#17talks

'FIFA 22' Is Testing Cross-Play for the PlayStation 5 and Xbox Series X/S

Eight months after the game’s original launch, EA Sports is now finally testing out cross-play for FIFA 22. The announcement was made in the game’s latest edition of Pitch Notes, which revealed that the publishing giant will now be running tests on the new feature across the PlayStation 5 and Xbox Series X/S. Unfortunately, previous-gen consoles such as the PlayStation 4 and Xbox One weren’t mentioned, so it’s not known at the moment whether cross-play will ever arrive properly on those platforms, but those on current-gen devices will be able to play with each other across both Online Seasons and Online Friendlies. EA noted that it has decided to restrict cross-play to just these two modes for now because it doesn’t want to introduce more potential issues with the game, but players can probably expect a wider coverage once the feature officially launches for the title. As for how you can enable or disable it, EA says there’ll be a new widget on the bottom right corner of your screen when you’re on either mode, allowing you to toggle cross-play on and off. From there, you’ll also be able to find your friends playing FIFA 22 regardless of their platform, or choose people to either mute or block. Alternatively, you can find all of these settings in the Matchmaking Options Settings screen. There’s currently no specific launch or end date for the cross-play test, and EA hasn’t announced when it might become a full feature, but it hopes to look at community feedback after the test.

Elon Musk Aims To Quadruple Twitter Users by 2028

Following his major acquisition deal for Twitter, Elon Musk is making sure that the platform will be a success moving forward. The tech mogul is reassuring the public that he has Twitter’s best interest at heart, claiming that his grandeur visions for the company would include growing the platform’s monthly users by tenfolds. The New York Times has obtained a copy of a pitch deck for investors which have revealed Musk’s plans for the company. Musk hopes to grow Twitter’s monthly users from 217 million by the end of 2021 to 600 million per month in 2025 and 931 million users by 2028. The astronomical numbers show a greater than quadruple growth in monthly users. It appears that Musk is staying true to his plans for introducing paid subscription services, wanting 104 million paid subscribers by then as well. The pitch deck also showcases a series of ambitious revenue goals. Musk believes that the company can quintuple its annual revenue to $26.4 billion USD by 2028, approximately $5 billion more than last year’s revenue. Musk has also revealed plans to diversify Twitter’s offering and expand Twitter Blue users to 69 million by 2025 and 159 million users by 2028. In order to stay on track, Twitter is expected to bring in $15 million USD in revenue from payment businesses by 2023 and by 2028, hit $1.3 billion USD. It remains to be seen how Musk will execute his plans to achieve these numbers

Apple iPhone 14 Pro Rumored To Be Larger in Size To Fit 20:9 Aspect Ratio

As the date nears for the release of the Apple iPhone 14 Pro, more rumors have surfaced regarding the size of the new iPhone. Towards the end of April, 9to5Mac uncover that the tech giant is likely to unveil four different iPhone 14 models with two screen sizes at 6.1-inches and 6.7-inches. Twitter user Saran Byte took to social media to reveal that iPhone 14 front panels were leaked on Weibo, seemingly confirming that the Pro models will feature a thinner bezel. It also suggested that the Pro phone will be slightly larger for the iPhone 14 pro and Pro Max models to ensure that the new 20:9 aspect ratio will fit. The previous iPhone 13 Pro and Pro Max model had an aspect ratio of 19.5:9 for comparison. There is currently no further announcement corroborating these leaks from Apple. However, the leaked photos provide fans an indication of what to expect in terms of sizing for the new phones. Take a look below.

Bottega Veneta Gives Its Cassette Bag a "Parakeet" Webbing Update

Bottega Veneta is dominating the bag space, and now it has released its popular Cassette style sporting a webbing makeover. Finished in its signature shade of “Parakeet,” aka “Bottega Green,” the webbing comes in a braided construction for a tight-knit finish, making it hardwearing and easily maintainable. Furthermore, embroidered cursive branding — rarely seen from Bottega Veneta — has been added into the webbing in black thread, looking as if it folds underneath the overlapping structure of the Cassette. An adjustable webbing strap also found in “Parakeet” is completed with a Bottega Veneta triangular silver-tone buckle, while inside you’ll find a black interior, echoing the lines on the exterior. Here, you’ll find plenty of space for all your daily necessities, as well as a pouch that can securely hold your phone or wallet. Magnetic fastening rounds out the bag. Bottega Veneta’s updated Cassette can be seen in the gallery above and bought from HBX now for $2,500 USD.

