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Michael B. Jordan Breaks Out The Nayhoos While Singing K-Ci & JoJo

Because who doesn't love '90s R&B?

Michael B. Jordan is a man of many roles. A supervillain, a professional boxer, an American sex symbol and now a '90s R&B karaoke singer.

On Wednesday (Nov. 7), the 31-year old actor posted on Twitter a video of him in the backseat of a car singing K-Ci & Jojo’s 1997 classic “All My Life. He also added a few dances and adlibs for Dru Hill’s 1998's deep cut “You Are Everything“ and 112’s 1996 song “Only You,” featuring Mase and Biggie.

His caption reads "Y’all think I should do Carpool Karaoke?" while also tagging host James Corden to the post. The video has since gone viral with over 286,000 views. Not only does Jordan sing along to the track playing the car, he even tries to hit a few falsettos.

Jordan's vocals aren't the best, but we wouldn't be opposed to him portraying the younger versions of our favorite 90s singers on the big screen. The actor is pretty familiar with K-Ci & Jojo’s "All My Life." While on a press tour for Black Panther in South Korea back in February, Jordan along with his co-star Chadwick Boseman sang the tune as prompted by director Ryan Coogler.

Check out the actor flex his singing chops above.

READ MORE:  ‘Creed 2′ Trailer Leaves Fans Craving More

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Solange Uses Her Divine Spirit To Calm The Mind And Body For "Bridge-s" Performance Piece

There's a serene feeling over the bodies standing in the iconic architecture at the Getty Center Museum. Jazzy horns, peaceful keys, and crisp guitar riffs gently interrupt the soothing silence as dancers dripped in marigold threads swayed to "Counting," a composition created by Solange. A series of odd numbers like "5", "7" and "9" are recited on a loop by half of her dancers while the others chant "6", "4" and "2." It's just a preview of her latest creation Bridge-s but felt like a dynamic meditation.

Bridge-s brings yet another magnetic piece into her series of interdisciplinary works that spawned after the release of her magnum opus, A Seat At The Table. The world was introduced to Solange's artistic side thanks to performance art pieces at the Guggenheim in New York and the Hammer Museum in Los Angeles.

Composed by Solange and choreographed by Gerard & Kelly, Bridge-s was created with the pillars, beams, and columns around the museum in mind. Dancers and the orchestra used the space to their advantage, with tuba players catching the peripheral of attendees from afar.

Four rollouts will take place November 16-17, curated with a selection of films that include Black to Techno by Jenn Nkiru, AFRONAUTS and Boneshaker by Nuotama Bodomo, The State of Things by singer-songwriter Kish Robinson (Kilo Kish) and more. In its entirety, Bridge-s was designed to explore "transitions through time."

This was felt throughout the performance piece as dancers move with the intent of love, internal struggle, and unity. In a stunning zine designed by Sablā Stays, Gerard & Kelly shared the emphasis behind their modernist and inclusive approach.

"Our work, like hers, is part of an interdisciplinary effort throughout the arts and humanities to redefine modernism by critically engaging its prevailing narratives. By accounting for differences of gender, sexuality, and race. By focusing on intimate and collective histories. By centering our work around the body, dance and movement," they said.

Solange also opened up about the importance the museum and the Elbphilharmonie Hamburg played in the performance piece. "Both Elbphilharmonie Hamburg and the Getty Museum have sure strong distinctive voices spatially, and so the intention is that all of the work, the movement, the language, the songs all align with those principles," she said. "Working with Gerard and Kelly, who share many of the same philosophies on their approach to interpreting time and space through performance has really built the foundation [for] the spirit of this collaboration."

Like the rest of us, the artist watched closely the dancers glide across the floor, while bandmembers release enchanting sonnets with vocalists dropping a few high notes in between. Guests like Thundercat (and his Pikachu backpack), Kilo Kish, Dev Hynes of Blood Orange and Tyler, The Creator were also left speechless after the performance.

“I just want to thank you guys for allowing me the space to evolve, experiment and express new frontiers,” Solange said to the crowd after the assembly provided endless cheers.

Learn more about Bridge-s and get free tickets here.

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Nic Harcourt hands Quincy Jones the AKG Lifetime Achievement Award.
Courtesy of AKG

A Night Of Timeless Moments: AKG Honors Quincy Jones At 'History of Making History' Event

Quincy Jones can hang.

As AKG Audio's special event honoring the legendary composer in Hollywood came to an end just before midnight on Tuesday (Nov. 12), the 86-year-old was in the third hour of meeting guests. Sitting on a piano bench with a wide smile, Jones showed genuine love, laughs and hugs with every fan who had their own special story of how his work changed their lives.

Jones and innovative sound leaders AKG Audio have a lot in common. For the last seven decades, both have commanded the world to open their ears to new styles of technology, music, and production. It's a bond that brought the two to the Capitol Records Tower for "A History of Making History: Celebrating 70 Years of AKG," an event honoring the massive brand while tipping its hat off to one of the most important music composers of all time.

