Author: djfrosty
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The death toll from the roof collapse at the Jet Set club in Santo Domingo in the Dominican Republic has climbed to more than 113 people. According to the Associated Press, the iconic venue was packed with “musicians, professional athletes and government officials,” when dust from the ceiling began to fall into attendees’ drinks before the entire roof collapsed.
In addition to the scores of dead buried under concrete slabs, authorities said more than 255 were injured. Merengue superstar and concert headliner Rubby Pérez — who was on stage performing when the ceiling collapsed — was among the dead, according to emergency operation director Juan Manuel Méndez, who said the 69-year-old singer’s body was found early Wednesday morning (April 9). The collapse happened roughly an hour into Pérez’s midnight performance.
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Pérez’s official Instagram posted a tribute to the late singer on Wednesday morning honoring the beloved star born Arturo Pérez in Hato Mayor. “It is with deep sorrow that we announce the passing of our beloved Rubby Pérez. We sincerely appreciate all the love, support, and solidarity we have received from his family, friends, and fans during this difficult time. His musical and personal legacy will live forever in our hearts. May his soul rest in peace.”
As of press time rescue teams from Puerto Rico and Israel had arrived to help local authorities, who said they were still searching for any potential survivors, with Méndez telling the AP that “as long as they report that there is a missing person, we will be there.”
Among the dead were two former Major League Baseball players, pitcher Octavio Dotel and Dominican star Tony Enrique Blanco Cabrera. An Instagram tribute to seven-time MLB All-Star Dotel from the Ministry of Sports and Recreation read: “We deeply regret the passing of former Major Leagues and Immortal of Dominican Sport, Octavio Dotel, 51. His legacy on and off the field leaves an indelible mark on national baseball history. Peace to his soul and strength to his family and loved ones.” Dotel pitched for 13 teams during a 15-year MLB career, including a pennant-winning season in 2011 with the St. Louis Cardinals.
The Ministry’s tribute to Blanco, 44 — who played in the outfield and as a first and third baseman, spending eight years in the minors, as well as one season with the Washington Nationals (2005) and 16 years in the Japanese baseball league — read, “We deeply regret the passing of former Major Leagues and Immortal of Dominican Sport, Octavio Dotel. His legacy on and off the field leaves an indelible mark on national baseball history. Peace to his soul and strength to his family and loved ones.”
Among the other reported victims were Nelsy Cruz, the governor of the northwestern province of Montecristi, and sister of seven-time MLB All-Star Nelson Cruz, who called DR President Luis Abinader from underneath the rubble to alert him of the disaster and later died at a hospital. The AP reported that Pérez’s saxophonist Luis Solís, who was on stage during the collapse, also died.
The Jet Set club issued a statement on Tuesday morning, sharing condolences to the families of those killed and injured in the roof collapse. “Last night, a tragedy struck that has deeply shaken the hearts of everyone who is part of Jet Set and all Dominicans. The loss of human lives leaves us in a state of profound sorrow and grief,” the venue wrote on Instagram. “In this difficult moment, our prayers are with each of the affected families. We share their pain as if it were our own, as we too are in mourning. We are working fully and transparently with the competent authorities to assist the victims and clarify what happened … We join the country in expressing solidarity during this unexpected and painful situation.”
At press time authorities were still investigating the cause of the roof collapse. Only 32 people have been identified in what is being described as one of the worst disasters to hit the Dominican Republic.
In recent years, SHERELLE has made herself something of a leader in the U.K.’s electronic and dance scene. Through her DJ sets, original material and radio hosting gigs, the 31-year-old’s passion and curatorial skills have been instrumental in celebrating jungle, footwork and breakbeat, and ensuring the genres’ well-deserved place at the forefront of contemporary dance culture.Early in her role as a curator, SHERELLE championed the BRITs-nominated junglist Nia Archives, as well as avant-garde creator Loraine James on her radio show, and she was co-signed by the influential late designer Virgil Abloh. SHERELLE’s name is synonymous with an original, head-spinning sound, as well as being a passionate and thoughtful voice in a crowded space.
