didn’t want Meech and Terry to be any other way he wanted. Back then, old-school people, they different. My dad, his father was just very stern and strict because he didn’t want them to get killed or be in jail. It’s a different type of love you have for your children when they’re out in the streets and you don’t know what they’re doing, wondering what they’re doing, and you’re just scared.

Shifting back to Meech’s character, do you ever feel like sometimes he was too ambitious? To the point that he was looking too far ahead and missing the things in front of him? For example, Lamar being alive.

I feel like everything happens for a reason. My dad made very, very smart decisions, especially with being of a young age and having to grow up and be a grown man. At the age of 17, he already made his first million dollars, so he was a different 17-year-old than any of us. He already had to take care of his family at 17, so he probably was very overly ambitious, but he always had his eye on the prize and knew what he wanted before he got there. With us, we just live life and we might think about things down the line, but we don’t really go after me in pursuit of how we should. My dad was always an over-pursuer [and] overly ambitious, so he’s gonna get it done. Being overly ambitious could hurt or it could help you, but I feel like it helped him in most of his situations. Being the person that he was and having a good heart that he has, everything he did, he did with good intentions. Even though he isn’t where he wants to be right now, I feel he lived a great life and he helped a lot of people.

It seems like we’re arriving at a rift between B-Mickie and Terry after your character gets shot. What can tell us about how that plays out?

Terry’s definitely probably gonna be looking at B-Mickie [with a] side eye, just because Terry was the person to always think that B-Mickie was up to something snakey behind my back. I kind of looked at it and kind of was believing it for a second, but I don’t want to believe the bad. I feel like my character Meech doesn’t want to believe that B-Mickie doesn’t have his back because I already don’t have anybody to lean on anyway. It’s like, damn I can’t lean on my best friend when my brother’s already kinda getting out on me? I think this is definitely gonna put B-Mickie in the hot seat after all these consecutive events happened. B-Mickie held my character up before he got shot, we’re like “what the hell you doing?” He went and made a phone call, so I think all that’s gonna come into play with my character when he gets that fully aware of himself. It’s gonna be crazy.

What can you say fans will be most surprised to see in regard to both Meech and BMF as a whole?

We’re going to be able to have people on the edge of their seats after every episode, and that’s what we want. Randy Huggins and Heather Zuhlke, they’re both amazing writers and they both set out to have every episode like you’re ready to pull your hair out. Every episode is better and better and grittier and grittier. I want everybody to really pay attention and read between the lines. BMF isn’t just about drug dealing, it’s about soul and family. There are a lot of different things you can miss if you’re just watching and not reading and understanding.

New episodes of ‘BMF’ are available on the STARZ app on Fridays at 12:00 am EST and on the STARZ TV channel at 8:00 pm EST.

K-Pop has become one of the most popular genres in the US in the past few years, overcoming an early reputation as kitschy, niche entertainment to dominate airplay, streams, and award shows for the past couple of years. However, there seems to be one perception the genre hasn’t been able to shake, and the debate driven by that belief has reared its head yet again – and may continue to do so for the foreseeable future.

A few weeks ago, the discussion about cultural appropriation in K-Pop once again surged in response to an Allure feature about Gwen Stefani in which she, unfortunately, mischaracterized the reasoning behind her Harajuku Girls marketing over a decade ago. The conversation has continued ever since, as K-Pop fans and critics alike wrestle with the thorny subject, which has proven to be even more complex than even the convoluted homegrown version.

As one user put it, “I’m here for the Asian community flaming Gwen Stefani for her years of racism, cultural theft, and Orientalism.” However, they didn’t stop there, urging fans to take another step and calling out another set of offenders. “Now, keep that same energy and call out K-pop and the cultural appropriation by Asian musicians who profit from Black culture while being anti-Black.”

