As a leading consignment store in the market, it makes sense that Stadium Goods’ inventory of kicks would blow any sneakerhead’s mind. Coveteur took a deep dive into Stadium Goods’ SoHo store basement for their annual Sneaker Week.
$20 million dollars worth of sneakers is hidden away underneath the New York space of LVMH-backed Stadium Goods, and the crazy thing is that it’s only 10 to 15 percent of the store’s entire inventory. The rest is kept offsite in New Jersey.
While showing off the abundance of riches his company sits on, co-founder and CEO John McPheters talked to Coveteur about the resale market and how Stadium Goods got to where it is today.
“For a long time it felt like this aftermarket world of [resale] products wasn’t a clean place to transact,” he explained. “That gave my partner [Jed Stiller] and I the idea to make it more of a premium feel-good experience.”
The basement, pictured in the gallery above, features six aisles that are filled with shelves packed with shoe boxes. Employees navigate the labyrinth of sneakers through letters and numbers spray painted on the floor that coincide with the computer system.
On what the future holds for Stadium Goods McPheters said, “We will [open up more stores] this year. I’m not going to say where they are yet, but we’ll at least open one other store this year.”
Check out the video and images above.
Next, read here about how the sneaker world is split by copying and what factors determine if a sneaker is a rival or a ripoff.
Grand Theft Auto V is the most profitable video game ever, according to Market Watch.
First released in 2013, the video game has sold 90 billion units, bringing in an estimated $6 billion in revenue — more than any other movie, book or video game in history.
For reference, Market Watch state that two of the highest-grossing films of all time, Star Wars and Gone with the Wind, raked in 3 billion in the theaters (with the figure adjusted for inflation). Even when you add in the site’s estimation of $1 billion in DVD and streaming sales for both films, GTA V still comes out on top.
In the gaming world, Nintendo’s Mario franchise has sold more units across all of its games, but no single game has out-earned GTA V.
Do you play GTA V? Let us know your thoughts on its success in the comment section below.
Late last week, local Cleveland, Ohio, newspapers reported that a man had been shot and robbed of two pairs of YEEZYs at a meetup gone wrong.
The article details that a Parma man traveled to Cleveland to sell both pairs before being shot and robbed in the city’s Brooklyn Centre neighborhood. The YEEZYs, which the police report claims were worth around $450 each, were to be sold in a package deal for $800 to a man the victim had contacted through text messages.
Upon arriving at the meetup with his cousin, things started to go wrong for the 19-year-old Parma man. One of the buyers reportedly claimed to have forgotten his wallet, before flashing a handgun and saying, “How about I take both?”
The victim tried to put the shoes in the backseat of his car and leave but the police report claims the robber walked up to the car and shot the man in the thigh. The report continues that the second robber took the kicks from the backseat before both ran off.
It seems that Tyler, The Creator will be making a guest appearance on Bill Nye Saves the World. The rapper can be spotted in the just-released trailer for the second season of Netflix’s reimagining of the ’90s cult-classic standing near something called a ‘Shoe Wheel of Death.’ Watch it go down in the clip above.
Though he didn’t appear on screen during the show’s inaugural season last year, Tyler did create the program’s theme music, a remix of the iconic OG version. The new season of the show starts streaming on Netflix on May 11.
Most recently, Tyler, The Creator dropped the surprise new song “OKRA”, his first release since last year’s excellent album Flower Boy. Listen to it below.
In other music news, Meek Mill has shared a new video aimed at addressing his current incarceration. Watch “1942 Flows” right here.
By naming her debut album Invasion of Privacy, the implication is that Cardi B wishes to avoid the spotlight, yet it’s hard to think of another rapper who has chased fame so aggressively in recent years. Between her candid Instagram videos and a two season tenure on Love & Hip Hop, the star otherwise known as Belcalis Almanzar has been an open book to the fans who helped her knock Taylor Swift off the charts last year with “Bodak Yellow”, which remains her most popular song to date. Because of this openness, detractors were quick to label Cardi B as a one-hit wonder and contest her authenticity as a rapper.