She’s now surprise-releasing With A Vengeance, her debut LP via London-based label Method 808, and over the past few weeks has been touring extensively with her club night SHERELLELAND in Newcastle, Edinburgh and Sheffield. This Friday (Apr. 11) she takes over London’s historic Roundhouse to complete the tour; tickets are capped at £10 ($13), with the goal to improve access and ease costs for music lovers.
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This period sounds as frantic as her preferred music mode (160 BPM is the benchmark), but she says a period of stillness and recalibration was what inspired her next phase. “I finally found myself in a place to be able to make [the LP],” she tells Billboard U.K., dialing in from the Media Centre in Salford, where she’s appearing at the BBC Radio 6 Music Festival. “I was in a good headspace, and had chosen things in life to make sure that I was looking after myself.”
SHERELLE had what many in the electronic space would consider a dream start. In 2019, a viral Boiler Room set quickly elevated her name and kicked off a whirlwind period of touring. She had little time to catch up with the enormity of the change, but saw bookings surge, and in late 2023 took on a presenting slot on BBC 6 Music on Saturday nights.
On reflection, however, she says she was overworked, and was spread too thin to enjoy the moments and to stay present. She calls that time “a blur” and speaks candidly about the toll it took on her wellbeing. “I basically had to silently deal with depression,” she says, adding that turning 30 triggered complex emotions. “All of a sudden I thought, ‘Oh my god, I’m going to be 30, and my life isn’t where I want it to be’ — or I was assuming it would be so much more different.”
The balance between vulnerability and the role of the DJ – bringing immaculate tunes and vibes – is a unique demand. Performers in the more traditional concert setting are permitted space for complex, knottier emotions seldom translated to a club performance behind the decks. “We have to put on a happy face — because if we don’t, then it will affect the crowd and their enjoyment,” she says.
Being revved up for a slot means that DJs and producers are putting up barriers and neglecting their mental health. “That can be quite dangerous, because then when you are constantly putting on a face when you are you are essentially acting,” she says. “Our scene doesn’t really lend many opportunities to check in on people.”
The period culminated with her laptop being stolen, which included all of her recorded music and demos – her livelihood as a musician, presenter and DJ was compromised. Understandably distressed by the theft, SHERELLE protected herself by avoidance, and kept music listening to a minimum. She changed management teams and sought to enter a new, healthier period of creativity. A desktop computer – a throwback for millennials – helped improve productivity, while a shift to a vegan diet gave her new energy.
Ready to create again, she also retooled her studio practices, and found creative inspiration in soul and funk greats Earth, Wind & Fire and jazz flutist Bobbi Humphrey. Advice came from jungle legend Tim Reaper, who encouraged her to work with efficiency, and not to spend more than 15 minutes on any song section. “Then lo and behold, I was just pissing out tunes left, right, and center — and then actually making stuff that I really liked,” she laughs.
Those tunes are With a Vengeance, a debut LP that continues the journey from her 2021 double A-side 160 Down the A406, and captures specific moments in her recovery period. The LP’s two-song suite “XTC Suspended” and “XTC,” for example, are evocative renderings of the burnout and depression, as well as the recovery period.
The former is emblematic of the moments where she would push through the chaos to put on a happy face, while the latter is brighter, warmer, and indebted to garage and two-step. SHERELLE wants people to feel the “raw energy and emotion” of her productions and songs, but also not feel overwhelmed either.
“I really hope people like it, but I’m not mad if they don’t get it,” she adds. “It’s personal to me and I’m just happy that I’ve got to the point of making something I actually really like. I really love all 10 songs and it’s not manufactured at all. I’m glad to add something authentic basically back into a space that can feel quite manufactured at times.”
