Jack In The Box

Recap: Dim Mak Records And Jack in the Box Serve Up A Delicious Mix

What's a merrymaker to do after an exhausting night of shaking one's money-maker at Hollywood¹s Warholian Dim Mak Studios? Boasting over 2200 locations in 19 states, many operating 24-hour drive-through service for 24-hour party people, Jack in the Box¹s vast menu offers snacks and meals ranging from the piquant to the sweet, in addition to the holy grail of fast food: 'round-the-clock breakfast items, ideal for achieving the optimal booze:food ratio. Dovetailing with The House That Jack Built¹s tradition of serving a flavor for every craving, Jack in the Box and Dim Mak Studios provided a line-up that swapped oral sensations for a smashing aural prix fixe by presenting a DJ of various global origin for each partier's palate.

The evening¹s effective, exuberant amuse bouche, Gotta Dance Dirty and Dim Mak¹s self-proclaimed resident selector Bones dominated the decks as monitors strewn around the cavernous Dim Mak Studios depicted cascading fireworks from the mouth of Jack I. Box himself, Jack in the Box¹s beloved founder and harbinger of munchies. Bones leaned into the beats tirelessly, raising the room¹s energy to meet that of the oncoming storm, Main Course¹s Astronomar. Blessing Los Angeles with his recently attained resident status, hip-hop aficionado Astronomar¹s brazen sensibilities attracted Diplo and Skrillex¹s admiration for a wealth of reasons. Astronomar read the room with a guard dog¹s acuity, meeting eyes with revelers and bringing the space to a frenzied mass of careening bodies amidst a backdrop of crashing measures layered with deep soul and funk dynamics. Main course indeed.

The evening¹s palate cleanser, Dim Mak¹s DJ Metric presided over Dim Mak Studios beautifully appointed Room 86, spinning stirring tunes replete with heartfelt vocals, inventive grooves and skillful breakdowns for the slightly less turnt up among us.

Midnight hailed the arrival of another hearty main course, Dim Mak/TOCA45¹s multi-instrumentalist sensation, prodigious remixer and co-conspirator to Benny Benassi, David Guetta, and Steve Aoki, German-born Tocadisco. With the crowd firmly cradled in the palm of his capable hands, Tocadisco¹s genre-bending methods of mayhem were as varied and exhilarating as the fresh tracks he features on his own curated hour of power, Tocacabana Radio Show. Tocadisco¹s sly affinity for unpredictability and his refusal to cling to the comfort zone of any genre or sub-genre made his set a musical non-confirmist¹s wet dream.

Tocadisco graciously handed us off to fellow multi-instrumentalist and Dim Mak label mate Garmiani, Sweden¹s brutally versatile Dance Motherfucker maestro. Garmiani, the final course of the evening functioned as the distinguished, ever-present maraschino cherry atop a thick Jack in the Box milkshake. Launching into razor-sharp mixes of hard house with heavy drops and reverberating synths, Garmiani¹s shark-toothed smile and deft hands bespoke the respect he feels for both his craft and audience. Garmiani¹s live performance brimmed with authenticity and glory, complimenting Tocadisco and the evening¹s prior performers with the harmony of a freshly baked black and white cookie; you may exhibit a preference for one side of the cookie but disappointment isn¹t a viable option.—Lauren Rothman

Photo Credit: Alexander Federic

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Jordan Peele’s ‘Us’ Is Expected To Make $64 Million Opening Weekend

Thanks to Us, Jordan Peele has another blockbuster on his hands. According to the Hollywood Reporter, the highly-anticipated horror flick starring Lupita Nyong’o, Winston Duke, Shahadi Wright Joseph and Evan Alex, is expected to have a $64 million opening weekend at the domestic box office.

Peele’s sophomore horror film earned an impressive $7.4 million on Thursday (March 21) night previews, and is forecasted to take in about $27 million from Friday sales. The film is also on pace to knock Captain Marvel out of the No. 1 spot at the box office.

Once final numbers are tallied, Us will likely snatch the third-best opening weekend record for an R-rated horror film behind It, which brought in a whopping $123.4 million, followed by Halloween’s $76.2 million opening weekend last year.

