Wendy Williams found herself on the opposite end the slander when photos the longtime media personality in a bikini surfaced online. With folks noting her lack cakes, including rapper T.I., Williams fired back at the Atlanta rapper and threw his estranged spouse, Tiny, under the bus too with the parting shot.
New York Daily News reports:
Williams, who was in Barbados vacationing with her husband, added in the Daily News chat that she’s not as petty as she appears to be on the show in real life.
LaVar Ball is a man a certain age, so it’s reasonable to expect his music choice would differ from that his young sons. But as a lifelong Los Angeles resident, the patriarch the Ball clan appears to have slightly better taste in Hip-Hop than Lonzo Ball.
In an interview with XXL, Lonzo Ball covered a few subjects such as his family’s reality series Ball In The Family and adjusting to life as both a pro ball player for the Los Angeles Lakers while dabbling in rap himself. The hoops star got folks heated when he said 21 Savage’s Issa Album was better than Jay-Z’s 4:44 and even took a shot at Nas, who’s just a few years younger than his dad after his recent 44th birthday.
When the conversation switched to music, Ball broke down how his father got him into music and what was rocking in the Ball vehicle en route to school and such.
Check out the rest the XXL interview with Lonzo Ball by clicking here.
Photo: screen cap
Jemele Hill Clapping On Cheeto Trump Sparks Corny ESPN Response
Jemele Hill, currently the co-host the east coast evening edition SportsCenter, fired f a series tweets Monday (Sept. 11) taking sharp jabs at President Donald Trump, calling above many things a white supremacist. Hill’s employer, ESPN, responded with a statement calling her tweets inappropriate and saying they addressed the matter internally.
As SI.com notes, it all began when Hill addressed a tweet from The Hill regarding rapping rock cornball Kid Rock and his alleged bid for public fice. She then began firing up Donald Trump and said that he was, “the most ignorant, fensive president my lifetime. His rise is a direct result white supremacy.”
ESPN tapped Hill’s wrist according to the Obama-hating nutballs in the comments to the tweet, although there has been a relaxing those sorts comments. A highly unnecessary “#FireJemele” hashtag is on the struggle bus route right now trying to catch legs, but folks with sense and working eyes have been tweeting in support the anchor. You can find those responses after the flip.
The 2017 Oregon Eclipse Gathering: An event in totality [Event Review] – Dancing Astronaut
As thick dust clouds covered the secluded desert terrain Big Summit Prairie, Oregon, flocks eclipse chasers converged onto Ochoco National Forest with its 360 degree views mountainous pines for the Oregon Eclipse festival that would soon unfold. Their ultimate mission was to view the magic totality, which occurred between 9-10am on Aug. 21, 2017, among thirty thousand like-minded people.
In an f-year their globally renowned festival, the producers teamed up with 13 the world’s premier independent festivals — ’s (California), Rainbow Serpent (Australia), (Colorado), Origin (South Africa), (Costa Rica), Beloved (Oregon), and many more—for a seven day global synaesthesia art, ideas, music, dancing, community, and pround transformation.
An international melting pot people were represented at the festival, including infants perched atop their mothers’ chest, families four or more enjoying “Kids-biosis,” and retired burner folks with their decked-out light-up walkers. In addition, strangers speaking every language from French to Japanese at the Sky Stage as it pumped deep desert house, and Native American tribes and spiritual leaders from the countries Ecuador, Columbia, and Peru were in attendance.
Tribes from Standing Rock also traveled to Ochoco to give political demonstrations at the organically constructed arena, 1Nation Earth, as well as to ignite the three sacred fires placed throughout the festival grounds. One female shaman even journeyed from Okinawa to conduct ceremonial water blessings, in which she anointed willing participants.
Every installation paid such keen attention to detail that it was hard to believe most Oregon Eclipse’s structures were constructed from raw materials used from the very land that housed each structure. Old moss covered branches and rocks formed the pathways and walls the festival’s many temple-esque domains, with curtains draped from the ceilings, and walls stained glass windows suspended into thin air. Sacred geometry artwork was the centerpiece most installations. Live painters abounded, while Burning Man installations made guest appearances.
Symbiosis’ bold endeavor far exceeded any expectations, despite having never received money from a sponsor — ever. The production was massive and breathtaking, because this independently-assembled team unique global collaborators constantly pushed out maximum effort to create a once-in-a-lifetime experience during the entire process. It’s safe to say they achieved their goal. Installations and exhibits were being completed all throughout the week, even as attendees arrived day-by-day. Construction never really ceased, nor did the grounds ever stop growing. Ochoco remained a constant collaborative community at all times, whose psychedelic installations came alive at night.