SHERELLE’s vulnerability and candour stays true to her commitment to community. Growing up in Walthamstow, east London in a working class background, her experience of some of the dance scene and some of the more corporate, commercial trappings has given her renewed focus and drive to give back. She launched BEAUTIFUL in 2021, a community that supports Black and LGBTQIA+ creators, and over the years has hosted workshops and sessions to help demystify pathways for creators.
As industry discussions about music education in schools continue, SHERELLE is firmly on the side of fellow Brit artists Ezra Collective and Myles Smith, both of whom called upon the decision-makers and governments to empower young musicians. “It’s such a sad thing. There could be so many talented people who are just not going to get the same investment,” she says. “We need to allow for kids that don’t have the funds and the means to be able to create and create freely with no time constraints.”
SHERELLELAND culminates on Friday (Apr. 11) with the Roundhouse show and with its lower entry point for tickets. As reports say live music in the U.K. is booming, SHERELLE – and her new team and live agent – knew that someone had to buck industry trends. “Unfortunately the DJ scene makes a lot of money for people and they want to protect that at all cost. I would say that they do like music, but they definitely like money more.”
It is, she says, an opportunity to weave together the disparate threads of her career as a performer, curator and activist, but also just a testament to her mindset. “The main groups of people that I’ve worked with on this idea are all people who have come from a background where community is really important,” she says of the new era. “I felt supported, loved and that my ideas were protected; after that it was very easy and simple.”
Ed Sheeran joined Jimmy Fallon for the latest “Subway Busking” bit on Tuesday night’s (April 8) Tonight Show. As usual, there were costumes involved in a vain attempt to throw commuters off the scent. In this case, the pair went with an emo theme, with both men wearing all-black outfits and slouchy grey beanies accented […]
Recordings by Amy Winehouse, Celine Dion, Elton John, Mary J. Blige and Tracy Chapman are among this year’s 25 additions to the National Recording Registry, which is administered by the Library of Congress. This year’s selections span 102 years, from 1913 (a recording of “Aloha ‘Oe” by Hawaiian Quintette) to 2015 (the cast album to the Broadway sensation Hamilton: An American Musical).
The list includes three songs that reached No. 1 on the Billboard Hot 100: Helen Reddy’s “I Am Woman” (1972), which gave the women’s liberation movement a theme song; Freddy Fender’s country/pop smash “Before the Next Teardrop Falls” (1975) and Dion’s “My Heart Will Go On,” the Oscar- and Grammy-winning smash from Titanic (1997).
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It also includes two albums that reached No. 1 on the Billboard 200 – John’s hit-laden double album Goodbye Yellow Brick Road (1973) and Chapman’s eponymous debut album (1988). John and his longtime songwriting partner Bernie Taupin were the 2024 recipients of the Gershwin Prize for Popular Song, which is also administered by the Library of Congress.
Tracy Chapman, which spawned the hit “Fast Car” (which was revived by Luke Combs in 2024), was one of three debut albums to be saluted this year. The others are Don Rickles’ comedy album Hello Dummy! (1968) and Chicago’s hit-filled double album Chicago Transit Authority (1969).
Winehouse’s Back to Black, the singer’s second (and, sadly, last) album, was inducted. The 2006 album spawned the smash “Rehab,” which won Grammys for both record and song of the year.
Two double-disk jazz albums – Miles Davis’ Bitches Brew (1970) and Keith Jarrett’s The Kӧln Concert (1975) – were honored. On the jazz fusion classic Bitches Brew, Davis and such musicians as Wayne Shorter and Chick Corea blended jazz with rock elements. It’s Davis’ second album in the Registry, following his 1959 classic Kind of Blue. Davis is the only artist this year to receive a second career induction.
Charley Pride, the first Black superstar in country music, was inducted for his 1971 classic “Kiss an Angel Good Mornin’,” which topped Billboard’s Hot Country Songs chart for five weeks. Fender’s aforementioned “Before the Next Teardrop Falls” topped that chart for two weeks.
