You can file this latest Drake decision under the “WTF?” category.
It’s become evident that the 6 God has an affinity for getting some his favorite music artists such as Sade and Lil Wayne inked on his person, but now Drizzy caught everyone f guard by getting Denzel Washington tatted on his arm.
In an IG post by tattoo artist Inal Bersekov, it was revealed that Drake was in the process getting a portrait Denzel’s Mo’ Better Blues character Bleek Gilliam.
While the Spike Lee joint was dope and Denzel himself was excellence personified as usual, it’s still a pretty random likeness to get on ones person. Does Drake have some kind personal connection to the fictional character? Is that just his favorite Denzel Washington performance? We don’t know. It does look ficial tho.
What we do know is that Drake also commissioned a tattoo his fallen OVO homie Fif who was killed in Toronto just last week.
By the time Drake is done getting tattoos the people he has love for his body he will be a walking tribute to pop culture references the 90’s and beyond.
Drake Gets Tattoo Tributes To Fallen Friend Fif & Denzel Washington
Tattoo artist Inal Bersekov has shared photos Drake’s two latest tattoos to Instagram — one a tribute to Drizzy’s late friend Fif, the other a portrait Denzel Washington.
Fif, a 33-year-old affiliate Drake’s OVO Sound record label, died last week after reportedly being shot in Toronto. Drake shared a photo his late friend on Instagram, later using that same photo as the basis for his tattoo. Above the tattoo is the inscription “Forever Fif.”
Bersekov, whose B.R.O. Studio is based in Belgium, wrote on Instagram that he was “honored to pay tribute tattooing “FIF” on my brother Drake].”
Drake’s second tat the week is a portrait iconic actor Denzel Washington as fictional jazz trumpeter Bleek Gilliam from Spike Lee’s 1990 movie Mo’ Better Blues.
About this one, Bersekov wrote “Mo’ better blues” first session on my brother Drake] , thanks as usual for your trust.” Bersekov then references a quote from the movie, writing “‘Clarke: ‘Cause mo better makes it mo better.'”
According to Pop Star Tats, Drake now has 30 tattoos. His ink already includes tributes to his father, Lil Wayne, late R&B princess Aaliyah, as well as a matching shark tattoo he shares with ex-girlfriend Rihanna.
Charles Oakley Goes On The Offensive, Sues Knicks Owner James Dolan
Months after being publicly embarrassed by Knicks owner James Dolan by being manhandled out Madison Square Garden, ex-Knicks enforcer Charles Oakley has decided to file a lawsuit against the embattled club owner/struggle blues bander.
According to the Gothamist, Charles Oakley is alleging that Dolan had his security team “forcibly remove Oakley] from the Garden and publicly embarrass him on live television.”
The incident in question took place back this past February when Charles Oakley attended a Knicks game and sat a bit too close to James Dolan for his own comfort. Dolan swiftly had security attempt to escort Oakley out the building only to have Oak remind them why Charles Barkley wanted no parts Oak in his heyday.
A scuffle ensued and a few security guards caught them hands before eventually pinning Oak to the floor and having him arrested on three counts assault.
Though Oakley maintains he was minding his own business before being approached by security, Dolan claimed Oak was behaving in a “highly inappropriate and completely abusive manner.”
Though he was banned from MSG for the televised incident, fans and NBA players rallied around OG NBA power forward while calling out Dolan for his cowardice in dealing with the situation.
Not only did Dolan try to justify his actions but also attempted to smear Charle’s good name by insinuating that Oakley had a substance abuse problem. While Oak disputed the allegations he agreed to a one-year ban in exchange for having the charges against him dropped.
Now Oakley has decided to fight back and get some compensation for “emotional distress and/or mental anguish” and even took some well-deserved pot-shots at the Knicks Owner stating that “Since Defendant Dolan became chairman the Knicks, they almost immediately relinquished their status as one the NBA’s premiere teams, winning only a single lone playf series since the turn the century.”
Knicks fans see no lies in that statement. None.
Reps for Madison Square Garden have yet to respond to requests for comment.
Moby x Dancing Astronaut present the stories behind the 'Black Lacquer' remixes – Dancing Astronaut
There are few figures in dance music from America—or, indeed, the world—who have remained a strong presence in the public eye as .