Jones accepted the Lifetime Achievement Award in front of an intimate crowd that included guests like singer-songwriter Daley, Maejor, Bobby Brackins, Jones' protege Jacob Collier, longtime friend and host Nic Harcourt, and many more captivated by the musician.

 

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Quincy Jones, the legendary composer, producer and founder of @VIBEMagazine, was honored last night in Hollywood by @akgaudio with a Lifetime Achievement Award for his contribution to music for over the last 7 decades. Check out our stories for more with Mr. Jones and AKG’s legendary role in the history of headphones! #AKGX70

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"Thank you from the bottom of my soul," Jones said. "This is as good as it gets for an 86-year-old bald-headed beep bopper (Laughs). Seven kids, eight grandkids; life is great. I hope you all experience a long, long life filled with love to share, health to spare, and most importantly, friends who care."

“Throughout his legendary career, Quincy Jones has created some of the most iconic records in the history of the recording industry and we are honored to present him with a Lifetime Achievement Award,” Erik Tarkiainen, Vice President of Global Marketing, HARMAN Professional Solutions tells VIBE. “For 70 years, AKG has been creating headphones and microphones that empower the spirit of creativity and innovation, and no one embodies that spirit more than Quincy.”

Some of AKG's classic mics were on display like the model Beyonce used for the album 4 and another used by both the late 2Pac and Luther Vandross. Jones even shared how he's used their products over the years.

"For almost seven decades in this business as a musician, composer, arranger, conductor and producer, I have always gone for the music that gives me goosebumps. And whether it was Lionel Hampton, Dizzy Gillespie, Frank Sinatra and the Count Basie Orchestra, the Brothers Johnson, Michael Jackson, the artists who contributed to the recordings of "We Are The World", right up until today, without fail that music was delivered through AKG audio products,” Jones said. “As you celebrate your 70th anniversary, I have no doubt in my mind that AKG will continue to be an essential part of the music recording and listening experience for many, many more decades to come."

Collier's covers revealed just how sharp Jones' ears remain over the years. Collier's jazz-tinged covers of Jones' compositions like "Human Nature" (Michael Jackson), "Fly Me To The Moon" (Frank Sinatra) and "Give Me The Night" (George Benson) included jazz and R&B blends with the multi-instrumentalist using his voice as the most powerful card in the deck. The Grammy-winning artist's performance was a gift to the audience and to Jones, as he sat front and center enjoying an icicle and while tapping his shoe to the new-wave rhythms.

Just before Collier united the room, several studios at Capitol Records acted as classrooms. One studio featured a conversation between Harcourt and acoustics expert Dr. Sean Olive where they touched on the history of AKG's role in the headphone industry, dating back to 1949's AKG DYN Series. Another room included the stems of Quincy's most iconic production—Michael Jackson's "Thriller"—available on laptops for guests to mix while AKG's latest releases like the AKG K361 and K371 were on display. In the Crow's Nest studio rested with elation is Ramzoid, who offered his own remix to Jones' music.

One of the main studios featured a DJ set by Austin Millz, one of the creatives behind D’USSE Palooza and admirer of Jones. "It was an honor to play for the Quincy Jones/AKG event," he tells VIBE. "Quincy is one of my biggest influences in music. His path, journey and all his contributions in music is countless and is a great example of setting the tone for what is an extraordinary career. His accolades and what he stands for is exemplary. Last night was a night that I will never forget."

The bubble with Jones and AKG was a music lover's paradise. As the legendary composer continues to receive his flowers, new and old friends are learning more about him each and every day. "It's the left brain and science," he said of the intersection between God-given instrumental talent and technology. "You have to master the rules before you can break them, so you better know what you're doing."

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NEXT: Emotional Oranges Sing Tales Of Modern Love Behind Mysterious Blinds

As of late, New York’s Brooklyn Steel has acted as a safe space for budding performers of the R&B flavor to bring live music to the fans. On a brisk fall evening, fans of Emotional Oranges follow stickers that act as breadcrumbs to the venue. It’s a perfect treat for them given the anonymous nature of the presumed duo. Singles like the flirtatious “Motion” and “Personal” not only offer reasons to slide to the dance floor but an ode to their ability to marry disco blends, instrumental productions, and 808s, resulting in a very special cocktail of modern R&B.

When members known as "A" and "V" take the stage in front of the sold-out crowd, they’re imaginative in every way. The venue turns into a mood ring of sorts as their silhouettes are met with lavender hues during “Built That Way,” blue for “Your Best Friend Is A Hater” and a somber red for “Corners of My Mind.” They may be a wonder, but the stories heard on the aforementioned tracks reflect the ins and outs of modern love. Ins being the adrenaline of meeting someone new in a two-star bar and the outs being the situationship that follows it. Fantasies of what love should be and reflections of what it could have been flooding the Emotional Oranges' debut project The Juice Vol. 1, giving listeners honest storytelling. It’s something producer/engineer “A” and female vocalist “V” pride themselves on.