Blige’s 1994 sophomore album My Life, which topped Billboard’s Top R&B Albums chart for eight weeks, was inducted. The album was highly personal, with songs addressing clinical depression, struggles with drugs and alcohol and being in an abusive relationship.
The Steve Miller Band were honored for their 1976 album Fly Like an Eagle, which spawned three top 20 hits on the Hot 100, including the No. 1 smash “Rock’n Me.”
Roy Rogers and Dale Evans were honored for their 1952 single “Happy Trails,” which Evans wrote. Rogers is the only artist to have been inducted into the Country Music Hall of Fame twice – first in 1980 as a member of the Sons of the Pioneers and again in 1988 as a solo artist.
Hamilton (2015) is the first Broadway cast album that was released since Sweeney Todd in 1979 to be selected.
Vicente Fernández’s enduring ranchera classic “El Rey” (1973) joined the roster of Latin recordings in the Registry. See the full list here.
With the aforementioned Rickles album being inducted this year, this is the second year in a row that a comedy album has made the grade. Lily Tomlin’s This Is a Recording was honored last year. Here’s a complete list of the 14 comedy albums in the Registry.
Two left-field selections are Microsoft’s Windows reboot chime (1995), composed by Brian Eno, and David Rosenfeld’s Minecraft: Volume Alpha (2011). Microsoft wanted a brief start-up sound that would play when Windows 95 booted up. They approached Eno, who came up with a sound that Microsoft designers felt conveyed the sense of “welcome, hopefulness and progress” that they desired. Minecraft is the second video game soundtrack to join the Registry, following Koji Kondo’s theme from Super Mario Bros., selected in 2023.
Thelma Houston & Pressure Cooker’s 1975 album I’ve Got the Music in Me is one of this year’s most surprising choices. The album was likely honored because of the unique way it was recorded: live to master disc. Pressure Cooker consisted of top session players of the era, including Michael Omartian, Larry Carlton, Tom Scott and Larry Knechtel. The title track had been a big hit in the fall of 1974 for The Kiki Dee Band. Houston went on to top the Hot 100 in 1977 with “Don’t Leave Me This Way.”
The radio broadcast of the deciding Game 7 of the 1960 World Series, in which the Pittsburgh Pirates beat the New York Yankees, was inducted. Another sports-related entry is Brother Bones & His Shadows’ 1948 recording of the 1925 standard “Sweet Georgia Brown.” The Brother Bones recording was surprise hit in 1949. Three years later, the Harlem Globetrotters basketball team made it their theme song.
Chanticleer’s Our American Journey (2002) saw the acclaimed a cappella choral group taking its listeners on an eclectic musical trip across America, through its history and a variety of musical genres.
This year’s other entries, not already mentioned, are Harry Urata Field Recordings (1960-1980) and Nimrod Workman Collection (1973-1994). Musician and educator Harry Urata, confined to an internment camp after the bombing of Pearl Harbor, encountered Japanese-American workers who had processed sugar cane leaves on Hawaiian plantations since the late 19th and early 20th centuries. Like many immigrant workers, they adapted and sang old folk songs to reflect their daily circumstances. Recognizing the cultural and historical significance of the songs, Urata traveled throughout Hawaii’s islands recording elderly singers who had toiled on sugar plantations. His collection features 20 open-reel tapes recorded from the 1960s to the 1980s.
Born in Inez, Kentucky, in 1895, Nimrod Workman was a folk singer, coal miner and union activist. He began his work in the West Virginian mines at age 14, and he would continue for the next 42 years. After retiring from the mines, he began recording unaccompanied traditional ballads, songs of his own composition and oral history. In 1986, Workman was a recipient of a 1986 National Heritage Fellowship, the U.S. government’s highest honor in the folk arts. Workman died in 1994.
More than 2,600 nominations were made by the public this year. Chicago Transit Authority finished first in the public nominations. Other selected recordings that ranked in the top 10 of public nominations include “Happy Trails,” Goodbye Yellow Brick Road and My Life.
