About Kai Yeo

How Has 9/11 Changed America?

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September 11, 2001 will forever remain etched in the memories of Americans. Almost 3,000 innocent lives were lost during the deadly 9/11 terror attack. No one saw it coming until two planes hijacked by terrorists crashed into New York’s World Trade Center.

Terrorists aboard a third plane hovered around the Pentagon while the fourth crashed in Pennsylvania. And this was the beginning of significant changes in America’s history. Nearly everything changed in a bid to make America safe. Below are several things that changed after the terrorist attack.

Start Of War On Terror

The 9/11 terrorist attack on U.S. soil marked the beginning of America’s war on terror. Before then, American troops were home. But a month after the attack, American troops were deployed to Afghanistan. Their main objective was reining in al-Qaeda militia – an outlawed terror group – behind the terrorist attack in the U.S.

In an address to Congress nine days after the attack, declared a global war on terror.

“Our war on terror begins with al Qaeda, but it does not end there. It will not end until every terrorist group of global reach has been found, stopped, and defeated,” Bush’s resolute stand read.

The U.S. troops sustained a long war in dismantling the Taliban government supporting al-Qaeda. It is the most protracted military campaign in the annals of U.S. history. And it didn’t end here. Military troops from the U.S. in 2003 invaded Iraq intending to dethrone Saddam Hussein. Hussein was the leader at the time and was producing weapons for the Taliban forces.

Twenty years later, about 8,000 US troops are still in Afghanistan, taming the Taliban insurgency.

Health Complications

Residents of lower Manhattan in New York reported increasing cases of Ground Zero respiratory diseases five months after the terror attack. Some of the 9/11 related illnesses came as a result of pulverization. When the World Trade Center collapsed, all materials in the building became fine dust spreading all over Manhattan.

The World Trade Center Health Program certifies that there are more cases of respiratory diseases since the attack in the area. Further, other ailments certified by the program include asthma, anxiety, post-traumatic stress disorder, cancer, depression, rhinosinusitis, and sleep apnea.

Onset Of Deportations

The Department of Homeland Security didn’t exist before September 11, 2001. President Bush formed it in 2002, working closely with the U.S. Immigration and Customs Enforcement (ICE). Deportations rose exponentially during Barack Obama’s administration, having the highest numbers. Between 2009 and 2010, nearly 400,000 people were deported.

Between 1999 and 2001, there were at least 200,000 annual deportations. But they doubled after the 9/11 terror attack.

Airport Security More Elaborate

In 2001, you would wander around the airport in the U.S. without much fuss. Today, you need a ticket to do this. And proper scrutiny of your passenger I.D. is undertaken before boarding a flight. A thorough body check happens today, and you must remove your shoes and your belt. Back then, none of this happened. Security is now elaborate – nothing is ignored. Not even the vaguest intelligence report.

Anti-Muslim Bias

Between 2015 and 2016, FBI data indicates 91 cases of assault stemming from anti-Muslim bias. In contrast to 2001, after the 9/11 attack, this number grew. Americans perceive Islam as a religion advocating for war. Religious discrimination is still a thing in America. The profiling of Muslims continues amid efforts to change the narrative that they are peace-loving.

The aftermath of the 9/11 terror attack in the U.S. in 2001 has a good and an ugly side. In terms of safety, it is a plus for the people. More elaborate security systems are in place today. But America is still in the war two decades later; this is a sad reminder of the aftereffect of the most significant terror attack in the land.

Innovating Wildfire Insurance

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The Innovative Finance for National Forests grant program, supports partner organizations developing out of the box financial solutions to some of forest management’s most vexing challenges. One partner, The Nature Conservancy, focused on using insurance premium reductions to incentivize forest conservation.

Property insurance premiums for communities, businesses, and homeowners are based on numerous factors and inputs of actuarial science. Some of those inputs include the quantity and history of claims in an area, the location itself, property value. Global warming? While not directly, studies have linked climate change to another risk factor considered in calculating property insurance premiums: wildfire.

Trends in wildfire activity show that fires are growing bigger and more intense across the western United States, destroying more structures with increasing associated costs. In 2020 there were 58,950 wildfires, affecting 10.1 million acres, in contrast to 18,229 wildfires and 1.3 million acres affected in 1983. The ever-growing risk to companies, communities and private landowners has drastically increased insurance premiums for properties at risk of wildfire, and it is expected that those premiums will only continue to rise, making insurance policies unaffordable for many.

But that doesn’t necessarily need to be the case. Recently, The Nature Conservancy, supported by an Innovative Finance for National Forests grant from the USDA Forest Service, the National Forest Foundation, and U.S. Endowment for Forestry and Communities, focused its efforts on proving that ecological forest management could lower insurance premiums.