Aside from rave reviews and a genius promo run that included simultaneous screenings in major media markets, Us earned a 95 percent approval rating on Rotten Tomatoes.

The film, set in the mid-1980s centers around a family of four who set off on a vacation that finds them confronting some familiar faces.

Peele recently spoke to VIBE about casting Duke (our April 2019 cover star) in the role of patriarch, Gabe Wilson. “I have to have somebody voice what the audience was saying,” he said. “In the case of Get Out, it’s Rod, like, ‘How have you not left yet?’ [In Us], Winston is largely that voice. There’s one moment where Lupita [Nyong’o] takes a step into the unknown, where black people [will think], ‘I don’t know.’ But to have Winston say, ‘Aaaand she left. Your mother just walked out of the car.’ That’s all we need.”

Duke also opened up about the intricacies of his character. “His function isn’t to see through the veil. His function is to tell the absolute truth how he sees it,” explained the 32-year-old actor. “He’s sometimes there to say the things that other people don’t want to say, but he’s also there to make fun of things to keep it from not getting too heavy, even though it’s real. That was my job. [Peele] respected that. I like to lean into functions. If I’m going to be your antagonist, I’m gonna really push you. If I’m gonna be your clown, funny guy, I’m gonna do that.”

Click here to read VIBE’s April 2019 cover story.

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Cardi B Explains Why She Wants To Trademark “Okurrr”

Cardi B hopes to secure as many “bags” as possible. In response to backlash and burning questions surrounding her decision to file to trademark “okurrr,” the 26-year-old rapper took to social media Friday (March 22) to defend her latest money move.

Since people tend to ask Bardi to use what has become her signature catch phrase, she figured that it was time to cash in. “You think I ain’t gonna’ profit off this sh*t? B*tch white folks do it all the motherf**king time,” she said. “So you gon’ be mad at me ‘cuz I want to get some motherf**king money?

“While I’m still hear I’ma secure all the fucking bags,” Cardi continued before adding that there are a “lot of ways to get rich” in 2019.

The Bronx native caught heat for wanting to trademark the word because she wasn’t the first to say “okurrr.” Cardi already revealed that she started using it after she heard Khloe Kardashian saying it, but the word was originally popularized in drag culture -- most notably by Rupaul’s Drage Race contestant Laganja Estranja, in 2014.

However, Rupaul attributed the word to Broadway actress, Laura Bell Bundy, who used it in YouTube skits dating back to 2010. In the skits, Bundy pretends to be a hairdresser named “Shocantelle Brown.”

Although Bundy caught criticism for her little character, which was deemed racist, she typically gets credit for bringing “okrrr” (different spelling) to the internet a full decade before Cardi made it mainstream.

No matter the origin, it looks like Cardi will be the only one profiting off of “okurrr.”

 

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#CardiB on why she decided to trademark “Okurr”

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Kanye West, EMI Working Towards Private Settlement

Kanye West and EMI could be close to settling their legal drama. Each party filed documents requesting a stay of the case to “explore the potential for a resolution,” The Blast reports.

West sued EMI in an effort to “gain freedom” from his contract, and to own his publishing. In the lawsuit, ‘Ye argued that his contract ended in 2010 under California law, which bars entertainers from being tethered to an agreement for more than seven years. The multi-Grammy winner, who signed the deal back in 2003, also accused the company of slavery because the contract doesn’t allow him to retire.

“Even if the contract were not lopsided in EMI’s favor (it is), even if its terms valued Mr. West’s artistic contributions in line with the spectacular success he has achieved for EMI (they do not), and even if EMI had not underpaid Mr. West what it owes him (EMI has), he would be entitled to be set free from its bonds,” the lawsuit reads.

EMI hit back with a countersuit filed in New York, instead of California. The suit pointed out that the 41-year-old rapper signed multiple contract extensions, in addition to accepting millions in advances.

According to The Blast, West and EMI now feel that putting a hold on the legal proceedings will be beneficial to both sides “and the Court by enabling the parties to engage in meaningful discussions in an attempt to resolve this action without having to incur the burden and expense of litigation and motion practice.”

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