Chromeo Brings High Octane Funk To KCRW Apogee Sessions

KCRW’s Morning Becomes Eclectic show’s live performances are both coveted ones by the musicians and their fans alike. In its Apogee Sessions, KCRW tapes select ones of these performances at legendary studio mastermind, Bob Clearmountain’s Apogee Studio in Santa Monica, California for broadcast at a later date. On Tuesday April 22, 2014, Montreal-bred, Brooklyn-based, Chromeo, was the entertainment on Apogee’s stage. Fresh from their high billing on Coachella’s Main Stage the previous two weekends, the duo of Dave 1 and P Thugg stripped its chrome and lights show way back to its basics—and was none the less high octane for it.

Taking the small stage in front of 175 or so lucky attendees, some of whom won tickets from KCRW, the Chromeo fellows were flanked by six silver choir robe-clad lovelies, the Chromettes—as snazzy as the Supremes times two—with the performance mixed by Clearmountain himself. Chromeo’s latest album, White Women isn’t released until the middle of May, but with three albums already under its 10-year-strong belt, there is more than enough familiar and well-loved material from which to choose. Handling the myriad of instruments both conventional and unconventional alike—with the synthesizers perched atop illuminated ladies’ legs instead of the usual keyboard stands—the two looked like they could be from different bands: Dave 1 an indie rock ‘n’ roller and P Thugg an ‘80s hip hop throwback.

This discrepancy did not hinder them from tearing through their funkified electro dance pop groovers. The room was swaying in unison (the free flowing beer and wine wasn’t hurting the mood) as attendees felt that surge of recognition every time Chromeo started on another favorite. Keeping the selection spread out over its four releases, the two didn’t inundate the crowd with too much from White Women since the album’s disco rhythms haven’t had a chance to lodge themselves into fans yet. Early on Dave 1 mentioned that this performance was a far more intimidating one that Coachella since he could see every person’s face, accompanying facial expression and reaction.

The set was broken up with an interview conducted by Morning Becomes Eclectic’s host, Jason Bentley. Well-versed in Chromeo’s history, as well as the musical scenes the duo is influenced by, started in, and has evolved through, Bentley asked knowledgeable questions that hopefully put Chromeo in context for the casual fan. Dave 1 never removed his shades, further propelling his already rock star image while P Thugg never said a word that didn’t go through his trusty Talk Box, further propelling his image as the quirky one. Both had the crowd in stitches when asked about their collaboration with Toro Y Moi on “Come Alive” and Dave 1 admitted every girl he brought home mentioned how much they loved the crooner, and P Thugg concluded with something along the lines of, “If you can’t beat them, join them.”

Returning to the performance, the second half featured more tracks from White Women, including the seductive “Over Your Shoulder,” over whose refrain, which includes the word “stop” the Chromettes tapped deep into their inner Supremes. Also included were the instantaneous hit “Jealous (I Ain’t With It),” and the saucy “Frequent Flyer.”

The evening was billed as a dance party, and that is exactly what it was, albeit a super-special intimate one. This was especially welcome after Chromeo’s over-sold-out show at the Fonda Theatre two weeks prior where visibility of the two was next to nil and elbow room non-existent as well. And even if no one will admit it, these days attending Coachella is the equivalent of going to hell, and Apogee Studio is far from that. Plus the ban on all electronics made it the experience of not watching the show through a sea of lit mobile phones an exceptionally special one. -- Lily Moayeri

Chromeo’s performance and interview will air on the May 9, 2014 edition of Morning Becomes Eclectic, which will be accessible, online at:

Photo credit: Jon Gordon McKenzie

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Doja Cat Speaks Out After Being Accused Of Joining White Supremacist Chat Rooms

After trending online for the entire Memorial Day Weekend, Doja Cat publicly addressed allegations of racism and engaging in white supremacist chat rooms on Tiny Chat.

On Sunday (May 24), the “Say So” rapper posted a lengthy Instagram statement in response to numerous tweets exposing her alleged online activity, including saying “n**ger” in a predominately white video chat room and recording a song named after a racial slur.

“I’ve used public chat rooms to socialize since I was a child. I shouldn’t have been on some of those chat room sites, but I personally have never been involved in any racist conversations,” Doja explained in the statement. “I’m sorry to everyone that I offended.”

“I’m a black woman,” she added. “Half of my family is black from South Africa and I’m very prude of where I came from.”


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A post shared by Doja Cat (@dojacat) on May 24, 2020 at 8:10pm PDT

A day later, Doja took to Instagram Live to further explain herself and deny allegations of self-hate, fetishizing white men, and race play.

Later in the video, Doja denied rumors that she recorded the song, “Dindu Nothin,” to make fun of police brutality. According to Doja, the song was an attempt at reclaiming the little-known slur, though she did admit that the song was a terrible idea.

Watched the full apology below.


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Minneapolis Police Kill Unarmed Black Man On Camera, 4 Officers Fired

Four Minneapolis police officer were fired on Tuesday (May 26) after an unarmed Black man, George Floyd, was killed during an attempted arrest. Massive crowds took to streets late Tuesday in protest Floyd's murder.

“It’s not enough,” the victim's cousin said in reaction to the cops getting fired. “They murdered our cousin.”

In the disturbing video, Floyd can be heard begging for air while an officer has his knee in his neck for several minutes. The case is under FBI investigation.

“Being Black in America should not be a death sentence,” said Minneapolis Mayor Jacob Frey. “What we saw is horrible, completely and utterly messed up.”

During a press conference Tuesday morning, and in a new release post a day earlier, Minneapolis police failed to address the video but claimed that Floyd was a forgery suspect who “physically resisted arrest” after being located by police in a grocery store parking lot Monday night.

“Officers were able to get the suspect into handcuffs and officers noticed that the man was going into medical distress,” reads the MPD news release. “Officers called for an ambulance. He was transported to Hennepin County Medical Center by ambulance where he died a short time later.”

Bystanders recorded as the arresting officer ignores Floyd’s pleas and continued to press his knee into Floyd’s neck. “I cannot breathe. I cannot breathe,” Floyd is heard saying on the video. “Don’t kill me, I can’t breathe.”

Floyd, 46, loses consciousness during the recording. He was pronounced dead at Hennepin hospital.

“The lack of humanity in this disturbing video is sickening,” Gov. Tim Walz said. “We will get answers and seek justice.”

A native of Houston, Floyd lived in the St. Louis Park area of Minneapolis and worked as a security guard for several years.


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Megan Thee Stallion Earns First No. 1 With “Savage” Remix Ft. Beyonce

Megan Thee Stallion is the second female rapper to come in at No. 1 on the Billboard Hot 100 in the last month. The Houston rapper’s “Savage” remix  jumped from fifth place to the top spot this week marking Meg’s first run atop the single’s chart and Beyonce’s seventh No. 1 single overall.

To celebrate, Bey sent Megan a bouquet of flowers.

Beyoncé sent Megan flowers to congratulate her on their #1 with Savage Remix 🥺💕

— Megan Daily (@HottieSource) May 26, 2020

The “Savage” remix gave Meg her first No. 1 on the Hot R&B/Hip Hop songs chart, and returned to the top spot on the Hot Rap Songs tally. The track also climbed four slots to top the Digital Song Sales chart. The single marks a special achievement for Beyonce who joins Mariah Carey as the only two artists to earn No. 1’s in the 2000s, the 2010, and 2020s.

In addition to making chart history, the “Savage” remix was a collective effort between Megan and Beyonce to help their hometown of Houston during the COVID-19 pandemic. The song has reportedly raised more than $500,000 for charity.


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