“Forested lands in the west and adjacent communities are at risk of increasingly severe wildfires,” said Dave Jones, senior director of environmental risk at The Nature Conservancy and prior Insurance Commissioner for the state of California. “Wildfires are taking more lives, causing more injuries, destroying more homes and other structures, and at the same time, insurers are declining to write insurance policies for those facing substantial wildfire risk.”

State and federal land agencies and conservation organizations such as The Nature Conservancy already employ proven methods of ecological forestry management practices – such as prescribed burning and forest thinning – to reduce the risk of severe wildfires. These treatments increase forest health and productivity while also reducing the amount of organic material or “fuel” available to burn.

Private property and asset owners, including businesses, public agencies, and communities, also stand to benefit from those same practices. This led The Nature Conservancy to develop an innovative financial solution that would both serve to mitigate severe wildfire risk, thereby lowering insurance premiums.

The project, at its foundation, explored how creating more wildfire-resistant landscapes through ecological management could translate into lower insurance premiums for policyholders.

“The Wildfire Resilience Insurance project demonstrated that this reduction in risk and loss can be modeled by insurers,” said Jones, “With the reduction in expected losses due to severe wildfires, the amount of premium which is needed to be collected by insurers to cover those losses declines as well.”

The Nature Conservancy used its French Meadows Forest Restoration Project, a 28,000-acre ecological forestry project in the Tahoe National Forest in Placer County, California, as a test case for the insurance study.

Partnering with global insurance and risk advisory firm Willis Towers Watson, current insurance models were modified to account for ecological forest management.

The study found that there were reductions in premiums for various types of commercial and residential insurance. For example, The Nature Conservancy and Willis found that 81,000 homes would see a total annual premium savings of 41% or $21 million a year.

The Nature Conservancy also explored how those same insurance savings can be captured and used to fund forest treatment. In most cases, insurance premium savings were sufficient to fund additional ecological forest management projects, leading to further savings and an even more resilient landscape.

What’s more, Jones said the approach is scalable and can be implemented in other states where forests are subject to similar fire behavior as the forests of the Sierra Nevada.

“The approach is applicable wherever there are landscapes at risk of wildfire and where ecological forest treatments can reduce those risks,” said Jones. “Now that we have demonstrated, for the first time, that insurance modeling can take into account the risk reduction benefit of ecological forest treatment, we expect insurers to begin to take up the results of the Wildfire Resilience Insurance project in their own modeling and pricing of wildfire risk.”

Click here for more information on the Wildfire Resiliency Insurance project. To learn more about the Innovation Finance for National Forest grant program and how to apply, visit the National Forest Foundation.

Champion × Muhammad Ali

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Champion® Athleticwear Unveils Second Capsule in Muhammad Ali Collection Brand drops new pieces inspired by the gold medalist and designed to help everyone look and feel like a Champion

Champion, makers of authentic athletic apparel since 1919, and Muhammad Ali Enterprises, today dropped the second, limited-edition capsule in Champion’s Muhammad Ali Collection. The capsule’s new designs and fresh colors are fabricated to evoke the ethos of the sports legend during his inspirational gold medal win during the 1960 Games in Rome as an 18- year-old.

With details based on the 1960 Games historic location and team uniforms, the apparel features unique athletic accents, iconic silhouettes, luxe fabrics, and voluminous draping. The men’s and women’s collections, which retail from $35-$125 in the United States, spans sizes XS-2XL and includes Reverse Weave® hoodies, quarter-zip pullovers, joggers, shorts, graphic T-shirts, crop tops, bike shorts, hats and special satin boxing robe. The pieces have legendary quotes from Ali, including “I am the greatest, I said that even before I knew I was,” along with Games-inspired brand decals.

“Muhammad Ali was an artist in the ring and a champion of the people outside of it, inspiring his fans across the globe to be their very best,” said Jon Ram, group president of global activewear for HanesBrands. “The second drop in this collection allows everyone from professional athletes to backyard sports enthusiasts and culture curators to truly be their own Champion by finding the joy in dressing for self-expression and feeling confident while being comfortable.”

The second drop in brand’s multi-year partnership with Muhammad Ali Enterprises, owned by Authentic Brands Group (ABG) in conjunction with Lonnie Ali, a trustee of the Muhammad Ali Family Trust (MAFT), includes global integration across Champion’s brand platforms. The collection is being distributed via Champion.com and Champion retail stores with distribution in the United States, Europe, Asia, Mexico and South America. A third drop is scheduled for later this year to be followed by additional capsules in 2022.

“Ali would say: ‘Champions aren’t made in gyms, champions are made from something they have deep inside them – a desire, a dream, a vision,’” said Katie Jones, senior vice president, entertainment, ABG. “This partnership continues to honor what was most important to Ali during his lifetime.”

To celebrate the second drop of the Muhammad Ali Collection, Champion will be donating to the Louisville, Kentucky-based Muhammad Ali Center, a non-profit museum and cultural center dedicated to honoring the man that meant so much to so many.

To learn more about the collection and the Champion brand, visit the official website and follow the brand on Instagram, Twitter, TikTok and Facebook.