The Story Behind Pusha T’s Emotionally Charged Album Intro

One rap-world rule of thumb: You never want to be the subject of a Pusha T song. He rarely broaches a sensitive topic unprovoked, but once he decides to go there, no stone is left unturned. Think his savage Drake diss “The Story of Adidon” or even McDonald’s on his recent Arby’s team-up. Listeners get to hear that side of him right from the outset of It’s Almost Dry, the rapper’s brand new fourth studio album. On the intro track “Brambleton,” a wistful Pusha waxes about the dissolution of his relationship with former manager Anthony “Geezy” Gonzalez, which initially stemmed from Gonzalez’s cooperation with law enforcement following a 2009 arrest, but became more about his decision to air things out in a widely-disseminated on the record conversation. “It was sad watching dude in Vlad interviews / Really it's 'bout me, he channeled it through you / Had a million answers, didn't have a clue / Why Michael kissed Fredo in Godfather II,” he raps on the song’s third verse, referencing Gonzalez’s March 2020 interview with DJ Vlad, where he spoke extensively about his history with Pusha’s group Clipse. Gonzalez, who Pusha has shouted out on past tracks like “So Appalled,” posited that “95 percent” of Pusha and his brother Malice’s raps about selling cocaine were inspired by his own activity in the Virginia drug trade. It’s a heavy claim to levy, since Pusha has basically built his entire career applying his caustic wit to stories of dope deals. (On Almost Dry’s “Let the Smokers Shine the Coupes,” he even dubs himself “Cocaine's Dr. Seuss.”) Per Geezy, he met Clipse once they already knew Pharrell at a Virginia studio session around 1999. At the time, they were working on Exclusive Audio Footage, their unreleased debut for Elektra Records. Lyrics from that album indicate that Pusha was already referencing drug dealing in his bars with phrases like “My coke money’s in cleaners / Give it a fresh rinse” (“Bodysnatchers”) and “We travel with drugs in the dashboard / And flee from the task force” (“You Can’t Touch Me”). In his own DJ Vlad interview from 2013, Pusha spoke about Gonzalez’s arrest, noting that nine of his longtime friends were sentenced as a result of the case, but didn’t talk about Gonzalez’s decision to work with the authorities. What happened next with Geezy is mostly a matter of public record. Arrested in 2009 and charged with heading a multi-million dollar drug ring, Gonzalez pleaded guilty and provided information to the authorities in order to keep his family members from being prosecuted, something The Virginian-Pilot reported at the time. In his DJ Vlad interview, Gonzalez claimed that he spoke to the FBI and ATF because those organizations threatened to indict his mother, wife, sister, and aunt if he did not cooperate. He also said that in those interrogation sessions he was also asked whether Pusha and Malice were also involved in drug trafficking, and denied that they had a role. “I told them, ‘All they do is rap. Whatever they rap about, it was about me. They’re artists.’” Eventually, Gonzalez was sentenced to 32 years in prison, though that was reduced to 10 and he later was released after serving eight-and-a-half years. In another section of the conversation, Gonzalez explained the impact Pusha’s 2013 record “S.N.I.T.C.H.” had on his life in prison. The track, its title an acronym for “Sorry n-gga, I’m tryna come home,” focused on how Pusha’s relationship with an unnamed subject deteriorated once he provided information to law enforcement. Geezy recalled hearing about it for the first time while incarcerated and immediately calling Pusha for clarification. He said Pusha initially denied that the song was about him, but told Vlad that while the first two verses are clearly about somebody else, lyrics in the third could have only been describing his dynamic with Pusha. “Covered his own tracks, he didn’t care that / We had a legacy he killed, I got to wear that,” he raps. But while there’s a crypticness to those bars, Pusha has cleared up any ambiguity over his feelings on Geezy during the Almost Dry press run. In an April 11 interview with Charlamagne Tha God, Pusha talked about the origins of the “Brambleton” and how he felt seeing Geezy speak with Vlad. He noted first that Gonzalez wearing his social media handle on the front of his hat felt disconcertingly out of character, like an attempt to milk the situation for public recognition, and that he was disappointed to see a once close friend make a play for attention by tarnishing Pusha’s own reputation. “I was hurt because I know him very well and I know that he’s not a good speaker, not a good talker. He knows that about himself and I personally think that he didn’t even mean to put it the way that he did. He’s since said in other interviews, ‘I didn’t mean it like that,’ but it was the fact that he felt he needed that attention that he would play with me and do something to garner some attention that could slight me,” Pusha explained. “This is somebody that my mother loves. This is somebody whose kids go to bible study with my mother.” Pusha is normally known for his icy cool demeanor, but it’s evident on “Brambleton” that he still feels unsettled over how the situation with Gonzalez went. “Why would I wanna hold you down / When I know you now, the past is your go-to now?” he asks. Later, he compares their falling out to the highly publicized drama between Jay-Z and former business partner Damon Dash. “Who knew our dynasty would end up a Jay/Dame thing?” Pusha wonders. There’s a long history of rappers falling out with former managers, but it’s rare that both sides say their piece at length the way Pusha and Gonzalez did about their frayed relationship. Despite their substantial history and intertwined lives, the enmity seems here to stay. As Pusha puts it in the song: “Who knew your facе bein' all across the news outlets / Would mean forever I would never talk to you 'bout shit?”

