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path-of-my-childhood · 4 years

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Taylor Swift Debuts at #1 on Hot 100 With 'Cardigan,' Is 1st Artist to Open Atop Hot 100 & Billboard 200 in Same Week

By: Gary Trust for Billboard Date: August 3rd 2020

Plus, the set's "The 1" & "Exile" open in the Hot 100's top 10.

Taylor Swift's "Cardigan" blasts in at No. 1 on the Billboard Hot 100 songs chart.

The song is from Swift's new LP Folklore, which launches at No. 1 on the Billboard 200 albums chart, as Swift becomes the first artist ever to debut at No. 1 on both the Hot 100 and Billboard 200 in the same week.

Folklore was released July 24 on Republic Records, after being first teased by Swift only the day before. "Cardigan" is joined by two other songs from the set that debut in the Hot 100's top 10: "The 1," at No. 4, and "Exile," featuring Bon Iver, at No. 6.

"Cardigan," the 1,106th No. 1 in the Hot 100's 62-year history, enters with 34 million U.S. streams and 71,000 downloads sold in the week ending July 30, according to Nielsen Music/MRC Data. It concurrently debuts atop both the Streaming Songs and Digital Song Sales charts. The song also drew 12.7 million in all-format radio airplay audience in the week ending Aug. 2.

Here are 13 (famously Swift's favorite number) notable achievements surrounding the chart arrival of Folklore and its songs.

1) First artist ever to debut atop Hot 100 & Billboard 200 simultaneously: With "Cardigan" and Folklore, Swift is the first artist to debut at No. 1 on the Hot 100 and Billboard 200 in the same week. The Billboard 200 began on March 24, 1956, and the Hot 100 originated on Aug. 4, 1958.

2) 41st song to debut at No. 1 on Hot 100: "Cardigan" is the 41st song to debut at No. 1 on the Hot 100. It's Swift's second, after "Shake It Off" on the chart dated Sept. 6, 2014.

Swift is the seventh artist with multiple No. 1 Hot 100 entrances, joining Justin Bieber, Mariah Carey, Drake, Ariana Grande (the leaders with three each), Travis Scott and Britney Spears (two each). Meanwhile, "Cardigan" is the sixth song to debut atop the Hot 100 in 2020, extending the record for the most in a single year. Four songs each started at No. 1 in both 2018 and 1995.

3) Swift's sixth No. 1: Swift scores her sixth Hot 100 leader. Here's a recap:

"We Are Never Ever Getting Back Together," three weeks, beginning Sept. 1, 2012 "Shake It Off," four weeks, beginning Sept. 6, 2014 "Blank Space," seven weeks, beginning Nov. 29, 2014 "Bad Blood," feat. Kendrick Lamar, one week, June 6, 2015 "Look What You Made Me Do," three weeks, beginning Sept. 16, 2017 "Cardigan," one week to-date, Aug. 8, 2020

Swift is the 26th artist in the Hot 100's history with at least six No. 1s, and the ninth solo woman. The Beatles lead all acts with 20 No. 1s, followed by Carey with 19.

4) First woman to debut two songs in top five simultaneously: With "Cardigan" at No. 1 and "The 1" at No. 4, Swift is the first woman, and third act overall, to debut two songs in the Hot 100's top five simultaneously. Lil Wayne first earned the honor with "Mona Lisa," featuring Kendrick Lamar (No. 2), and "Don't Cry," featuring XXXTentacion (No. 5), on Oct. 13, 2018. Just two weeks ago, on the July 25 chart, the late Juice WRLD entered at Nos. 2 and 5, respectively, with "Come & Go," with Marshmello, and "Wishing Well."

Swift is, thus, the first artist to debut two songs in the Hot 100's top four spots simultaneously.

5) Three debuts in top 10: As "Cardigan," "The 1" and "Exile" arrive at Nos. 1, 4 and 6, respectively, Swift debuts three songs in the Hot 100's top 10 simultaneously for the first time. She's the sixth artist to accomplish the feat, following Drake (July 14, 2018), Lil Wayne (Oct. 13, 2018) and Juice WRLD (July 25), who share the record with four debuts each in the top 10 simultaneously, and J. Cole (May 5, 2018) and Lil Uzi Vert (March 21, 2020), each with three.

Further, Swift is the first artist to debut three songs in the Hot 100's top six spots in a single week.

6) Swift up to 28 career top 10s, tied for sixth-most: Swift swells her count of career Hot 100 top 10s from 25 to 28, tying Mariah Carey and Stevie Wonder for the sixth-best sum.

Here is a recap of the acts with the most Hot 100 top 10s, dating to the chart's Aug. 4, 1958, inception (two years after Elvis Presley's commercial breakthrough):

Most Hot 100 Top 10s 40, Drake 38, Madonna 34, The Beatles 31, Rihanna 30, Michael Jackson 28, Mariah Carey 28, Taylor Swift 28, Stevie Wonder 27, Elton John 27, Janet Jackson 25, Lil Wayne 25, Elvis Presley

7) 18 career top 10 debuts: Swift extends her record among women for the most debuts in the Hot 100's top 10, as her three new arrivals lift her total to 18. Among all acts, only Drake has more: 25.

8) 16 songs from Folklore hit Hot 100: Swift sends the entirety of the standard edition of Folklore onto the Hot 100, as its 16 songs enter the chart, from "Cardigan" at No. 1 to album closer "Hoax" at No. 71.

Folklore is Swift's second consecutive album whose standard version has fully infused the Hot 100: 18 songs from Lover, which soared in atop the Billboard 200 dated Sept. 7, 2019, charted on the Hot 100 the same week.

9) Swift passes Nicki Minaj for most Hot 100 entries among women: Swift surges from 97 career Hot 100 entries to 113, passing Nicki Minaj (110) for the most among women. Swift also becomes the 10th act with at least 100 Hot 100 entries, as she ascends to the fourth-best total. Here's an updated leaderboard:

Most Hot 100 Entries 224, Drake 207, Glee Cast 169, Lil Wayne 113, Taylor Swift 111, Future 110, Nicki Minaj 109, Elvis Presley 108, Kanye West 101, Chris Brown 100, Jay-Z

10) First solo woman at No. 1 since January: "Cardigan" is the first Hot 100 No. 1 billed solely to one woman since Carey's "All I Want for Christmas Is You" logged three weeks on top from Dec. 21, 2019, through Jan. 4. Before that, Selena Gomez's "Lose You to Love Me" led the Nov. 9 list.

11) 'Cardigan' No. 1 in streams & sales: With 34 million U.S. streams and 71,000 sold in the week ending July 30, "Cardigan" starts as the most-streamed and top-selling song of the week. Swift scores her third Streaming Songs No. 1 and her record-extending 20th Digital Song Sales No. 1, furthering her lead on the latter list over runner-up Rihanna (14).

12) Radio tries on 'Cardigan': "Cardigan" drew 12.7 million in radio airplay audience in its first full week, ending Aug. 2. It rises 26-17 on the Adult Pop Songs airplay chart and debuts at No. 19 on Adult Contemporary and No. 27 on Pop Songs.

13) Bon Iver's first Hot 100 top 10: With "Exile" debuting at No. 6 on the Hot 100, Bon Iver earns its first top 10 on the chart. The act, fronted by Justin Vernon, previously charted two titles, both in 2010 as featured on songs on Kanye West's album My Beautiful Dark Twisted Fantasy, led by the No. 18-peaking "Monster," also featuring Jay-Z, Rick Ross and Minaj.

