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Wesley Snipes Denies Patton Oswalt’s Claims He Was Violent On “Blade” Set

In 2012, comedian Patton Oswalt made claims about Wesley Snipes’s behavior on the set of the 2004 film Blade: Trinity. Oswalt told AV Club in an interview that Snipes was “crazy in a hilarious way” and attempted to “strangle the director, David Goyer.” He suggested that Snipes wasn’t an easy co-star to work with, leaving many to believe that Snipes was just another violent, out of control actor.

Wesley Snipes recently addressed those accusations when he caught up with The Guardian and refuted Oswalt’s allegations. “Let me tell you one thing. If I had tried to strangle David Goyer, you probably wouldn’t be talking to me now,” Snipes said. “A Black guy with muscles strangling the director of a movie is going to jail, I guarantee you.” He also stated that the incident with Goyer “never happened” and that Oswalt was someone he doesn’t know that well.

“I can barely remember him on the set, but it’s fascinating that his statement alone was enough to make people go: ‘Yeah, you know Snipes has got a problem.’’ Snipes added, “This is part of the challenges that we as African Americans face here in America – these microaggressions. The presumption that one white guy can make a statement and that statement stands as true! Why would people believe his version is true? Because they are predisposed to believing the black guy is always the problem.”

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RoHaNa and Morpheus von Dobenhausen paint love in shadows and light “WHEN A BOY LOVES A WOMEN”

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RoHaNa feat. Morpheus von Dobenhausen, in this new release, “When a Boy Loves a Woman,” This track, recorded in winter, has a hint of gothic style that blends emotional restraint with atmospheric elegance. The track is all about RoHaNa’s emotional singing, which fits perfectly with the carefully crafted production. Her voice shows desire, weakness, and dedication without being too loud, letting each note ring out. The result is a sound that affects people on a personal and universal level. There is a sense of innocence that permeates, capturing the delicate nature of love in its purest form.

Morpheus von Dobenhausen is a guest singer who deepens the track’s emotional journey. Their voices work together to make a conversation of feelings that is both clear and mysterious. The song doesn’t go too fast, so the listener can feel the mood and atmosphere as they go through its subtle changes.

“When a Boy Loves a Woman” is unique because it strikes the perfect balance between modern pop and gothic restraint. The result is a soundscape that is both creepy and easy to listen to. It is a moving story about love and devotion, told with grace and quiet strength.

With this first release, RoHaNa confidently joins the scene, thanks to XanadumusiX’s never-ending creative drive, even when things get hard in the winter. This release not only introduces a new artist with significant potential but also showcases a bold artistic direction in which emotion, atmosphere, and story come together to make a lasting impression.

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Kieran James Honors Memory with “Part of the Grind”

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Singer-songwriter Kieran James delivers a devastating new single with “Part of the Grind,” a track to tackle the tangled emotions behind loss and memory. A love letter penned to a close friend who faced severe cognitive decline, the song’s emotional heft feels universal yet heartbreakingly personal.

Set to delicate instrumentation and achingly sung vocals, “Part of the Grind” is both a lament and an honoring, a means of remembering while addressing the unavoidable cost of time and illness. His voice floats, leaving room for silence and the long pauses that so often come with grief. But in that silence, there is warmth as well, a refusal to let memory be totally extinguished.

Resilience is also implied in the song’s title, a reminder that even in heartbreak, life goes on and holding the memory of someone stays with the rhythm of everyday living. it’s an anthem for anyone who has ever looked on witnessing decline, mixed sorrow with love.

In Kieran James’s “Part of the Grind,” we hear music as well as go behind it. He gives us room feel, to mourn, and to honor. In the process, he turns private pain into something achingly universal, a song for everyone who has either loved or lost.

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