While the past decade has seen dance music reach a mainstream audience with more fanfare than ever before, the renowned artist and activist achieved commercial and critical success for his work in the early 1990s. More than 20 years later, he remains an active contributor; in 2016, he released his 13th album, These Systems Are Failing and penned Porcelain: A Memoir, an autobiography on his years in the New York scene between 1989-1999.
In “Black Lacquer,” a pivotal chapter his book, Moby recounts the experience behind “Go,” his progressive house remix “Laura Palmer’s Theme” from the David Lynch’s classic, Twin Peaks. The song, initially released as a B-side, would become his breakthrough hit, paving the way for his future high prile remixes Michael Jackson, Daft Punk, Metallica, and more.
Since Moby’s early success, remixes have become an astute, commonplace way for producers to make their first marks in the industry. The collaborative art remixing has also remained a crucial part Moby’s career—one which he intends to celebrate with his ongoing remix project.
Taking its name from the Porcelain chapter, “” is an endeavor to show f the power the revisionist artform. The project sees Moby tap over 40 influential and burgeoning artists from the realms techno, house, D&B, and mainstream EDM. , , , and are only a fraction the high prile remixers to join “Black Lacquer.”
In “Black Laquer: A Remix Project,” artists from labels such as Spinnin’, Diynamic, Anjunabeats, and Suara try their hands at one four Moby classics: “Natural Blues,” “Porcelain,” “Why Does My Heart Feel So Bad,” and naturally, “Go.” A core mission the endeavor is for remixers to receive the credit and compensation which Moby strongly feels their creative efforts warrant. To ensure this, he’s stipulated that all “Black Lacquer” contributors receive full artistic license, stating, “What they do with the remix is completely up to them, and if the track is a success, they can benefit.”
In a unique interview series, Dancing Astronaut has partnered with Moby to give a deeper look into the “Black Lacquer” project. Over the course the next several weeks, we will be presenting features discussing the stories behind certain remixes with a variety the artists involved. In doing so, we hope to uncover new details the individual remixers, but also, to paint a larger picture the project in its broadest form.
MK fosters a gleeful air of nostalgia with new record, '17' – Dancing Astronaut
Yet another summer is coming to a close, and the electronic music world is beginning to slow down as fall and winter inch closer. Luckily, however, newest release titled “17” has arrived just in time to treat the ears to a round pleasant, sunny house that is geared toward combating the end--season blues.
The house maven immediately douses listeners with nostalgic influence, invoking feelings a party in the 1990s with his classic piano stabs that are lined with subtle string notes. That said, “17’s” coup de gras comes in the form contemporary, yet carefree vocals that sing an ode to easier times and youthful romance.
MK has exercised almost super-human balancing skills over the past few months. Not only has he found the studio time to put together “17” and other compositions, but he’s also been on a non-stop touring streak that has seen him at major global festivals throughout the season and in clubs as well. He remains on this streak, having just announced an adjoining tour to “17” across the US.
“17” Tour Stops – : 10/26 Santa Barbara, CA EOS Lounge 10/27 San Francisco, CA Audio 10/28 Los Angeles, CA Minimal Effort 11/02 Brooklyn, NY Output 11/03 Boston, MA Bijou 11/04 Toronto, ON Noir 11/11 Washington, D.C. U Street Music Hall 11/16 Austin, TX Kingdom 11/17 Miami, FL Trade 11/18 Dallas, TX It’ll Do 11/24 San Diego, CA SPIN 11/25 Denver, CO Vinyl 12/01 Philadelphia, PA Rumor 12/02 Detroit, MI Magic Stick
CunninLynguists Announce New Album "Rose Azura Njano" & Drop First Single
It’s been six years since CunninLynguists released an album but that’s about to change. The trio has announced a new LP titled Rose Azura Njano due out on October 6.
The group also debuted the lead single, “Violet (The Upper Room),” along with their unveiling the LP’s cover art and tracklist. The 12-track release is produced entirely by CunninLynguists’ Deacon The Villain and Kno.
“The album, originally entitled Chromesthesia, is about the title character, Rose Azura Njano, and her journey to find herself and figure out her own story — which leads her to an interesting discovery by the album’s last track,” Kno told HipHopDX. “Her name represents the three physical primary colors and we thought it would be interesting if the path someone who could ‘hear colors’ was used as a personification black music’s roots in American upheaval.”