#once again...#this is long...but it's once in a lifetime so you better read it all lmao =)#billboard #article #billboard hot 100 #cardigan #folklore album #folklore era #taylor swift #breaking records #album sales #Digital sales #streaming

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taylorswifthongkong · 4 years

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Plus, the set's "The 1" & "Exile" open in the Hot 100's top 10.

Taylor Swift's "Cardigan" blasts in at No. 1 on the Billboard Hot 100 songs chart.

Folklore was released July 24 on Republic Records, after being first teased by Swift only the day before.

"Cardigan" is joined by two other songs from the set that debut in the Hot 100's top 10: "The 1," at No. 4, and "Exile," featuring Bon Iver, at No. 6.

Plus, Jawsh 685 and Jason Derulo's "Savage Love (Laxed – Siren Beat)" enters the Hot 100's top 10, rising 12-10.

Let's run down the top 10 of the newest Hot 100, which blends all-genre U.S. streaming, radio airplay and sales data. All charts (dated Aug. 8) will update on Billboard.com tomorrow (Aug. 4).

The song also drew 12.7 million in all-format radio airplay audience in the week ending Aug. 2.

Here are 13 (famously Swift's favorite number) notable achievements surrounding the chart arrival of Folklore and its songs.

First artist ever to debut atop Hot 100 & Billboard 200 simultaneously: With "Cardigan" and Folklore, Swift is the first artist to debut at No. 1 on the Hot 100 and Billboard 200 in the same week. The Billboard 200 began on March 24, 1956, and the Hot 100 originated on Aug. 4, 1958.

41st song to debut at No. 1 on Hot 100: "Cardigan" is the 41st song to debut at No. 1 on the Hot 100. It's Swift's second, after "Shake It Off" on the chart dated Sept. 6, 2014.

Swift is the seventh artist with multiple No. 1 Hot 100 entrances, joining Justin Bieber, Mariah Carey, Drake, Ariana Grande (the leaders with three each), Travis Scott and Britney Spears (two each).

Meanwhile, "Cardigan" is the sixth song to debut atop the Hot 100 in 2020, extending the record for the most in a single year. Four songs each started at No. 1 in both 2018 and 1995.

Swift's sixth No. 1: Swift scores her sixth Hot 100 leader. Here's a recap:

Swift is the 26th artist in the Hot 100's history with at least six No. 1s, and the ninth solo woman. The Beatles lead all acts with 20 No. 1s, followed by Carey with 19.

First woman to debut two songs in top five simultaneously: With "Cardigan" at No. 1 and "The 1" at No. 4, Swift is the first woman, and third act overall, to debut two songs in the Hot 100's top five simultaneously.

Lil Wayne first earned the honor with "Mona Lisa," featuring Kendrick Lamar (No. 2), and "Don't Cry," featuring XXXTentacion (No. 5), on Oct. 13, 2018. Just two weeks ago, on the July 25 chart, the late Juice WRLD entered at Nos. 2 and 5, respectively, with "Come & Go," with Marshmello, and "Wishing Well."

Swift is, thus, the first artist to debut two songs in the Hot 100's top four spots simultaneously.

Three debuts in top 10: As "Cardigan," "The 1" and "Exile" arrive at Nos. 1, 4 and 6, respectively, Swift debuts three songs in the Hot 100's top 10 simultaneously for the first time. She's the sixth artist to accomplish the feat, following Drake (July 14, 2018), Lil Wayne (Oct. 13, 2018) and Juice WRLD (July 25), who share the record with four debuts each in the top 10 simultaneously, and J. Cole (May 5, 2018) and Lil Uzi Vert (March 21, 2020), each with three.

Further, Swift is the first artist to debut three songs in the Hot 100's top six spots in a single week.

Swift up to 28 career top 10s, tied for sixth-most: Swift swells her count of career Hot 100 top 10s from 25 to 28, tying Mariah Carey and Stevie Wonder for the sixth-best sum.

Here is a recap of the acts with the most Hot 100 top 10s, dating to the chart's Aug. 4, 1958, inception (two years after Elvis Presley's commercial breakthrough):

18 career top 10 debuts: Swift extends her record among women for the most debuts in the Hot 100's top 10, as her three new arrivals lift her total to 18. Among all acts, only Drake has more: 25.

16 songs from Folklore hit Hot 100: Swift sends the entirety of the standard edition of Folklore onto the Hot 100, as its 16 songs enter the chart, from "Cardigan" at No. 1 to album closer "Hoax" at No. 71.

Swift passes Nicki Minaj for most Hot 100 entries among women: Swift surges from 97 career Hot 100 entries to 113, passing Nicki Minaj (110) for the most among women.

Swift also becomes the 10th act with at least 100 Hot 100 entries, as she ascends to the fourth-best total. Here's an updated leaderboard:

Most Hot 100 Entries 224, Drake 207, Glee Cast 169, Lil Wayne 113, Taylor Swift 111, Future 110, Nicki Minaj 109, Elvis Presley 108, Kanye West 101, Chris Brown 100, Jay-Z

First solo woman at No. 1 since January: "Cardigan" is the first Hot 100 No. 1 billed solely to one woman since Carey's "All I Want for Christmas Is You" logged three weeks on top from Dec. 21, 2019, through Jan. 4. Before that, Selena Gomez's "Lose You to Love Me" led the Nov. 9 list.

'Cardigan' No. 1 in streams & sales: With 34 million U.S. streams and 71,000 sold in the week ending July 30, "Cardigan" starts as the most-streamed and top-selling song of the week. Swift scores her third Streaming Songs No. 1 and her record-extending 20th Digital Song Sales No. 1, furthering her lead on the latter list over runner-up Rihanna (14).

"Cardigan" was on sale in Swift's webstore via multiple physical/digital combination offerings during the tracking week, ending July 30, including an alternate "Cabin in Candlelight" version released July 29. Consumers could purchase CD and vinyl singles, each with a digital download; the download would be sent to consumers upon purchase, with physical versions due to arrive at a later date.

Radio tries on 'Cardigan': "Cardigan" drew 12.7 million in radio airplay audience in its first full week, ending Aug. 2. It rises 26-17 on the Adult Pop Songs airplay chart and debuts at No. 19 on Adult Contemporary and No. 27 on Pop Songs.

Bon Iver's first Hot 100 top 10: With "Exile" debuting at No. 6 on the Hot 100, Bon Iver earns its first top 10 on the chart. The act, fronted by Justin Vernon, previously charted two titles, both in 2010 as featured on songs on Kanye West's album My Beautiful Dark Twisted Fantasy, led by the No. 18-peaking "Monster," also featuring Jay-Z, Rick Ross and Minaj.

"Cardigan" dethrones DaBaby's seven-week Hot 100 leader "Rockstar," featuring Roddy Ricch. The track holds at No. 2 on the Radio Songs chart (67.9 million, up 10%) and dips to No. 3 on Streaming Songs, after nine weeks at No. 1 (32.9 million, down 9%), and 5-7 on Digital Song Sales (10,000, down 6%).

"Rockstar" concurrently rules the multi-metric Hot R&B/Hip-Hop Songs and Hot Rap Songs charts for an eighth week each.

Jack Harlow's "Whats Poppin," featuring DaBaby, Tory Lanez and Lil Wayne, drops to No. 3 on the Hot 100 from its No. 2 high.

The Weeknd's "Blinding Lights" descends 4-5 on the Hot 100, following its four-week rule. It tops Radio Songs for a 17th frame (76.2 million in audience, up 2%), moving to within a week of potentially tying for the longest command since the chart started in December 1990.

