Danny Ocean gets on a tropical vibe for 'Babylon Club'
The album is a way to expand the world of Babylon beyond just the name or his fan club and his 'Babylon Girl' battle cry, which began when his hit 'Me Rehúso' launched the Venezuelan urban artist to global fame.
'We're called Babylon Club, and I think it's very much in honor of them,' he said of his fans in an interview ahead of this week's release of his album. 'And it's also like this utopian place on the beach where you arrive, that space in your life where you realize that not everything is work and that life is beautiful too, that you have to live it and that life is one.'
The inspiration of the beach, tropics and Caribbean comes from taking time to heal the soul, to be with your loved ones and leave obligations for a while.
The cover with Ocean in front of a palm leaf and blue water suits him very well with the song 'Crayola,' in which he creates a tropical vibe by diving fully into salsa.
'I'm from the Caribbean too. In the end I love merengue, I love Afro, I love everything that is tropi sounds,' he said.
Recruiting big stars for 'Babylon Club'Creating the sounds of 'Babylon Club' meant international teamups and a trip to Ocean's song vault.
For 'Priti,' the album's first single, he traveled to Panama to work with Sech in his native country.
'He received me with all the love in the world. We went out to get to know his country, we had a good time,' he said. 'Then we became very close friends, which is the nice thing about collaborating, that sometimes you go out meeting a colleague and leave as a friend of this person.'
Louis BPM, his guest on 'Sunshine,' is a fresh voice of urban music in Venezuela, originally from the Pinto Salinas neighborhood of Caracas.
'I had been listening to him for a while, and I liked it a lot. I really liked his voice, I really liked how he writes his reality,' said Ocean.
He said he feels the need to share more urban music created in Venezuela.
'It is very difficult to come from a place where there is no industry and where there is no education. It's difficult to go out and compete abroad, but that's where we are,' he said. 'We are all set to push our culture outside and make ourselves known.'
Mexico City was where Ocean and Kenia Os collaborated on 'AyMami,' a song he previously recorded but never released.
'I did 'AyMami' about eight years ago and suddenly last year I stumbled upon the demo again. I heard it, I said wow!' he said. 'She has a very good vibe... She works a lot and is doing something all the time, and that is a great plus in this industry.'
The beach inspired other songs, including the flamenco-ish 'Corazón,' which was born while Ocean was sitting with friends in Miami playing a guitar he likes. 'Arena,' about a crush at first sight on a Venezuelan beach, features Puerto Rican star Arcángel while 'Anoche', with the Spanish singer Aitana, also transport listeners to the shore.
Sending a message of 'strength and patience' to migrants
The album is accompanied by a short film, created with videos of five of his songs, which begins with 'Priti.' It features performances by Venezuelan María Gabriela de Faría and her husband Christian McGaffney and portrays people years after they have emigrated, when they are working hard.
'I'm like her little angel who appears in various circumstances and tells her to escape, she's going to the beach ... a beach that in the end is Babylon Club,' he said. 'I'm not saying stop working or anything like that, but get away, give yourself some time for yourself, you deserve it and remember that life is beautiful too.'
Ocean, 33, identifies with De Faría's character and believes that the same thing happens to many immigrants.
'At least I can talk about Venezuelans, that we are kind of trapped a little bit in work, work, work, work, that sometimes we forget a little about living life, you know?' he said.
Ocean will begin a tour in September that will take him to Colombia, Ecuador, Peru, Chile, Argentina, Bolivia, Honduras, Guatemala, Costa Rica and Panama.
He immigrated to the United States almost a decade ago with the goal of fulfilling his dream in music.
In the face of changing immigration policies and raids, he expressed solidarity with migrants.
'I know it's a very, very sensitive issue. And I know that many of us are going through a very particular uncertainty right now, and it hurts, it hurts to see your people also go through this uncertainty,' he said. 'As a migrant, I can tell you that what happens is scary, you know? And the only thing I can say is to send strength and patience to the people.'