The Allure piece, which was originally meant to be a promotional interview for her GXVE Beauty line, instead appalled readers when writer Jesa Marie Calaor (who is Filipino) asked Stefani about the backlash against her over the well-intentioned but tone-deaf mascots, four Japanese women who followed her around like supervillain henchmen. Her answer, in which she recounts a trip to the real Harajuku that spawned the realization, “My God, I’m Japanese and I didn’t know it,” stunned readers with its lack of self-awareness.

Americans have become quite accustomed to the concept of cultural appropriation over the past few years, with ongoing discussions both casual and academic leading to jokes in movies, Twitter arguments, and the downfall of Justin Timberlake. We all know what it looks like when white stars loot the traditions, iconography, and cultural signifiers of other cultures for their own gain; hell, even Tyga apologized for aping Mexican stereotypes in his “Ay Caramba” video last year.

But K-Pop, filtered through not just the American social lens, but the South Korean one as well, presents a more tangled example of just how complex this issue can be. Still, fans have become increasingly vocal about bringing these issues to light, whether it’s Korean stars wearing traditionally Black American hairstyles and mimicking the mannerisms of rappers and B-boys from hip-hop’s foundations or outright blackface being worn by early K-Pop artists in attempts to co-opt some perceived edginess.

Now, I’ll freely admit, I’m no K-Pop expert, but I have written a few times on this site about why cultural exploitation is detrimental to both sides of the equation. So I asked Uproxx’s actual K-Pop expert, Lai Frances, to provide background on the origins and evolution of K-Pop, as well as why it may not be as simple as admonishing artists and labels who may not even understand the cultural context behind the stereotypes they’ve been imitating all this time.

“​​Artists and idols have found themselves embroiled in appropriation whether they know it or not,” she explains. “Sometimes it’s the stylists’ fault, sometimes it’s the lack of education or exposure to other cultures – rather than just stereotypes – and sometimes plain ignorance.” This owes, in part, to the nature of South Korea’s status as one of the most homogenous nations in the world.

Put simply, unlike the US, which is a melting pot of different cultures and their influences, South Korea is overwhelmingly made up of Koreans. Exposure to outside influences came mainly through Korea’s history of being colonized, especially throughout the mid-20th century, when the US maintained a presence after the Korean War. American troops sparked a cultural curiosity that continued throughout the century, laying the roots of modern K-Pop’s eventual takeover.

As you’d expect from its name, K-Pop was massively inspired by American pop music in the late 1990s (itself increasingly taking on aspects of Europop), when boy and girl bands like Backstreet Boys, N*Sync, and the Pussycat Dolls were gaining popularity. Digging into the backgrounds of these acts, it’s clear that they were inspired as much by Black artists in R&B and hip-hop, fusing these influences to prolific – and profitable – effect.

There are some who would argue that these groups were appropriating Black culture, and at the same time watering it down for wider consumption. It’s no secret that R&B, rock and roll, and hip-hop drove youth culture throughout the last 70 or so years; at the same time, derisive racial attitudes prevented Black artists from seeing most of the advantages of their creativity and labor. “Black sounds, white faces,” the saying goes.

But for Koreans, this darker history is perhaps less accessible. After all, by the time this Black-influenced pop music reached their shores in the pre-internet era, it had already been filtered through these more “acceptable” artists, the backstory whitewashed to downplay the exploitation. As K-Pop began to take root, there was no easy way to illustrate the links and very little context in the Korean imagination for how that exploitation harmed the music’s stylistic originators.

However, as that information became more readily available with globalization, K-Pop artists were able to skip the middleman, so to speak, drawing inspiration directly from Black hip-hop acts. Without the prior background in place to put that inspiration into the proper perspective, though, some of the results were less than ideal.

Frances points to veteran singer-songwriter J.Y. Park, who drew criticism for some controversial missteps. “Known to take influence from soul and R&B with his music, J.Y. Park has had his fair share of appropriating and appreciating,” she notes. “In the ‘90s he was seen dancing with backup dancers donning blackface and afros to his song ‘Still Alive.’ This could be done as South Korea, during that time at least, didn’t know about the harm it caused and the homogenous society it lived in.” The star in question has since apologized, as have many others who inadvertently crossed the line.

