Bruno Mars Won All of the Grammys Wearing These Ultra-Rare Sneakers

Bruno Mars Won All of the Grammys Wearing These Ultra-Rare Sneakers:

The 24K Magic artist swept a shelf’s worth of gold statues in some of the rarest sneakers out there.

The 2018 Grammys were a great night for Bruno Mars. He took home the three top prizes at this year’s show, including Album of the Year, Record of the Year, and Song of the Year (which, yes, are three separate awards). And though Mars has always had a flair for daring style, last night he stepped up his sneaker game big-time. While performing his newly remixed new jack swing–inspired single “Finesse” with Cardi B, Mars and his back-up dancers sported Off-White x Nike Prestos, Off-White x Nike Air Jordan 1s, and Sean Wotherspoon x Nike Air Max 97/1s. It was a sneaker flex akin to someone walking away from the show with three of the night’s biggest awards in hand.

Mars showed out in the Prestos, a move that makes sense when you consider his Grammy-winning album is called 24K Magic and these are the gold standard of hard-to-get sneakers right now. He paired the rare kicks with some slim track pants, a hoodie, and an oversize baseball jersey—a look that isn’t quite period-accurate (no one was wearing pants that slim in the early ’90s) but that is totally in line with the current nostalgia wave that’s everywhere in menswear. And we can’t think of a better advertisement for Nike than having one of the biggest pop stars on the planet moonwalk across the Grammys stage in a pair of its sneakers.
Then again, in celebrity circles, the Off-White x Nike collab seems almost standard-issue. Anyone who’s anyone (or who has the right connections to someone)—from Roger Federer to A$AP Rocky and beyond—has worn Virgil Abloh’s standout Nike collab at some point since the kicks hit shelves in the latter part of 2017. Considering the shoes are long sold out, we can only imagine that Bruno and Co.’s endorsement only stands to drive the resale price of these sneakers even higher—they currently will run you between $1,600 and $2,100, according to StockX.
Bruno MarsSneakersNike

Bruno Mars & Cardi B, Luis Fonsi & Daddy Yankee See Post-Grammys Bumps on Streaming Songs Chart

Bruno Mars & Cardi B, Luis Fonsi & Daddy Yankee See Post-Grammys Bumps on Streaming Songs Chart:

Bruno and Cardi’s “Finesse” takes the cake, rising 5-2 after the duo’s Grammy performance.

Following the 2018 Grammy Awards on Jan. 28, multiple songs showcased during the CBS broadcast make major gains on streaming platforms and Billboard’s Streaming Songs chart dated Feb. 10. The charge is led by Bruno Mars’ and Cardi B’s “Finesse,” which rises 5-2.    

“Finesse,” which previously led the Streaming Songs chart dated Jan. 20, actually earns its biggest streaming week since its release thanks to the Grammys bump, earning 40.4 million streams in the week ending Feb. 1 (up 24 percent), according to Nielsen Music (in its No. 1 week, it accrued 38.3 million). The boost comes due in large part to a 56 percent gain in YouTube views after video of the song’s performance on the Grammys telecast was uploaded to Mars’ YouTube page.  

That’s a general trend with the Grammys gains for the Feb. 10-dated charts: YouTube clips of the performances. Below “Finesse,” Luis Fonsi and Daddy Yankee’s “Despacito,” featuring Justin Bieber, moves 30-24 with a 9 percent boost in overall streams, owed in part to a 22 percent gain in YouTube views after the performance video was uploaded (sans Bieber, who did not perform with Fonsi and Daddy Yankee on the Grammys); it achieved 16.8 million overall.

Logic’s “1-800-273-8255” featuring Khalid and Alessia Cara, the final performance of the evening, also gained thanks to its performance clip posted to YouTube. In addition to its 15 percent jump in overall streams (15 million total), it rose 47 percent in YouTube views.

Additionally, though it wasn’t performed on the broadcast, Zedd, Maren Morris and Grey’s “The Middle,” the music video for which was premiered during the CBS telecast, debuts at No. 49 on Streaming Songs with 12.1 million streams, marking Morris’ first appearance on the chart.

Bruno Mars Launches The Extravagant 24 Karat $75,000 Cocktail

Bruno Mars Launches The Extravagant 24 Karat $75,000 Cocktail:

Just after winning a massive six awards at Sunday night’s Grammy Awards—including Album of the Year, Song of the Year and Record of the Year—Bruno Mars not only deserves a celebratory cocktail, but he’s launching one, too, and in a big way.

The “Finesse” singer has launched what could be easily the world’s most extravagant Cable Car cocktail… to the tune of $75,000.

