​:: INTERVIEW ::

​

🔥 Light Twerkerz: This mix is wild. There’s rap, and trap, and EDM, and afrobeats, and reggaeton, and moombahton, and tech house, even some rock and roll, skits… 

📣 Da Wreckage: I think it’s really cool to hear something that everyone vibes with in there, even if it’s not like a “twerking” song. I just want people to vibe out and then get back to it. This is me being 100. Every place I DJ, which is mostly the hip hop nightclubs, and one or two EDMs scenes… we have to play a pattern of music. Me, because I like being a creator, I always have to find a way to go against the norm. Anytime I hear that I have free reign, I like to sit there and be creative and yet devious. Not necessarily something negative. I just like to play music and feel such a high impact of energy, because that’s what I put into my music. I like playing tracks, and I like showing off music that gets people to forget about everything. 

 

🔥 LT: You can hear that you’re used to keeping it moving in a nightclub environment where everyone’s like “next, next”… You drop so many mashups so quickly, I think I counted four drops in one minute! What setup did you use for this mix, and how does that suit your style of DJing?

📣 DW: I just used my DDJ SX2 because it has everything set up like an S9. It gives me a little more freedom, to chop a beat up here with a roll, or use a sample or a roll here, here. It gives me a lot more ease and freedom, especially with effects. So I use that and Serato to make the mix into something that I feel is my own. Expect the unexpected. Don’t be shy. That’s how I am. When people see me perform, when people see me DJ, I do things that people would never see a nightclub DJ do, because at the end of the day I don’t even consider myself a nightclub DJ. I’m there to make money, make connects. I generally see myself at a festival or doing Miami, doing some crazy shit. All my shit that I do is— sorry this might be a part of my language, but— “Wild N—— Rockstar”. That’s literally Wreckage, that’s what I do. No word of a lie and I’m not trying to brag, but it just, it really brings everything home. I was the first nightclub DJ in Vancouver to jump into a fuckin’ mosh pit and actually crowd surf. At Aura nightclub, it’s on my Instagram. I’m like, “I’m gonna crowd surf”, and I just fall back. I did it there, I did it in Whistler.

 

🔥 LT: Tell us about Tubbs Entertainment. You do Nightlife Confidential episodes, and you MC their shows. 

📣 DW: For Tubbs, I’m a leader in that. I stumbled into emceeing because I was just able to move a crowd. There was a show, I did Chingy at Harbour Events centre, and I was deejaying and emceeing that. Then they asked me to come back for Sean Kingston, and then word just kept getting around. And it was when I MC’d the Fetty Wap concert, I see this big dude and he had this big beard and his name was Tubbs and he had a shirt that said “Business over Bullets” and I was like, “Yo…” So we met up, got sushi, start talking, next thing you now I’m doing anything that’s Tubbs entertainment related, and it’s dope because Tubbs is a dude who really believes in the craft that I have. I get super hyped when he gets me gigs.

​

🔥 LT: How about the show Nightlife Confidential, you’ve done three episodes of this talk show on Youtube and then boom— how is the pandemic affecting everything now? A web show can happen without a big group, but the whole industry and everyone personally is reeling now. What does this mean for your outlets as a host and MC and DJ?

📣 DW: Right now to be honest it sucks, I’m like what the fuck. Nightlife Confidential itself, my goal was to create something that gave people more of awareness and knowledge of how to get into the nightclub world. I would always hear from younger guys, “How do you get in?”, “Can you introduce me to this person?” And I remember when I was younger, I was that cat. So I wanted to create, basically like holograms on how to dummy 101 on how to get in. But now because of the Corona and how severe it is, we can’t really go out and do this. We have two goals for Nightlife Confidential: 1 is to give you information, 2 is to keep you entertained. So we drink, we chill, it’s like me and you talking, we want it to vibe, to chill. So with the pandemic it sucks because I can’t necessarily go and entertain people, I can’t bring people in because of the pandemic, it’s on pause. But it’s also a perfect time for me to push out the content that I have, for people to get more interested in it. It’s both a good and bad.