Most Weeks at No. 1 on Radio Songs 18, "Iris," Goo Goo Dolls, beginning Aug. 1, 1998 17, "Blinding Lights," The Weeknd, April 18, 2020 16, "Girls Like You," Maroon 5 feat. Cardi B, Aug. 4, 2018 16, "We Belong Together," Mariah Carey, May 28, 2005 16, "Don't Speak," No Doubt, Dec. 7, 1996

"Blinding Lights" tops the multi-metric Hot R&B Songs chart for a record-tying 20th week. It joins three other songs for a share of the mark, including another by The Weeknd, dating to the list's October 2012 start: Drake's "One Dance," featuring WizKid and Kyla (2016); The Weeknd's "Starboy," featuring Daft Punk (2016-17); and Bruno Mars' "That's What I Like" (2017).

Harry Styles' "Watermelon Sugar" holds at its No. 7 Hot 100 high; SAINt JHN's "Roses" slides 5-8, after reaching No. 4; and Megan Thee Stallion's former one-week leader "Savage," featuring Beyoncé, falls 6-9.

Rounding out the Hot 100's top 10, Jawsh 685 and Jason Derulo's "Savage Love (Laxed – Siren Beat)" enters the tier, rising 12-10. The track retreats 3-4 on Digital Song Sales, although with a 14% advance to 13,000 sold, and 10-17 on Streaming Songs, but with a 1% gain to 17.9 million U.S. streams, while climbing 40-33 on Radio Songs (23.5 million, up 23%).

New Zealand producer Jawsh 685 (real name: Joshua Nanai) hits the Hot 100's top 10 in his first visit to the chart, while Derulo adds his seventh top 10 and first since the No. 5-peaking "Want to Want Me" in 2015.

(A "savage" garden: Three songs with "savage" in their titles have hit the Hot 100 all-time, and two of them rank back-to-back at Nos. 9 and 10 this week. The other? Rod Hart's "C.b. Savage," which reached No. 67 in 1977.)

For all chart news, you can follow @billboard and @billboardcharts on both Twitter and Instagram. And again, be sure to visit Billboard.com tomorrow (Aug. 8), when all charts, including the Hot 100 in its entirety, will refresh.

#billboard #hot 100 #article #records #charts #folklore charts #cardigan

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wazafam · 3 years

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Rodney Dangerfield is one of the most beloved comedians of all time for his sharp one-liners and self-deprecating humor. It wasn't until later in life that he moved towards movies, but that didn't stop him from making some classics in his time even if his acting career was not prolific.

RELATED: Fat Guy In A Little Coat: 10 Funniest Chris Farley Quotes

While Dangerfield rarely stepped too far away from the persona he established in his stand-up, his movies remain memorable and still get big laughs today. Fans can no doubt recall some of the funniest quotes from his movie career delivered in a way only Rodney Dangerfield can pull off.

10 Even In Hell, I Get No Respect

Little Nicky is not regarded as one of Adam Sandler's best comedies, but it does feature a pretty enjoyable cast of funny people. The movie stars Sandler as the kind-hearted son of the devil who must go to Earth in order to bring his demon brothers back to Hell.

Dangerfield has a fun supporting role as Sandler's grandfather, Lucifer. In one scene as the wayward demon brothers are preparing to leave Hell, they push Dangerfield aside. As he lies on the ground, he gets a nice winking line to his most famous catchphrase.

9 I Got A Face-Lift, There Was One Just Like It Underneath

The live-action take on the friendly ghost Casper is a nostalgic hit for some fans and a favorite for the Halloween season. The movie is a fairly fun family-friendly ghost story that is packed with a surprising amount of fun cameos, including one from Dangerfield.

RELATED: 10 Funniest Ben Stiller Movie Quotes, Ranked

In one scene, a character is possessed by ghosts and when he looks in the mirror, his face changes into different recognizable celebrities. Along with appearances as Clint Eastwood and Mel Gibson, Dangerfield pops up to offer one of his trademark zingers at his own expense.

8 Whoa, Did Somebody Step On A Duck?

It's safe to say that out of Dangerfield's entire movie career, Caddyshack is the most beloved. The wild and hilarious golf flick takes a pretty simple premise, a lot of funny actors, and turns it into comedy gold.

Dangerfield steals many scenes as the rich, hard-partying club member, Al. He is meant to be a refreshing alternative to the other stuffy members as seen in this scene during a fancy dinner when Al lets out a noisy fart without shame and loudly jokes about it. No matter your age, fart jokes are always funny.

7 With The Shape I'm In You Could Donate My Body To Science Fiction

Another fantastic movie from Dangerfield's career is Back to School. In it, he plays a rich businessman who enrolls in college to help his struggling son make it through to graduation. The high-concept comedy is basically just an excuse for Dangerfield to do his regular schtick which works so well.

During the climactic diving competition, Dangerfield's character is asked to participate which he is not too keen on. He remarks "you could donate my body to science fiction." It is that kind of clever play on words that helped make him a legend.

6 After They Sacked The Quarterback They Went After His Family

One of the funniest things about Back to School is seeing Dangerfield's older character trying to relate to his younger classmates. This also gives him an excuse to talk about his own young days which is another big part of his comedy routines.

RELATED: Steven Seagal's Funniest Quotes From His Films

When assessing the football team at his new school, Dangerfield feels they don't match up to the toughness of his hometown football team. These kinds of exaggerated ideas are another hallmark of Dangerfield's wonderful humor.

5 Together We Made Mud

The "no respect" style of Dangerfield's stand-up comedy extends to all aspects of his life which makes it such a versatile setup. Another of the big areas Dangerfield likes to focus on is his failed romantic relationships so the fact that his character in Back to School is divorced leaves plenty of opportunity for these kinds of jokes.

When talking to some of the younger college kids, Dangerfield remarks that his relationship with his ex was doomed from the beginning. He explains, "I'm an Earth sign. She's a water sign. Together we made mud."

4 My Dinghy’s Bigger Than Your Whole Boat!

One of the funniest parts of Caddyshack is Al's rivalry with the movie's villain, Judge Smails. Though Al seems to think they are actually friends in his own strange way, the uptight Smails cannot stand Al's obnoxious and vulgar behavior.

During one memorable scene, Smails is christening his new boat as Al comes to say hello in his massive yacht. Not only does Al's massive boat cause Smails's to sink, but Al adds insult to injury by hilariously mocking its size.

3 Yeah, Well You Were The Inspiration For Twin Beds

Easy Money might not be as well known as Caddyshack or Back to School, but it is another fairly entertaining comedy that makes good use of Dangerfield's iconic brand of comedy.

RELATED: Don't Call Me Shirley: 10 Funniest Leslie Nielsen Quotes

The movie finds Dangerfield playing a man who stands to inherit his mother-in-law's fortune if he can change his wild lifestyle. Some of the funniest scenes involve Dangerfield facing off with his disapproving mother-in-law. After she chastises him one too many times, he unleashed this great insult.

2 Hey Baby, You Must’ve Been Something Before Electricity

It is endlessly funny watching Al continuously annoy Smails in Caddyshack. He is either totally unaware of how to agree he is making Smails or he just doesn't care. In either way, Al proves to have no boundaries.

While Smails is dancing with his wife, Al decides to cut in much to Smails's horror. To matters worse, Al openly mocks his wife with the biting line, "you must've been something before electricity."

1 Hey Everybody, We’re All Gonna Get Laid!

Despite Caddyshack having other big-name stars like Chevy Chase and Bill Murray in the cast, it is Dangerfield who gets to deliver the final line of the movie. And it may be one of the funniest and greatest final lines in cinema history.

