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Following up their last Memorial Day Weekend release, UNDEFEATED and adidas have come together once again on another UltraBOOST 1.0 colorway.

Continuing their collaborative relationship, the duo has chosen a sleek “Blackout” look for the final iteration of the UNDEFEATED x adidas UltraBOOST 1.0 lineup. The upcoming triple black colorway features a clean black Primeknit base accented by perforated jersey mesh ankle collars, matching Three-Stripes TPU midfoot cages, heat overlays heel counters and heel tabs. Branding on the shoe comes in the form of reflective 3M UNDEFEATED logo applications on the upper and insoles, along with 3M Five-Strike and adidas motifs on the tongue. Finally, full-length black BOOST midsoles paired with black Continental rubber outsoles round up the design of the collaboration.

Check out the UNDEFEATED x adidas UltraBOOST 1.0 “Blackout” above and look for the shoe to release exclusively at all UNDEFEATED chapter stores and undefeated.com June 28.

In case you missed it, the adidas YEEZY 500 is rumored to be returning in a “Bone White” colorway.

adidas Ultraboost 1.0 UNDEFEATED “Blackout” // Coming soon

A post shared by UNDEFEATED (@undefeatedinc) on Jun 24, 2019 at 7:14pm PDT

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This article originally appeared on i-D UK.

Old Town Road by Lil Nas X has been described as trap, rap, and country — even though it was removed from the Billboard country charts for not being ‘country’ enough. The song features elements from all of these genres, but it would be equally correct to say that Old Town Road isn’t any genre at all.

Lil Nas X is a Gen Z artist, and Gen Z aren’t interested in labels. The idea that gender and sexuality are fluid — if not accepted by all — has firmly entered public discourse. But just as we move away from traditional boundaries of gender, Gen Z are also tearing down musical boundaries, instead embracing sounds that are fluid and difficult to categorise.

Of course, Gen Z aren’t the first generation to play around with genre. Millennial artists have jumped between genres in the past, but their sounds remained marketably mainstream. But they still belonged to traditional genre categories, even when they were transitioning from one sound to another. Taylor Swift’s switch from country to pop, for instance, was a jump between two long-established, clearly defined sounds, so it can hardly be considered particularly transgressive. It wasn’t difficult to pin down which genre she belonged to, even if the genre changed between albums.

Now, however, younger Gen Z artists are foregoing traditional genre categorisations altogether. But why?

It’s impossible to discuss this new, hybridised sound without also discussing the stratospheric rise of streaming services, which has completely transformed how we consume music. On platforms like Spotify we’re now longer beholden to specific albums or specific genres; we pick and choose our favourite songs to add to playlists instead. And importantly, those playlists are diverse. According to a report last year conducted by Sweety High, a Gen Z girls media company, almost 97% of Gen Z women listen to “at least five musical genres on a regular basis.” Clearly musical tastes are becoming more varied, which also impacts music-making. Blending different sounds becomes more likely when the music-makers themselves are constantly listening to varied genres.

Streaming services are important too because of the way they organise the music on their platforms. Although Spotify organises based on genre, it uses more fluid music categorisations as well, allowing for playlists that communicate mood (“Down in the Dumps”) or activity (“Dinner with Friends”). Unsurprisingly, these playlists are a smorgasbord of genre. A song on the “Creamy” Spotify playlist — yes, that’s a real title — doesn’t have to be strictly future bass, for instance, or interpretive dance music, or bedroom indie: it can incorporate elements from all of these genres. Gen Z has grown up with Spotify and these looser categorisations, and relying on a streaming service that is as equally interested in mood or setting as it is in genre has impacted how we view music. So it makes sense that now Gen Zers are making music, they’re creating songs that defy genre, and using social media to publicise their music.