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
2 hours ago
- Yahoo
Appreciation: Tex-Mex titan Flaco Jiménez knew how to best beat la migra: humor
The accordionist commands the stage, his eyes staring off as if in a trance, his fingers trilling out the opening notes of a tune. It's a long, sinuous riff, one so intoxicating that the audience in front of him can't help but to two-step across the crowded dance floor. He and his singing partner unfurl a sad story that seemingly clashes with the rhythms that back it. An undocumented immigrant has arrived in San Antonio from Laredo to marry his girlfriend, Chencha. But the lights on his car aren't working and he has no driver's license, so the cops throw him in jail. Upon being released, the song's protagonist finds a fate worse than deportation: His beloved is now dating the white guy who issues driver's licenses. 'Those gabachos are abusive,' the singer-accordionist sighs in Spanish in his closing line. 'I lost my car, and they took away my Chencha.' The above scene is from 'Chulas Fronteras,' a 1976 documentary about life on the United States-Mexico border and the accordion-driven conjuntos that served as the soundtrack to the region. The song is "Un Mojado Sin Licencia" — "A Wetback Without a License." The musician is Tex-Mex legend Flaco Jiménez, who died last week at 86. Read more: Tejano music legend Flaco Jiménez dies at 86 Born in San Antonio, the son and grandson of accordionists became famous as the face of Tex-Mex music and as a favorite session player whenever rock and country gods needed some borderlands flair. He appeared alongside everyone from the Rolling Stones to Bob Dylan, Buck Owens and Dwight Yoakam on 'The Streets of Bakersfield' to Willie Nelson for a rousing version of 'Blue Eyes Crying in the Rain.' With Doug Sahm, Augie Meyers and fellow Tejano chingón Freddy Fender, Jiménez formed the Texas Tornadoes, whose oeuvre blasts at every third-rate barbecue joint from the Texas Hill Country to Southern California. Jiménez was a titan of American music, something his obits understood. One important thing they missed, however, was his politics. He unleashed his Hohner accordion not just at concerts but for benefits ranging from student scholarships to the successful campaign of L.A. County Superior Court Judge David B. Finkel to Lawyers' Committee, a nonprofit formed during the civil rights era to combat structural racism in the American legal system. Jiménez and the Texas Tornadoes performed at Bill Clinton's 1992 inauguration ball; 'Chulas Fronteras,' captured Jiménez as the headliner at a fundraiser for John Treviño Jr., who would go on to become Austin's first Mexican American council member. It's a testament to Jiménez's heart and humor that the song he performed for it was 'Un Mojado Sin Licencia,' which remains one of my favorite film concert appearances, an ideal all Latino musicians should aspire to during this long deportation summer. The title is impolite but reflected the times: Some undocumented immigrants in the 1970s wore mojado not as a slur but a badge of honor (to this day, that's what my dad proudly calls himself even though he became a U.S. citizen decades ago). Jiménez's mastery of the squeezebox, his fingers speeding up and down the rows of button notes for each solo like a reporter on deadline, is as complex and gripping as any Clapton or Prince guitar showcase. What was most thrilling about Jiménez's performance, however, was how he refused to lose himself to the pathos of illegal immigration, something too many people understandably do. 'Un Mojado Sin Licencia,' which Jiménez originally recorded in 1964, is no dirge but rather a rollicking revolt against American xenophobia. The cameraman captures his gold teeth gleaming as Jiménez grins throughout his thrilling three minutes. He's happy because he has to be: the American government can rob Mexicans of a better life, "Un Mojado Sin Licencia" implicitly argues, but it's truly over when they take away our joy. Read more: Pepe Aguilar drops new song for immigrant rights: 'I'm not making a cent off this song' 'Un Mojado Sin Licencia' is in the same jaunty vein as other Mexican classics about illegal immigration such as Vicente Fernández's 'Los Mandados,' 'El Corrido de Los Mojados' by Los Alegres de Terán and 'El Muro' by rock en español dinosaurs El Tri. There is no pity for undocumented immigrants in any of those tracks, only pride at their resilience and glee in how la migra can never truly defeat them. In "Los Mandados," Fernández sings of how la migra beats up an immigrant who summarily sues them; "El Corrido de Los Mojados" plainly asks Americans, "If the mojados were to disappear/Who would you depend on?" Even more defiant is "El Muro," which starts as an overwrought metal anthem but reveals that its hero not only came into the United States, he used the titular border wall as a toilet (trust me, it sounds far funnier in the Mexico City lingo of gravelly lead singer Alex Lora). These songs tap