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The city of San Francisco filed a lawsuit against some of the nation’s top food manufacturers on Tuesday, arguing that ultraprocessed food from the likes of Coca-Cola and Nestle are responsible for a public health crisis.City Attorney David Chiu named 10 companies in the lawsuit, including the makers of such popular foods as Oreo cookies, Sour Patch Kids, Kit Kat, Cheerios and Lunchables. The lawsuit argues that ultraprocessed foods are linked to diseases such as Type 2 diabetes, fatty liver disease and cancer.“They took food and made it unrecognizable and harmful to the human body,” Chiu said in a news release. “These companies engineered a public health crisis, they profited handsomely, and now they need to take responsibility for the harm they have caused.”Ultraprocessed foods include candy, chips, processed meats, sodas, energy drinks, breakfast cereals and other foods that are designed to “stimulate cravings and encourage overconsumption,” Chiu’s office said in the release. Such foods are “formulations of often chemically manipulated cheap ingredients with little if any whole food added,” Chiu wrote in the lawsuit.The other companies named in the lawsuit are PepsiCo; Kraft Heinz Company; Post Holdings; Mondelez International; General Mills; Kellogg; Mars Incorporated; and ConAgra Brands.None of the companies named in the suit immediately responded to emailed requests for comment.U.S. Health Secretary Robert F. Kennedy Jr. has been vocal about the negative impact of ultraprocessed foods and their links to chronic disease and has targeted them in his Make America Healthy Again campaign. Kennedy has pushed to ban such foods from the Supplemental Nutrition Assistance Program for low-income families.An August report by the U.S. Centers for Disease Control and Prevention found that most Americans get more than half their calories from ultraprocessed foods.In October, California Gov. Gavin Newsom signed a first-in-the-nation law to phase out certain ultraprocessed foods from school meals over the next decade.San Francisco’s lawsuit cites several scientific studies on the negative impact of ultraprocessed foods on human health.“Mounting research now links these products to serious diseasesincluding Type 2 diabetes, fatty liver disease, heart disease, colorectal cancer, and even depression at younger ages,” University of California, San Francisco, professor Kim Newell-Green said in the news release.The lawsuit argues that by producing and promoting ultraprocessed foods, the companies violate California’s Unfair Competition Law and public nuisance statute. It seeks a court order preventing the companies from “deceptive marketing” and requiring them to take actions such as consumer education on the health risks of ultraprocessed foods and limiting advertising and marketing of ultraprocessed foods to children.It also asks for financial penalties to help local governments with health care costs caused by the consumption of ultraprocessed foods. Jaimie Ding, Associated Press
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E-Commerce
Spotify Wrapped 2025 is here, and its inspired by mixtapes, DIY aesthetics, and all things pre-internet. After plenty of anticipation, Wrapped has now debuted for the eleventh year in a row. As public interest in Wrapped has mounted exponentially each yearand other brands have flocked to dupe the formatSpotify has been compelled to continuously up the ante on its own design concept, and this year is no exception. Wrapped 2025 comes with 12 brand new features, each intended to make the experience more personalized than years past. In the music world (and everywhere else), 2025 has been a year dominated by conversation around the explosion of AI technology. In September, Spotify itself issued new policies around AI-generated music, explaining that while it wont ban AI-generated songs or AI tools, it is focused on removing what it calls AI slop from the platform. At the time, Spotify said it had already removed 75 million spammy AI tracks from the site in just 12 months. Now, it appears Spotify is going full anti-AI in the design of Wrapped. [Image: Spotify] If brands are looking to the future or to AI for inspiration, we did the opposite, Payman Kassaie, Spotifys director of brand and creative, said in a press conference ahead of the launch. This year, Wrapped is rooted in the world of mixtape cultureand its a refreshing change from last years Wrapped, which was widely critiqued for embracing AI. [Image: Spotify] How Spotify Wrapped became a marketing hit Since debuting in 2014, Wrapped has become a massive hit for Spotify. In 2023, the campaign drew in more than 225 million monthly active users and increased engagement by 40% year-over-year across 170 markets, according to an earnings report from the company. And thats not even counting the free marketing that Spotify rakes in annually through the thousands of user-generated, organic posts from Spotifys user base of 700 million, who share their Wrapped results with followers across socials. To meet the hype, Spotify has slowly turned Wrapped into a design-centric extravaganza, debuting an