As for the festival’s music lineup was held across seven stages: one main, four slightly more specialized stages, and two stage dedicated solely to live performance.Its main musical attraction, dubbed The Eclipse Stage, was utilized as a gigantic harp suspended from the tips the stage onto its side structures that also would become integrated into live performances throughout the week. This stage hosted , , , Random Rab, , The Glitch Mob, and many more.
The infamous clan participated in a 5-hour takeover on The Sky Stage, pumping deep, dark tech house into the forest and hypnotizing house heads there with pulsating shamanic drum rhythms. Meanwhile, player delivered a 4-hour extended set soul-penetrating house and techno that lasted into the wee hours the morning.
But, make no mistake, the house stage DJs were guests in this global arena trance and downtempo. International eclipse festivals are generally based around trance and downtempo insar that the bass, jam, and eclectic circus acts were actually guests in this experience. In fact, The Sun Stage, which housed the beautiful blue spaceship-like structure used at the LIB gathering, pushed psy trance until 6am everyday. Even if you didn’t come for the trance, as one attendee put it, you were getting dosed with it daily anyway — courtesy the full FUNKTION ONE system populating the stage.
While the sun baked the Prairie well into the high 80s each day, The Earth Stage pumped world-influenced glitch into the freezing desert nights, which reached into the low 40s. The Moon Stage served as the festival’s bass head haven, housing , French glitch supreme , , , and, course, Lorin Ashton’s coveted secret ‘‘ set.
As far as transformational festivals go, the Eclipse Gathering raised the bar on all counts. In workshop spaces like The Parlor and The Hub, lectures and dialogues ensued over mind-expanding topics ranging from permaculture, nutrition, and consciousness, to elemental alchemy, psychoactive substance, sexuality, and astrophysics. Entire structures were dedicated to yoga and dance shala, where hourly sessions were held everything from bass yoga and vinyasa flow to belly dancing.
Each interactive installation fered diverse round-the-clock activity at every turn. The Mud Dance Experience, for example, invited attendees to strip down to their skivvies and bathed each other in wet clay. The Sound Immersion Experience, housed hammocking meditators in a 360-degree healing cocoon sound emanating from surrounding gongs and dijiridoos.
Perhaps the most inspired interactive digital attraction was Android Jones’ MICRODOSE VR dome installation, which opened up each night after dark. Participants would enter the large, white structure for a 30-minute sensory-engulfing cinematic experience featuring Android Jones’ psychedelic artwork coming to life before their very eyes. The kicker: the ‘film,’ sorts, was being controlled by four audience members in virtual reality.
Then, course, there was the main event. Most attendees stayed up through the night to experience the event in totality. An early Random Rab sunrise set was going f just before, as ecstatic hippies performed yoga in the morning sun. Hot air balloon rides peaked over the trees as they tethered over the grounds’ massive lake. Picture-ready burner clans turned up decked out in their flashy garb, as giddy festival goers filed the space between the sacred Sun and Moon Temple grounds wherein the native tribes lit their final sacred fire.
As morning turned into night, birds scattered, temperature plummeted, the sky went dark and eyes swelled as a ring fire filled the sky. Attendees stood in awe as if a portal had opened up into another universe. A Woodstock-esque character shook his maracas. A young infant looked bewildered in his stroller. Delirious party-goers clanked their mimosa glasses. Strangers embraced, tears fell, and a deep sense gratitude filled the air — Oregon Eclipse attendees had finally manfested what they intended to do, learning that the power intention was the most important takeaway on these sacred grounds.
Shannon Sharpe Calls Out Jason Whitlock’s Coontastic Kap Skit On Twitter
Shannon Sharpe has managed to become the most woke sports analyst alive and turned his attention towards his shoe-shuffling push broom FS1 colleague Jason Whitlock. Whitlock’s ill-timed “skit” mocking Colin Kaepernick drew the former Baltimore Ravens and Denver Broncos star’s ire and he called out the incident on Twitter.
Sharpe joined other Twitter users is clowning Whitlock’s cornball act, reportedly with Kid Kid-N-Play fame playing the role Kaepernick. Sharpe tweeted in the very early hours this morning, responding to the chatter and saying he intends to take the matter to his Fox Sports supervisors in hopes bringing the discussion to air.
“I’m going to address it with head Fox sports/FS1 . This is UNACCEPTABLE,” Sharpe said in response to a tweet from Black Sports Online.