into the bottomless well that Mexicans have for gallows humor. And their authors knew what satirists from Charlie Chaplin to Stephen Colbert knew: When life throws tyranny at you, you have to scoff and push back. There are great somber songs about illegal immigration, from La Santa Cecilia's haunting bossa nova 'El Hielo (ICE)' to Woody Guthrie's 'Deportee (Plane Wreck at Los Gatos),' which has been recorded by everyone from the Byrds to Dolly Parton to Jiménez when he was a member of Los Super Seven. But the ones people hum are the funny ones, the ones you can polka or waltz or mosh to, the ones that pep you up. In the face of terror, you need to sway and smile to take a break from the weeping and the gnashing of teeth that's the rest of the day. I saw 'Chulas Fronteras' as a college student fighting anti-immigrant goons in Orange County and immediately loved the film but especially 'Un Mojado Sin Licencia.' Too many of my fellow travelers back then felt that to party even for a song was to betray the revolution. Thankfully, that's not the thinking among pro-immigrant activists these days, who have incorporated music and dancing into their strategy as much as lawsuits and neighborhood patrols. The sidewalks outside the Metropolitan Detention Center in downtown L.A., where hundreds of immigrants are detained in conditions better suited for a decrepit dog pound, have transformed into a makeshift concert hall that has hosted classical Arabic musicians and Los Jornaleros del Norte, the house band of the National Day Laborer Organizing Network. Down the 5 Freeway, the OC Rapid Response Network holds regular fundraisers in bars around downtown Santa Ana featuring everything from rockabilly quartets to female DJs spinning cumbias. While some music festivals have been canceled or postponed for fear of migra raids, others have gone on as planned lest ICE win. Musicians like Pepe Aguilar, who dropped a treacly cover of Calibre 50's 'Corrido de Juanito' a few weeks ago, are rushing to meet the moment with benefit concerts and pledges to support nonprofits. That's great, but I urge them to keep 'Un Mojado Sin Licencia' on a loop as they're jotting down lyrics or laying down beats. There's enough sadness in the fight against la migra. Be like Flaco: Make us laugh. Make us dance. Keep us from slipping into the abyss. Give us hope. Get notified when the biggest stories in Hollywood, culture and entertainment go live. Sign up for L.A. Times entertainment alerts. This story originally appeared in Los Angeles Times. Solve the daily Crossword


Forbes
3 hours ago
- Forbes
Beyoncé May Be Just One Tour Away From Making History
Beyoncé has once again shown that she's not only one of the biggest names in music, but also one of the most formidable forces in live entertainment. With the Cowboy Carter Tour now officially finished, the superstar is even closer hitting one of the rarest milestones in concert history. The Cowboy Carter Tour Grosses Over $400 Million According to Billboard Boxscore, Beyoncé's Cowboy Carter Tour brought in $407.6 million from 1.6 million tickets sold. The country trek was a commercial juggernaut, and its closing sum pushes her career touring gross to more than $1.75 billion. With less than $250 million to go, she's within arm's reach of becoming one of the only artists in history to cross the $2 billion mark in reported touring revenue. Several names, including Taylor Swift, have already managed to pass that massive figure. Back-to-Back Blockbuster Tours The Cowboy Carter Tour ranks as Beyoncé's second-highest-grossing run, trailing only her previous venture, the Renaissance World Tour. That run closed with a record-breaking $579.8 million. Together, the two back-to-back treks have become career-defining moments, and some of the most successful concert tours of all time. A Member of Touring's Most Elite Club With her latest success, Beyoncé becomes the first woman and just the fourth artist overall—t have multiple tours pass the $400 million mark. She joins the exclusive ranks of The Rolling Stones, Coldplay, and Ed Sheeran, cementing her place among the most bankable live acts of all time. Solo Tours Power Her Rise While Beyoncé has certainly found success in collaborations, especially her joint tours with Jay-Z and early career outings with Missy Elliott and Alicia Keys, it's her solo headlining treks that have generated the majority of her touring revenue. From Dangerously in Love to Renaissance, her six solo tours have ranked among her highest-grossing and most far-reaching. The Final Push May Be Coming Soon Bey's Cowboy Carter is the second installment in a planned album trilogy that began with Renaissance. With the third act expected as early as 2026, fans are already wondering whether she'll embark on another stadium-filling tour. If such a venture – which has not been announced – performs on par with her last two, another $300–$400 million in grosses could be enough to push Beyoncé past the $2 billion milestone, possibly by 2027.