After winning the climactic golf match and triumphing over Smails, Al turns to the gathered crowd and shouts, "Hey everybody, we're all gonna get laid," leading to a massive party in pure '80s movie fashion. It doesn't make any sense but it's hard not to go along with how fun it is.

NEXT: I Have The Higher Ground: 10 Funniest Obi-Wan Kenobi Quotes

10 Funniest Rodney Dangerfield Quotes | ScreenRant from https://ift.tt/3hOjbwe

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kendallspussy · 7 years

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me @ Nicki Bille Nielsen

p r o u d

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fashiontrendin-blog · 6 years

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The Complete Story Of How Hip-Hop Changed The Way We Dress

https://fashion-trendin.com/the-complete-story-of-how-hip-hop-changed-the-way-we-dress/

The Complete Story Of How Hip-Hop Changed The Way We Dress

In 2002, stylist Rachel Johnson walked into a Burberry store in New York to request some clothes for a photoshoot. Her client was Ja Rule, then promoting the follow-up to his Grammy-nominated, triple-platinum album Pain is Love. It was the kind of exposure that brands generally love, but Burberry refused to help.

“They didn’t want him to wear their stuff,” Johnson later told Newsweek. “People have this stigma with the urban community.” She bought it anyway and after she draped her client in the brand’s house check, his fans did too. A few months later, Burberry sent Ja Rule a letter of thanks.

A decade and more on, the brand has a different stance on hip-hop style. It’s dressed Skepta and Nicki Minaj and recently collaborated with Chinese rapper Kris Wu. Like the rest of the fashion industry, Burberry coincidentally overcame its distaste for rap just as rap became the loudest sound on earth; in December, Nielsen research found more people listened to rap than rock for the first time. Now it’s brands like Burberry that come knocking, and rappers who rebuff them.

“With hip-hop being the de facto sound of youth and rebellion, a lot of the prominent artists – be it Beyoncé or Kanye West or ASAP Rocky – are now like, ‘Why am I giving people free press?’” says Jian DeLeon, editorial director at Highsnobiety.

Luxury logos have always been signals of success hip-hop, but rap’s explosion has shifted expectations. “They understand that they are now brands and they understand the power that their brands have. They’re not just using it to promote these symbols that they’ve made it. They know that they’ve made it.”

Ever since DJ Kool Herc’s first block parties, hip-hop has been a voice for the marginalised. Its look mattered as much as the sound, partly as an expression of self-identity, partly as shorthand for success. For those pioneering black artists who grew up amid crime and violence, whose music helped them transcend their place of birth and their lack of opportunities, European luxury brands were the original flex; a middle finger to a society that had written them off and a diamond-dripping, mink-trimmed embodiment of the American Dream for the people who bought their records.

Run DMC, 1985

True Street Wear

Rap is arguably music’s most entrepreneurial genre, obsessed with graft and hustle, status and the path up from the streets. No other sound has focused so much on starting from the bottom, perhaps because no other music has been so dominated by artists who started life at the bottom. The uniform of rock was stuff that would frighten fans’ mothers; for rap, it was clothes that backed up your bars.

Rap’s first commercial flush put its stars in financial reach of luxury, but they were still locked out by geography and race. Their focus on the grittier sides of street culture made brands wary. Biggie might big up Louis Vuitton, but its customers were white, old and didn’t want their couturier draped across an ex-drug dealer.

They were even less comfortable about selling to actual drug dealers, the only other people in Harlem in with the cash to afford them. They refused to wholesale there and made their Fifth Avenue stores as unwelcoming to young black men as possible. That inaccessibility made luxury even more covetable. So Harlem’s tailors figured out a workaround.

Do The Right Thing – Bill Nunn, 1989

The go-to was Dapper Dan, born Daniel Day, a haberdasher who would import bootlegged fabrics or screen-print logos onto luxury leather, then turn them into one-of-a-kind, street-inflected pieces like oversized bomber jackets and fur-trimmed coats. His clothes weren’t the copies of runway fashion you find on eBay; they were unique, hand-crafted and often more expensive than the originals. Particularly if you wanted something you’d never find in Fendi, like a parka with bulletproof panels, or hidden stash pockets.

“Dapper Dan has a term for what he did in the 1980s: ‘blackinize fashion’,” says Rachel Lifter, assistant professor of fashion studies at Parsons School of Design. His clothes embodied street culture and the needs and wants of people who were young and rich, but locked out of the things enjoyed by young, rich, white people. “He drew on a long legacy of black style as both a form of self-realisation and a statement of political-aesthetic resistance.”

Day defined hip-hop style for a decade – oversized, influenced by sportswear as much as luxury tailoring and designed to make sense in the street. It was clothing infused with swagger and for a rapper on the up-and-up, copping a Dapper Dan was a sign you’d made it.

“Rappers have always liked fashion and fashion for the longest time didn’t want to speak to that audience because it felt like it might have hurt the integrity of the brand,” says DeLeon. “[In Dapper Dan] they found someone who understood them, what their needs were and who spoke the same language.”

His creations appeared on album covers, red carpets and heavyweight champions – Mike Tyson commissioned a jacket with ‘Don’t Believe the Hype’ embroidered on the back before a 1988 title fight. Lawyers noticed (Tyson brawling outside Day’s store at five in the morning didn’t help). By the early 90s, Dapper Dan had been sued out of existence.

Mike Tyson with his Dapper Dan “Don’t Believe the Hype” jacket

The Evolution Of Hip-Hop Style

His demise coincided with rap’s toughening up and a shift in style to something more authentic. Rappers were also tiring of luxury’s knockbacks. When the Wu Tang Clan launched its own brand, Wu Wear, a generation of artists realised that they could control what they promoted and how they were rewarded.

They turned rejection into a statement of intent, creating clothes for fans who, like them, were at best only ever endured by the establishment. Like their music, their clothes reflected reality. The Wu Tang uniform of baggy jeans, baseball jackets and Timberlands was what you wore if, like them, you had an FBI file thicker than Crime and Punishment.

“You had the rise of so-called urban fashion,” says DeLeon. “You had Sean John by Diddy, Wu Wear. You had a lot of labels being started specifically by rappers who saw this gap in the market that was essentially, ‘Alright, fashion brands won’t speak to our listeners and to our audience, so let’s create something that’s authentically of that world.’”

As well as clothes, they launched their own drinks and cigars, sick of the tepid reception they received from brands who were happy to reap sales from their products appearing in rap videos, but still wanted to keep the rappers at arm’s length. “If Courvoisier or Moët won’t co-sign these rappers,” says DeLeon, “then why don’t they just start their own businesses and use their platform to promote their own products?”

Top: RZA, Pharrell Bottom: Dapper Dan, Sean Combs

Then came Pharrell. As N.E.R.D. turned the urban music technicolour, Pharrell gave hip-hop style new notes – skate, Japanese streetwear, punk. He created a world in which Kanye West could rock a backpack and pink polo and still outsell 50 Cent.

“There was this shift from a hive mind mentality of style toward a championing of individuality,” says DeLeon. “That’s what actually helped propel a lot of the fashion and style paradigm forward.” Pharrell fomented the environment in which Young Thug can wear dresses, Lil Uzi Vert can rep Gosha Rubchinskiy at the Grammys, and still feel part of the same movement. After Pharrell, hip-hop style lost its consistency, but it found its voice.