The drink, which is available at Felt Bar & Lounge and Blossom Cocktail Lounge inside the MGM National Harbor in Oxon Hill, Maryland, is made with the singer’s newly launched SelvaRey rum, Marie Brizard Orange Curaçao and fresh lemon sour. It’s served in a gold flake rimmed martini glass wrapped in a 30inch 18karat yellow gold and 36 carat diamond Cuban link chain covered in G vs1 diamonds. Not to stop there, this once in a lifetime cocktail also comes with a signed bottle of SelvaRey rum by Bruno Mars and a tableside bartender for the evening. Appropriately, in homage to his hit song, “24K Magic,” the cocktail is called “24 Karat Cable Car.”

And there’s more! Mars has more big news to announce. He took to Twitter on Thursday night to tease his 24K Magic Tour, writing “What if I told you I wanna do one more U.S tour so we could celebrate 24k Magic together one last time…..”

He followed this Tweet up with another, adding that Cardi B. is going to be helping him make magic, too. “Annndddd…what if I told u imma bring my lil sis @iamcardib on tour so we can really turn your city upside down! Make this finale a party!!”

24k Karat Cable Car 2

24 Karat Cable Car
1.5 oz. Selva Ray Rum
.75 oz. Marie Brizard Orange Curaçao
1.5 oz. Fresh lemon sour

Build: Combine all ingredients into a shaker. Add ice and shake vigorously. Pour into glass
Glass: Cocktail glass rimmed in sugar and gold flake
Garnish: Orange spiral

Babyface Talks Collaboration With Teddy Riley on BET Bobby Brown Biopic Theme & Bruno Mars’ Grammy Shoutout

Babyface Talks Collaboration With Teddy Riley on BET Bobby Brown Biopic Theme & Bruno Mars’ Grammy Shoutout:

A pair of “polite rivals” are collaborating on a song for BET’s new Bobby Brown biopic.

Babyface tells Billboard that he and fellow R&B/pop hitmaker Teddy Riley are joining forces to write a “theme song” for the project, which is currently in pre-production. “It’s going to be a lot of fun to do that,” Babyface says. “We’ve already started looking at some tracks he’s got. It feels like it’s going to be natural. We both kind of know what we do, so there’s not really much figuring out to do, that’s the cool thing about it.”

Babyface acknowledges that during the ‘90s, especially, he felt both a rivalry and a kinship with Riley, who both wrote for Brown and, between them, piled up hits for themselves and other artists. “I guess back in the day we were kind of like polite rivals,” Babyface recalls. “We were all going against each other. Everybody was trying to stay on top of the charts and be the No. 1 team. You had Jimmy Jam and Terry Lewis and me and L.A. (Reid) and Teddy. I remember the day when I first heard Keith Sweat’s ‘I Want Her;’ I thought, ‘Oh my God, it’s over!’ It was just so new and fresh, so I was definitely inspired by Teddy as well.

“So it’s nice at this point in our lives for us both to still be in music and doing music and be able to work together and respect each other and really love what each other does and be able to have fun with it.”

Babyface says that although other singers – including Woody McClain, who’s portraying Brown in the new film as he did in 2017’s “The New Edition Story” – are re-recording some of Brown’s hits, the track he and Riley create will be sung by Brown himself. Brown may also appear as “the older Bobby,” though that’s still up in the air. “Bobby was just in the studio,” Babyface reports. “He’s working. His voice is in good shape. He’s getting in really good shape and he lost a lot of weight and he’s on a road to getting it good, getting it right again.”

The film, based on Brown’s 2013 memoir Every Little Step, is slated to start filming during March, and Babyface predicts “the movie should be ready to come out about September.”

Meanwhile, Babyface is working on a variety of other projects, both musical and for television. An album of his own is in the works, too, to follow up 2015’s Return of the Tender Lover. “I’m working on that as we speak, and I’m pretty close,” he says. “I was far away for a little bit, and then all of a sudden the last week it got close, so I think I might get something out this year.” And the sound, he promises, will be familiar.

I’m trying to make good-feeling music again and not be afraid of who I am and who I’ve been,” he says. “Fortunately, Bruno (Mars) made it easy for us to be ourselves again, and then you have so many cool artists like Daniel Caesar and Khalid who are doing feel-good R&B that makes you not afraid to be R&B and just let the heart lead again. That’s the biggest takeaway that I take with music at this point. I think that’s a great thing.”

Babyface was also “humbled and honored” to be name-checked by Mars during his Grammy Award acceptance speeches on Sunday and was thrilled with Mars’ trophy sweep.