He continued with, “I totally denounce his skit. Hopefully we can discuss tomorrow,” this in response to a Twitter user asking him to call it out on his Undisputed show with co-host Skip Bayless.
Whitlock, well aware the criticism abound regarding the matter, responded to folks assuming that the Kaepernick character was a white person by saying, “Sorry to break your heart, but he’s not white. Carry on.”
Yeah, this guy is a complete buffoon. Let’s hope Shannon Sharpe gets to mop this fool on air soon, hopefully in a debate.
Bang On! Warehouse of Horrors announces annual Halloween Bash with Fatboy Slim & Clozee – Dancing Astronaut
Over the years BangOn! has distinguished itself as one the premier names in New York City nightlife and underground culture. With the success their many New Year’s Eve celebrations and the rise to include a day long event in Brooklyn and a three-day long event in Lakewood Pennsylvania on Memorial Day, it’s easy to see that the folks over at BangOn! know exactly what they are doing. Perhaps BangOn!’s most anticipated event the year is its annual Halloween bash, Warehouse Of Horrors, which will take place at a secret location in Brooklyn on October 28.
As the weather cools and the festival season comes to a close, music lovers begin looking for indoor thrills. Every Halloween, BangOn! puts together a bizarre carnival freakish sights and world class music. This year BangOn! has raised the bar even higher with a mind-melting lineup that will keep you up at night. Legendary DJ and producer Fat Boy Slim will be gracing the stage at this year’s Warehouse Of Horrors. An artist as well-known as Fat Boy Slim needs little introduction. Joining the groundbreaking legend will be one electronic music’s brightest rising stars, CloZee. Hailing from Toulouse, France, CloZee has enjoyed a mercurial rise to stardom. After smashing sets at Shambhala and Oregon Eclipse Gathering, as well as opening for both Bassnectar and Pretty Lights this year, CloZee is quickly becoming a household name in the world bass music. Rounding out this year’s Warehouse Horrors will be Detlef, Maximono and Golden Pony.
and get ready to dive into this stacked lineup on October 28!
Yes Suh Boss George Foreman Says Ref Protected Mayweather Against McGregor
The recently canceled George Foreman, a legendary boxer by all accounts, might be feeling the effects his sport after he weighed in on the recent Floyd Mayweather and Conor McGregor bout which ended in the Money Team boss’ favor. Foreman stated that the referee in the match protected Mayweather in the later rounds, adding that critics the match should apologize as it was far more entertaining than expected.
We’re not boxing analysts here but it appeared beyond obvious that Mayweather waited for McGregor to gas out, something he famously has done in a loss against MMA rival Nate Diaz, and went in for the kill. From our side, Mayweather definitely let McGregor get some early rounds due to assumed inactivity, but he put the pepper on the loud-talking Irishman in the end.
No disrespect to McGregor, because he’s definitely a beast in the octagon but most folks with betting money knew where to place their coins.
ODESZA discuss evolving through experimentation for 'A Moment Apart' [Interview] – Dancing Astronaut
When first hit the indie-electro airwaves in 2012, the angelic chords and lush piano their debut EP, Summer’s Gone, shone like a golden hue through the cracks in a heavy hitting EDM market. By weaving indie-folk roots into their largely instrumental debut body work, Harrison Mills and Clayton Knight created a euphoric oasis between the stabbing synths and aggressive bass lines their contemporaries.
On their forthcoming sophomore album, , ODESZA fosters this dreamy yet kinetic niche within the indie-electro sphere by experimenting with new genres, tinkering with organic instrumentation and collaborating with unexpected vocalists. Where other groups falter unconvincing annual rebrands or lackluster imitations previous work, A Moment Apart amplifies the best aspects ODESZA’s sound from new perspectives.
Since the duo’s inception, ODESZA has embraced an artistic philosophy experimentation to stay fresh in the genre. The title track to their 2013 EP, My Friends Never Die, amplified the stunning instrumentation their debut by adding subtle trap elements and choppy vocals.
The following year, ODESZA entered into the pop neighborhood with their celebrated debut album, Mills and Knight’s experimentation with pop-leaning vocalists such as Zyra, Py, and Madelyn Grant blended vibrantly with their signature compositional style. This fusion elevated In Return to critical acclaim, and would lay the groundwork for continued experimentation on A Moment Apart.