entirely fresh look and feel for the review each year. Spotify’s 2022 wrapped: “Listening Personality”. [Image: Spotify] In 2021, the brand introduced Audio Aura, a color analysis of users top musical moods. In 2022, it tried out a zodiac-esque feature called Listening Personality alongside a psychedelic design. And last year, it opted for a techy, glitchy aesthetic to complement a new add-on called Music Evolution, which tracked users musical eras over the course of the year, and an AI-generated podcast feature that narrated users’ listening history (but somehow did not include top album or genre stats). While typically an easy brand win, last year’s launch was broadly panned. [Image: Spotify] Spotify Wrapped 2025 embraces a retro aesthetic To appease those critiques, Spotify appears to be doing a full 180 with this years design. The techy aesthetic has been traded for a look that calls to mind an era when listening to music was a physical processfrom building a mixtape to burning your own CD or even putting together a scrapbook of your favorite artists. [Image: Spotify] We looked back at the way people used to share music before Wrapped existed, and that led us to rooting our visual identity this year in the world of mixtape culture, Kassaie said. I may be dating myself a bit here, but if you’ve ever burned a CD for a friend, you know that each one becomes its own little canvas for the creator. That’s kind of the feeling we wanted to captue with this year’s design.” [Images: Spotify] Every visual, he added, is made to feel handmade, with cutouts, images, doodles, and various textures lending the platform a DIY quality. The design is grounded in a palette of black and white, with pops of color reserved for key moments like artist images and album covers. [Image: Spotify] On the data side, Spotifys team went back to the drawing board to differentiate itself from competitors. This year, it will offer a top album list for the first time ever. In addition, its introducing 12 entirely new data-driven features, including Listening Age, which analyzes the five year span of music that users engaged with more than others in their age group; Wrapped Clubs, which sorts users into one of six clubs based on listening style; and Wrapped Party, which lets groups of friends compare their Wrapped data in a real-time, interactive setting. [Image: Spotify] Spotify hasnt entirely forgone AI in this process, either. Listening Archive is an AI-powered feature that spotlights certain days throughout the year, like a users biggest discovery day or most nostalgic day. Still, the overall vibe of Spotify Wrapped 2025 is less a celebration of AI, and more a return to the fundamentals that make sharing music fun. [Image: Spotify]
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E-Commerce
Less than five months have passed since American Eagles controversial Sydney Sweeney campaign, which led to accusations ranging from cluelessness to Nazi propaganda. While the mall mainstay defended the campaign and has escaped relatively unscathed, a new quarterly earnings report shows the success of its sister-brand Aerie is buoying its financial results. On Tuesday, December 2, apparel retail company American Eagle Outfitters (AEO) shared its third-quarter earnings for fiscal 2025, including $1.36 billion in revenue. The 6% increase year-over-year (YOY) beat Wall Streets predicted $1.32 billion in revenue, according to consensus estimates cited by CNBC. The company also reported earnings per share of 53 cents, compared to 44 cents expected. American Eagles namesake brandand home to the Sydney Sweeney has great jeans advertisementscant claim much responsibility for the jump. Its comparable sales grew by only 1% YOY, while Aeries comparable sales jumped 11% YOY. “Resurgence in intimates” Looking at the fiscal year to date, Aerie also reported higher revenue than last year, while the American Eagle brand lagged behind itself YOY. In an earnings call, president and executive creative director of American Eagle and Aerie, Jennifer Foyle, pointed to a “resurgence in intimates and strength across all of the brands offerings, as key to Aeries success. Foyle added that the brand has seen an acceleration in demand since the spring. In October, Aerie made an anti-AI pledge, promising not to use the technology to generate bodies or people in its ads, staying 100% Aerie real. AEO has raised its fourth-quarter guidance, with CEO Jay Schottenstein sharing that the company had a record-breaking Thanksgiving weekend led by an acceleration in demand across brands and channels and underscored by outstanding growth at Aerie and Offline. Offline is an activewear brand opened by American Eagle in 2020. The company now predicts $155 to $160 million in operating income for the fourth quarter, up from $125 to $130 million, and an 8% to 9% increase in comparable sales. Its operating income guidance for the fiscal year also rose, jumping from between $255 and $265 million to $303 to $308 million. Investors responded with glee to the news. American Eagle shares (NYSE:AEO) rose more than 14% after-hours and into premarket trading on Wednesday. The stock is up more than 21% year to date.