BRIC CELEBRATE BROOKLYN! FESTIVAL

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THE 43rd ANNUAL BRIC CELEBRATE BROOKLYN! FESTIVAL STUNNED ON OPENING NIGHT FEATURING HEADLINER ARI LENNOX, A SURPRISE PERFORMANCE BY J. COLE, KAMAUU, ADELINE AND NESTA AT PROSPECT PARK

BRIC AND NYC PARKS UNVEILED THE OFFICIAL RENAMING OF THE “LENA HORNE BANDSHELL” AS PART OF THE CITY-WIDE INITIATIVE TO HONOR THE BLACK EXPERIENCE IN NYC

BRIC, the Brooklyn-based leading arts and media institution, kicked off their 43rd annual BRIC Celebrate Brooklyn! Festival with an official return to live, in-person performances. While last year’s season of the free concert series was cancelled due to the COVID-19 pandemic and reinvented as a virtual two-day event, this season will follow in BRIC’s tradition of bringing the Brooklyn community together by celebrating the culture, music, and people that make the borough one of a kind.

The evening commenced with opening remarks from BRIC’s President Kristina Newman-Scott, the Executive Producer of Celebrate Brooklyn! Lia Camille Crockett, Comptroller Elect Brad Lander, President of Prospect Park Alliance Sue Donoghue, and NYC Parks Commissioner Mitch Silver. Commissioner Silver announced the official renaming of the Prospect Park Bandshell to the “Lena Horne Bandshell.” With a strong endorsement from Brooklyn Borough President Eric Adams, the historic concert venue has been renamed in honor of Brooklyn-born Lena Horne, who was a social justice and civil rights activist, trailblazing dancer, actress and singer in theater, film and television. The renaming supports BRIC’s commitment to championing diverse culture-shifters and elevating artists from around the world and around the block.

Queens-based artist Nesta opened the night of incredible music performances, paying homage to his Jamaican roots with an R&B twist, performing songs including “Str8 From The Heart,” “Poison,” “Brag,” “Frontin’,” “Why Not Love,” and “Already There.” Next, the politically conscious rapper, poet, and Brooklynite KAMAUU had his fans on their feet and singing word for word during his set, which featured songs “Purl,” “Bamboo,” “Switch Up,” “Ivy,” “Sunbogalo,” “Jambo,” his crowd-pleasing reinvited cover of “Hey Ya,” “Clover,” “Icarus,” “Gold,” and “Mango,” featuring French-Caribbean singer and bassist Adeline, who joined him on stage. KAMAUU also performed a special preview of an unreleased record for the fans.

Finally, headliner Ari Lennox graced the stage with soulful renditions of her songs “Whipped Cream,” “Broke,” “New Apt,” “Facetime,” “Chicago Boy,” “I Been,” “Up Late,” “40 Shades,” “Speak to Me,” and a medley of old favorites, “Goat,” “Backseat,” and “Night Drive.” Towards the end of her set, Ari Lennox treated the crowd to an unbelievable surprise performance with artist J. Cole, who sang his verse on her hit-single “Shea Butter Baby.” The Brooklyn audience was filled with palpable excitement and resounding cheers for J. Cole, who praised Ari Lennox before leaving the stage. The night ended with Ari singing “BMO,” and the energy of the park overflowed with pure joy.

The BRIC Celebrate Brooklyn! Festival will continue through September 18 with upcoming performances including The Roots, Wizkid, D-Nice with special guests, Glass Animals, Skip Marley, Vijay Iyer, Rita Indiana, Mr. Eazi, Trombone Shorty, Junglepussy, Buffy Sainte-Marie, Yaeji, and more!

PIÑATAS: THE HIGH ART OF CELEBRATION

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This fall, the Craft in American Center will present Piñatas: The High Art of Celebration, which will focus on the overlooked craft of handmade Piñatas and Piñata-based art objects. Piñatas, ubiquitous and often the focal point of parties and festive occasions across the U.S., are handcrafted and ephemeral objects that signify happiness, joy, and celebration. This show will explore how they are designed, constructed, and executed, and the integral role that they play in modern material culture. It will present the work of traditional piñata artisans alongside artists who reinvent and reinterpret the Piñata through their engaging sculptural practices and strong political expressions.

The contemporary artists featured in this exhibition reconsider the techniques, materials, form, function, and concept of the Piñata to create sculptural art. For example, Los Angeles artist Roberto Benavidez creates exquisite fantastical beasts, creatures, and animals through a cut and applied paper process that stems from Piñatas, but that carries them into a new world of imagined possibilities. Other participating artists, including Giovanni Valderas in Texas, amplify the materiality and performative aspects of Piñatas to address the displacement and mistreatment of Latinx communities in the U.S. Binational San Diego/Tijuana artist Diana Benavidez’s trio of Vehiculos Transfronterizos is a group of remote-control cars that use the Piñata as a form of political resistance.