Korea is its own country with its own history; it’s understandable that K-Pop artists might be unfamiliar with the derogatory intent behind blackface and minstrel shows. That doesn’t make it acceptable, though, as fans have been quick to point out. “In the past, it may have been dismissed, but considering how big K-pop has gotten within the last decade, and how accessible it is, there should be no excuse for labels and artists to know about the differences between appropriation and appreciation,” says Frances.

Still, there has been friction. “In the time where K-Pop started becoming more prevalent and accessible (second to current gen, so the late-2000s to now), idols that have a hip-hop concept, for example, BIGBANG or 2NE1 could be seen wearing du-rags or repping cornrows/braids in some of their videos,” she continues. This could be seen as harmless imitations by artists who see Black folks in the US, who still epitomize cool globally. But we also signify danger by dint of the demeaning stereotypes that have been promoted by pop culture, which we do not control.

Societies who come to their understanding of American culture by means of flattened caricatures in films and on television may only see and assume that we wear du-rags to look cool. The knowledge that our cultural trappings – even something like a piece of fabric to help protect our hair from damage – have been pathologized into something that symbolizes gangsterism, criminality, stupidity, and lack of sophistication might escape outsiders.

This sort of thing isn’t restricted to just hip-hop and Black American culture, either. In 2020, Blackpink fans called out the band for inadvertently insulting the Hindu religion in their “How You Like That” video. Meanwhile, a slew of K-Pop idols has donned traditional Indigenous American garb in videos and ad campaigns, reducing hundreds of years of cultural meaning and spiritual beliefs to a chintzy costume. These highlight K-Pop’s willingness to imitate the trappings of other cultures without engaging beyond surface aesthetics, which normalizes how pop culture flattens people into unflattering stereotypes based on ethnicity or race.

The internet is changing that, though, and fans are leading the charge. Frances acknowledges, “K-Pop fans support these artists, so it comes as no surprise when fans are the ones doing the heavy lifting. One thing I’ve seen happen was how fans have begun emailing labels and management. And some do take them into consideration for further promotion. I think if fans were to continue the social trends and the social outcry and outreach, there can be changes.”

To try to put this in perspective, I like to think of it in terms of an analogy my own mom used to use on me. If you were in a darkened movie theater, she’d say, and you stepped on someone’s foot while trying to get to your seat, and they said, “Hey, you stepped on my foot!” would you miss half the movie arguing about whether or not you intended to step on their foot, or would you apologize and do your best to avoid doing so again on a potential return trip?

Likewise, if you were the person sitting down and got stepped on, you probably wouldn’t assume the person who did so did it on purpose. You wouldn’t be happy about it, but you’d understand they had no way of knowing that your foot was there, or that you were wearing new shoes, or that you did double shifts all week for a month to afford them. It’s fine to alert someone to an unintentional offense but it’s not worth fighting about and, again, missing the movie.

K-Pop is likely here to stay as a major force in global popular music – at least for a good, long while. And like any musical genre, its adherents will take inspiration from other arts, genres, and communities, changing the qualities and aesthetics of the genre over time. It’s important that these interactions remain respectful, acknowledging that even if something “looks cool,” there might be huge cultural significance or genuine generational trauma behind it.

As Frances puts it, “It’s a matter in the labels’ (and artists’) hands to be accountable depending on which way they want to grow in the market. No matter what, it’s best to instill the differences and acknowledge that whatever and whoever they release out to the masses, will get critiqued more than K-Pop did 10-20 years ago.” More than ever, though, it seems like that critique is coming from a place of love, in the hope that these artists can make this growing genre even more inclusive as it finds new audiences all over the world.