If you’re part of Generation Z you use social media more than any generation before you, making you fluent in viral content, and adept at using social platforms to grow a following. Lil Nas X, for example, ran a Twitter account that was popular even before he blew up with Old Town Road, and used TikTok to launch his song. Old Town Road was used as background music for a video saga about two teens falling in love, and quickly went viral on the platform. Part of the song’s appeal also stems from its timeliness, of course. Right now, the Yeehaw Agenda, a meme-turned-movement, has gotten serious traction on social media, with Old Town Road as its unofficial anthem. Clearly, Lil Nas X has an eye for virality and is well-versed in social media. When the time came to share his music, it was easier for him to navigate online platforms. “the rumours are true i am a marketing genius”, he recently tweeted.

Social media is also an important platform for Billie Eilish. In a 2017 interview with Harper’s Bazaar, she said, “I’m grateful for [social media] because I’m nothing without it”. She uses it to interact with fans, debut music videos, and publicise tours. For Gen Zers like Lil Nas X and Eilish, social platforms impact the way they view music-making. Online, you can find people who share the same tastes and viewpoints as you, which, on one hand, can be comforting. On the other hand, it can make you feel indistinguishable from others. Carving out your own space — both as a social media figure and as a musician — becomes important. Hybridising genres and crafting an unconventional sound is one way to create a unique musical identity.

And as social media has allowed increased exposure to diverse new music, non-English language songs have become more popular than ever before. Spanish-language artists like Rosalía and Bad Bunny are playing Coachella this year, and K-Pop groups like BLACKPINK and BTS have garnered an international following. Gen Z listeners have globalised playlists and are digesting sounds from a variety of countries. This means that, when it comes to making music, Gen Z is comfortable blending various geographical sounds into their songs, mish-mashing them the same way they would traditional genre boundaries. R.I.P., a recent release by 23-year-old singer Sofia Reyes, is a perfect example of this trend. Pandora Music broke down the song into eight different genres; each genre is no more than 16% of the song, and encompasses Caribbean, Afro-Latin, and Latin influences. The multiple geographical genres in R.I.P. point to how Gen Z artists are reflecting a globalised world in their music.

Importantly, Gen Zers have also grown up with apps and platforms that make music creation and distribution much easier. Sound-making software is no longer just available to established figures in the industry. There are beat-making apps that anybody can download. And, once you’ve created a song, you can easily upload it to SoundCloud—which is exactly what Billie Eilish did. Billie started making genre-defying music with her brother at the age of 13. In 2015, she uploaded her track ocean eyes to SoundCloud with a free download link. The song gained traction within a few hours. Hillydilly, a music discovery website, uploaded the song onto their site so that, in Eilish’s words, “it just got bigger and bigger”.

Eilish’s rise proves that making and sharing music isn’t reliant on industry contacts. That’s not to say music isn’t still heavily industrialised — it is. But now, it’s possible to grow a fanbase if you have talent, a computer and a SoundCloud account.

The facilitation of the music-making process also means that, since you’re not beholden to industry executives, there’s no reason to stick to prescribed genres. As long as your sound is interesting, the industry will come to you. 23-year-old Dominic Fike, for example, was signed for $4 million on the strength of the music he’d made as an independent artist while on house arrest. He posted his six-song demo EP on the internet, sparking a bidding war between executives. Fike’s sound is a blend of guitar music, bedroom indie, and hip-hop, making him a prime example of Gen Z’s appetite for mashing different genres together.

Streaming services, social media, and increased accessibility to music-making all not only contributes to a culture in which Gen Z rejects traditional music genres. It also impacts the way they measure success. New stars and listeners care less about charts and sales than previous generations because the music they’re listening to doesn’t fit neatly into categories. The Old Town Road controversy has not only sparked conversations around genre, it’s also forced us to ask whether the Billboard charts are relevant anymore.

So, does all this mean that we’re moving into a post-genre music world? Will we eventually be genre-less, and discuss songs simply as ‘songs’ rather than as ‘country songs’ or ‘pop songs’?

In an interview with Billboard — the company who publish the genre-based music charts—Eilish said, “I hate the idea of genres. I don’t think a song should be put in a category”. As Gen Z artists like Eilish continue to make unclassifiable hits, it’s easy to speculate that we’re moving steadily away from the rigidity of genre. It’s very possible that, in a decade’s time, genre will become a meaningless category. Gen Z artists are clearly moving in that direction — and maybe it’s time for the music industry to follow their lead.