Yahoo
4 hours ago
- Yahoo
What a DNA test revealed about my long-lost abuela — and her secret life
In 1969, when my mom was an infant, her mother, Amanda, disappeared one day and was never heard from again. "I spent my entire childhood wondering what happened to her," my mom, Zoyda, explained to me in Spanish. My mom and her sister, Juana, grew up without the love of a mother. As children, they would fantasize and imagine what Amanda was like, crying themselves to sleep every night wondering why she was gone. The family never found an answer, but many theories about Amanda's whereabouts emerged in their small town of Ensenada, a port city in the coastal Mexican state of Baja California. "Some people said she ran away with a lover, an army guy," my mom told me. "Others said she must have been killed and that's why she never came back for us, because who would abandon and leave two little girls behind like that?" That theory seemed the most plausible to me. I spent the majority of my life believing that my grandmother, or abuela, was dead. In Mexican culture, and most Latin American cultures, grandmothers are powerful matriarchal figures at the center of every family. They are the glue that holds households together. This archetype is well-represented in popular culture, in Disney films like "Coco" and "Encanto," and in the modern-day reboot of the hit TV show "One Day at a Time." Beyond the big screen, Latina grandmothers are often the subject of cultural appreciation — in 2020, Syracuse University's La Casita Cultural Center installed an exhibit titled "Abuelas," and in 2023, NBC News anchor Tom Llamas did a segment celebrating abuelas for "Today." Even though the role of a grandmother has always been emphasized in my culture, not having a grandmother never bothered me or afflicted me. Yet as I got older, the journalist in me began to have questions about my roots and heritage on my maternal side. Curious to unravel this long-lost history, I bought an Ancestry DNA testing kit. Strangely, the results linked me to the state of Sonora: a place my mom has neither visited nor knew she had any family from. I was also matched with a person named Bernie (his real name withheld for privacy purposes), whom Ancestry determined was my first cousin on my mom's side — our DNA had a match of "667 cM across 21 segments." I didn't know what that meant, but I messaged this mysterious match to see if he could provide me with any intel about our connection. "Hi Bernie, are we related?" I asked while revealing my mom's name. Bernie said he didn't know her. I then mentioned the full names of my mom's parents and asked, "Do either of those names sound familiar?" "Omg," he wrote. After some back and forth, Bernie revealed that Amanda was his grandmother, and she was happily living in Arizona as the matriarch of her extended family. Read more: Faulty DNA test kits were used in thousands of L.A. County criminal cases, authorities say I was in shock. Could my grandmother, who I believed had been dead for more than 50 years, really still be alive? Bernie asked if we could FaceTime. Minutes later, I nervously dialed his number. My hands were shaking, and my heartbeat was racing. "You look exactly like my Nana," Bernie said to me during our call. Bernie was friendly and animated throughout our entire conversation. He said he lived in Tucson and was really close to Amanda. Because of their close relationship, he was eager to get to the bottom of his grandmother's sordid past. "In our family, we know there is a period of a few years where my grandma left Sonora, but no one knows where she lived or what she did during that time. She doesn't talk about it, and it's a mystery in our family," Bernie told me. "What is Amanda like?" I asked. "My grandma is a huge family person," he said. "Family is number one to her, there's nothing she wouldn't do for us." The words stung. How could this be the same person who abandoned her two daughters in Ensenada and never looked back? I didn't say anything and continued to listen as he revealed that despite a traumatic childhood in Sonora, Amanda went on to achieve the American dream in Arizona. She ran a successful daycare for kids, got her college degree in something related to child development, and was beloved by her community as an advocate for women and children. Everything that Bernie shared with me seemed to be disconnected from the reality of what Amanda did to my mom and her sister. I asked how he could help facilitate a meeting between Amanda and her daughters to reunite them. "They've been waiting their entire lives to meet their mother," I said. "My Nana suffers from high blood pressure," he said. "I want to do this in a way that won't stress her out or make her condition worse, but I do want to confront her and get to the bottom of this." We spoke for more than two hours in what seemed like a positive and productive conversation, and he excitedly told me he would ultimately strategize the best way to talk to his grandma. I called my mom immediately to tell