 

Once this epidemic is over and I’m good, I really want to go back to making dance stories. Because I like dance, I really do. But I really like to create stories with my dance. That’s the one thing. Because when you look at dancers— when you look at everything— dancers, we create stories. We create stories with our bodies. So I want to create stories that flip the spectrum. So it’s either really fucking happy, or really fucking sad. So I have Youtube, my Mixcloud, and whatever I do on Instagram. Me and my homey Nizzy have this thing called “Absolute Fuckery”, and we do like a livestream together on instagram, and we just talk about crazy shit, or we do really stupid shit. We just got one of our friends to tattoo another person in our basement, and we just got him to tattoo “send nudes”.

 

🔥 LT: If you were sharing this DJ mix to someone you were crushing on, how would you describe it to them?
📣 DW: Hey, wanna smoke sum and have a dance off?! Check this out!! 

​

🔥 LT: What was your ASSpiration for this mix?
📣 DW: For everyone just dance wild out shake, twerk and have mad fun. I want ya’ll to be taken on a trip with the music, tracks and vibe that I've set in this mix. 

​

🔥 LT: How did you first discover twerking?
📣 DW: To be honest I feel like twerking been around for a while you know, Now there just a name for it. 

​

🔥 LT: What is the most butt-tastic dancefloor activity you’ve ever witnessed while DJing?
📣 DW: Djing a dancehall afterhours party back in Edmonton, there was way more girls than dudes there, they were all vibing with the music I was playing and a bunch of girls just stared to twerk and wild out!! To be honest it was fun as Fuck! 

​

🔥 LT: What inspires your to move your butt as a dancer?
📣 DW: When I see a female whine it down in front of me, that makes me want to connect and vibe with her!! I want to see what kind of energy we can make when we dance with each other, it could be friendly, Competitive or sexual, you know! It’s just all about that connection.

​

🔥 LT: Do you have a favourite booty type? Kindly explain...
📣 DW: Not really, just do you with what you got!! 

 

🔥 LT: What kind of butt do you have?
📣 DW: LOL, a pretty one I think!

 

🔥 LT: What does a booty/body-positive dance floor mean to you as a DJ?
📣 DW: One word— VIBEZ!! I just love when people dance to my music doesn't matter what colour or shape or sex you are. I just want people to vibe out and forget about their troubles and have fun. 

​

🔥 LT: What's your favorite booty music to DJ?
📣 DW: EDM, Trap and Moombahton. 

​

🔥 LT: What is the difference between reggaeton and moombahton?

📣 DW: How I see Moombahton is a lot more latin flavour mixed with EDM styles of hard synths and snares and kicks. They just have their own flavour than electronica. Because electronica to me has a lot more heaviness to it. Moombahton to be honest has a lot more flavour and dance to it than EDM. And I’m not trying to even diss EDM. First time I heard moombahton was one of my latin homies, he told me to peep this shit, and I was like what the fuck is this shit? Bro, it’s moombahton. So I was super into it when I heard it— how they brought in their horns, how they brought in their synths, how they did their patterns, their riffs— to me this was latin flavoured EDM. With electronica, I love it because it’s very high paced, it makes you wanna jump, to dance around, it does. Moombahton makes you want to do everything, but has such a flavour to it that makes you wanna partner dance with somebody.

 

🔥 LT: When I’m partner dancing, it really makes us realize how when you’re in a rave, a lot of it is dancing as an individual within a big collective, but that’s different than dancing with another person sharing a repertoire, leading and following while maintaining touch.
📣 DW: Oh, one hundred. Before I was a DJ, I was a dancer, so I was always freestyling or doing partner dancing. It wasn’t until I got into different styles of partner dancing like kizomba, bachata, salsa, I started to see music in a completely different way. 