As rap climbed the charts, it lost its outsider status. Its biggest artists displaced pop stars, then became pop stars. Now, any rapper with an advance in their pocket could buy as much Fendi as they liked. Get on Spotify’s Rap Caviar and Louis Vuitton would probably send them a sack of clothes to wear on Instagram. “Luxury brands have woken up to a reality in which rappers are dominating the cultural conversation,” says Christopher Morency, editorial associate at Business of Fashion. Brands either get on board, or get left behind.

DeLeon cuts rap fashion into two eras: before and after Pharrell. If clothing had previously been about affiliation, now it was about knowledge as well. Those old markers of success, stripped of their exclusivity, were replaced by something more nuanced. Gucci and Louis still got their props (it helps that both rhyme easily) but now, Jay Z was namechecking Margiela. In 2015, ASAP Rocky devoted an entire song to Raf Simons.

Top: Jay-Z, Kanye West Bottom: Stormzy, ASAP Rocky

“When Rocky says ‘Rick Owens, Raf Simons, usually what I’m dressed in,’ [on ‘Peso’] it really a marked shift towards new, younger rappers understanding the importance of cultivating a really unique [approach to] fashion,” says DeLeon. “It wasn’t just about going in and getting the gaudiest shit possible. It was about understanding composition, nuance, and the overall appeal of the designers.”

The Life Of Abloh

Among the first rappers to pop up on fashion week’s front rows were ASAP Rocky and Kanye, artists who’d championed the interesting and esoteric from the outset and who made fashion an integral part of their identity. They opened the doors to true collaboration between brands and artists – two-way communication in which the tastes of the trendsetters inform what comes out of the atelier.

In 2016, ASAP Rocky became the first black face to front Dior Homme, but the campaign was about more than a luxury house chasing relevancy. “The relationship between [at the time] Dior Homme creative director Kris van Assche and Rocky dates back many years,” says Morency. “It was Rocky who gravitated to Dior Homme at first, not the other way around.”

From a standing start, fashion has entered into a deeply symbiotic relationship with rap. In the last two years, Louis Vuitton, Marc Jacobs and Saint Laurent have all released rap-fronted campaigns, part of a move to woo younger shoppers as their existing audience greys out.

“The new luxury consumer is Millennials and Gen Z,” says Morency. “By 2025, they’ll account for 45 per cent of the global personal luxury goods market. Luxury brands will have to embrace rappers if they want any credibility with that generation, but it needs to be authentic.”

For anyone interested in fashion, this is all good news. Hip-hop is the most creative movement in music and its attitude to boundaries has crossed over into our wardrobes. The elevation of streetwear, the mashing of high with low and the move towards genderless fashion can all be attributed, in various ways, to what rappers are wearing right now.

That cultural shift has also propelled Virgil Abloh to the top spot at Louis Vuitton, where he’s become the first black designer to helm a major luxury house. His roots in rap are inarguable and he brings to fashion a true sense of how street culture and high fashion intersect. Through his own brand, Off-White, he’s also helped black designers shake off the assumption that they only make ‘streetwear’.

Virgil Abloh and Kanye West at the Louis Vuitton SS19 runway show

“Streetwear has for some time served as a label through which the fashion industry can read blackness,” says Lifter. She points to Public School co-founder Maxwell Osborne, who in Sacha Jenkins’ rap-fashion documentary, Fresh Dressed, railed against how automatically the label was applied. “Our last design job was at Sean Jean under Puffy,” he says. “So I think when we started Public School it was automatically [considered] a streetwear brand – ‘you’re in this box’ – and I was like, ‘No, that’s not what we’re doing.’”

By challenging perceptions of what rappers wear and what black designers create, these artists force society to rethink what black art looks like, says Lifter. “They’re in different ways expanding how blackness can be represented in editorials and campaigns, performed within music videos and cover art, and materialised through new collections.”

For now, the brands are happy to help. Head to Gucci’s website today, and you’ll find a capsule collection, designed in collaboration with Dapper Dan, that recreates his most famous pieces. This year, Gucci even set Day up with a new shop in Harlem, stocked with exclusive (and heavily monogrammed) fabrics, so that he could kit out a new generation of rap royalty.

Dapper Dan x Gucci

The hook-up seemed partly an apology. A year earlier, Gucci debuted a note-for-note remake of a jacket Day made for Olympic sprinter Diane Dixon. The only difference? Day’s bootlegged Louis Vuitton logos had been usurped by Gucci’s interlocking Gs. Cue social media uproar, a reach-out from one designer to another and, a few months later, a Dapper Dan-fronted Gucci ad campaign. The bootlegger, now bootlegged, was back. But the style he’d created had never left.

7 Seminal Hip-Hop Looks & How To Wear Them Today

Run DMC and My Adidas

Run DMC, 1987

Hip-hop’s early years looked not all that dissimilar to now – big trainers and head-to-toe tracksuits. The music was brewed in b-boy culture, where sportswear the go-to because it was perfect for breakdancing. Run-DMC were the look’s biggest proponents, immortalising their favourite brand in ‘My Adidas’. After three stripes’ execs caught a Madison Square Garden performance in which fans all raised their sneakers on cue, Run-DMC earned an unheard-of million-dollar endorsement deal.

How to wear it now: Verbatim – the tracksuit look’s back and pairing an Adidas two-piece with a pair of Stan Smiths looks as good now as it did then. Just lose the jewellery and Kangol.

Adidas Originals

Black Consciousness

Public Enemy, 1988

In the late 80s, artists like KRS-One and Public Enemy coupled their anti-government, anti-police stance to a rising strain of black nationalism. They introduced traditional African clothing and references to their wardrobes – sportswear in red, green and black, beaded jewellery and kufis, paired with the military fatigues of the Black Panthers.

How to wear it now: Unless you’re black and looking to rep your cultural history – don’t. White guys in dreadlocks and dashikis are the worst kind of cultural appropriation. If you are, then it’s about mixing traditional African clothing with streetwear, or try embellishing military jackets with pan-African patches. For an elevated take, look to British designer Grace Wales-Bonner, whose clothes are like a wearable thesis on African history.

Wales-Bonner Spring 2019 Collection

Dapper Dan

Dapper Dan with LL Cool J, 1986

The Harlem tailor who dressed every 80s rapper that mattered, his creations are immortalised on the covers of Eric B & Rakim’s Paid in Full and Follow the Leader, as well as Salt-n-Pepa’s Icon. “Hip-hop was all about sampling, re-discovering old funk and soul records to flip into something new and fresh,” says stylist Chris Tang. “Dapper Dan applied those same methods to fashion.”

How to wear it now: You can do so literally, if you’ve got a few grand spare, by picking up something from the Gucci capsule collection. If not, think cut-and-paste. “Dapper Dan created these outlandish pieces using the iconic monograms,” says Tang, “then applied them in a way these fashion houses didn’t think to do at the time.” Echo him by going luxuriously logo mad – Fendi on Louis on Gucci on Chanel.

Dapper Dan x Gucci

Lo-Life

Lo-Life Crew

In the early 80s, Ralph Lauren marketed its Polo brand as the uniform of WASPS – wealthy, white guys who weekended on their yacht. But its exclusivity had an unintentional effect on hip-hop style. “The Stadium collection enticed the black and latino community all over the US,” says Tang. “The infamous Lo-Life gang became notorious for stealing large amounts of Polo clothing from department stores.”

How to wear it now: “In 1994, Raekwon wore the Snow Beach windbreaker, which earned it its stripes within hip-hop culture,” says Tang. Ralph Lauren wasn’t pleased about it at the time, but has since re-released the collection, as well as a CP-93 America’s Cup capsule, another favourite of the Lo-Heads.