Yesenia Prieto, third generation artist-maker, makes vibrant custom Piñatas for parties, events, concerts, and performances across Hollywood. Prieto, like several makers in the exhibition, is dedicated to bringing the beloved yet under-recognized and underpaid work of piñateros, many of whom are immigrants, to the forefront.

Piñatas are a rooted Mexican tradition that has become widespread and dispersed across the world. The intent of the exhibition is to bridge communities through the engaging, accessible nature of the Piñata as an art form and popular cultural artifact. Considering the popularity of Piñatas in our lives and how many memories are made around Piñata play, this contemporary form of cultural craft has been relatively unexamined.

Piñatas are intertwined with childhood experiences, gatherings of family and friends, and moments of happiness, all of which became rarer and more precious over the past year and a half. As markers of these events, Piñatas have new contemporary meaning. They continue to be shaped to reflect changing times. This exhibition will spotlight makers who creatively generate these objects in response to our shifting world.

As creators of material culture, craft makers design and build the relics of our everyday, modern world. This exhibition touches on the ephemeral and performative nature of certain forms of craft. Craft today plays a part in our traditions, our celebrations, our relationships, and it deepens how we experience life.

Participating artists include: Alejandro Arredondo, Diana Benavidez, Roberto Benavidez, Sita Bhaumik, Amorette Crespo, Dignicraft, Justin Favela, Francisco Palomares, Yesenia Prieto, Josue Ramirez, Isaias Rodriguez, Lorena Robledo, Ana Serrano, and Giovanni Valderas.

By Her & Hand: Artemisia Gentileschi and Women Artists in Italy

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Italian Women Artists Celebrated in Groundbreaking Exhibition at the Wadsworth Atheneum

The first exhibition solely dedicated to Italian women artists at the Wadsworth Atheneum Museum of Art, By Her & Hand: Artemisia Gentileschi and Women Artists in Italy, 15001800 explores how women succeeded in the male-dominated art world of the time. From the group of eighteen artists presented, Artemisia Gentileschi (15931654 or later), takes center stage with outstanding portraits and images of heroines. This exhibition recognizes and celebrates the vital contributions of women to the history of art in Italy through rarely seen works, recent scholarship, and introductions to virtually unknown artists. By Her Hand will be on view September 30, 2021 to January 9, 2022 at the Wadsworth.

“Sofonisba Anguissola, Artemisia Gentileschi, and Rosalba Carriera, among others, created pathbreaking works of art, simultaneously subverting expectations and challenging norms,” said Oliver Tostmann, Susan Morse Hilles Curator of European Art at the Wadsworth. “Their works and careers are often distinguished by alternative choices and idiosyncratic methods employed within the context of the male dominated art world of the time. By Her Hand brings together a wide spectrum of works by these artists many on view for the first-time inviting visitors to explore, reassess, and celebrate the achievements of Italian women artists.”

The exhibition features a wide array of paintings, miniatures, and works on paper from institutional and private collections in the United States, Canada, and Europe. The artists take on a range of subjects from portraiture and still life, to historical and religious stories. Many works are being shown publicly for the first time or are making their U.S. debut such as Artemisia Gentileschi’s ravishing Mary Magdalene. By Her Hand reweaves history by examining women artists’ work and careers from the 1550s to the 1750s. Despite the fundamental differences and challenges women artists faced, some achieved notable success in their lifetime. The accomplishments of this diverse and dynamic group are introduced, discussed, and reassessed. Until recently, many of these Italian women artists were overlooked by critics, scholars, collectors, and institutions alike.

Artemisia Gentileschi is arguably the best-known artist included in the exhibition. Gentileschi’s talents were widely recognized by her contemporaries, many elite patrons of her day knew of and desired her work. Important works by Gentileschi highlight her innovative ideas, use of sensuous colors, and command of the brush. The Wadsworth’s Self-Portrait as a Lute Player is compared with the recently discovered Self-Portrait as Saint Catherine of Alexandria from the National Gallery, London, as well as Portrait of Saint Catherine from the Uffizi Galleries, Florence. This will be the first opportunity to see these three celebrated paintings side by side in the United States. Additional examples of Gentileschi’s pioneering depictions of strong women, such as Judith and Her Maidservant with the Head of Holofernes from the Detroit Institute of Arts, will also be on view.

The compelling works of art on view in By Her Hand coupled with stories of their pioneering makers reveals a nuanced picture of the role Italian women artists played from the Renaissance to the Rococo. By Her Hand celebrates their long-overlooked contributions, and aims to inspire continued reexaminations of the role women artists have played throughout the history of art.