Future Drops 'I Never Liked You' Deluxe Version Featuring Lil Baby, Lil Durk and More

Four days following the release of his ninth studio album I Never Liked You, Future has returned with a deluxe edition of the record, featuring six new tracks with guest appearances from Lil Baby, Lil Durk, 42 Dugg and Babyface Ray. Prior to the extended album’s release, Future teased that there was more to come on Twitter, writing, “#INEVERLIKEDYOU to be continued at 10am.” Alongside the deluxe album, Future dropped a new range of Donda-designed merch, which includes several hoodies, a long-sleeve T-shirt, a balaclava, hats, an eye mask and socks. The collection will be available to shop until midnight ET on Thursday, May 5. I Never Liked You, which originally features 16 tracks and includes guest appearances from Kanye West on “Keep It Burnin’,” Gunna and Young Thug on “For a Nut,” Drake on “I’m On One” and “Wait For U,” EST Gee on “Chickens” and Kodak Black on “Voodoo,” is expected to debut at No. 1 on the U.S. album charts. According to ChartData, the record is projected to move approximately 175,000 to 200,000 album-equivalent units in its first week. Listen to the deluxe edition of Future’s I Never Liked You below.

Lebron James' Origin Story Biopic is Arriving in 2023

Peacock has announced that LeBron James‘ new biopic Shooting Stars will debut as part of its 2023 releases alongside Will Packer‘s Praise This, and a modern reimagination of John Woo‘s The Killer. Originally announced in 2018, the film is based on the 2009 Shooting Stars book that James co-wrote with Buzz Bissinger, which follows Lebron James’ thrilling high school days with the Fab 5 as they overcome personal challenges on the road to a national championship title. The film is co-produced by a host of Acadamy Award nominees including Rachel Winter (Dallas Buyers Club) and Terence Winter (The Wolf of Wall Street) as well as SpringHill Company (Space Jam 2). Chris Robinson, the director for the Netflix original, Beats, will direct the film with guidance from James. Differentiating itself from the infamous More than a Game documentary, the Shooting Stars biopic will be shot in Akron, Ohio, and played out by actors. An ongoing casting call is currently taking place, and it’s still yet to be determined who will be playing the role of James in the upcoming film. While an exact release date has yet to be revealed, Shooting Stars is expected to premiere sometime in 2023. Stay tuned for updates.

Kid Cudi Teases Characters of 'Entergalactic' Netflix Series

Kid Cudi is hyping up his Entergalactic series on Netflix with a teaser of its characters. The artist took to Instagram to share a cropped poster of two characters against a purple-pink background similar to that of the show’s first poster. No details were revealed by Cudi and he instead wrote in the caption, “Wanted to introduce you to a couple friends of mine #Entergalactic,” tagging Netflix and Kenya Barris who serves as the co-executive producer alongside Cudi. In September 2021, Cudi called Entergalactic as “next level shit” as he told fans to remain patient. “Wait til yall hear and see Entergalactic. U have no idea,” he tweeted. “I really wanna thank Kenya Barris, Mike Moon, Elizabeth Porter and the whole team for believing in my vision and helping bring it to life. Everything about this show is next level. Ull see.” Take a look at the Entergalactic teaser below and stay tuned for an official trailer and release date.

