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Justin Bieber releases 'Swag,' his long-awaited seventh album

Justin Bieber releases 'Swag,' his long-awaited seventh album

Nahar Net4 days ago
by Naharnet Newsdesk 11 July 2025, 16:46
Never say never! Justin Bieber surprised fans Friday by releasing "Swag," his seventh studio album, hours after he teased it on billboards and social media posts.
It is his first album since 2021's "Justice" and his first since becoming a father last year.
"Inspired by his devotion as a husband and father, this new era of music has fueled a deeper perspective and more reflective sound, resulting in some of his most personal music yet," Def Jam Recordings said of the 21-track album.
Billboards depicting Bieber were found by fans Thursday in Reykjavik, Iceland, and Los Angeles. The singer also shared images of billboards on his official Instagram account along with a tracklist that included song names like "All I Can Take," "Walking Away," "Dadz Love" and "Forgiveness."
Bieber, the two-time Grammy Award winning singer and Canadian pop idol who revolutionized teen pop and social media fame, is best known for his silky R&B pop lyric tenor, demonstrated on the diamond-selling "Baby," "Sorry," and "Stay" with the Kid Laroi. At the beginning of his career, and as a tween, Bieber began working with Usher and the influential music manager Scooter Braun.
In 2023, Bieber sold the rights to his music — all six of his albums, including hits like "Sorry" and "Baby" — to Hipgnosis, a U.K-based music investment company. The deal's financial details were not disclosed, but Billboard Magazine reports that the sale was worth an estimated $200 million.
In August 2024, Bieber and his wife, the model Hailey Bieber (nee Baldwin), announced the birth of their first child, Jack Blues Bieber.
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Justin Bieber releases 'Swag,' his long-awaited seventh album
Justin Bieber releases 'Swag,' his long-awaited seventh album

Nahar Net

time4 days ago

  • Nahar Net

Justin Bieber releases 'Swag,' his long-awaited seventh album

by Naharnet Newsdesk 11 July 2025, 16:46 Never say never! Justin Bieber surprised fans Friday by releasing "Swag," his seventh studio album, hours after he teased it on billboards and social media posts. It is his first album since 2021's "Justice" and his first since becoming a father last year. "Inspired by his devotion as a husband and father, this new era of music has fueled a deeper perspective and more reflective sound, resulting in some of his most personal music yet," Def Jam Recordings said of the 21-track album. Billboards depicting Bieber were found by fans Thursday in Reykjavik, Iceland, and Los Angeles. The singer also shared images of billboards on his official Instagram account along with a tracklist that included song names like "All I Can Take," "Walking Away," "Dadz Love" and "Forgiveness." Bieber, the two-time Grammy Award winning singer and Canadian pop idol who revolutionized teen pop and social media fame, is best known for his silky R&B pop lyric tenor, demonstrated on the diamond-selling "Baby," "Sorry," and "Stay" with the Kid Laroi. At the beginning of his career, and as a tween, Bieber began working with Usher and the influential music manager Scooter Braun. In 2023, Bieber sold the rights to his music — all six of his albums, including hits like "Sorry" and "Baby" — to Hipgnosis, a U.K-based music investment company. The deal's financial details were not disclosed, but Billboard Magazine reports that the sale was worth an estimated $200 million. In August 2024, Bieber and his wife, the model Hailey Bieber (nee Baldwin), announced the birth of their first child, Jack Blues Bieber.

Elie Saab blends 19th-century romance with red carpet precision in fall couture
Elie Saab blends 19th-century romance with red carpet precision in fall couture

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Elie Saab blends 19th-century romance with red carpet precision in fall couture

by Naharnet Newsdesk 10 July 2025, 12:52 Elie Saab, the Lebanese designer long favored on the red carpet, returned to familiar territory on Wednesday, with fall haute couture — and did so unapologetically. In Paris, fashion insiders gathered among marble columns as models descended a gilded stone staircase to the strains of harpsichord music, setting the tone for a collection steeped in historical romance. Saab leaned into his signature codes: sumptuous velvets, gowns gathered at the back, and pearl and jewel-adorned chokers. Floral appliqués — another hallmark — blossomed, anchoring the collection in the femininity that has defined the house for decades. This was a particularly thoughtful collection, evoking Romantic silhouettes from the turn of the 19th century in Europe. The soft draping and historical references gave the show a sense of emotional depth beyond its surface opulence. Macaron hues — nude, rose pink, water blue, and mint — punctuated by imperial black and gold, set off bold blooms across brocade and print, infusing the collection with romantic vibrancy. Among the standout pieces were gowns with cascading trains and bejeweled details, encasing the body in a kind of luxurious cage. Among the standout pieces were gowns with cascading trains and bejeweled details, encasing the body in a kind of luxurious cage. Elie Saab said the collection — dubbed "The New Court" — was "a sumptuous playground for the modern queen — one who plays by her own rules." Though luxury and opulence may be Saab's well-trodden path, he showed that consistency remains its own form of artistry. Saab's couture is less about surprise and more about control — control of silhouette, embellishment, and fantasy. Where other houses have veered into avant-garde or gender-fluid territory this season, Saab stayed rooted in his vision of archetypal femininity, shaped by heritage and craftsmanship. If the show felt familiar at times, it was also undeniably polished — a standout collection that reminded audiences why Saab's world of embellished escapism continues to resonate. It's a formula that keeps Hollywood coming back. Angelina Jolie, Gwyneth Paltrow, Sarah Jessica Parker, Marion Cotillard, Penélope Cruz, Charlize Theron, Emmanuelle Béart, Sophie Marceau, Beyoncé, Maggie Cheung and Diane Kruger have all stepped onto the world's biggest stages in Saab's gowns — a testament to a house where fantasy and glamour are always in season.