“It isn’t a political album necessarily but definitely has socio-political leanings,” he continued. “Though, I’m not sure if we could make a record that didn’t in these days and times, honestly. Mainly, it’s a celebration black music and the many different styles and messages and overall impact it has had on American culture and on the world.”
Dedicated fans Deacon, Kno and Natti will recognize the title includes the names two previously released EPs, Rose and Azura, which were briefly available on the group’s Bandcamp page. As it turns out, the EPs were simply teasers for the full-length album, which features songs from those projects as well as previously unheard tracks.
Check out the cover art and tracklist for CunninLynguists’ Rose Azura Njano below. Listen to “Violet” above and pre-order the album now on iTunes.
1. Red, White & Blues f. Jason Cfey 2. Riot! 3. Red Bird 4. Violet (The Upper Room) 5. Gone f. Trizz 6. Any Way The Wind Blows 7. Mr. Morganfield & Ms. Waters (A-Side) 8. Jimi & Andre (B-Side) 9. Hustlers 10. Oh Honey f. Farah Elle 11. No Universe Without Harmony 12. Earth To Venus (Tiny Orange Star)
Epizode festival announces Carl Cox, Nicole Moudaber, and more to expanding lineup – Dancing Astronaut
Already in its second year, Epizode festival has again raised eyebrows with a spate notable additions to its lineup. A 10-day destination event located on an island f the coast Vietnam, the latest chapter announcements have taken electronic music enthusiasts by storm, and reaffirmed the festival’s continuous goal to please their market. Most recently, names like , , and have been the latest to grace the event’s lineup, and will be taking the stage at Epizode’s second edition.
Epizode fers visitors the opportunity to not only immerse themselves in festival culture, but also a well-received lineup especially curated with the techno and house lovers in mind. Epizode’s sophomore edition takes place from December 31 to January 10, serving as the quintessential escape from the winter blues.
Wyclef Jean Breaks Down His Biggest Records & Reveals How "The Score" Was Almost Shelved
DXHQ – In the 21 years since the release The Fugees’ The Score, Wyclef Jean’s star has only grown. From writing some the biggest hits in contemporary music history to carving out his own lane with solo projects, Wyclef’s body work is legendary.
The versatile musician recently stopped by DXHQ to politic with the #DXLive crew about some his biggest hits in between putting on a live concert for the staff and viewers.
On Writing Carlos Santana’s “Maria, Maria”
“Coming in the game as a Fugee, after The Score and] Carnival, my strength really is writing songs,” Wyclef explained. “The first time I knew I had to write my songs in the industry was after “Killing Them Stly” because it just blew f the ro and I’m like, ‘Who’s getting the publishing? Well, you’re not, you didn’t write it.’ We done made someone like $30 million. So I love writing. If you’ve seen the movie Life with Eddie Murphy and Martin Lawrence, that was the first movie I scored.
“I got a call from Clive Davis like, ‘Yo I need you to do this record with Santana.’ Carlos Santana will tell you that the first time I met him I wrote the groove for ‘Maria, Maria’] on a keyboard. Clive Davis was giving me a call because I think we was just coming f writing] Whitney Houston’s ‘My Love Is Your Love.’ He was] like, ‘Yo, Santana needs a joint.’
“Santana is one the greatest guitar players. So I get to see Santana and the whole record is ‘Maria, Maria.’ The reason I call the record ‘Maria, Maria’ is because] there was an old play back in the days I used to be obsessed with called West Side Story where it was like two gangs and then the main girl was Maria. That whole love triangle story is two gangs and the only way peace happens is through Maria. So that’s how the whole West Side Story came about and I know Carlos is a bad ass. He’s a rebel. This the kind stuff he would want to talk about and interpret with his guitar.”
On How DJ Khaled’s “Wild Thoughts” Came To Be
“So when I got the call from my brother DJ Khaled, we go back to Shottas, so that’s my brother,” Wyclef said. “I commend him. He has grown as a producer in an incredible way so for him to actually take ‘Maria, Maria’], because it was already #1, and make it number #1 again? That’s like somebody’s doing your work and then doing it justice. You ever hear someone try to take your stuff and say, ‘Yo this person just messed up my creation. No, I don’t want to clear that sample.’ So we definitely commend DJ Khaled.”