Ralph Lauren Limited Edition Polo Stadium Collection

Hardcore

Straight Outta Compton, 2015

While New York was going big on fur and luxury labels, in LA, NWA stuck to a utilitarian uniform that reflected their sound – black jeans, white tees and hometown baseball caps. They were also big on athletic wear – coach and baseball jackets (often with the Oakland Raiders logo emblazoned on the back), topped off with gold chains as thick as your arm.

How to wear it now: bar the sagged, baggy jeans, everything else in NWA’s look has been reanimated by the 90s revival. Just keep away from costume by losing the Raiders logos, and maybe think dad cap rather than flat peak.

Hood By Air SS14 Backstage

Pharrell Brings East To West

Pharrell Williams

When it seemed every rapper was shilling their own, uninspired fashion label, Pharrell blew apart what hip hop style looked like. In large part that was thanks to his embrace of Japanese brands, particularly A Bathing Ape. “It introduced flamboyant camo print hoodies, rare Bapte-sta trainers and limited silk screen T-shirts,” says Tang. “The idea of a collector’s item and high price point made many people see the brand as something covetable. It was the start of luxury streetwear.”

How to wear it now: Bape’s lost its lustre, after an aggressive expansion stripped it of exclusivity. But Japan remains a hotbed of American-influenced, luxury streetwear brands. As well as OGs like Undercover and Neighbourhood, look to the likes of Wacko Maria, Sasquatchfabrix and Cav Empt, who offer modern spins on hip-hop silhouettes.

WACKO MARIA Spring/Summer 2018 Collection

Kanye Reinvents The Sneaker Game

Kanye West in Yeezy

Kanye West has spent most of his career complaining that he’s not taken seriously as a designer, and while his first attempts at high fashion bombed, with Yeezy he’s become a model for the kind of power and influence rappers can have over fashion and, more importantly, business. Before Kanye, rappers were lucky to be paid to wear a brand’s clothes. Now, they’re at the controls.

How to wear it now: The Yeezy look is all about mixing high and low fashion – a hoodie with a tailored overcoat, trainers with slim-fit jeans. He’s been instrumental in elevating streetwear into something that can be worn anywhere. So, do.

Yeezy show, New York Fashion Week AW16

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naszsrem · 7 years

Text

Już dawno na Inea Stadionie nie widzieliśmy takiej dominacji piłkarzy Lecha Poznań nad Legią Warszawa. Wojskowi praktycznie na boisku byli niewidoczni i zasłużenie przegrali z dobrze grającym Kolejorzem 3:0.

Bramki dla Lecha Poznań zdobywali: 1:0 Maciej Gajos (12-głową), 2:0 Łukasz Trałka (38-głową), 3:0 Maciej Makuszewski (65).

Poniżej fotorelacja ze spotkania okiem naszsrem.pl

Lech Poznań – Legia Warszawa 3:0 (2:0)

Bramki: 1:0 Maciej Gajos (12-głową), 2:0 Łukasz Trałka (38-głową), 3:0 Maciej Makuszewski (65).

Żółta kartka – Lech Poznań: Maciej Makuszewski, Emir Dilaver, Nicki Bille Nielsen. Legia Warszawa: Michał Kopczyński, Guilherme, Maciej Dąbrowski.

Sędzia: Szymon Marciniak (Płock). Widzów 36˙829.

Lech Poznań: Matus Putnocky – Robert Gumny, Lasse Nielsen, Rafał Janicki, Emir Dilaver – Maciej Makuszewski, Łukasz Trałka, Darko Jevtic (88. Radosław Majewski), Maciej Gajos, Mario Situm (22. Mihai Radut) – Nicki Bille Nielsen (70. Christian Gytkjaer).

Legia Warszawa: Arkadiusz Malarz – Łukasz Broź, Maciej Dąbrowski, Michał Pazdan, Adam Hlousek – Michał Kucharczyk (46. Guilherme), Michał Kopczyński (79. Tomasz Jodłowiec), Kasper Hamalainen, Thibault Moulin, Dominik Nagy – Armando Sadiku (64. Jarosław Niezgoda).

OLYMPUS DIGITAL CAMERA

Kocioł. Tradycyjnie doping na Inea Stadionie stał na najwyższym poziomie.

OLYMPUS DIGITAL CAMERA

Legia upokorzona w Poznaniu. Bezapelacyjne zwycięstwo Kolejorza [Zdjęcia] Już dawno na Inea Stadionie nie widzieliśmy takiej dominacji piłkarzy Lecha Poznań nad Legią Warszawa. Wojskowi praktycznie na boisku byli niewidoczni i zasłużenie przegrali z dobrze grającym Kolejorzem 3:0.

#inea stadion #lech poznań #piłka nożna

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awesomejanekellyblog-blog · 7 years

Photo

08-04 The delusion of Christian Gytkjaer (Lech) and Nickie Bille Nielsen (Lech) after the UEFA Europa League Third Qualifying Round Second Leg match between Lech Pozna and FC Utrecht at Stadio ... http://dlvr.it/Pbs7fM

#bille

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racingguimaraes · 7 years

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PORSCHE VENCE AS 24H DE LE MANS DE 2017

http://ift.tt/2sPTUZF

PORSCHE VENCE AS 24H DE LE MANS DE 2017

De último (57º) para a vitória nas 24 Horas de Le Mans. Quem diria que o Porsche 919 número 2 viria a ganhar a edição deste ano depois de ter perdido mais de uma hora em reparações nas primeiras horas da corrida.

Mas venceu, contra todas as expetativas, aproveitando a hecatombe da Toyota e o azar do Porsche 919 número 1 que liderou durante as primeiras horas da madrugada, ultrapassando o Oreca # 38 da Jackie Chan DC Racing, que liderou a corrida e os LMP2, quando faltava uma hora para o final.

O 919 número 2 de Timo Bernhard, Earl Bamber e Brendon Hartley cruzou a linha de meta com uma vantagem de uma volta sobre o Oreca número 38, que venceu na categoria LMP2. É a terceira vitória consecutiva e a 19ª da Porsche nas 24 Horas de Le Mans.

O único Toyota sobrevivente, o número 8, terminou no nono lugar da geral, a 9 voltas do vencedor.

No LMP2, como se disse, o Oreca # 38 da Jackie Chan DC Racing, com Ho-Pin Tung, Thomas Laurent e Oliver Jarvis, venceu, deixando os mais diretos adversários, Nelson Piquet Jr, David Henmeier Hanson e Mathias Beche, a mais de três voltas.

Filipe Albuquerque terminou em quinto com o Ligier # 32 da United Autosports que dividiu com Will Owen e Hugo de Sadeleer.

Nos GTE Pro, a vitória decidiu-se na penúltima volta quando um furo tirou o Corvette C7 R # 63 de Jan Magnussen, Antonio Garcia e Jordan Taylor da liderança e ofereceu a vitória ao Aston Martin # 97 de Jonathan Adam, Darren Turner e Daniel Serra.

O furo acabou por relegar o Corvette para o terceiro posto, atrás do Ford GT # 67 de Harry Tincknell, Andy Priaulx e Pipo Derani.

Em GTE Am, três Ferrari 488 nos três primeiros lugares. O melhor foi o número 84 de Dries Vanthoor, Will Stevens e Robert Simth, na frente do Ferrari 488 da JMW Motorsport de Marco Cioci, Aaron Scott e Duncan Camero, e do Ferrari 488 # 55 da Spirit of Race, e por Cooper McNeil, William Sweedler e Towsend Bell no Ferrari 488 # 62 da Scuderia Corsa.