Almanzar didn’t help matters by telling Rolling Stone that “It’s not as fun to do music,” while also admitting that she initially pursued rap to monetize her fame as a reality TV star. While her undeniable authenticity in real life enamored Cardi B to her fans, the widening gap between the release of “Bodak Yellow” and an actual album could have been a huge cause for concern, despite the success of features with Migos and Bruno Mars. Fortunately, Invasion of Privacy has cemented Cardi B’s position as “the people’s diva,” winning critics over with tracks like “Be Careful” and “Bartier Cardi” which are simultaneously vulnerable and fierce in a way that few others can match right now.
First impressions are key though, something which rival rapper Nicki Minaj knew all too well when she opened her debut record Pink Friday with a track simply titled “I’m the Best”. Whether this still remains true or not, Cardi B also understands the power of making a statement from the onset, and it’s here in opening track “Get Up 10” that Invasion of Privacy connects with listeners most. She might not be the first to rap about stripping or a star’s rise from poverty – and even the structure of the song is deliberately reminiscent of Meek Mill’s “Dreams & Nightmares”. Nonetheless, “Get Up 10” is a calling card, one that establishes Cardi B as more than just a former reality star – and it might even be her best song yet.
From its very first line, “Get Up 10” is Cardi B at her most unfiltered, and that’s surely saying something for a star who has become defined by her relentlessly honest approach to social media. Every word drips with aggressive intent, yet Cardi’s flow is precise in its focus. Impeccable lines like “Went from makin’ tuna sandwiches to makin’ the news” and “I was covered in dollars, now I’m drippin’ in jewels” tackle subjects we’ve heard countless times before, but they’ve never felt fresher coming from Cardi B’s mouth.
The raw passion of Cardi B’s delivery on “Get Up 10” is matched only by the music itself, which flows and contorts as the song builds up momentum. Produced by Southside, the track opens with haunting piano notes that gradually coalesce into something harder that matches the intensity of Almanzar’s rhymes. At one point, Cardi B tells haters that “You gon’ have to learn to hold your tongue or hold the gun,” yet every line in “Get Up 10” combines to create the battle cry that Cardi B needed to silence her critics once and for all. In recent interviews, Almanzar maintains that the beef between her and Nicki Minaj is manufactured, although rivals would do well to sit up and take notice too or risk her putting a Loubotin where their “neck at.”
Endlessly quotable and brutally honest, the opening to Invasion of Privacy is a message of intent for what’s to follow, and contains far more layers than one might expect from someone who started out on the show Love & Hip Hop. However, Cardi B didn’t intend to record tracks like “Get Up 10” at first, something which she even mentions on the song itself.
Initially focused solely on creating “bangers,” Almanzar expressed doubts about writing socially conscious lyrics to Rolling Stone last fall, explaining that “A bitch like me, it might not work out for me, so I’m going to stick to trapping.” Clearly though, that didn’t stick for long. Cardi B might not be explicitly political in the same way as rappers like Kendrick Lamar or J. Cole, but Invasion of Privacy is still a powerful statement and its message is best encapsulated in the album’s first 3 minutes and 51 seconds.
Although typical rap tropes like stripping are themes that Cardi B returns to on the album time and time again, her music isn’t defined by her previous life as a dancer. In fact, the very first line on “Get Up 10”, and therefore the entire record, sums up why Almanzar stripped in the first place – “Look, they gave a bitch two options: strippin’ or lose,” – and it’s not long before she clarifies what that really entailed: “I said ‘dance’ not ‘fuck,’ don’t get it confused.”
In an industry where women are often reduced to mere sex objects on a pole, Cardi B takes full ownership of this trope and humanizes it here to the point where it’s impossible for men to ignore her agency and power. Sure, there’s still sex appeal, but the self proclaimed “strip-club Mariah Carey” refuses to conform, helping to reshape feminism through a hip-hop lens, and nowhere does she do this better than on “Get Up 10”.