On The Back Story Behind Shakira’s “Hips Don’t Lie”
“There was a bit a war when I did ‘Hips Don’t Lie,’” Wyclef revealed. “The Hip Hop community] was like, ‘Yo man, you stole from] Peter Gunz & Lord Tariq!’ I was like, ‘Actually that was sampled by an older generation and they came and sampled it for Déjà Vu].’ We come and sample it for ‘Hips Don’t Lie’ and make it bigger. That’s really a pattern, right? The same way you can say for DJ Khaled and ‘Wild Thoughts.’ So for me, these patterns let me know my position is just a creator content. Don’t try to adjust for any formation but just do myself and everything else just gonna come in and adapt to it.
“I’ll give you a fact check that you didn’t know. The original version ‘Hips Don’t Lie’ is called ‘Dance Like This’ and guess who did it two years before Shakira in that movie Havana Nights? Claudette Ortiz was the first person I recorded it with] and two years later, mixed the record with Shakira. I just think Ortiz is] brilliant. I remember the group City High was just the two guys and one day in the studio, I just heard her and was like, ‘Who is that singing?’ She was in the back, quiet. I was like, ‘That’s the group!’ That whole movement on putting it together was incredible, but I just think sometimes because we come from The Fugees that we expect the next generation to be able to grasp it but success at a young age is no joke. What happens is you can either make it or break it. City High had enormous success] in the beginning but it was hard to carry it.”
On The Creative Process Behind The Score
“One the biggest records on The Score is ‘Ready Or Not’ and there’s a movie called Sleepwalker,” he recalled. “In the Booga Basement, y’all know how y’all get lit now? We used to get zonied. We were zonied. We herbed up in the basement and I was watching this movie Sleepwalker and this sample comes on. I’m already trippy, so I go and I had a VCR and we connected it back to the studio and recorded that. Threw it on the MPC60, chopped it up. Then Lauryn Hill] walked in and was like, ‘What’s this?’ Then out nowhere she goes, ‘Ready or not, here I come. You can’t hide.’ And that record is only three things; I call it the cafeteria boom bap because all I did was copy whatever the MPC was doing on my hand, that sample, and then a vocal.
“The Score for us was the come up. Back in the hood, we used to watch a show called Good Times and the whole thing is that you trying to get the come up. The whole thing with The Score was to say, ‘If only I had a chance to get my mama up out food stamps, what would it look like? If I had a chance to change my community to where people see my red and blue flag, what does that look like?’ So for us, The Score was not music; it was a movement. Fugees is short for refugees because in order for it to last, we knew it had to be bigger than us. The records that we love more as records that when we hear them, we can just identify with them. That’s how we really did The Score and that’s how The Score came to be. So till today, that album stands the way it is maybe because we did it in a basement. We couldn’t afford to go into some big room with a Neve, so my uncle gave us the basement. Me, Jerry Duplessis], Lauryn and Pras would go to the basement and from the basement is where all this stuff is created.”
On How The Score Almost Was Shelved
Embed from Getty s
“You sample something and] you gotta clear it,” Wyclef stated. “We didn’t even know about that back then. Can you imagine if The Score comes out and Enya is like, ‘Move every Fugees record f every Tower Records’ at the time or from] anywhere? Sony was freaking out. Luckily when Enya heard everything, she was like, ‘This is different’ and she gave us a pass – which she don’t even need to do. She so gangsta, she live in a castle. You can’t get more gangsta than that. But then we learned composition is important. We learned the art publishing is very serious. I always tell kids, get your copyrights right.”