Under the terms of the National Recording Preservation Act of 2000, the Librarian ofCongress, with advice from the National Recording Preservation Board, selects 25 titleseach year that are “culturally, historically, or aesthetically significant.” Recordings become eligible for the Registry 10 years after release, compared to 25 years for the Grammy Hall of Fame. (Which means the Hamilton cast album won’t be eligible there for another 15 years.)
“These are the sounds of America – our wide-ranging history and culture,” Librarian of Congress Carla Hayden said in a statement. “The Library of Congress is proud and honored to select these audio treasures worthy of preservation.”
Industry veteran Robbin Ahrold serves as chair of the National Recording Preservation Board. “This year’s National Recording Registry list is an honor roll of superb American popular music from the wide-ranging repertoire of our great nation,” he said in a statement.
These 25 recordings bring the number of titles on the Registry to 675. This represents just a tiny fraction of the Library’s vast recorded sound collection of nearly four million items.
NPR’s “1A” will feature selections from this year’s induction class in its series “The Sounds of America,” including interviews with Hayden and several featured artists.
Here’s the complete list of 2025 additions to the National Recording Registry. They are listed in chronological order by release date.
“Aloha ‘Oe” – Hawaiian Quintette (1913, Victor)
“Sweet Georgia Brown” – Brother Bones & His Shadows (1949, Tempo)
“Happy Trails” – Roy Rogers and Dale Evans (1952, RCA Victor)
Radio Broadcast of Game 7 of the 1960 World Series – Chuck Thompson (1960)
Harry Urata Field Recordings (1960-1980)
Hello Dummy! – Don Rickles (1968, Warner Bros.)
Chicago Transit Authority – Chicago (1969, Columbia)
Bitches Brew – Miles Davis (1970, Columbia)
“Kiss An Angel Good Mornin’” – Charley Pride (1971, RCA Victor)
“I Am Woman” – Helen Reddy (1972, Capitol)
“El Rey” – Vicente Fernández (1973, CBS)
Goodbye Yellow Brick Road – Elton John (1973, MCA)
“Before the Next Teardrop Falls” – Freddy Fender (1975, ABC/Dot)
I’ve Got the Music in Me – Thelma Houston & Pressure Cooker (1975, Sheffield Lab)
The Kӧln Concert – Keith Jarrett (1975, ECM)
Fly Like an Eagle – Steve Miller Band (1976, Capitol)
Nimrod Workman Collection (1973-1994)
Tracy Chapman – Tracy Chapman (1988, Elektra)
My Life – Mary J. Blige (1994, Uptown/MCA)
Microsoft Windows Reboot Chime – Brian Eno (1995)
“My Heart Will Go On” – Celine Dion (1997, 550 Music/Epic)
Our American Journey – Chanticleer (2002) (album, Warner Classics International)
Back to Black – Amy Winehouse (2006 album, Republic/Universal Music)
Minecraft: Volume Alpha – Daniel Rosenfeld (2011 album, self-released)
Hamilton: An American Musical – Original Broadway Cast Album (2015 album, Atlantic)
Legendary Latin artists Vicente Fernández and Freddy Fender are among this year’s inductees into the National Recording Registry, a prestigious honor from the Library of Congress. Fernández’s ranchera anthem “El Rey” and Fender’s bilingual country crossover hit “Before the Next Teardrop Falls” join a select group of recordings recognized for being “culturally, historically, or aesthetically […]
As Ed Sheeran readies the release of his forthcoming eighth album, he’s revealed that fans won’t be left waiting too long between singles for fresh material given the record’s “broad” range of sounds.
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Sheeran’s comments were made during his appearance on the latest episode of Call Her Daddy, where he spoke with host Alex Cooper about his lyrics, his favorite memory of Taylor Swift, and the embarrassing story of being caught naked in a hotel lobby.