Heron Preston x BAPE Is a Throwback to the Days of NIGO

Casual BAPE fans, look away: Heron Preston's collaboration with the Japanese Ape Head brand may not be to your taste. Preston took BAPE back to the '90s for a collab steeped in streetwear history and rich with geeky details that BAPE heads will properly appreciate. This is part and parcel with Heron Preston's retooled approach to collaboration, which he reiterated on Instagram back in April. "I read your comments, and what I'm reading is that you guys are over the 'cash-grab corporate collabs' and calling them 'boring nonsense,'" Preston told his audience. "Seems you guys are starting to see straight through the crap! Have we hit a tipping point with pointless collabs?" Thus, consider Heron Preston x BAPE the antithesis of the many pointless streetwear team-ups that proliferate our feeds. It comes as BAPE is finding its footing with a series of strong drops, including recent team-ups with CDG, JJJJound, and, uh, Vogue. The difference being that while these partnerships thrust BAPE into a contemporary dialogue with each of these partners, Heron Preston is taking the label back to its roots. Preston's collaboration goes back to the "Street Sweepers" he created back in 2015 as an homage to BAPE, rebranding 10 Air Force 1s with hand-cut luxury leather. This is way before Preston was dropping his own 3D-printed sneakers and Calvin Klein lines, demonstrating the impact that BAPE had on the young designer. To reflect that inspiration right back at BAPE, Preston riffed on the brand's archives to remix a few classic with his own design ethos. That's why there's a classic Shark Hoodie, Ape Head T-shirt, and BAPESTA sneaker here, all tweaked with oversized graphic prints and outré colors (Preston devised a brand-new, high-contrast color scheme for BAPE's inimitable all-over First Camouflage) but, despite the wild end product, they ought to feel like NIGO-era drops. The full-zip Shark Hoodie, for instance, is a BAPE classic and Preston does it justice with made-in-Japan hoodies and matching sweatpants, complete with plenty of throwback star prints and an untouched Shark design on the hood just like the old days. Even the T-shirt, with its giant Ape Head, is a nod to the huge branding that used to grace T-shirts in the old days. Some items blend cues from both imprints (like the BAPESTA shoes tinged with Preston's signature Safety Orange), though there some pieces — like the workwear-inspired double-knee pants and trucker cap — are pure Heron Preston. Releasing on May 7 across the globe, BAPE x Heron Preston will be available on Farfetch, Heron Preston's website, BAPE's web store, and flagships. Prices range from ￥27,500 (about $211) for the BAPESTAs to ￥40,700 (about $312) for the Shark Hoodie. It ain't cheap but that's the price you pay for a more thoughtful collab.

RHUDE x The Webster Capsule Taps Into the Miami Spirit

Formula 1 is gearing up for its latest circuit, Miami Grand Prix, and in anticipation, luxury retailer The Webster teamed up with streetwear brand RHUDE on an 11-piece capsule. The exclusive Always First capsule captures Miami’s racing legacy through pop-inspired accents, punchy colorways and tropical motifs emblematic of the city and spirit of South Florida. Drawing inspiration from Tamiya motor car toys and the vibrant hues of South Beach, Rhugi Villaseñor, Founder and Creative Director of RHUDE, indulges in nostalgic world-building to bring the magic of Formula 1 to a younger generation. The collection includes jackets, T-shirts, hoodies, swim trunks and hats and uses graphic check motifs and beachside imagery to conjure the momentum of racing into the Miami skyline. Highlighted in the collection is the “Grand Prix” varsity jacket colorblocked in cobalt blue and off-white, constructed with a rib-knit striped baseball collar, welt pockets at the waist, press-stud fastenings down the front panel and ribbed cuffs and hem. The front and back panels showcase graphic embroidery and oversize RHUDE lettering. Various prints inspired by Tamiya toys bring nostalgic merriment to the capsule through pop accents and bright colorways. The highlighter yellow “Rhude Racing Hat” has elements of camp but pairs stylishly with the white-and-blue check theme deployed throughout the capsule. The Webster’s flagship store, which opened its doors in 2009, is among one of the many Art Deco buildings towering over South Beach. In collaborating with RHUDE, The Webster celebrates its roots in the city and gestures to its expansion of storefronts, each reflective of the environments they inhabit. The Miami Grand Prix marks a special moment for the city and welcomes a new era of Formula 1 enthusiasts to partake in its legacy. The RHUDE x The Webster Always First capsule launch coincides with the first Miami Grand Prix and drops May 3. The capsule is exclusively available on The Webster website and in-stores at The Webster locations.