“Never before in its long history has the Wadsworth devoted an exhibition to the work of professional women artists in sixteenth through eighteenth-century Italy, despite the fame of our Italian Baroque painting collection” said Jeffrey N. Brown, Interim Director & CEO of the Wadsworth Atheneum. “By Her Hand is the first exhibition in any encyclopedic museum in the United States to focus on this subject. This ground-breaking exhibition provides our audiences with a chance to encounter the outstanding art produced by these women artists in early modern Italy and to appreciate the far-reaching consequences of Artemisia Gentileschi’s illustrious career.”

By Her Hand is a collaboration between the Wadsworth and the Detroit Institute of Arts. Curated by Eve Straussman-Pflanzer former curator at the Detroit Institute of Arts now Curator and Head of Italian and Spanish paintings at The National Gallery of Art, Washington and Oliver Tostmann, Susan Morse Hilles Curator of European Art at the Wadsworth. After its debut at the Wadsworth, it will travel to Detroit where it will be on view February 6 to May 29, 2022.

Artists in the exhibition

Sofonisba Anguissola (c. 15351625)

Diana Scultori (c. 15471612)

Lavinia Fontana (15521614)

Fede Galizia (c. 1574c. 1630)

Isabella Catanea Parasole (active 15851625)

Artemisia Gentileschi (15931654 or later)

Orsola Maddalena Caccia (15961676)

Giovanna Garzoni (16001670)

Virginia da Vezzo (16001638)*

Anna Maria Vaiani (16041655)

Elisabetta Sirani (16381665)

Ginevra Cantofoli (16181672)

Caterina de Julianis (c. 1670c. 1742)

Rosalba Carriera (16731757)

Marianna Carlevarijs (1703after 1750)

Maria Felice Tibaldi (17071770)*

Veronica Stern Telli (17171801)

Anna Bacherini Piattoli (17201788)

*Virginia da Vezzo and Maria Felice Tibaldi are represented in portraits painted by their husbands Simon Vouet (15901649) and Pierre Subleyras (16991749).

Publication

The exhibition is accompanied by a fully illustrated 208-page catalogue published by Yale University Press with essays by Eve Straussman-Pflanzer, Oliver Tostmann, and Sheila Barker; and individual object entries are written by the exhibition curators as well as Babette Bohn, C. D. Dickerson, Jamie Gabbarelli, Hilliard T. Goldfarb, Joaneath Spicer, and Lara Roney. The book can be ordered through the Wadsworth Atheneum Museum Shop for $40.

Exhibition and Program Support

By Her Hand: Artemisia Gentileschi and Women Artists in Italy, 1500-1800 is generously supported by the Cheryl Chase and Stuart Bear Family Foundation, JPMorgan Chase & Co., the National Endowment for the Arts, The David T. Langrock Foundation, the Robert Lehman Foundation, the Gladys Krieble Delmas Foundation, the Tavolozza Foundation, the Private Art Dealers Association, Linda Cheverton Wick and Walter Wick, the Samuel H. Kress Foundation, and the Dau Family Foundation.

Sustaining support for the Wadsworth Atheneum provided by the Greater Hartford Arts Council’s United Arts Campaign with support from the Department of Economic and Community Development, Connecticut Office of the Arts.

About the Wadsworth Atheneum Museum of Art

Founded in 1842 with a vision for infusing art into the American experience, the Wadsworth Atheneum Museum of Art is home to a collection of nearly 50,000 works of art spanning 5,000 years and encompassing European art from antiquity through contemporary as well as American art from the 1600s to today. The Wadsworth Atheneum’s five connected buildings representing architectural styles including Gothic Revival, modern International Style, and 1960s Brutalism are located at 600 Main Street in Hartford, Conn.

Hours are noon-8pm Fridays, and noon-5pm Saturdays and Sundays. Visitors are required to wear a face mask/covering while inside the museum. The library, food service, and Austin House are currently closed to the public. Free admission for Hartford residents with Wadsworth Welcome registration. Free “happy hour” admission 4-5pm. From July 1 to September 6, Connecticut children aged 18 and under plus one accompanying adult can visit free of charge through the Connecticut Summer at the Museum program. Advance ticket registration is encouraged, not required.

ALISON WONDERLAND – WONDERQUEST

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Australian EDM producer and DJ Alison Wonderland (AW) ventures into the realm on NFTs (non-fungible tokens) with her blockchain project, The WonderQuest. The project launched on Sunday, July 25 on Decentraland, a blockchain-based 3D virtual reality platform. The fantasy-inspired project allows investors to purchase a dragon egg as an NFT from the WonderTown market. A ‘hatching event’ will occur at the end of the on-sale period this coming Tuesday, August 3 at 3pm PT.

Each egg is .0888 Ethereum (Eth) and over 6,500 have been sold. 3,500 eggs are left to be minted. All eggs will be sold before The Hatching event. After the hatching event, the egg owner has the option to either hatch the egg or not to hatch, allowing owners to interact with the fantasy realm.

Many first-time NFT and crypto holders’ purchases have been made by AW fans to participate. Many large NFT owners who have not heard of AW have also been drawn to this project because of its utility. Some large crypto holders have even purchased eggs for AW fans who can’t afford an egg. It’s been positive experience, and a new community has been built regarding the project’s discord.