A weird 'Superman' is better than a boring one
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A weird 'Superman' is better than a boring one

by Naharnet Newsdesk 09 July 2025, 14:37 It's a bird, it's a plane, it's a … a purple and orange shape-shifting chemical compound? Writer-director James Gunn's "Superman" was always going to be a strange chemistry of filmmaker and material. Gunn, the mind behind "Guardians of the Galaxy" and "The Suicide Squad," has reliably drifted toward a B-movie superhero realm populated (usually over-populated) with the lesser-known freaks, oddities and grotesquerie of back-issue comics. But you don't get more mainstream than Superman. And let's face it, unless Christopher Reeve is in the suit, the rock-jawed Man of Steel can be a bit of a bore. Much of the fun and frustration of Gunn's movie is seeing how he stretches and strains to make Superman, you know, interesting. In the latest revamp for the archetypal superhero, Gunn does a lot to give Superman (played with an easy charm by David Corenswet ) a lift. He scraps the origin story. He gives Superman a dog. And he ropes in not just expected regulars like Lois Lane (Rachel Brosnahan) and Lex Luthor (Nicholas Hoult) but some less conventional choices — none more so than that colorful jumble of elements, Metamorpho (Anthony Carrigan). Metamorpho, a melancholy, mutilated man whose powers were born out of tragedy, is just one of many side shows in "Superman." But he's the most representative of what Gunn is going for. Gunn might favor a traditional-looking hero at the center, like Chris Pratt's Star-Lord in "Guardians of the Galaxy." And Corenswet, complete with hair curl, looks the part, too. But Gunn's heart is with the weirdos who soldier on. The heavy lift of "Superman" is making the case that the perfect superhuman being with "S" on his chest is strange, too. He's a do-gooder at a time when no one does good anymore. Not everything works in "Superman." For those who like their Superman classically drawn, Gunn's film will probably seem too irreverent and messy. But for anyone who found Zack Snyder's previous administration painfully ponderous, this "Superman," at least, has a pulse. It would be hard to find a more drastic 180 in franchise stewardship. Where Snyder's films were super-serious mythical clashes of colossuses, Gunn's "Superman" is lightly earthbound, quirky and sentimental. When this Superman flies, he even keeps his arms back, like an Olympic skeleton rider. We begin not on Krypton or Kansas but in Antarctica, near the Fortress of Solitude. The opening titles set-up the medias res beginning. Three centuries ago, metahumans first appeared on Earth. Three minutes ago, Superman lost a battle for the first time. Lying bloodied in the snow, he whistles and his faithful super dog, Krypto, comes running. Like some of Gunn's other novelty gags (I'm looking at you Groot), Krypto is both a highlight and overused gag throughout. Superman is in the midst of a battle by proxy with Luthor. From atop his Luthor Corp. skyscraper headquarters, Luther gives instructions to a team sitting before computer screens while, on a headset, barking out coded battle directions to drone-assisted henchmen. "13-B!" he shouts, like a Bingo caller. Whether this is an ideal localizing of main characters in conflict is a debate that recedes a bit when, back in Metropolis, Clark Kent returns to the Daily Planet. There's Wendell Pierce as the editor-in-chief, Perry White, and Skyler Gisondo as Jimmy Olsen. But the character of real interest here is, of course, Lois. She and Kent are already an item in "Superman." When alone, Lois chides him over the journalistic ethics of interviewing himself after some derring-do, and questions his flying into countries without their leaders' approval. Brosnahan slides so comfortably into the role that I wonder if "Superman" ought to have been "Lois," instead. Her scenes with Corenswet are the best in the film, and the movie loses its snap when she's not around. That's unfortunately for a substantial amount of time. Luthor traps Superman in a pocket universe (enter Metamorpho, among others) and the eccentric members of the Justice Gang — Nathan Fillion's Green Lantern, Edi Gathegi's Mister Terrific and Isabela Merced's Hawkgirl — are called upon to lend a hand. They come begrudgingly. But if there's anyone else that comes close to stealing the movie, it's Gathegi, who meets increasingly absurd cataclysm with wry deadpan. The fate of the world, naturally, again turns iffy. There's a rift in the universe, not to mention some vaguely defined trouble in Boravia and Jarhanpur. In such scenes, Gunn's juggling act is especially uneasy and you can feel the movie lurching from one thing to another. Usually, that's Krypto's cue to fly back into the movie and run amok. Gunn, who now presides over DC Studios with producer Peter Safran, is better with internal strife than he is international politics. Superman is often called "the Kryptonian" or "the alien" by humans, and Gunn leans into his outsider status. Not for the first time, Superman's opponents try to paint him as an untrustworthy foreigner. With a modicum of timeliness, "Superman" is an immigrant story. Mileage will inevitably vary when it comes to Gunn's idiosyncratic touch. He can be outlandish and sweet, often at once. In a conversation between metahumans, he will insert a donut into the scene for no real reason, and cut from a body falling through the air to an Alka-Seltzer tablet dropping into a glass. Some might call such moments glib, a not-unfair label for Gunn. But I'd say they make this pleasantly imperfect "Superman" something quite rare in the assembly line-style of superhero moviemaking today: human. "Superman," a Warner Bros. release is rated PG by the Motion Picture Association for violence, action and language. Running time: 129 minutes. Three stars out of four.

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