Tensions are very high in the Roy family, which means it’s time for another season of everybody’s favorite dysfunctional family drama, Succession! Season four of the Emmy-winning series will follow the Roy children as they play a slow-moving chess game against their father, who secretly sold Waystar Royco at the end of season three. As Shiv exclaims in the trailer: “This is not about getting back at dad, but if it hurts him, it doesn’t bother me.” And that’s the family motto!

HBO finally released the teaser for season four, which will premiere on March 26th. In between the family bickering, scheming on private planes, and Shiv’s iconic outfits, we also get to see a glimpse of Willa and Connor’s wedding, so that should be interesting. Plus, the black sleuthing hats are back just in time for those spring fashion trends to pick up again. Before you know it, everyone will be walking around New York looking like this:

The whole clan is back for the 10-episode season, along with newcomers Annabeth Gish, Adam Godley, Eili Harboe, and Jóhannes Haukur Jóhannesson. It’s unclear if this will be the final season of the drama, though Cox has been openly against overstaying his welcome on the show, so if there were ever a time for the Roy family to go even more off the deep end, it would be now!

Check out the Succession season four trailer above. You can stream the first three seasons on HBO Max.

John Mayer spent a good chunk of last year on tour in support of his latest album Sob Rock, which he described as “a sh*tpost.” The musician is ready to get back on the road now; he just announced a slew of 2023 tour dates — and it’s his first-ever solo tour, even though he’s nearly 25 years into his career.

“I’ll be playing old songs,” the 45-year-old wrote on social media. “Newer songs. Songs you haven’t heard yet that I’ll be road testing — all on acoustic, electric, and piano. Hope to see you there.” He’ll be bringing along Lizzy McAlpine, Alec Benjamin, and a surprise guest on select dates. The tour kicks off in March in New Jersey and ends in Los Angeles in April.

Check out the full dates below.

03/11 – Newark, NJ @ Prudential Center
03/13 – Boston, MA @ TD Garden
03/15 – New York, NY @ Madison Square Garden
03/18 – Pittsburgh, PA @ PPG Paints Arena
03/20 – Toronto, ON @ Scotiabank Arena
03/22 – Detroit, MI @ Little Caesars Arena
03/24 – Nashville, TN @ Bridgestone Arena
03/25 – Cleveland, OH @ Rocket Mortgage FieldHouse
03/27 – Atlanta, GA @ State Farm Arena
03/29 – St. Louis, MO @ Enterprise Center
03/31 – Chicago, IL @ United Center
04/01 – St. Paul, MN @ Xcel Energy Center
04/03 – Denver, CO @ Ball Arena
04/05 – Phoenix, AZ @ Footprint Center
04/06 – Palm Desert, CA @ Acrisure Arena
04/08 – Sacramento, CA @ Golden 1 Center
04/10 – Vancouver, BC @ Rogers Arena
04/11 – Seattle, WA @ Climate Pledge Arena
04/14 – Los Angeles, CA @ Kia Forum

Find ticket information here.

Lil Tjay is on the comeback trail after being shot seven times during a botched robbery attempt last June. The 20-year-old Bronx rapper has released new songs like “Beat The Odds” and “Give You What You Want” and collaborated with hot girl du jour Ice Spice on “Gangsta Boo” this past weekend.

Now, it seems he’s in full rollout mode for what will surely be his most-anticipated album yet, his third overall. A new profile in Rolling Stone finds him in good spirits, rolling with the punches as he recounts his shooting and the initial aftermath, in which he received messages of support from rap luminaries like Diddy and 50 Cent.

Tjay recalls 50, who was shot nine times early in his own career, saying, “Every artist needs pain or something to feed off of. This right here, you shake this shit off. You got the length for greatness. You going to be bigger than ever.” For what it’s worth, it certainly didn’t stop 50, who was dropped by his original label in the immediate aftermath, but later incorporated the story into his larger-than-life gangster image.

Although Tjay doesn’t give any details on his upcoming third album other than to say it’s coming “soon,” he does say he has retitled it to reflect his own resilience and optimistic outlook. Be on the lookout.