This article originally appeared on i-D UK.

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Another day, another Jane Austen adaptation. Thankfully, the first images of ITV’s forthcoming Sanditon have all the classic period drama elements that made us fall for the channel’s record-breaking Downton Abbey.

There’s Rose Williams as the spirited young heroine Charlotte Heywood, staring out at the ocean like a member of the Monterey 5; Theo James as her mysterious love interest Sidney Parker (in a brocade waistcoast, of course); and Anne Reid as the formidable, ageing heiress Lady Denham, who calls to mind Maggie Smith’s Lady Violet. Yet another reason to get excited: Emmy and BAFTA-winning writer Andrew Davies (War Peace, Les Misérables, Pride and Prejudice) has written the script.

This is the first-ever major television adaptation of Austen’s last – and incomplete – novel, which she was forced to abandon due to poor health months before her death in 1817. While the Sense and Sensibility author only wrote 11 chapters of the novel, the script has been fleshed out to eight hour-long instalments.

Filmed in and around Bristol, the series follows Charlotte, one of Austen’s most spirited heroines, as she leaves her father’s rural estate in Sussex for the fictional coastal town of Sanditon – populated by a range of eccentric (and occasionally shadowy) characters who, according to Davies, go in for a “bit of nude bathing”. This is no village drama, however, with the story ranging from the cramped and dirty streets of Georgian London to the lush tropical islands of the West Indies. Consider your Sunday nights filled until further notice when it premieres later this year.

A Fresh Adaptation Of Jane Austen’s Emma Is Coming – And It Has Serious Fashion Credentials

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Boston-born brands Concepts and New Balance are linking up once again for a collaborative sneaker. Finding inspiration in their city’s infamous Curse of the Bambino superstition, the partners are celebrating its 100th anniversary with the revamped 997S Fusion “ESRUC.” Retaining the 997’s OG upper of high-grade pig suede, the iteration arrives in hues of regal purple, pink and gold offset by silver reflective details. The model rests on an elevated midsole retooled with New Balance’s “Encap Reveal” technology and features other like Concepts-branded insoles, a special Concepts box and extra lace sets.

The Concepts x New Balance “ESRUC” drops June 28 exclusively at Patta London for $200 USD.

In other collaborative footwear news, take a look at the upcoming UNDEFEATED x adidas UltraBOOST 1.0 “Blackout.”

Patta London
6 Silver Place
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Heidi wears Earrings, Bracelet, and Ring by Bvlgari. Shoes by Christian Louboutin. Spencer wears Shoes by Christina Louboutin. Sunglasses Spencer’s own. Sunglasses and Boots Justin Bobby’s own. Jason wears Sunglasses by Retrosuperfuture. Shoes by Christian Louboutin. Frankie wears Sunglasses by Versace. Whitney wears Sunglasses by Carla Colour. Earrings and Belt by Laruicci. Shoes by Jimmy Choo. Audrina wears Earrings and Ring by David Yurman. Necklace by Bvlgari. Mischa wears Earrings, Necklace, Bracelet, and Rings by Bvlgari. Shoes by Roger Vivier. All Robes and Towels by Land’s End.

“Reality television is now a way of life,” says Justin Robert Brescia, the hirsute heartthrob better known in the late aughts as Justin Bobby. Huddled in white terrycloth robes next to a swimming pool in Beverly Hills, Brescia and his former MTV castmates have been reunited in anticipation of The Hills: New Beginnings, a reboot of the reality show The Hills (2006–2010), which was a spin-off of another reality show called Laguna Beach (2004–2006), itself a loose interpretation of Fox’s sudsy teen drama The O.C. (2003–2007). If the franchise made celebrities out of Brescia and his band of maudlin merrymakers, it also turned them into test pilots for today’s round-the-clock strain of rampant exhibitionism.