For the most part, female rappers like Lil’ Kim, Azealia Banks and even Nicki Minaj have been forced to battle their label’s misogynistic ideals to get to the top. And when stars like M.I.A. refuse to toe the line, they’re usually punished for their honesty. Cardi B is less controversial in some ways, despite her outrageous personality, but in this post #MeToo world, her refusal to play by the rules is more important than ever. As she says herself on “Get Up 10”, speaking her mind “tripled her views,” and there’s something remarkably empowering about the way that Cardi B remains unfiltered in a world where female musicians rarely possess this same kind of freedom.
The authenticity of songs like “Bodak Yellow” and “Bartier Cardi” have helped make Cardi B a global superstar and in the coming months, future cuts from Invasion of Privacy will cement this further. However, it’s the lyrical prowess and Cinderella-story behind “Get Up 10” that defines Almanzar best. More than just an introduction to her album, “Get Up 10” is an introduction to Cardi B as a real artist, and in years to come, the industry will look back at the release of this track as a watershed moment in her career, one where she finally transcended her origins as a reality star and became a true contender. Don’t agree? You can knock her down nine times, but Cardi B will always “get up ten,” and it’s this drive which ensures that she’s always “gon’ win.”
Meek Mill may still be behind bars, but that isn’t stopping the Philadelphia emcee — and his team — from releasing new material. This week we in turn receive the official music video for “1942 Flows.”
Directed by Spike Jordan, the aesthetic finds Meek Mill being released from prison and enjoying life as a free man once again. The visual kicks off as he is questioned by reporters, to which he responds, “I feel like a free slave, you know? I feel like I’ve been targeted by certain people. Just being out on the streets and knowing somebody can take your freedom at any time; you got cops, you see they charged me up on felonies. They seen me riding a bike, that kind of says it all.”
“1942 Flows” is featured on Meek’s 2017 album, Wins and Losses. The video ultimately arrives as the 30-year-old rapper was once again denied bail just last week.
Now, several months later, orders are finally starting to be fulfilled according to Pitchfork, as several fans have taken to social media and shared images as well as a video of the long-awaited package.
In addition, fans have indicated that the physical editions feature a new, extended version of the track “Mitsubishi Sony.” Furthermore, it has yet to be revealed when the official audio version of Endless will be available through digital platforms.
With the dual-lens feature initially introduced on the iPhone 7 Plus, the report claims that the rumored triple-lens camera will boast a 6P lens design with 5x zoom, but it doesn’t confirm if it’s optical, digital, or hybrid zoom. In comparison, the iPhone 8 with a single-lens has up to 5x digital zoom, while the dual-lens iPhone 8 Plus and iPhone X features 2x optical zoom with 10x digital zoom.
As already proven with the addition of a dual-lens camera system, a three-lens rear camera would offer more advantages, including greatly improved low-light performance and even better image quality, if the report proves to be accurate.
Showcased in a pair of Instagram posts, we see Abloh sporting a small cross body bag, complete with monogrammed Louis Vuitton print. The body of the accessory is done up in bright blue leather, as it is complemented by brown LV accents.
There is no word on if this is an official Louis Vuitton item or not, but be sure to leave us your thoughts on Virgil’s recently-spotted cross body bag.
Han Kjøbenhavn have made a name for themselves with their almost willfully esoteric approach to streetwear. Sometimes their collections speak of an architectural, structural technique to silhouettes and tailoring, while with others, they might just do classic cuts with ultra obscure pop-cultural references thrown in.
Shot with in their instantly recognizable lookbooks that hover between the gritty and real, and the trashy and fantastic, and with a wealth of other projects to its name—from films, to its own eyewear line, and its work with Danish furniture maker Fritz Hansen on its own version of the iconic Arne Jacobsen Grand Prix chair—it’s clear the brand has got their identity nailed, and we’re into it.
For the Spring/Summer 2018 season, Han Kjøbenhavn and PUMA unite for their second collaboration after the resounding success of their first in SS17. With choice apparel cuts, the partnership centers, however, on footwear. You can see the structured, architectural (you might be tempted to say ‘Danish’ or ‘Scandinavian’) style of the Danish brand in the shoes’ designs, but a decidedly adventurous and futuristic approach to footwear is something PUMA has perfected over the years. From its groundbreaking PUMA Fenty, to the McQ line of avant-garde footwear with the late Alexander McQueen and his continuing label, and finally most recently seen in its new batch of technical, chunky sneakers with the Thunder Spectra.