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E-Commerce
The Trump administration is pausing all immigration applications such as requests for green cards for people from 19 countries banned from travel earlier this year, as part of sweeping immigration changes in the wake of the shooting of two National Guard troops.The changes were outlined in a policy memo posted Tuesday on the website of U.S. Citizenship and Immigration Services, the agency tasked with processing and approving all requests for immigration benefits.The pause puts on hold a wide range of immigration-related decisions such as green card applications or naturalizations for immigrants from those 19 countries that the Trump administration has described as high-risk. It’s up to the agency’s director, Joseph Edlow, on when to lift the pause, the memo said.The administration in June banned travel to the U.S. by citizens of 12 countries and restricted access for those from seven others, citing national security concerns.The ban applied to citizens of Afghanistan, Myanmar, Chad, the Republic of Congo, Equatorial Guinea, Eritrea, Haiti, Iran, Libya, Somalia, Sudan and Yemen while the restricted access applied to people from Burundi, Cuba, Laos, Sierra Leone, Togo, Turkmenistan and Venezuela.At the time, no action was taken against immigrants from those countries who were already in the U.S. before the travel ban went into effect.But now the news from USCIS means those people already in the U.S. regardless of when they arrived will come under extra scrutiny.The agency said it would conduct a comprehensive review of all “approved benefit requests” for immigrants who entered the country during the Biden administration.The agency cited the shooting of two National Guard troops by a suspect who is an Afghan national as a reason for the pause and heightened scrutiny for people from those countries. One National Guard soldier was killed and another wounded in the Thanksgiving week shooting near the White House.“In light of identified concerns and the threat to the American people, USCIS has determined that a comprehensive re-review, potential interview, and re-interview of all aliens from high-risk countries of concern who entered the United States on or after January 20, 2021 is necessary,” the agency said.The agency said in the Tuesday memo that within 90 days it would create a prioritized list of immigrants for review and if necessary, referral to immigration enforcement or other law enforcement agencies.Since the shooting, the administration has announced a flurry of decisions it was taking to scrutinize immigrants already in the country and those seeking to come to the U.S.Last week, the director of USCIS said in a social media post that his agency would be reexamining green card applications for people from countries “of concern.” But the policy directive Tuesday goes further and lays out in more detail the scope of who will be affected.USCIS also said last week that it was pausing all asylum decisions, and the State Department said it was halting visas for Afghans who assisted the U.S. war effort.Days before the shooting, USCIS said in a separate memo that the administration would review the cases of all refugees who entered the U.S. during the Biden administration.Critics have said that the Trump administration’s actions have amounted to collective punishment for immigrants. Rebecca Santana, Associated Press
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E-Commerce
Chanel’s new showman, Matthieu Blazy, took his designs on the road Tuesday or rather, underground, with a buzzy New York runway show staged on an actual subway platform.The designer, just weeks after his splashy Paris debut for Chanel in October, took over a decommissioned part of Manhattan’s Bowery station for his first Métiers d’Art collection. The annual show, which takes place in a different city each year, celebrates the craftsmanship of the artisans that partner with Chanel.In this case, it was two showsone in the afternoon and one in the evening. And befitting the first Chanel shows in New York since 2018, there were VIPs aplenty: A$AP Rocky, Tilda Swinton, Ayo Edebiri, Rose Byrne, Kristen Stewart, Sofia Coppola, Lupita Nyong’o, Jessie Buckley, Margaret Qualley, Bowen Yang, Jon Bon Jovi, and many others.The location had been a closely held secret. Guests entered via a doorway at 168 Bowery, and at first, it seemed like Chanel had perhaps decorated an event space to resemble a subway station, complete with tiled walls, turnstiles and a newsstand (with its own bespoke newspapers).But down a flight of stairs was the real platform. Guests settled into bleacher seats resembling subway benches. “Stand clear of the closing doors!” came the announcement on the soundtrack, familiar to New Yorkers. Then a train came rolling in, and out of the cars came the models.The show was a marked contrast in vibe with the last Métiers d’Art collection in New York in 2018, when the late designer Karl Lagerfeld took over the Egyptian Temple of Dendur at the Metropolitan Museum of Art for what felt like a mini-Met Gala, with clothes channeling the luxury of Egyptian royalty.Blazy was inspired not by royalty but by ordinary urban commuters, of different ages and types, coming together in a mashup of styles from different eras, from the 1920s onward.“The New York subway belongs to all,” the designer said in his show notes. “Everyone uses it. There are students and game-changers, statesmen and teenagers. It is a place full of wonderful encounters, a clash of pop archetypes.”His models strolled the platform, some checking for arriving trainsfeigning annoyance at their latenessor leaning against a post as they waited. Their numbers increased until, by the end, there was a virtual rush hour of fashion, with the eclectic soundtrack playing the Happy Days theme song as a finale.Some of these commuters wore classic Chanel suitsperhaps with an “I (Heart) NY” T-shirtand others, tweed coats, flowing black capes or brightly patterned skirts. All were intended to show off the craftsmanship involved.“This felt like breaking the system,” said Stewart, speaking after the afternoon show. “I genuinely had an emotional response to the show. I felt like I just saw so many different versions of a person walking. It wasn’t one woman.”Stewart, like others, had no idea going in what the show’s theme would be, and thought the subway environment felt like “a flurry of fleeting caught moments.”“Like, ‘Where is she going?’ I wanted to go with them,” Stewart said. “I believed in it. All of this is artifice, but when you do a really good impression of the truth, you find your own. This felt real to me.”It was real enough that Chanel had printed its own “newspaper”called La Gazetteto accompany the show, with articles and interviews. An interview with Blazy quoted the designer as saying the collection was inspired partly by the 1931 visit to New York of Gabrielle “Coco” Chanel.And he sang the praises of the subway.“It’s almost like it’s the vortex of the city,” Blazy said. “It connects everything.” Jocelyn Noveck, AP National Writer
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E-Commerce
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