But the biggest difference between “reality” then and now has less to do with the players and everything to do with the audience, whose bullshit detector has evolved considerably since the passing of the torch from Sharon Osbourne to Kris Jenner. There was a time when Spencer Pratt, the anti-hero of The Hills, would make money for ratcheting up the drama at the expense of documentary— take, for instance, the moment when he kicked his future wife, Heidi Pratt (née Montag), out of his car during an argument, a scene they actually filmed ten times before going to dinner. “We got a million-dollar ratings bonus if we got to [a certain number of viewers], so whatever they wanted from me, I had no problem doing it,” says Spencer. “But that’s not the case this time.”

In a camera-ready culture, where everyone is the star of their own feed, it’s no longer necessary for producers to shoehorn personalities into 22-minute narratives. As cast member and self-described reality superfan Whitney Port puts it: “The audience is okay with just watching people gossip at lunch. They want to see people’s personalities as opposed to being entertained all the time. Reality television allows me to veg and not think about anything else. Some might look at it as a shallow version of meditation.”

The Hills is being revived at a time when the genre has produced America’s most successful mogul family — and, arguably, its president. To snark at reality television today is to snark at reality itself. Diving head-first into that juggernaut of meta-ness, The Hills: New Beginnings has replaced its former star, Lauren Conrad, with Mischa Barton, the actress whose introduction to fame came as Marissa Cooper on The O.C. “I swear to God, I got thrown into this last minute,” she says. “I was approached from every angle, by everyone I know. I ignored it at first, and then I got on a couple of calls with the producers and MTV. Then before I knew it, I was in serious talks with them.” For Barton and the lot, the rest is still, gloriously, unwritten.

———

HEIDI PRATT

Sunglasses by Miu Miu. Bracelet and Ring (on right hand) by Bvlgari. Shoes by Christian Louboutin.

“People don’t treat reality television like they used to. Now everybody has their own reality show on Twitter, Instagram, and other social media platforms, where they can edit themselves. Almost everyone is a reality TV star.”

———

SPENCER PRATT

Necklace Spencer’s own.

“I went into this season trying to be as genuine and authentic as possible, but the reality of my personality is that I just want success for this so badly that I’ve definitely caught myself. Like, I wouldn’t get blacked out at a pool party on a Tuesday at 1pm, but I want it to be successful. Heidi keeps telling me, ‘Success doesn’t mean partying harder than anyone.’ But my problem is that all of my favorite reality stars are always the drunkest or the most extra. So when the cameras are on, I’m like, ‘I gotta turn up.’ On the new series, I really am trying to explore real issues with other cast members on the show. They’re like, ‘Call me off-camera!’ And I’m like, ‘No.’”

———

WHITNEY PORT

“I think I’ve been stereotyped as a person who is here to listen — the girl next door. That is a part of who I am, it’s true. I’m not necessarily going to bring the drama, so that’s the role I play. And these days, I’m definitely a bit more guarded. When you’re 20 years old, you don’t have a career yet and you can be very raw. But now I think everybody is more conscious of how their behavior is going to affect their family or their work.”

———

MISCHA BARTON

Mischa wears Sunglasses by Carla Colour. Earrings, Bracelets, and Ring by Bvlgari.

“Throughout my career, people have totally confused Laguna Beach and The O.C. I think in people’s minds, it all kind of got blurred over time. When I was doing my own show, I saw a couple episodes of Laguna Beach here and there. Everybody would ask, ‘Have you heard about this reality version of The O.C?’ Being on the show now, I very much feel like what they do is a craft for them, and I give them props for that. I’ve found that what works best is to really embrace the process for what it is, which is just being yourself. If you’re not being yourself, it shows immediately. The camera doesn’t lie.”

———

AUDRINA PATRIDGE

Earrings and Ring by David Yurman. Necklace by Bvlgari.

“I feel like a lot girls have grown up with us. And I still meet a lot of people to this day who tell me they’ve been through what I went through. People just walk up to me and start telling me about their lives, because they feel like we’re friends.”

———

JUSTIN BOBBY

Sunglasses and Necklace Justin Bobby’s own.