 

🔥 LT: What do you feel is your music? I’m guessing from hearing you speak, you hear latin music and you think, “I’m going to play this”. You’re not thinking “Is this my music to play?” But I don’t want to assume. How do you go through and decide what music to play to be authentic to you, when you’re playing music from all over the world? Because you’re throwing the kitchen sink at the mix…

📣 DW: Yeah, yeah that’s a perfect analogy, I throw the kitchen sink at the mix. To be completely honest, it used to be hip hop, one hundred. But because I got more into being an entertainer, and more into the music, it made me realize that in my heart, all music is my music— you feel me? When I first started to hear music, it was all African and Christian music. And then I remember my brother made me realize my shit was EDM. When I was young and back when MuchMusic was popping I remember late night on Electric Circus you’d see all these shorties dancing, and these neon lights type shit. So I was watching that as a kid, I don’t know what the fuck’s going on. Clearly you’re watching all these girls dance, and as an older youth you’re like wow that chick is hot, but young me was like ‘that music is fucking crazy and cool’. And then my brother at the time, I remember my brother came in and was like, “Do you want to hear this music?” And he had Dance Hits ’96. And it was all Aya, Captain Jack, Rhythm of the Night. I couldn’t stop listening to it. I’m like “Dude this is fucking incredible, what is this?” So for a long time, that was my stuff. 

 

And then it wasn’t until I got into being a hip hop dancer and understanding hip hop. I remember I went to the library when I was young, I rented my first tape was Ludacris’ Chicken and Beer. I was listening to stand up, blueberry yum yum, splashing waterfalls. And as a young cat, I didn’t know what he was saying, I just thought it sounded fucking gangster. As I kept growing and growing and I hear kizomba, latin, edm, hip hop… and I realize all music is my music. If a track sounds nice and I hear it here (hand over heart) before I hear it here (hand on head) it’s fire. Even now as an older cat, now I don’t think hop hop is where it’s at now. I grew up listening to Ludacris, and then I start falling in love with the Fugees and the Pharaohs, and Lunice and Mobb Deep and 50 Cent, and then I listen to the lyrical rappers and the spiritual rappers, then the technical rappers, then we get into this era now the mumble rappers— but they’re not all mumble rappers… to a point where there was so much political shit and head bumping! When I started listening to EDM there was none of that. People where like, “This is how I did this: I warped this, I thought of it like this. Y’all are dancing.” I was like, “Boom!” There’s no political shit. It’s just this. That’s fucking fire. All music is my music. 

 

🔥 LT: Where are you from? I’m guessing you grew up in Canada if you’re an oldschool Electric Circus viewer.

📣 DW: Originally I’m from Africa, I’m Ghanaian. Then my parents moved to Edmonton, that’s where I was born. I lived in Edmonton most of my life and started picking up dance, then moved out to here in Vancouver, because there was a niche for my style of dance, nobody was doing it. And also to find myself within the dance world. Then I went to Montreal, became a member of a krump crew in Montreal too. 

 

🔥 LT: Tell us about Wreckage Fam.

📣 DW: Wreckage Fam is active but it’s not active. When I first moved here, when I saw there was a niche, I was teaching everywhere. Then I made a fam, and that was Wreckage Fam. And people told me this was the first time we’d had a krump fam, so I was going around saying it was Vancouver’s first krump fam. And that was more of the mainstream approach. I had eight people in there. How krump works is everyone in the fam has a rank of where they came in in the fam. It goes: Big (which is the leader), Twin (which is someone who’s on your level or your shadow), then it goes “Little”, “Junior”, “Tiny”, “Infant”, “Baby”, “Prince”, “Boy”, “Girl”, “Princess”, “Lady”… it’s like, huge ranks. I had eight people, but then everybody wanted to do their own thing too. Wreckage Fam was a growth point. I went and learned from big homies, people close to the vets, the people who created it, the OGs. Now I’m in second generation of Wreckage Fam, and it’s four people. And I’m loving it because they’re all youths. And so I have these two dudes who I call “Little Wreckage” and “Junior Wreckage” and they’re out winning battles and all that stuff. And I have “Young Wreckage” who is out doing shows. So Wreckage Fam is there, people see it, people know about it, but I’m not in as much of the dance world. Don’t get me wrong— if someone wants to battle me, I’m ready to go, I’ll knock a motherfucker out— but Wreckage Fam is more to help people grow within their dance and grow their own fams. 