“I think a lot of our music stems from real experience, not just other people’s stories, but our lives as well,” V says a few moons later in the VIBE office. Their most daring songs like “Hold You Back,” a back and forth about a woman falling for another girl while in relations with a guy came from a simple conversation between the two. “Hold You Back” as well as songs from their newly released follow-up, The Juice Vol. 2 aren’t built for the radio or a speakeasy, but for listeners who enjoy a bit of spritz in their R&B.

“It goes back to the expectations,” A says. “People get in the studio and it's a writer setup with another writer. The expectation is a song for the club, or a deep song or something for the “quintessential” album, but with us, there's none of that.”

Due to their anonymity, Emotional Oranges don’t worry about playing up their personality or staying in a sound bubble. Their mysterious allure comes with creative freedom. “I think it actually helps us do things faster,” V continues. “Vol. 2 was written in two weeks. A lot of the production takes 5, 6, 7 months, but in terms of ideation that process was super fast.”

The Juice Vol. 2 continues to toy with their style of intentional R&B; songs like “Don’t Be Lazy” jump right to the punch. “Let me lick and taste it,” the two sing with other tracks like “West Coast Love” pays homage to East Coast legends A Tribe Called Quest’s 1990 jam, “Can I Kick It.” There’s also “Iconic,” that toys with the sounds of Miami’s 90s underground. Produced by Dante Jones of THEY., the track aligns with the Los Angeles-based duo's mission of keeping their music free-flowing.

A and V of Emotional Oranges came to be in 2017 but the group moved as a collective comprised of “normal people” in 2015. Those people included songwriters and producers, leading many to wonder just who made up the group. Speaking to Noisey earlier this year, EO shared how their debut single “Motion” doesn’t feature V, but another vocalist. "If you listen real carefully, on our first single ‘Motion,’ that’s our first singer. She's an A&R at a big label. The rest of the songs are our new singer," they said at the time. “We've all worked regular jobs. We're very regular people. And we came together for one unified vision. I tried a lot of things in my life that didn't work. I tried to put so many things together. It just came down to authenticity.” Some of the things that didn’t work were trying to bend towards a label's passive-aggressive suggestions.

“When you have labels telling you who you are as an artist, that doesn't work,” A says. “It might work for a song but not for the longevity of your career.” He also shared how artists should be mindful of the relationships they have with a label, a notion that might not be on the mind of a green artist. “It's not the idea of a label it’s the idea of someone telling you that you have to compromise your integrity in order to get to the next level, you have to eliminate that and eliminate the expectations of it to make money off of this tomorrow,” he says.“But for us, I think it's very liberating. We’re releasing music we love and not being given a deadline or told what to wear. To free yourself from all these things has been the most liberating for us.”

With their loyal and true fan base known as the “citrus squad,” Emotional Oranges got to experience just how deep their influence has been. Their fan merch with the simple words “emotional” across the right side of their tees and sweatshirts were later seen in the stores of Forever 21 without any credit. “I take it as a compliment,” V says. “They always copy what’s hot.”

Merch:

 

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- 🧡 Emotional Oranges 🧡 🍊 9/14/19 🍊 Tags: #emo #grunge #makeup #edgy #emomakeup #grungemakeup #dark #aesthetic #tumblr #tumblraesthetic #outfits #black #bandtees #rock #music #skinnyjeans #selfie #mirrorselfie #smokeyeye #eyeliner #alternative #alternativeaesthetic #sad #dark #nepali #canadian #explore #explorepage #emotionaloranges #chiiild @hellochiiild @emotionaloranges

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Forever 21:

They’re also one of the artists who provide a phone number for their fans. It’s not a way of funneling data for EO, but instead, a way for them to get to know their squad. “Even at the shows, they’ll come backstage and tell us their names. One time, there were four different couples in Toronto who bought meet and greet tickets twice," V recalls. "They spent $150 each twice in three months. They all said, ‘Do you remember us?’ and it’s like, ‘Of course!’ Moments like that have been great.”

“They’ll also tell their family members to come to shows,” V adds while asking A about a Texas-based fan who shared his love for EO with his twin sister from Durham. That curious person then became a fan, stretching the Emotional Oranges family a little further.

As their music continues to reach lovers of soul and today’s modern R&B, Emotional Oranges are holding on to the elements that actually matter. From storytelling, funky beats and universal perspectives, they have a gift of making it all work. “I think we haven't pigeon-holed ourselves, or put ourselves in a box,” V ironically says as she toys with an orange from our snack area. “I think we kind of live outside the box. We can really play, which I think is fun since where we go from here is up to us.”

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