“The biggest question I used to get all the time was, ‘Is it real?’ And I’m like, ‘It’s as real as you want it to be.’”

———

JASON WAHLER

Sunglasses by Retrosuperfuture.

“A big part of what you’ll see from me moving forward is being in active recovery and sobriety. It’s my life, not a once-in-a-while thing. The whole reason I wanted to do this was to shed hope and show that recovery is possible. On every show that’s out there, there’s usually one person on there who struggles, or is sober, or is in recovery. On our show, that’s me.”

———

FRANKIE DELGADO

Sunglasses and Sandals by Versace. Necklaces, Bracelet, and Ring by David Yurman. Cross Necklaces by Ben-Amun by Isaac Manevitz. Boxers and Watch Frankie’s own.

“Back then, I think I cared too much about what people thought. This time around, there’s no holding back. I want to be shown as I really am. Frank the Tank is still out — I’m still running the L.A. nightlife — but with a family, it’s a balance.”

———

Hair: Andre Gunn at HONEY ARTISTS
Hair (Mischa Barton): Joshua Stinnett
Hair (Whitney Port): Mari Bowring
Hair and Makeup (Audrina Patridge): Emma Willis
Makeup: Jennifer Budner at ART DEPARTMENT
Makeup (Mischa Barton): Jessica Ahn
Makeup (Whitney Port): Phoebe Ogan
Production: Shawn Merz
Photography Assistant: Gabriela Forgo
Fashion Assistant: Fernando Picho
Hair Assistant: Nicole Konovaloff
Manicure: Merrick Fisher at OPUS BEAUTY
Production Assistant: Elle Lynch
Post-Production: Kevin Altorre

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Related: Amazon Prime Day Dyson and Vacuum Cleaner Deals

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The Moto Z4 will usually be updated to one new Android version, according to new reports.

News Motorola’s luckless 2019 flagship, a Moto Z4, will usually be upgraded to Android Q pennyless around Digital Trends over a weekend. Trusted Reviews has contacted Motorola to endorse a news and will refurbish this essay when it hears back.

If accurate a news means a phone will not get updated to subsequent year’s chronicle of Android. This would be a pivotal change for Motorola that has an glorious lane record for program updates opposite a whole portfolio of phones, including a cheaper Moto G line.

Related: Best Android phone 2019

The Moto Z4 is Motorola’s stream flagship smartphone. It done an unintended entrance in May when Amazon incidentally put it on sale before Motorola had indeed denounced it. It’s now usually accessible in a US for $499.99 and Motorola hasn’t indicated any skeleton to enhance a launch to other territories.

Unlike past Z-series phones a Moto Z4 has sincerely mid-range specs that are on a standard with things like a Pixel 3a and Pixel 3a XL, not a Galaxy S10. We haven’t reviewed a Moto Z4 yet, though a miss of support would in a mind make a Pixels improved long-term purchases on paper. The Pixel phones are built by Google and generally get program updates as prolonged as their hardware can hoop them.

Related: Best mid-range smartphone

The Moto Z4 runs regulating a mid-level Qualcomm Snapdragon 675 CPU and 4GB RAM. Round behind you’ll find a same 48-megapixel camera sensor seen on a OnePlus 7, as good as countless other handsets.

Up front you’ll see a 6.4-inch, FHD+ resolution, OLED shade and 25-megapixel selfie camera that’s housed in a Huawei P30-style dewdrop notch. The usually atypical underline is a support for Motorola’s Moto Mod peripherals.

The underline lets we supplement additional functionality to a Moto Z4, like 5G support or a bigger battery, by magnetically attaching discretionary peripherals to a phone’s back.

Motorola’s reliable that, distinct past years, it has no skeleton to recover Play of Force variants of a Moto Z4, that is a small sad. The Play-series phones are designed to be cheaper somewhat nude down versions of Motorola’s categorical flagship, identical in kind to a Galaxy S10e. The Force variants were designed with continuance in mind and underline ruggedised designs.

Why we’re different

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