 

🔥 LT: That’s beautiful. When I look at krumping it seems like that’s been a part of it from the start, dance as a vehicle to get out of where you’re coming from and see beyond that and expand beyond from there. 

📣 DW: One hundred. That’s what krump is. Krump really took me out of a place I was in. It’s such a repetitive song, but it really did. To be able to take what I’d learned and bring it to people, and even bring it to the generation that I have… They’re out slaying stuff. I’m like, “This is super, super dope”. I got to talk to my big homies about it, and they’re like, “You don’t have to be there all the time, but remember what you do matters within the fam, and you will see the fruits of your labour.”

  

​

​

:: TRACKLISTING ::
 

1. The Mop— TISAKOREAN, KBLAST & HUNCHO DA ROCKSTAR (GOGETTAS) prod. MIGHTY BAY [Ultra, 2019]

2. Big Ole Freak— MEGAN THEE STALLION prod. LILJUMADEDABEAT [1501 Certified Ent, 2018]

3. Rake It Up— YO GOTTI  ft. NICKI MINAJ prod. MIKE WILL MADE-IT, 30 ROC [Epic, 2017]

4. Laffy Taffy— D4L prod. K-RAB, BORN IMMACULATE, BRODERICK THOMPSON SMITH [WMG, 2006]

5. Yummy— JUSTIN BIEBER prod. POO BEAR, KID CULTURE, SASHA SIROTA [Def Jam, 2020]

6. Sicko Mode— TRAVIS SCOTT ft. DRAKE prod. CHAHAYED, HIT-BOY, OZ, CUBEATZ, TAY KEITH, DEAN [Epic, 2018]

7. Hip Hop— DEAD PREZ, HEDRUSH [Legacy, 

8. NonStop— DRAKE prod. TAY KEITH, NO I.D., NOEL CADASTRE [Young Money / Cash Money, 2018]  

9. Throw Sum Mo— RAE SREMMURD ft. NICKI MINAJ, YOUNG THUG prod. MIKE WILL MADE IT, SOUNDZ [EarDrummers, Interscope, 2014]