“I’m very proud of him and his accomplishments,” Babyface says. “I had the opportunity to go into the studio and work with and write with him, and I had so much respect for his work ethic ’cause it was very close to how I did it, and how I do it. I think he’s genius in his approach and one of the best entertainers we’ve had in a very, very long time. I consider Bruno in the same category with Prince and with Michael Jackson; He’s one of those guys who can actually stand with those artists, and there aren’t a lot of artists I can actually say that about and say it with confidence and feel like he would deserve to be on that same stage as them.”

2018 Grammy Awards

24 Things You Probably Didn’t Know about Bruno Mars’ ’24K Magic’

24 Things You Probably Didn’t Know about Bruno Mars’ ’24K Magic’:

Bruno Mars’ many Grammy wins for 24K Magic was more than just a victory for the musician. It’s a victory for R&B music as a whole. The Grammy for R&B Album of the Year has often been completely segregated from the major awards. (Frequent nominees and winners include people like John Legend, Mary J. Blige, Boyz II Men and Alicia Keys.)

Winning the R&B Album of the Year Grammy rarely leads to walking up to the stage at the end of the night for the big prize — or even being nominated for it. Lauryn Hill pulled it off for The Miseducation of Lauryn Hill back in 1999. And it hasn’t happened since — until Bruno Mars’ 24K Magic brought home both awards among several others.

Does this mean the Academy now respects Black music and is recognizing its’ worth? That remains to be seen. It can be seen as a start.

Bruno Mars is doing his part to bring light to the musicians that have been an influence on pop music for decades. While collecting his Album of The Year Grammy, he gave a heart-warming speech, dedicating his award to Babyface, Jimmy Jam and Terry Lewis and Teddy Riley. He put it plain: “This album wouldn’t exist if it wasn’t for these guys.”

With a monstrous record like this, there’s plenty you probably don’t know. Here are 24 things you didn’t know about 24K Magic.

To get started, here’s a good one: winning Record, Song and Album of the Year in one night gives a musician entry into a very small group of musicians like Simon and Garfunkel, Norah Jones and Adele. (Even Michael Jackson doesn’t belong!) 24K Magic achieved this incredible feat and Bruno is the 10th artist to hold the big three.

Here’s more…

(1) 24k Magic was born in a top-secret and, well, magical spot. Unlike most albums, 24K Magic was recorded entirely in one studio. The Glenwood Recording Studio in Burbank, California, has hosted everyone from the Black Eyed Peas to Britney Spears. But don’t look for information anywhere. Even the website has only a phone number.

(2) Yet, 24K Magic was almost not born at all. After the success of “Uptown Funk” and Bruno’s not one but two Super Bowl appearances, the singer spoke about having writer’s block and not being satisfied with a lot of the early songs he recorded.

(3) Shampoo Press & Curl is part of the formula for the worldwide success of 24K Magic. The production group, originally known as The Smeezingtons, initially wrote and recorded for other artists while Bruno was still developing as a solo artist. They are credited on just about every track.

(4) 24K Magic won the big three at The 2018 Grammys but the album also scooped one of the obscure awards. In the non-televised ceremony held earlier in the afternoon, the album won for Best Engineered Album, non Classical. Tom Coyne, the master engineer on the project, passed away last year, so Bruno made sure his wife was on stage to collect the award on his behalf.

(5) Many of the songs on 24K Magic were recorded live. Not in front of an audience but performed live with instruments in the studio. The standard these days is recording in parts and then using Pro Tools. That’s if instruments are used at all. Most artists who use live music save it for the tour.

(6) The entire album is pretty short as music goes. 24K Magic clocks in at just a bit over 33 minutes. A piece of music must be at least 30 minutes in order to be considered an album and not an EP.

(7) The artwork for the album comes courtesy of Greg Gigendad Burke. Known for his innovative work with artists like Jay-Z, T.I. and Wiz Khalifa, Burke often does both artwork and design for album covers. For this album, Bruno did the art direction himself.

(8) Bruno is clearly loyal. The Stereotypes, a Los Angeles-based production team, has been in the game for over a decade. After years of hits and misses, they reconnected with Bruno. 24K Magic was already done but Mars still invited them into the studio and ended up creating “Finesse.” That late addition made the album — and became history.

(9) Outside of the remix of “Finesse” with Cardi B, there are no features on the album. It’s a rarity in this era to skip the tradition of plumping up an album with guest rappers or vocal duets for a varied audience and sound. Bruno decided to keep it simple — even though he’s known to pump up music for other artists.