Kehlani Is in a Whole Other Place Now

“I think I’ve reached this point in life where I don't want to play into my own suffering anymore,” says Kehlani. So much of the singer’s music has run parallel to her own personal growth. The definition of wearing your heart on your sleeve, Kehlani’s honest and hypnotic breed of R&B details her share of heartbreak and pursuits of love. It’s all in the music; you can hear her working through situationships, betrayals, and even being the one doing the hurting. So for her new album, she feels the need to give a disclaimer: things are different this time around. “I definitely knew coming into it, people are expecting something toxic, people are expecting something for the breakups, something that says ‘fuck you,’ and all of that. And I just don't have it on this one, sorry. I'm in a great place.” The 27-year-old has come a long way from when we first met her at 16 – competing on America’s Got Talent as part of a teen pop band called Poplyfe. Her ensuing solo career chronicled her figuring it out in real time. “Man, I'm 10 years in from my first [solo] project and I'm still able to be here,” Kehlani marvels. “And I think it's because I've been honest in every moment, and people connect to that. I'm just doing my best. And even if I’m wrong, I’m learning, I’m human. So I’m not ashamed of any of it.” She tells me that at this point in her journey, she feels the most like herself. The past two years have been revelatory – “a rebirth” – kicked off by motherhood and a personal spiritual journey. Then last year, Kehlani made headlines when she came out as a lesbian during an Instagram Live. “I know who I am. I’m happy now,” she beams. The music feels just as deliberate. On her sixth album, Blue Water Road, we meet the seasoned songwriter at her truest. She takes us on what she describes as “an emotional journey, a sexual journey, and a spiritual journey.” On “Altar,” the album’s lead single, she ceremoniously honors loved ones who’ve passed on. “Shooter Interlude” is told entirely from the perspective of people in her life impressed by her fame, demanding favors, money, and acknowledgment. And on “Wondering/Wandering,” featuring Ambré and Thundercat, she sings about her disillusionment with her old ways and embracing spiritual growth. “I just want [my fans] to hear my growth, not just as a musician, but as a person. I want them to see that it's possible to grow into the person I am now without losing who I was at all.” If fans think this is a departure, Kehlani is the first to admit she surprised herself with this project too. When she holed up in the studio on Blue Water Road in Malibu, the initial plan was to record a deluxe version of It Was Good Until It Wasn’t. “I went through this really big spiritual journey, a huge rebirthing process. So I came back to this recording process like, ‘Damn, I don't even recognize the person that was making It Was Good Until It Wasn't. I’m in a whole ‘nother place now.’ And that’s how we started making what ended up becoming this album.” Blue Water Road captures her state of mind, letting listeners in on the creative process to an almost physical degree. “You know when you go from a city to a vacation home and it feels like you can finally exhale? That was the street that we started the album on for me,” she explains. “We drove from the city every day to this beautiful studio in Malibu. Every single time I walked into the studio, it felt like this little patch of sunshine.” It Was Good Until It Wasn't was heartbreak music through and through, but Blue Water Road feels like the silver lining. Sonically as well, the project – executive-produced by songwriter Pop Wansel – sounds more expansive now than the lo-fi bedroom R&B of its precursor. Lofty orchestral arrangements accompany Kehlani’s signature silky melodies and vulnerable writing. “It's just one big feeling,” says the singer. “There’s heart in this.” There are grander visuals and live shows this time around too. While her DIY artwork and “quarantine style” videos made the last album so revelatory during lockdown – “I was just YouTube learning, winging it and doing my best,” she laughs – Kehlani was excited to create without compromise on Blue Water Road. Her videos for the singles “Altar” and “Little Story” feel cinematic and celebratory. She admits it’s a 180 from the headline-grabbing provocative, “toxic Kehlani” filming dance routines in her bedroom. “The beautiful thing about Apple Music, Spotify and all those services is you can go listen to toxic Kehlani whenever you want. ‘Cause you’re not getting her on this album.” She’s grateful for the learning curve of It Was Good Until It Wasn't, it made her a more well-rounded artist. But “it just feels good being on video sets now because I'm directing and I have the crew that I can learn from. I was so excited to have this collaborative effort again.” And she admits the process of creating organically and honestly is the only thing she’s concerned about right now. “Virality and numbers don't enter into my musical process ever,” she states. “The only thing that's real is the feeling that people get when they hear your music and tell you, ‘Damn. This did something for me.’ That's all I do it for.” Indeed, Kehlani’s career has always remained true to that rule: authenticity beats playing the numbers game. “I’m here to create something that leaves an imprint on people, and be able to sustain my cute little life so I can keep doing what I love,” Kehlani continues, “Man, success for me is health and wellness and a really joyous family, feeding all my passions, really understanding myself, and having healthy relationships across the board in all areas of my life and love. And currently I’m successful.” Motherhood has definitely played a big part in streamlining her vision. During our Zoom call, her two-year-old daughter Adeya is never far, and Kehlani apologetically interrupts our interview to attend to the toddler. “Motherhood affects every single area of my life. I don't think there's anything that I could do on this earth without considering my daughter.” Kehlani is more at peace with herself than ever these days, but always a “work in progress,” Blue Water Road is just a stop on her journey. Wherever it takes her next, she’ll have gotten there on her own terms.

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