In that light, the enduring collaboration seems a natural fit. To understand how it all came about and what’s next for the two of them, we sat with Han Kjøbenhavn founder Jannik Wikkelsø Davidsen to get his take.
My upbringing in the suburbs is the rough framework. I wanted to execute it through a device which could represent that period in a graphic way: the photocopier—actually an old Canon that my parents had when I was growing up. It’s important to me that we bring something personal into it when doing a project like this—and when the core is personal and true it becomes “easier” to push the creativity to new levels while still being true to the initial idea. A photocopier is amazing: the machine gives you unlimited opportunities when playing around with it. It has this lovely gritty and analogue expression with so much depth and feeling even though its all greyscale.
We are still very much in it—and it’s good. Of course it’s a big company, but one of their strengths is that they work as a smaller unit and that makes the whole process lighter and more flexible than you would expect from a company of their size.
Furthermore, PUMA have done their homework on us: They know our mindset and what to expect. They know how we approach concepts, how focussed we are on storytelling, and how far we allow ourselves to take the idea—and they respect all of that. This makes the creative process flow because we let the project travel in different directions without putting too many obstacles in front of ourselves.
Like most people I grew up with them. I remember PUMA being significant in my late teen years, a period that was pretty defining for me. It has also been the platform in this process. I think now, PUMA is in kind of a challenger role. This role is always interesting, because it allows you to be a bit more aggressive in how you approach things—which really appeals to us.
He’s one of our guys, Steen. He has been with us almost from the beginning. I found him when casting for our second short film—I think it was late 2011.
When i first met him i thought: “that’s a real face!”. He almost looked like a man who had been burned down on sedatives for years—in the most beautiful way. We shot the short film and in the editing room you could just see him burn through the lens—it was ridiculous. After that we just kind of built on him and he became a big part of our stories across all channels.
I think Steen’s biggest strength is that his face communicates a story, a story about a man who has lived a life. Steen is not fragile, he is older, but not fragile—that’s why he also bridges perfectly into the younger audience and why he works in the world we have created.
Stories and human beings. Feelings. When we started out in 2008, we wanted to create a brand driven by storytelling. I felt it was missing back then. Most brand stories, campaigns, and films were told in a very traditional way. Of course there were a few brands who challenged the format, but the main part put the product on a pedestal and made everything revolve around it. I just think it makes it too one-dimensional, because it’s relatively limited how much story you can squeeze out of a product, without forcing it. Products can be amazing and there’s a lot of great stuff out there. But if we just stick to clothing, it will have a very limited lifespan—I mean, we get the chance to evolve and change our design every two-to-four times a year when we do collections. That’s why you have to create stories in and around the product that connects with the audience on a whole other level.
I don’t know, but apparently a lot of people seem to think so.
I get asked this a lot, and I can say that we create stores and design from a very personal angle. Most of our collections are rooted in my upbringing, my personal experiences and surroundings. Our stories are more raw than the perception of “Danish design”. The thing is that there is a very set image of what “Danish design” is—and Han Kjøbenhavn is not like that. I’m from the working class, in the suburbs of Copenhagen. Here you’ll find “Danish design” in the shape of designers like Arne Jacobsen, Wegner and Juhl represented in ordinary working class homes and even in the community schools. Because it’s great functional design, and also looks great! That’s Danish design for me: much more contrasted than the general image.
The ‘Court Platform’ sneakers.
In selected stores and obviously at Han Kjøbenhavn and PUMA stores.
We are doing four projects and all four will be different—both in concept and execution. For us it’s more interesting to create four unique stories than to serialize it. As this collaboration evolves we will push it further away from what is expected, so in that sense there will be a greater evolution. We will make fewer options and push the selected ones even further and make the whole concept tighter.