So far, sales for the NFT are at $1.7 million. The full extent of the WonderQuest earnings are to be revealed after the project ends.

“It starts with an egg. ‘What’s inside?’ ‘Do I hatch it?’ Questions only you can answer. Each egg is unique with its own ERC-721 Ethereum blockchain based token. The egg is an NFT, but so is what’s inside. You can either collect the NFT as a rare egg, or hatch it and reveal what’s within This is real and happening now. This project is not a placeholder for unfinished artwork. We’ve been designing and developing this project over hundreds of thousands of hours, and every detail has been carefully selected to bring to life the mystery of The Wonderquest.”

The WonderQuest is Alison Wonderland’s odyssey of exploration in the blockchain/digital world, a treasure hunt of experiences in the Metaverse. An opportunity awaits you to embark on a journey of epic proportions, incorporating virtual gift quests, discussions, and musical performances. For the first time ever, join AW’s odyssey, which features her music in a virtual landscape powered by blockchain technology. The adventure ahead will not only allow you to explore never-before-seen parts of the Metaverse, but also to interact with it in ways that were previously impossible.

Join Alison Wonderland by purchasing from a series of 10,000 unique, mysterious, and mystical eggs. Minting is totally random. There are 12 different breeds of differing rarity, all individual dragons. Hatch your egg or wait – the choice is yours. Unleash your creation upon this world or keep the power within.

The egg is the beginning of a long and wonderful journey. Together we quest. WonderQuest.

Find out more about WonderQuest via Decentraland.

ZILLAKAMI – FROSTY

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ZillaKami of City Morgue reveals a haunting and melodic new single and music video “FROSTY” via Hikari Ultra/Republic Records

On the track, ZillaKami’s chilling harmonies puncture an airy clean guitar riff as he declares, “Hello depression, I hear your message.” The accompanying video translates this anxiety and darkness on-screen. Rolling through a slasher flick-style suburb, sadness manifests as a dark figure pushing ZillaKami in a shopping cart as he watches his girl from outside of her bedroom window. Hand covered in blood; he ultimately emerges from this nightmare stronger.

His most recent solo single “BADASS” [feat. Lil Uzi Vert] has already generated north of 6 million streams and 1.9 million YouTube views on the static audio. Right out of the gate, it garnered widespread tastemaker praise as well. Complex attested the track “channels the best of Zillakami’s distinctively hard-hitting approach to rap,” and The FADER praised it as “the perfect blend of ZillaKami’s dark sound and Uzi Vert’s playful delivery.” HotNewHipHop highlighted the “earworm of a hook” and “two electrifying verses” courtesy of ZillaKami.

Prior, “CHAINS” posted up 2.6 million Spotify streams and 2.9 million views on the explosive music video. HotNewHipHop fittingly described it as “a hard-hitting, head-banging anthem.”

ZillaKami might be rap and rock’s worst nightmare come true in the best way. He defiantly devours guitar-backed beats without one fuck given. As one-half of City Morgue with partner-in-grime SosMula, he has toppled charts, sold out shows, and scared the shit out of anybody with a conscience. In 2019, the group’s second full-length offering, CITY MORGUE VOL. 2: AS GOOD AS DEAD, held multiple charts hostage, seizing the #1 spot on the Billboard Top Rock Albums Chart and #1 on the Apple Music Rock Albums Chart. The legendary Mike Dean jumped aboard as Executive Producer of the Deluxe Edition. Meanwhile, the 2020 follow-up TOXIC BOOGALOO EP scored #96 on the Billboard Top 200, #9 on the Billboard Top Album Sales Chart, #6 on the Billboard Alternative Albums Chart, #13 on the Billboard Top Rock Albums Chart, and #4 on the Nielsen Music Digital Albums Chart. Not to mention, they’ve pulled in 100 million-plus streams and 100 million-plus views to date. ZillaKami is a rare talent who is seamlessly rising to the ranks of major artists such as Trippie Redd and Ski Mask The Slump God, with whom he recently collaborated. He’s a shape-shifting sonic force with an unbreakable grip on rap and rock that’s ready to bleed like never before on his 2021 solo debut.

KASH DOLL – LIKE A PRO FT. JUICY J

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KASH DOLL RELEASES NEW TRACK & LYRIC VIDEO “LIKE A PRO” FEAT. JUICY J

Stars in 50 Cent’s New Starz Series ‘Black Mafia Family’ Out September 26

“Kash Doll is sharp, headstrong and savvy” – Billboard
“One of the most promising acts of female rap’s current class” – Nylon
“Kash Doll has established herself as a pioneering force in the industry.”– MTV
“Kash Doll has established herself as one of hip-hop’s leading female voices.” – XXL

Gold-selling Detroit rapper, entrepreneur, and actress Kash Doll drops her new track and lyric video “Like A Pro” feat. Juicy J via Republic Records.