(10) Bruno’s got nothing against remixes though! Official remixes for “That’s What I Like” include tracks with Gucci Mane and Party Next Door.

(11) Last year Beyoncé appeared at a Bruno Mars show with gold hoops spelling out CHUNKY, a song from Bruno’s album. The whispers started immediately. Would there be a collaboration perhaps? And then, eagle-eared listeners began insisting that Beyoncé is singing backgrounds on the song. Does it sound like it could be her? Maybe. Is that likely? No. However, there are no background vocalists credited on the song…

(12) Bruno Mars fully credits New Jack Swing pioneers like Teddy Riley and Babyface for his new work. Just in case you don’t know what New Jack Swing means: in the late ‘80s and ’90s, a particular form of pop music borrowing heavily from hip-hop and R&B was born with acts like Bobby Brown and Guy. The name comes from early ‘80s hip-hop slang for a newcomer.

(13) The opening lines from “24K Magic”? That’s Mr. Talk Box, a musician known for his work in gospel music. And because his portion of “24K Magic” was sampled on Kendrick Lamar’s “Loyalty,” the musician contributed to more than one 2017 megahit.

(14) Bruno’s album helped Cardi B. achieve yet another chart success. With “Finesse,” she becomes only the third person in history — and the first woman — to have five singles on the Top 10 at the same time.

(15) The funk that led to “Chunky” comes courtesy of Charlie Wilson and The Gap Band. One of Bruno Mars’ producing partners told him about a party he went to where everyone played the wall and stayed on their cellphones — until the DJ played “Outstanding” by The Gap Band. Bruno says hearing that inspired him to write “Chunky.”

(16) There’s a wink-and-nod lyrical homage to R. Kelly’s “Seems Like You’re Ready.” If you don’t know the 1993 song, you might miss it. But he literally croons out the line on his ballad “Versace on the Floor.”

(17) A quick run-down on all of the hair-related terminology Bruno spits on “Perm”: He tells a woman to relax (which is another word for perm). He mentions sheen (usually used in aerosol form). There’s a tribute to pat-pat-patting your weave. And he urges us to “activate” the sexy, as in activator used for ’80s-era curly hairstyles.

(18) If you’re one of the few people on earth who haven’t heard the album in its entirety, here’s a random factoid: Yes, that’s Halle Berry in a voicemail recording in the middle of the song “Calling All My Lovelies.”

(19) While working with Babyface, a song Bruno never finished began to play. Babyface said he needed to finish it that day. The song became the tearjerker “Too Good To Say Goodbye.”

(20) Music lovers began hyperventilating when photos surfaced of Missy Elliott and Bruno Mars in the studio together. Alas, they were “just hanging out.” Maybe next time.

(21) Bruno is known for keeping things old school when he’s recording. When it was time for him to allow journalists to listen to the album before release, the album was loaded on one iPod stored in a safe at his record label offices.

(22) While Bruno admits that he was nervous when he started recording, he personally put himself against his own biggest work. The title track for 24K Magic was recorded while “Uptown Funk” was still No. 1 on the charts.

(23) Ever the perfectionist, Bruno will tweak a song until he’s 100 percent happy with it. Case in point: his latest single “Finesse” had over 20 different versions.

(24) And speaking of perfectionism, the power ballad “Versace on the Floor” was completely done. Then Bruno listened and felt like he didn’t get it right vocally. He actually ended up writing the song over completely.

(25) Did you stream this album? It’s all good. But Bruno kind of wishes you had it on CD. He designed and wrote all of the inserts for the physical project and then realized that the idea of holding and reading liner notes may soon be a distant memory. He worked really hard on designing the fonts for the song titles. (No, really.)

Written by Alisa S. King

Grammy Awards Push Streaming Gains for Kendrick Lamar, Bruno Mars, Kesha, SZA & More

Grammy Awards Push Streaming Gains for Kendrick Lamar, Bruno Mars, Kesha, SZA & More:

Songs performed on the show earned a 42 percent gain in total on-demand streams.

Big streaming winners from the 2018 Grammy Awards include Kesha, SZA, Bruno Mars and Kendrick Lamar, according to Nielsen Music, as nearly all of the songs performed on the show scored gains in streams in the day after the broadcast.

The songs performed on the show collectively earned a 42 percent gain in on-demand streams (audio and video combined) on Jan. 29 (the day after the Jan. 28 CBS live broadcast) versus Jan. 27 (the day before the show). In total, the tunes performed (as well as the original versions of songs covered) pulled in 18.87 million streams on Jan. 29, up from 13.32 million on Jan. 27.