On How He Finessed His Way Into Eric B & Rakim’s “Don’t Sweat The Technique” Video
“On The Score, there’s a record called ‘The Mask,’ Wyclef recalled. “There’s a lot jazz influence and actually coming up, even though I was doing Hip Hop, my teacher was like, ‘You’re gonna be a jazz major.’ They put me in jazz and my first music video I ever was an extra in was Eric B & Rakim’s ‘Don’t Sweat The Technique’ and] I’m playing the] upright bass. I was barely 17. The way that this happened is I get that call. You watching where the music videos are at because] you want to be an extra. I love The R, so I’m like, ‘Yo, I gotta find out where Rakim and them at.’ We ain’t even know what the treatment was, I swear to you. I just brought my upright bass on the train – my man brought his other joint. We didn’t have no kinda treatment. This my bass from high school. We walk in, there are big bodyguards at the door. I tell my crew I got this. I walk up and I’m like, ‘Yo we Rakim’s band.’ Bodyguard says] ‘Ok, get over there.’ Now years later, I turn into Wyclef and one day I’m at the House Of Blues performing and who I see? Rakim. I held on to The R and I was like, ‘You don’t understand.’ I think he probably thought I was a stan at the time because I’ll tell you every Rakim verse in the world. I was like, ‘Yo, my first music video ever, man, is ‘Don’t Sweat The Technique.’ He did not believe me until he got home and he looked at it and it tripped him out. It’s so funny how destiny is. That’s why I tell everybody, you have to have the will, you gotta be persistent because if I went to that door with like any form doubt, dudes was gon’ be like, ‘Yo you can’t get in here.’”
On Getting Bob Dylan To Appear In “Gone Till November” Video
“There’s a big legend by the name Bob Dylan,” he said. “In my hood, they call me half hippie-half thug. So Bob Dylan, he’s like equivalent to what we would consider our Biggie or our Nas, lyrically, but in a hippie space. So when I did ‘Gone Till November,’ I wanted him in my music video and they were like, ‘Yo, it’s impossible. He don’t even show up for his son’s video.’ And there I was at LAX and Bob Dylan walks through the door. I was pretty starstruck. Bob Dylan shows up and he comes and sits next to me and he was like, ‘Wyclef Jean, I kinda dig your stuff. You remind me an old bass player I used to play with.’ It was so crazy that he would only talk to me. The director would come shaking, ‘Mr. Dylan, it’s time for us to shoot,’ and Dylan] would just look at him and wouldn’t say nothing. Then he would turn to me and say, ‘Don’t this poo butt know this is my 10,000th video?’ That was pretty amazing. But for me, the whole idea with ‘Gone Till November’ is making runs. I have a cousin who died in Baltimore and he ain’t make it back. Now I’m the one that’s gotta go deliver the message to the girlfriend. So that’s the whole idea ‘Gone Till November’.”
To catch more exclusives interviews like this, be sure to tune into #DXLive every Thursday at 3 p.m. PST on DX’s Facebook and the WAV Media app.
Groove Cruise announces 2018 Phase One Lineup featuring Jamie Jones, Dada Life & More – Dancing Astronaut
As the originator the electronic cruise movement, Groove Cruise has earned a name for itself with eclectic lineups, gorgeous destinations, and luxurious vessels. Since its inception in 2004, Groove Cruise has paved the way for electronic music events on the high seas. Now, phase one the 2018 Miami edition Groove Cruise is here and it features a slew dance music mavens from a wide array genres and backgrounds. The 2018 Miami sailing will take place from January 26-29.
The 2018 voyage will be highlighted by performances from the likes the unicorn-slayer himself , the infamous duo , trance savant IIan Bluestone, melodic-house breakout star , and an and Basement Leak showcase. Dirtybird bosses and will be on board as well as underground icon , tropical house hero , tech-house master and Groove Cruise afterhours favorite Anthony Attalla.
However, the incredible music at Groove Cruise is only one aspect this incredible nautical adventure. Groove Cruise’s new Royal Caribbean home will provide attendees with some the finest on-board amenities, including the first ever GC all inclusive food and drink packages, high-class dining experiences, and even table service accommodations, plus thrill-pleasing activities like on-board bungee trampolines, rock climbing, casinos, and more for adrenaline-seeking sailors who aren’t afraid a little action.
Next year’s sailing will also include two stops at the world famous Cococay and Nassau ports. During the first night at Cococay voyagers will enjoy dual stage entertainment with a main and underground stage bringing two distinct flavors to the party and in Nassau the Groove Cruise family will take over the historic Fort Charlotte, for an incredibly immersive experience.
If incredible music, white-sand beaches, exploring international cuisine, snorkeling crystal clear waters, swimming with dolphins, or even racing across islands on ATVs sounds intriguing to you, then book your cabin for the