Knight explains that their highly anticipated sophomore LP, which arrives September 8 on Foreign Family Collective, is an evolution in the ODESZA sound because it refines the heat-sleepy feel In Return while paying homage to their indie-folk roots. He shares that, “even before In Return was done, some the material that they] were working on made it on to” the new album.
According to Knight, the duo’s recording process was more hands-on this time around, allowing for creative experimentation with vocalists from acoustic, R&B and alt-indie backgrounds.
The product is a cohesive collection sixteen tracks that heighten everything fans initially fell in love with about ODESZA and dig deeper into what makes them so eye-catching. A Moment Apart was primarily recorded in the artists’ hometown studio and across numerous sessions with vocalists in . From its nostalgic melodies, to the album’s aura longing and hope, the diverse biomes the are undeniably engrained in A Moment Apart.
“This last winter was a really long one; we had almost two months straight rain in Seattle], so we just hunkered down and got in that zone,” Knight explains. “Seattle is known for its rock, folk and indie scene so a lot those elements make it into our music.” Elaborating further, he notes that ODESZA’s roots and location play a pivotal role in their creative processes, though these factors are intangible, operating on a subconscious level:
According to Knight, the final track on the album “Corners Of The Earth” was ironically the first track to come together. The track’s orchestral vocals from Australian indie vocalist RY X and soaring horn sections are a chilling denouement to a cinematic album. Composed in an experimental, collaborative environment, RY X apparently wrote the top line in a single, eight-to-ten hour session. amazing top line all in one eight to ten hour] session.”
For Knight, the process behind “Corners Of The Earth” reinforces the effectiveness ODESZA’s creative strategy, and was crucial in realizing the duo’s end goal for A Moment Apart. “It set the tone for the rest for the rest the album in some sense,” he argues.“It’s an all encompassing track that embodies the epic feel we were looking to accomplish.”
Indeed, “epic” is an accurate word to describe the upcoming LP, due in part to buzzworthy featured vocalist on the still unreleased track “Just A Memory.” After reaching out to the -nominated indie songstress on a whim, ODESZA scored a once in a lifetime collaboration with the singer in an unlikely way. Knight explains that, after sending Spektor “some makeshift demos, which were just light instrumentals,” she wrote them back with an unusual request.
Spektor wrote vocals for the track, but wouldn’t send over the final product email — she wanted them to hear it in person. So, last fall on a Seattle tour date, Spektor invited the duo to her hotel room to do just that, fundamentally changing the future the track. “It was absolutely amazing, we made her sing it twice,” Knight explains. “After we left,] we went back to the instrumental and stripped it down even more to try and capture the vibe in that hotel room. We wanted the instrumentals in the background, and her vocals right up front.”
The intimate setting brought Spektor’s vocals to center stage, highlighting the the power experimentation and open-mindedness when bridging the artists’ two genres together. Knight shares that both “Just A Memory” and the duo’s collaboration with R&B powerhouse Leon Bridges required a “unique back and forth progression” between both artists’ respective musical backgrounds. “Having them live in those genres allowed us to meet in a middle ground,” Knight shares.
Due to a give and take from all sides, the combination Spektor’s vocally-focused, stripped down style with Bridges’ soulful vocals translate effortlessly into the alt-electronic genre. However, Knight admits that rising artists were ten more willing than other bigger ticket collaborators to “go outside their comfort zone and experiment, usually ending up with a better track.”
“What we’ll do for a live show is put twists on and revamp songs that we wrote for the album. We’ll almost remix them ourselves, giving them a little bit more energy for a live setting.”
Similar to ODESZA’s songwriting process, the duo’s live shows evolve in tandem with their willingness to experiment. While Knight shares that their albums have a “headphone oriented, intimate vibe,” he admits that their live shows are “very different beasts.” Experimentation is key in translating the intimate sounds on their albums into high-energy live performances. “What we’ll do for a live show is put twists on and revamp songs that we wrote for the album,” Knight details. “We’ll almost remix them ourselves, giving them a little bit more energy for a live setting.”
Complete with a full drum line, live instrumentation, hypnotic visuals and an unmatched stage presence, Knight shares that everything on the A Moment Apart world tour is “completely revamped from the ground up.” Over Labor Day Weekend, the duo kicked f the nearly at Bumbershoot Music & Arts Festival in their hometown Seattle. With Leon Bridges and Naomi Wild as the perfect special guests, ODESZA introduced the newest evolution their sound to the world.
The duo will soon head to New Zealand and Australia before returning to Europe and the United States to perform at their biggest venues to date, showing fans new incorporations fresh perspectives to their sound. As ODESZA continues to experiment with the boundaries the indie-electronic genre, they invite endless limitations into their continual sonic evolution.