Breaking down the overall total into just on-demand audio and on-demand video: the songs notched 9.3 million on-demand audio streams on Jan. 29 (up 29.8 percent compared to 7.2 million on Jan. 27), and 9.6 million on-demand video streams on Jan. 29 (up 55.5 percent compared to 6.2 million on Jan. 27).

Some of the notable gaining songs, in terms of streams via on-demand audio services, were Kendrick Lamar’s “DNA” (734,000 streams; up 21 percent), Kesha’s “Praying” (867,000 streams; up 99 percent), SZA’s “Broken Clocks” (451,000 streams; up 55 percent) and Bruno Mars’ “Finesse” (2.3 million streams; up 20 percent).

The only performed song to see a decline in on-demand audio streams was Luis Fonsi and Daddy Yankee’s “Despacito,” which slipped a tiny 1 percent (to 763,000 streams, compared to 772,000 streams).

From K-Pop To Bruno Mars, The Stereotypes Are Shaping The Global Sound Of Music

From K-Pop To Bruno Mars, The Stereotypes Are Shaping The Global Sound Of Music:

Mike Selsky
LA-based music production and songwriting team The Stereotypes
The Grammys were filled with magic for The Stereotypes, 24K Magic that is. The Los Angeles-based production and songwriting team behind the Song of the Year “That’s What I Like” and other hits from Bruno Mars’ acclaimed 24K Magic album walked away from the night with the biggest lift their career had ever seen, and it came hot on the heels of the momentum they had gained from the K-pop industry.

South Korea’s pop scene is gradually making its way into America’s mainstream music consciousness, but international producers crafting music for K-pop is hardly anything new and The Stereotypes have been doing it for years now . This week’s “Bad Boy” by the popular girl group Red Velvet is just their latest release, as the quartet of producers has laid out tracks for many of K-pop’s biggest names, including EXO, BoA, Super Junior and Taemin.

“We definitely pivoted to the K-pop market when things were a little slow here, and we felt like we were really appreciated out there,” said The Stereotypes’ Ray Romulus. “They loved the work that we did and that allowed us to get not re-energized but re-inspired basically, to go harder. And right now it feels amazing to be appreciated at home now. Yeah, it’s an amazing feeling.” (Which they celebrated with ample tequila on Grammy Night.) Jonathan Yip previously told the LA Times that K-pop saved The Stereotypes’ lives.

Stylistically, Yip cited K-pop’s experimental nature as part of the reason The Stereotypes thrived and were able to reinvigorate themselves in South Korea. “They aren’t afraid to have chord changes and a lot of melody going on, and that is something for us that is a sweet spot.” The team’s music has hit a similar sweet spot in South Korea: Taemin’s 2016 hit “Press Your Number” saw much acclaim, landing the SHINee member’s first LP Press It on the Billboard World Albums chart at No. 2; The Stereotypes’ work with Red Velvet for last year’s widely-praised Perfect Velvet album and its follow up reissue The Perfect Red Velvet (“Kingdom Come,” “Attaboy,” “Bad Boy”) have helped hone the girl group’s lush contemporary R&B-meets-pop sound.

A group of multiethnic songwriters, The Stereotypes see K-pop’s advent as something very American, despite being created out of South Korea. “Obviously BTS is the biggest K-pop group here at the moment and I think it’s really cool because it just shows to me what America is and should be,” said Yip. “When you think of America, you should think of all different cultures and the place where you can go where it’s a melting pot of different cultures. There’s the Latin explosion right now and there’s a lot of reggaeton, so why should there not be K-pop here?  I think it’s just a matter of time.”

Yip also reflected on The Stereotypes’ role in Far East Movement’s career, particularly on the band’s Dirty Bass album, and recalled how seeing Asian Americans achieving major success in the U.S. industry was a big moment for him. “I want to be able to keep that going with all different nationalities and ethnicities. We would just like it to be as diverse as possible. Just look out the makeup of our group and you can see exactly what our goal is.”  

Nominated for producers of the year, 2017 was The Stereotypes’ biggest year yet, and they’re not going to slow down in 2018. Some recent projects have the team working with the likes of Normani of Fifth Harmony, the Backstreet Boys, and Foster the People on upcoming music. But while they’re on a stateside high, they’re hardly going to forget about the K-pop industry. “To be able to help deliver some big records out there, it means a whole lot to us because it means that we were able to do our job, that they believed in us,” said Yip. “We won’t ever turn our backs on over there, even coming back here now and catching great momentum here, that doesn’t mean we’re going to stop going over there at all.”