10. Pop, Lock & Drop It— HUEY prod. D.SMITH (ANGO Bootleg ) [Polo Grounds, 2006]

11. Lollipop— LIL WAYNE ft. STATIC prod. JIM JONSIN, DEEZLE (TALL BOYS Mmmm Bootleg) [Cash Money, 2008] 

12. Level Up— CIARA prod. J.R. ROTEM [Beauty Marks, 2018]  

13. One More Time— DAFT PUNK (KODAT remix) 

14. God’s Plan— DRAKE prod. CARDO, YUNG EXCLUSIVE, BOI-1DA (ANGO Jersey club Remix ) [Young Money / Cash Money, 2018]

15. Bring It Back — DEORRO, MAKJ, MAX STYLER [Spinnin, 2018]

16. Hands Up (YELLOW CLAW remix)— DIRTCAPS [PBR, 2012]

17. Mr. Brightside— THE KILLERS [Island / Def Jam, 2004]

18. Work— A$AP FERG prod. CHINZA, FLY [Polo Grounds, 2012]

19. Propaganda— DJ SNAKE [DJ Snake, 2015]

20. No Bystanders— TRAVIS SCOTT [Epic, 2018] (DJ NASA VIP Trap Flip) 

21. In Da Club— 50 CENT [Shady / Aftermath / Interscope, 2003]

22. Taki Taki— DJ SNAKE ft. SELENA GOMEZ, OZUNA, CARDI B [UMG, 2018]

23. Macarena— LOS DEL MAR (STAVROS MARTINA & KEVIN D remix) [Music Full, 2018]

24. Ayy Macarena— TYGA prod. PLIZNAYA [Last Kings, 2019] 

25. Donk— SOULJA BOY TELL’EM [ColliPark / Interscope, 2008]

26. Twerk— CITY GIRLS ft. CARDI B prod. MR. NOVA, RICO LOVE [Quality Control, 2019]

27. Choppa Style ft. MASTER P— CHOPPA prod. HENRY THE MAN, DJ RON, SAMMY HUEN [Take Fo’, 2002]

28. Ayy Ladies— TRAVIS PORTER ft. TYGA prod. FKI, DJ SPINZ [Porter House, 2012]

29. Mi Gente— J BALVIN, WILLY WILLIAM [Scorpio Music, 2017]

30. Be Faithful— FATMAN SCOOP prod. DJ SIZZAHANDZ, DJ RIZ [AV8, 1999]

31. Work It— MISSY ELLIOTT, TIMBALAND [Goldmind, 2002] (Twrk, Smerk, work it HEARTBREAKER edit) 

32. Jump— KRISS KROSS prod. JERMAINE DUPRI [Ruffhouse, 1991]

33. Jumping Jumping— DESTINY’S CHILD prod. JOVONN ALEXANDER, ELLIOT, KNOWLES [Columbia, 1999]

34. Boasty— WILEY, SEAN PAUL, STEFFLON DON ft. IDRIS ELBA prod. MUCKY, TODDLA T [BMG, 2019]

35. Ride With Me— NELLY ft. ST. LUNATICS prod. JAY E [Universal Motown, 2000] (KEVIN D & STAVROS MARTINA remix) 

36. Freek-a-Leek— PETEY PABLO prod. LIL JON [Jive, 2002]

37. My Type— SAWEETIE prod. LONDON ON DA TRACK [Icy, 2019]

38. Uno— AMBJAAY prod. ALMIGHTY QUISE [Columbia, 2019] (MARKCUTZ Wordplay Intro)

39. Ye— BURNA BOY prod. PHANTOM [Spaceship, Bad Habit 2018] (DA PHONK Club Edi)t

40. Temperature— SEAN PAUL prod. SNOWCONE [Atlantic, 2006]

41. SexyBack— JUSTIN TIMBERLAKE prod. TIMBALAND, DANJA [Jive, 2005]

42. Losing it— FISHER [Catch & Release, 2018] 

43. Work— MASTERS AT WORK ft. PUPPAH NAS-T & DENISE [Tommy Boy, 2000] (EMILE LAURENT Remix)

44. Que Calor ft. J BALVIN— MAJOR LAZER [Mad Decent, 2019] (SAWEETIE Remix)

45. Blue (Da Ba Dee)— EIFFEL 65 prod. MAURIZIO LOBINA, GABRY PONTE [Bliss Corporation, 1998] (MR. M!X Remix)

46. El Camino— BLACK CAVIAR [Casablanca, 2019] 

47. Chicken Soup— SKRILLEX & HABSTRAKT [Owsla, 2017]

48. Boss Bitch— DOJA CAT prod. IMAD ROYAL, SKY ADAMS [Kemosabe, 2020] 

49. Throw It— YEHME2, WUKI [Ultra, 2019] 

50. MIA— BAD BUNNY ft. DRAKE prod. DJ LUIAN, MAMBO KINGZ [Rimas / OVO, 2018] (HENRY FONG remix)

👇🏾:: MUSIC VIDEO PLAYLIST ::👇🏾 

🎶YouTube 🎶

​

​

:: FIND US ::

​

👇🏾:: DA WRECKAGE ::👇🏾

📣 Mixcloud → Da Wreckage

📣 Instagram → Da Wreckage

​

👇🏾:: COVER ARTIST ::👇🏾 

🎨 Instagram Ez Naive

🎨 Soundcloud Ez Naive