The conversation also switched to the discussion of Sheeran’s new music, which includes the recently-released single “Azizam,” which will feature on his forthcoming album Play. While a release date for the record is yet to arrive, Sheeran used his appearance on Call Her Daddy to talk about the music that is still to come in the near future.
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“My idea was because the album is so broad, I didn’t want to just be like, ‘Here’s the single. Here’s the album,’ so there’s music coming every sort of two, three weeks,” he explains. “So there’s ‘Azizam’ now, there’s a song called ‘Old Phone’ that comes out in a couple of weeks, and then after that there’s another song coming.
“We shot all these videos and I’m less about single moments and more about, I want people to sort of feel the breadth of the record and I’m very confident that one of the songs will work, but it’s more about just putting ’em out and letting people hear some of the record before it’s out rather than what I’ve done before, which is just like, ‘Here’s my first single. Here’s the album,’ and yeah.”
While Sheeran has already given fans a preview of “Old Phone” by playing it live on The Tonight Show, Cooper also queried the English musician as to how his new music differs compared to what he had released on previous albums.
“It’s definitely different. I think I’ve been more explorative with this album,” Sheeran explained. “I kind of had an attitude of ‘Why the f–k not?’ and not really felt like I have to be in a box of being a singer-songwriter, of like, ‘I have to do this or I have to do that,’ and I lived in India for a little bit and worked with a load of Indian musicians and producers and blah, blah, blah.
“I made a song like ‘Azizam’ with Ilya who’s Persian and that’s in that world and ‘Old Phone’ I think is more in a Nashville country world and there’s just lots of different moments on the record, and the record is called Play and therefore it has to be playful. It has to be celebratory.”
Sheeran’s forthcoming eighth LP follows on from the release of his two 2023 albums, − and Autumn Variations, which peaked at No. 2 and No. 4 on the Billboard 200, respectively. They were his first records not to peak atop the chart since the release of his 2011 debut, +, and were followed in November 2024 with the standalone single “Under the Tree,” as featured in the Netflix film That Christmas.
As Sheeran explained during his chat with Cooper, the general vibe of Play is set to be far different to what what had arrived on his most recent albums.
“I released two albums that kind of, well, one was the sort of main album and one sort of came off the back of it, but they were both very depressing about quite hard hitting subjects, very muted,” he added.
“I still think they’re beautiful records, but I feel like coming out of that, of you know, going through grief and all that sort of stuff coming out, I needed to have something that felt bright and colorful and playful and that’s where doing St. Patrick’s Day, playing at Tootsie’s in Nashville, doing the New Orleans thing, the whole record just has to feel like fun and exciting.”
Weeks after rumors spread that Californian experimental hip-hop trio Death Grips had split, the band have now taken to social media to deny these claims.
Reports of the band’s initial breakup surfaced in early February, when a supposedly leaked message from producer Andy Morin appeared online, with the musician confirming, “yeah it’s over,” before placing the blame on vocalist MC Ride (whose real name is Stefan Burnett).
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“Stefan doesn’t want to do any more,” the message read. “But truthfully none of us can ever predict what will happen with the group.” At the time, no public statement from the notoriously media-shy band was issued.
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However, on Tuesday (April 8), the group took to their semi-active Instagram account to share their first post since October 2023, confirming that Death Grips is still very much a going concern.
“Despite rumour and hearsay, we remain active as Death Grips,” a message signed by Burnett and drummer Zach Hill read in the post, with the text itself written in marker atop a framed artwork. Notably, the statement lacked Morin’s signature, potentially suggesting that the group will continue as a duo in the future.
Death Grips first formed in Sacramento, CA in 2010, with Burnett, Hill, and Morin sharing their debut EP Exmilitary in April 2011. The group found wider fame thanks to the release of debut album The Money Store the following year, with positive reviews accompanying its appearance in the top 20 of the Heatseeker Albums and Rap Albums charts, and a placing of No. 130 on the Billboard 200.