her the news. "Mami, your mother is still alive, I just talked to her grandson, I found him on Ancestry," I nervously told her on the phone. My mom was in shock and silently listened as I filled her in on my discovery. I left out what Bernie said about Amanda being a loving matriarch to her large family — I didn't want my mom to feel hurt. "I doubt she will want to meet us," my mom said. "She's had a lifetime to look for us and she hasn't. She doesn't care about us, but I guess we'll see what Bernie can deliver." She wasn't relieved about the discovery of her mother's confirmed existence. She was hurt to find out that Amanda had been alive this entire time and had not returned for the two daughters who intensely missed a woman they never knew. It pained my mom to know that Amanda started fresh with a new life hundreds of miles away. In the days that followed this revelation, my mom's hopes unexpectedly emerged to the surface. She tried playing coy, but whenever we would talk on the phone she would casually ask, "So … any update from Bernie?" A few weeks passed and I hadn't heard back from him. I sent him a friendly text asking if he had talked to Amanda yet. "No update as of now … I haven't had the opportunity and still figuring out how to even bring it up," he wrote. Months went by without any communication from Bernie until I reached out again for an update. The next day, he responded to my text. "Hi," read the message. "I feel terrible for giving any hope on this to your mom/fam, I just honestly don't know if I can have that conversation with her. I'm not necessarily opposed to it, but the timing lately hasn't been the best. It is something I would like to do just no idea of when or how … but I'll definitely keep you posted!" I never heard from him again. "I knew he wasn't going to do anything," my mom said when I revealed what had happened — or rather, what hadn't. "And I knew there was no reason to get my hopes up. This was a waste of everyone's time." She began sobbing as she said this. Her hurt was loudly palpitating through the telephone, and I began to feel hurt too, not for myself, but for the little girl in my mom who was still crying for her mother's love all these years later. I tried my best to comfort her, but nothing I said could stop the flow of tears. "It was a waste of time," she said again. My mom may have thought that the entire experience with Bernie was a "waste," however, something else happened in the aftermath — my mom began opening up about her childhood to me, and I began asking more questions. I asked her what happened immediately after Amanda went missing. "What did her family do?" According to family lore, Amanda left her two young daughters with a babysitter, saying she would return later. When she never came back, the babysitter notified my mom's relatives, who were confused and alarmed by her disappearance. At the time, my mom lived with her 2-year-old sister Juana, their father, Jose, and Amanda. Jose was a fisherman who would be gone for months at a time; he was out at sea when Amanda went missing. Jose spiraled into alcoholism not long after. For most of my mom's life, he was an absent father who left Juana and my mom under the care of any distant relative willing to house them. My mom and her sister were severely neglected and forced to provide for themselves by working jobs as young children, often subjected to abuse by men who were supposed to look after them. They were failed by all the adults in their lives. Their father, Jose, died in 1987. I realized, after she told me this, that her childhood was very similar to Amanda's. "My grandma had a hard life, she was abandoned by her mom and forced to work as a kid to provide for her siblings," Bernie told me during our FaceTime call. "She was abused and assaulted by men she knew — it was very traumatic." My mom, of course, knew none of this growing up; but she inevitably inherited Amanda's generational trauma, and it made its way into my childhood too. But in learning more about my mom's abandonment, the trajectory of her life became clear to me. I understood the pain she endured her entire life. Even though it led to difficulties in my own upbringing, I felt more connected to her; and then I felt myself becoming more protective of her. Because of this trauma, my mom faced many personal struggles, including failed toxic relationships with men, especially with my father. But unlike Amanda, my mom never gave up on her family and never abandoned my two siblings and me. She tried her best to overcome the challenges and move forward, even if she made mistakes along the way. And my mom is still persevering now, even if it's without the love of a mother who left everything behind and never looked back. "Everything about Amanda hurts, but what will I do?" My mom told me recently. "[I] continue to move forward. It's all I can do." Get our Latinx Files newsletter for stories that capture the complexity of our communities. This story originally appeared in Los Angeles Times. Solve the daily Crossword