As always, she comes through with the kind of raw lyrical fire that’s too hot to touch. Over a high-energy throwback beat, she delivers one raunchy and braggadocious bar after another with Juicy J joining her on the catchy hook.

Her most recent single “Thumbin” has already racked up millions of streams to date. Additionally, HotNewHipHop praised the track’s “addictive chorus and copious amounts of quotable lyrics,” while hailing it as “the next big hit on short-form video sharing platforms like TikTok and Triller.”

The track arrived on the heels of her knockout collaboration with DJ Famous—“Bad Azz” feat. Mulatto & Benny The Butcher, which has amassed 9 million streams and counting. Beyond features from REVOLT, Pitchfork, Brooklyn Vegan and more, UPROXX claimed, “Kash Doll, DJ Infamous, Mulatto, and Benny The Butcher show why the competition is mad with ‘Bad Azz.’”

Kash Doll, who has garnered over 1 billion streams worldwide since signing with Republic Records, continues to pull up everywhere this year. She features on Saweetie’s “Hoops” alongside the legendary Salt-N-Pepa from the mega-anticipated Space Jam: A New Legacy Soundtrack. She’ll take the stage at Detroit Summer Fest on August 13, Migos “Culture III” Las Vegas Weekender on October 15 and Rolling Loud LA on December 10. She will appear in a starring recurring role on STARZ’ Black Mafia Family, which will premiere on September 26.

Kash Doll continues to make waves. Receiving critical acclaim from Vulture and Marie Claire, Essence praised, “If there’s one rapper who can teach us a thing or two about remaining confident, it’s Kash Doll.” Meanwhile, she guested on “Friday Night Cypher” from Big Sean’s chart-dominating Detroit 2 and joined forces with HoodCelebrityy for “So Pretty.”

Detroit native Kash Doll has impacted the music industry with a commanding force, dropping street-earned truths with her throwback wordplay and powerful bars. The one-two combination of spirit and sass announced her as fiery female force in 2019 after quietly amassing 30 million-plus on-demand streams, garnering the BMI Social Star Award and “Issa Wave Award” at the BET Social Awards, securing a new management deal with Title 9 Productions and inking a recording contract with Republic Records. An unbelievable story brought her to this point. Losing her dad on just her first birthday, she always held down multiple jobs to support her mom and siblings. And at 18, she started investing in herself eventually opening two beauty bars and funding her own music career. She made waves on the 2014 independent debut mixtape, Keisha Vs. Kash Doll. Following 2016’s Trapped In The Dollhouse, she developed a presence as a touring force and earned coveted co-signs from Drake, Big Sean, Rick Ross, Remy Ma, and many more. The 2018 The Vault mixtape captured #1 on multiple mixtape sites as her debut single for Republic Records “Ice Me Out” and its 2 Chainz-assisted official remix clocked 85 million-plus total streams.

Last year, Kash Doll also released a project solely for her fans titled Brat Mail to thank them for all their continued support. The project garnered over 30 million global streams and features the break out single “Check.” Shortly before Brat Mail, Kash released one of her biggest singles to date, “For Everybody,” which racked up over 101 million YouTube/VEVO views independently. Outside of music, this boss runs Kash Doll Enterprises and does charity work around her hometown. Her city bestowed the “Spirit of Detroit” Award upon her. Additionally, in 2019, Kash Doll released her debut album Stacked, received a 2019 BET Award nomination for “Best Female Hip-Hop Artist,” garnered critical acclaim for her album from Billboard, MTV, UPROXX, BET, Forbes, Nylon and more and toured with Meek Mill. This year will be full of brand new music, acting and more from the Detroit star.

SUBLIME – BEHIND THE COVER

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SUBLIME CELEBRATES 25th ANNIVERSARY OF ICONIC SELF-TITLED ALBUM WITH BEHIND THE ALBUM COVER EPISODE

TRAVIS BARKER-PRODUCED SONGS, “PAWN SHOP” OFFICIAL MUSIC VIDEO, GRAPHIC NOVEL, LIMITED EDITION SUBLIME MEXICAN LAGER, NEW MERCH DROP AND MORE PLANNED TO COMMEMORATE 25th ANNIVERSARY

25 years ago today, Sublime’s self-titled album was released after the untimely passing of lead singer Bradley Nowell, spawning timeless hits like “What I Got,” “Santeria,” and “Wrong Way.” The iconic album continues to connect with fans and live on a quarter-century after its initial release, as the music endures, and new generations discover Sublime. To celebrate the 25th anniversary, the band’s management Surfdog/DKM in conjunction with UMe have arranged several special releases and events, plus new merch with Live Nation and other partners to commemorate the milestone.

Sublime 25th Anniversary Highlights:

‘Behind The Album Cover’ Episode: An in-depth conversation with Sublime art legend Opie Ortiz as he explains the history of the legendary ‘Sublime’ album cover and how it came to be. Fans can check out the episode here.