Following a handful of other releases, Death Grips announced their initial split in July 2014, claiming “We are now at our best and so Death Grips is over,” and withdrawing from a planned tour supporting Nine Inch Nails and Soundgarden.
Despite this apparent breakup, the planned second half of their The Powers That B album followed in 2015, with the group returning to the live stage soon after. Further albums and EPs have since followed, though Death Grips have not performed live since an appearance at 2023’s Austin City Limits festival, and have announced no further live shows.
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Source: Getty Images / Adin Ross / Kamala Harris / Donald Trump
Adin Ross proudly did the ridiculous Trump dance while hanging with Felon 47 and sporting a MAGA hat. Now he’s crying because he’s losing money as the markets continue to nosedive due to Donald Trump’s abuse of tariffs.
Ross, a popular 23-year-old gamer and streamer, showed his love for Orange Mussolini before the election by giving him a gold Rolex watch, a MAGA-themed Tesla Cybertruck.
Now, Ross might want all the sh*t back because Trump’s tariffs are hitting Ross where it hurts, his bank account. Speaking with fellow lame DJ Akademiks, the dark room streamer Ross brought up the stock market, saying, “People are getting killed. Me too. We all are.”
Ross responded by telling Akademiks he lost “eight figures” in the stock market, with Akademiks replying, “Damn! You over here like, damn, Kamala, come back to me!”
https://x.com/FearedBuck/status/1909063947111588311
Wackademiks is referring to former Vice President Kamala Harris, who Trump narrowly defeated in the 2024 presidential election. Ross wasn’t shy about his support for Donald Trump. She also warned Ross and many other Americans about the exact nonsense Trump is doing now with his tariffs.
Ross interviewed the then-Republican candidate for President, putting the orange menace on his incredibly large platform to push his nonsense.
Now, to see him and many others who bought in the MAGA jig crying about losing money is absolutely hilarious, and quite honestly, good for them.
No One Feels Sorry For Adin Ross
Social media has been clowning Ross for effectively f***ing around and finding out, and having the audacity to complain about what’s going on.
“Adin Ross the retard of the century endorsed Trump by bringing him on his stream AND VOTED FOR HIM and is surprised by trumps actions,” one post on X, formerly Twitter read.
Another user said on X, “I wish I could bathe in Dave Portnoy’s misery right now. I would luxuriate for hours. Adin Ross too. Their financial pain is like a cool breeze in August. They did this to America. They deserve to suffer. Sadly, the rest of us deserve better.”
Welp.
You can see more of those reactions in the gallery below.
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Wallo, one half of the podcast Million Dollaz Worth of Game, went viral recently after a video surfaced of the broadcaster assisting a person in a dire situation. In the clip, Wallo is seen trying to talk a young man off the ledge of a bridge, with his podcast co-host ribbing his first cousin.
Gille Da Kid posted a video that features Wallo speaking to the young man who looks prepared to jump, although the conversation between the pair doesn’t show up in the clip. Because of their unique relationship, Gillie congratulated his co-host as only he can.
“He outside trying to stop people from jumping fake a&& negotiator @wallo267 good job Lo,” Gillie wrote in the caption of the video in question. It appears that Wallo stood alongside law enforcement officials and was assisting the effort to get the man off the ledge.
As it stands, this moment speaks to Wallo’s well-publicized image of being about bringing communities together after spending several years behind bars. In past interviews and on his podcast, Wallo has often expressed his passion for eliminating street violence and providing pathways for formerly incarcerated individuals like himself. He is also the Chief Marketing Officer for REFORM Alliance, which works on reforming parole and probation programs.
—Photo: Derek White / Getty
Cardi B is sending her love to the Dominican Republic after the tragic collapse of the Jet Set nightclub roof in Santo Domingo left at least 66 people dead and more than 160 injured, at the time of publication. The rapper, whose father is Dominican, wrote a message of mourning to her BG Secret Society […]