Pedro Lamy teve de contentar-se com o oitavo lugar no Aston Martin # 98 que dividiu com Mathias Lauda e Paul Dalla Lana, enquanto Álvaro Parente foi 11º no Ferrari 488# 60 da Clearwater que partilhou com Richard Wee e Hiroki Katoh.

RESULTADO DA CORRIDA

O número mínimo de voltas para classificação (70% da distância de corrida geral do carro vencedor) foi de 257 voltas. Vencedores da classe em negrito.

CLASSE

Nº

EQUIPA

PILOTOS

CHASSIS

VOLTAS

TEMPO

MOTORES

LMP1

PORSCHE LMP TEAM

TIMO BERNHARD

BRENDON HARTLEY

EARL BAMBER

PORSCHE 919 HYBRID

367

24:01:14.075

PORSCHE 2.0 L TURBO V4

LMP2

JACKIE CHAN DC RACING

HO-PIN TUNG

THOMAS LAURENT

OLIVER JARVIS

ORECA 07

366

+1 VOLTA

GIBSON GK428 4.2 L V8

LMP2

VAILLANTE REBELLION

NELSON PIQUET JR.

MATHIAS BECHE

DAVID HEINEMEIER HANSSON

ORECA 07

364

+3 VOLTAS

GIBSON GK428 4.2 L V8

LMP2

JACKIE CHAN DC RACING

DAVID CHENG

TRISTAN GOMMENDY

ALEX BRUNDLE

ORECA 07

363

+4 VOLTAS

GIBSON GK428 4.2 L V8

LMP2

SIGNATECH ALPINE MATMUT

NELSON PANCIATICI

PIERRE RAGUES

ANDRÉ NEGRÃO

ALPINE A470

362

+5 VOLTAS

GIBSON GK428 4.2 L V8

LMP2

UNITED AUTOSPORTS

WILLIAM OWEN

HUGO DE SADELEER

FILIPE ALBUQUERQUE

LIGIER JS P217

362

+5 VOLTAS

GIBSON GK428 4.2 L V8

LMP2

GRAFF

JAMES ALLEN

RICHARD BRADLEY

FRANCK MATELLI

ORECA 07

361

+6 VOLTAS

GIBSON GK428 4.2 L V8

LMP2

CEFC MANOR TRS RACING

TOR GRAVES

JONATHAN HIRSCHI

JEAN-ÉRIC VERGNE

ORECA 07

360

+7 VOLTAS

GIBSON GK428 4.2 L V8

LMP1

TOYOTA GAZOO RACING

SÉBASTIEN BUEMI

KAZUKI NAKAJIMA

ANTHONY DAVIDSON

TOYOTA TS050 HYBRID

358

+9 VOLTAS

TOYOTA 2.4 L TURBO V6

LMP2

CETILAR VILLORBA CORSE

ANDREA BELICCHI

ROBERTO LACORTE

GIORGIO SERNAGIOTTO

DALLARA P217

353

+14 VOLTAS

GIBSON GK428 4.2 L V8

LMP2

SIGNATECH ALPINE MATMUT

ROMAIN DUMAS

GUSTAVO MENEZES

MATT RAO

ALPINE A470

351

+16 VOLTAS

GIBSON GK428 4.2 L V8

LMP2

TOCKWITH MOTORSPORTS

PHILIP HANSON

NIGEL MOORE

KARUN CHANDHOK

LIGIER JS P217

351

+16 VOLTAS

GIBSON GK428 4.2 L V8

LMP2

IDEC SPORT RACING

PATRICE LAFARGUE

PAUL LAFARGUE

DAVID ZOLLINGER

LIGIER JS P217

344

+23 VOLTAS

GIBSON GK428 4.2 L V8

LMP2

RACING TEAM NEDERLAND

RUBENS BARRICHELLO

JAN LAMMERS

FRITS VAN EERD

DALLARA P217

344

+23 VOLTAS

GIBSON GK428 4.2 L V8

LMP2

DRAGONSPEED – 10 STAR

HENRIK HEDMAN

FELIX ROSENQVIST

BEN HANLEY

ORECA 07

343

+24 VOLTAS

GIBSON GK428 4.2 L V8

LMP2

EURASIA MOTORSPORT

JACQUES NICOLET

PIERRE NICOLET

ERIK MARIS

LIGIER JS P217

341

+26 VOLTAS

GIBSON GK428 4.2 L V8

LMP2

VAILLANTE REBELLION

BRUNO SENNA

NICOLAS PROST

JULIEN CANAL

ORECA 07

340

+27 VOLTAS

GIBSON GK428 4.2 L V8

LMGTE PRO

ASTON MARTIN RACING

DARREN TURNER

JONATHAN ADAM

DANIEL SERRA

ASTON MARTIN VANTAGE GTE

340

+27 VOLTAS

ASTON MARTIN 4.5 L V8

LMGTE PRO

FORD CHIP GANASSI TEAM UK

HARRY TINCKNELL

ANDY PRIAULX

PIPO DERANI

FORD GT

340

+27 VOLTAS

FORD ECOBOOST 3.5 L TURBO V6

LMGTE PRO

CORVETTE RACING – GM

JAN MAGNUSSEN

ANTONIO GARCÍA

JORDAN TAYLOR

CHEVROLET CORVETTE C7.R

340

+27 VOLTAS

CHEVROLET 5.5 L V8

LMGTE PRO

PORSCHE GT TEAM

RICHARD LIETZ

FRÉDÉRIC MAKOWIECKI

PATRICK PILET

PORSCHE 911 RSR

339

+28 VOLTAS

PORSCHE 4.0 L FLAT-6

LMGTE PRO

AF CORSE

DAVIDE RIGON

SAM BIRD

MIGUEL MOLINA

FERRARI 488 GTE

339

+28 VOLTAS

FERRARI F154CB 3.9 L TURBO V8

LMGTE PRO

FORD CHIP GANASSI TEAM USA

JOEY HAND

TONY KANAAN

DIRK MÜLLER

FORD GT

339

+28 VOLTAS

FORD ECOBOOST 3.5 L TURBO V6

LMGTE PRO

FORD CHIP GANASSI TEAM USA

RYAN BRISCOE

SCOTT DIXON

RICHARD WESTBROOK

FORD GT

337

+30 VOLTAS

FORD ECOBOOST 3.5 L TURBO V6

LMGTE PRO

CORVETTE RACING – GM

OLIVER GAVIN

TOMMY MILNER

MARCEL FÄSSLER

CHEVROLET CORVETTE C7.R

335

+32 VOLTAS

CHEVROLET 5.5 L V8

LMGTE PRO

ASTON MARTIN RACING

NICKI THIIM

MARCO SØRENSEN

RICHIE STANAWAY

ASTON MARTIN VANTAGE GTE

334

+33 VOLTAS

ASTON MARTIN 4.5 L V8

LMGTE AM

JMW MOTORSPORT

ROBERT SMITH

WILL STEVENS

DRIES VANTHOOR

FERRARI 488 GTE

333

+34 VOLTAS

FERRARI F136GT 4.5 L V8

LMGTE PRO

FORD CHIP GANASSI TEAM UK

STEFAN MÜCKE

OLIVIER PLA

BILLY JOHNSON

FORD GT

332

+35 VOLTAS

FORD ECOBOOST 3.5 L TURBO V6

LMGTE AM

SPIRIT OF RACE

DUNCAN CAMERON

AARON SCOTT

MARCO CIOCI