Virtual Plaque Presentation: Plaques have been presented to Sublime members drummer Bud Gaugh, bassist Eric Wilson and vocalist Bradley Nowell, accepted on his behalf by widow Troy DenDekker and son Jakob Nowell, to commemorate over 18 million in album consumption in the U.S. according to MRC. Bud and Eric recently spoke to The World Famous KROQ about this milestone, fans can check out the interview here.

Sublime Graphic Novel ‘$5 At The Door’: Sublime partnered with Z2 Comics to create SUBLIME: $5 AT THE DOOR, a graphic novel that will be released in standard soft and hardcover editions in comic shops and bookstores alike in June 2021. Featuring brand-new cover artwork by SUBLIME family membersOPIE ORTIZ and DJ PRODUCT ©1969,a special deluxe edition and highly limited super deluxe edition are available for preorder now exclusively through the Z2 website. Deluxe and super deluxe editions include a special first-time vinyl edition of the “Doin’ Time” EP, unavailable elsewhere, as well as exclusive prints, Lou-Dog toy and more! SUBLIME: $5 AT THE DOOR will be available on August 3.

$5 At The Door Comic Book Signing: Saturday August 14 fans are invited to attend an exclusive book signing featuring Sublime art legends Opie Ortiz and DJ PRODUCT ©1969 at Atomic Basement Comics in Long Beach, CA.

AleSmith Sublime Mexican Lager Limited Edition 19.2oz Beer Cans: AleSmith Brewing Company has released a batch of limited-edition cans of Sublime Mexican Lager featuring the new artwork from the band’s OG sun artist, Opie Ortiz that’s also featured on the cover of the graphic novel. Fans can get their hands on these limited-release 19.2oz. cans at the AleSmith Tasting Room and select retailers in California. In addition to the slim cans, a new limited run of 40 oz. bottles featuring Opie’s artwork will be available to pre-order in mid-August. Fans can use AleSmith’s beerfinder to check local availability.

“Garden Grove” and “Pawn Shop” Official Music Videos: The official music video for fan favorite “Pawn Shop” will be released in the coming weeks and is animated in the style of psychedelic-surfer-punk-graffiti, inspired by late-night edgy animations with Sublime’s iconography morphing throughout. The “Garden Grove” video was shot as a “love letter” to the Long Beach lifestyle and was released earlier this year.

Travis Barker Project: Travis Barker is currently in the studio producing covers, remixes and collaborating with artists of all genres to reimagine various Sublime songs from the iconic self-titled album.

“We’re not trying to write punk rock. We’re not trying to write reggae. We’re not trying to write ska,” Sublime‘s Bradley Nowell told KROQ in 1995. “We’re just trying to write a good song.” They did exactly that—time and time again. “What I Got,” “Santeria,” “Wrong Way,” and “Doin’ Time” remain innovative staples from the ’90s alternative boom. But they accomplished even more: In less than a decade within the national limelight, the laid-back Long Beach trio spawned an entire genre—fusing reggae grooves, punk grittiness, ska energy, back porch folk introspection, and hip-hop swagger. Decades after the tragic death of singer-songwriter Bradley Nowell, Sublime remain an institution: With over 18 million in album consumption in the U.S. according to MRC; and their merchandise, emblazoned with the iconic sun logo, dominates sales at retailers including Target, Urban Outfitters and Spencer Gifts. Most importantly, the music remains timeless—a rite of passage for misfit listeners who refuse to color within the lines of conventional genre.

About Sublime

Sublime, the Long Beach, CA, reggae-punk/alternative rock trio, was founded in 1988 by Eric Wilson, Bud Gaugh and Bradley Nowell. Their first self-produced album, 40oz. to Freedom, was released in 1992 via the band’s label Skunk Records. The success of that album and heavy radio exposure by Southern California’s KROQ (two years after its initial release) secured Sublime signing to MCA Records in time for the band’s 1994 sophomore album, Robbin’ the Hood, which revealed an experimental ethic more in keeping with cut-and-paste dub than the well-tuned rage of the Cali punk revival. The album performed well at college radio and set the stage for the breakout success of their self-titled third album. On May 25, 1996, however, lead vocalist and guitarist Nowell tragically passed away and the band collapsed, but the eponymous SUBLIME was still slated for a July 1996 release. On the strength of the chart-topping alternative radio hit “What I Got,” the album was certified gold by the end of 1996. “Santeria” and “Wrong Way” followed and enjoyed heavy airplay, and their self-titled album eventually sold more than seven million copies, making it one of the most popular reggae-punk albums in history. Such success spread to the band’s earlier albums too, leading 40oz. to Freedom to double-platinum sales and Robbin’ the Hood to gold certification. Sublime have gone on to sell millions of albums in the US, and their genre-defining music and their cultural influence is stronger today than ever before.