Read our full interview with ODESZA below.
Featured image by Avi Loud. Live photos by Jonathan Gipaya, courtesy Bumbershoot.
Dick Gregory Praises Killer Mike & T.I. In Previously Unreleased Interview
The late Dick Gregory was a brilliant and revolutionary comedian, speaker, activist and so much more. He was your favorite comedian’s favorite comedian. He stood alongside Dr. Martin Luther King Jr. and Muhammad Ali in the fight for civil rights. He inspired Richard Pryor to eschew self-censorship, a quality that would pave the way for comics like Chris Rock and Dave Chappelle to speak freely. And at the age 84, he was still doing hundreds shows per year and working on various other projects, including his appearance in the Black Spectrum Theatre’s “What’s Going On?”
In a previously unreleased phone interview from October 2016, HipHopDX was blessed with the opportunity to interview the legend and, unsurprisingly, he was as funny and pround as ever. The biggest surprise in the conversation was the revelation he made about his time in Atlanta, where he spent time with Killer Mike and T.I.
“I didn’t know that Atlanta was the Hip Hop capital the world until two weeks ago when] they all came by the show and we talked for a long time,” Gregory said with a laugh. “’Cause I don’t listen to music but I talked to Killer Mike, we talked for like 12 hours.”
The Run The Jewels MC has expressed his love and admiration for the iconic comic on more than one occasion, and according to Gregory, the conversation kept flowing. “Mike] said ‘How much time you got?’ And I told him ‘make it easy on yourself’ laughed]. I could’ve talked to him for four days. I said, ‘You ain’t just talking to some punk on the street. Whatever you wanna talk about let’s go!’ We started at 12 o’clock and finished up at 7 o’clock in the morning. We talked about everything. What a human being he is. T.I. and I talked for about six hours too.”
“Mike] said ‘How much time you got?’” Gregory recalled. “And I told him, Make it easy on yourself.’ laughs] I could’ve talked to him for four days. I said, ‘You ain’t just talking to some punk on the street. Whatever you wanna talk about, let’s go!’ We started at 12 o’clock and finished up at 7 o’clock in the morning. We talked about everything. What a human being he is. T.I. and I talked for about six hours too.”
While much the older generation frowns upon the lifestyle that rappers glorify, Gregory said it would be hypocritical for him to denounce their culture when reflecting on his own actions when he was their age.
“Rhythm has changed,” he explained. “When black folks call me on like a radio show and tell me what they think about these young folks wearing their pants below their butt, I say I can’t talk about that because I used to drink a fifth scotch every day. Do you know how many times I’d go home drunk? Do you know that’s a felony? What they do is not a felony. And another thing, there will be more old folks like me that will die in the next two weeks cause they’re hooked on sugar and salt than young people] will die from drugs in the next five years. So you understand their addiction but you think you understand yours? And whenever they take crack or whatever it is, they don’t have to take 12-15 prescription pills before they can eat bacon.”
As for the new generation comics, Gregory was too busy with his own schedule to listen to anybody else. And when it comes to his research, it’s the same formula that made him successful in the first place: countless hours reading the newspaper.
“I just do my own thing,” he said. “I don’t listen to other comics]. That’s how I became a millionaire – by doing my thing, not listening to somebody else. I do 250 dates a year. I don’t got time to see comics. I spend about $1,000 every 10 days reading newspapers so when I go on a radio show or TV show, they better be careful what they ask me ’cause I got a research team second to none. So, I just walk out on stage. 98% my audience is white folk. They know I’m telling the truth but they don’t feel no hatred. I’m the first one that said that Dr. King] didn’t die on the balcony. He was alive when they carried him to the hospital and they smothered him to death. That’s beginning to come out now.”
Gregory spent time with some history’s most iconic people, but when asked about the most charismatic person he’s ever been around, he answered: Lenny Bruce. But what may have been the most surprising part the interview was what he remembered about two men that most consider some the most charismatic speakers in history.
“The two people that I was most embarrassed to be around were Richard Pryor and Malcolm X because they were so bashful,” he revealed. “Jesus man, when that camera came on you, better get out the way but when it went f, you couldn’t find anybody more … I’d be embarrassed to be around them. Malcolm said, ‘Yes sir, no sir’ to everybody: black folks, white folks, old folks, young folks. And Richard Pryor, when that camera went f, you couldn’t find nobody more bashful and shy than him.”