FERRARI 488 GTE

331

+36 VOLTAS

FERRARI F154CB 3.9 L TURBO V8

LMGTE AM

SCUDERIA CORSA

COOPER MACNEIL

BILL SWEEDLER

TOWNSEND BELL

FERRARI 488 GTE

331

+36 VOLTAS

FERRARI F154CB 3.9 L TURBO V8

LMGTE AM

BEECHDEAN AMR

ANDREW HOWARD

ROSS GUNN

OLIVER BRYANT

ASTON MARTIN VANTAGE GTE

331

+36 VOLTAS

ASTON MARTIN 4.5 L V8

LMGTE AM

CLEARWATER RACING

WENG SUN MOK

KEITA SAWA

MATT GRIFFIN

FERRARI 488 GTE

330

+37 VOLTAS

FERRARI F154CB 3.9 L TURBO V8

LMP2

ALGARVE PRO RACING

MARK PATTERSON

MATT MCMURRY

VINCENT CAPILLAIRE

LIGIER JS P217

330

+37 VOLTAS

GIBSON GK428 4.2 L V8

LMP2

SMP RACING

MIKHAIL ALESHIN

SERGEY SIROTKIN

VIKTOR SHAITAR

DALLARA P217

330

+37 VOLTAS

GIBSON GK428 4.2 L V8

LMGTE AM

DEMPSEY-PROTON RACING

CHRISTIAN RIED

MARVIN DIENST

MATTEO CAIROLI

PORSCHE 911 RSR

329

+38 VOLTAS

PORSCHE 4.0 L FLAT-6

LMGTE AM

TF SPORT

SALIH YOLUC

EUAN HANKEY

ROB BELL

ASTON MARTIN VANTAGE GTE

329

+38 VOLTAS

ASTON MARTIN 4.5 L V8

LMGTE AM

ASTON MARTIN RACING

PAUL DALLA LANA

MATHIAS LAUDA

PEDRO LAMY

ASTON MARTIN VANTAGE GTE

329

+38 VOLTAS

ASTON MARTIN 4.5 L V8

LMGTE AM

PROTON COMPETITION

PATRICK LONG

MIKE HEDLUND

ABDULAZIZ AL FAISAL

PORSCHE 911 RSR

329

+38 VOLTAS

PORSCHE 4.0 L FLAT-6

LMGTE AM

GULF RACING UK

MICHAEL WAINWRIGHT

BEN BARKER

NICK FOSTER

PORSCHE 911 RSR

328

+39 VOLTAS

PORSCHE 4.0 L FLAT-6

LMP2

G-DRIVE RACING

MEMO ROJAS

RYŌ HIRAKAWA

JOSÉ GUTIÉRREZ

ORECA 07

327

+40 VOLTAS

GIBSON GK428 4.2 L V8

LMGTE AM

CLEARWATER RACING

RICHARD WEE

ÁLVARO PARENTE

HIROKI KATOH

FERRARI 488 GTE

327

+40 VOLTAS

FERRARI F154CB 3.9 L TURBO V8

LMGTE AM

SPIRIT OF RACE

THOMAS FLOHR

FRANCESCO CASTELLACCI

OLIVIER BERETTA

FERRARI 488 GTE

326

+41 VOLTAS

FERRARI F154CB 3.9 L TURBO V8

LMGTE AM

DH RACING

TRACY KROHN

NICLAS JÖNSSON

ANDREA BERTOLINI

FERRARI 488 GTE

320

+47 VOLTAS

FERRARI F154CB 3.9 L TURBO V8

LMP2

GRAFF

ERIC TROUILLET

ENZO GUIBBERT

JAMES WINSLOW

ORECA 07

318

+49 VOLTAS

GIBSON GK428 4.2 L V8

LMGTE AM

SCUDERIA CORSA

CHRISTINA NIELSEN

ALESSANDRO BALZAN

BRET CURTIS

FERRARI 488 GTE

314

+53 VOLTAS

FERRARI F154CB 3.9 L TURBO V8

LMP2

ARC BRATISLAVA

MIROSLAV KONÔPKA

KONSTANTĪNS CALKO

RIK BREUKERS

LIGIER JS P217

314

+53 VOLTAS

GIBSON GK428 4.2 L V8

LMGTE PRO

AF CORSE

JAMES CALADO

ALESSANDRO PIER GUIDI

MICHELE RUGOLO

FERRARI 488 GTE

312

+55 VOLTAS

FERRARI F154CB 3.9 L TURBO V8

LMP2

KEATING MOTORSPORT

BEN KEATING

RICKY TAYLOR

JEROEN BLEEKEMOLEN

RILEY MK. 30

312

+55 VOLTAS

GIBSON GK428 4.2 L V8

LMGTE AM

LARBRE COMPÉTITION

ROMAIN BRANDELA

CHRISTIAN PHILIPPON

FERNANDO REES

CHEVROLET CORVETTE C7.R

309

+58 VOLTAS

CHEVROLET 5.5 L V8

DNF

LMP1

PORSCHE LMP TEAM

NEEL JANI

NICK TANDY

ANDRÉ LOTTERER

PORSCHE 919 HYBRID

318

MECÂNICO

PORSCHE 2.0 L TURBO V4

DNF

LMP2

PANIS BARTHEZ COMPETITION

FABIEN BARTHEZ

TIMOTHÉ BURET

NATHANAËL BERTHON

LIGIER JS P217

296

RETIRADO

GIBSON GK428 4.2 L V8

DNF

LMP2

TDS RACING

FRANÇOIS PERRODO

EMMANUEL COLLARD

MATTHIEU VAXIVIÈRE

ORECA 07

213

RETIRADO

GIBSON GK428 4.2 L V8

DNF

LMGTE PRO

PORSCHE GT TEAM

MICHAEL CHRISTENSEN

KÉVIN ESTRE

DIRK WERNER

PORSCHE 911 RSR

179

RETIRADO

PORSCHE 4.0 L FLAT-6

DNF

LMP1

TOYOTA GAZOO RACING

JOSÉ MARÍA LÓPEZ

NICOLAS LAPIERRE

YUJI KUNIMOTO

TOYOTA TS050 HYBRID

160

PUNÇÃO

TOYOTA 2.4 L TURBO V6

DNF

LMP1

TOYOTA GAZOO RACING

MIKE CONWAY

KAMUI KOBAYASHI

STÉPHANE SARRAZIN

TOYOTA TS050 HYBRID

154

EMBRIAGUEM

TOYOTA 2.4 L TURBO V6

DNF

LMP2

CEFC MANOR TRS RACING

ROBERTO GONZÁLEZ

SIMON TRUMMER

VITALY PETROV

ORECA 07

152

COLISÃO

GIBSON GK428 4.2 L V8

DNF

LMGTE PRO

RISI COMPETIZIONE

TONI VILANDER

GIANCARLO FISICHELLA

PIERRE KAFFER

FERRARI 488 GTE

COLISÃO

FERRARI F154CB 3.9 L TURBO V8

DNF

LMP2

G-DRIVE RACING

ROMAN RUSINOV

PIERRE THIRIET

ALEX LYNN

ORECA 07

COLISÃO

GIBSON GK428 4.2 L V8

DNF

LMGTE AM

PROTON COMPETITION

KLAUS BACHLER

STÉPHANE LÉMERET

KHALID AL QUBAISI

PORSCHE 911 RSR

COLISÃO

PORSCHE 4.0 L FLAT-6

DNF

LMP1

BYKOLLES RACING TEAM

DOMINIK KRAIHAMER

OLIVER WEBB

MARCO BONANOMI

ENSO CLM P01/01

RETIRADO

NISMO VRX30A 3.0 L TURBO V6

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