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"Help Me" The 18 Best Lines From Episode 305 Of 'Power'

Courtney A. Kemp did not come to play with you hoes...no she did not!

After two seasons of Holly's annoyance, short-sightedness and pure stupidity, fans finally get their wish in Power episode 305 "Help Me," yet Holly's demise---as passionate, intense and intimate as it is-- wasn't as sweet or as ticklish as what some hoped or believed.

While Tommy wonders if Lobos tried to have him killed, Ghost learns Ruiz is in federal custody and may snitch on the entire New York drug syndicate. Yet all of that seems inconsequential when he comes face-to-face with his would-be assassins, the hitmen Holly hired, while with Tariq.

The pace is faster, the stakes are higher and the risks are much greater. Courtney A Kemp and the rest of the Power writers team did not come to play with you h*es. Check out the 18 best lines from Power, episode 305 "Help Me."

1."It don't track that he wanna cut off his money." Tommy

While Tommy nurses his wounds he still can't figure out why Lobos would have him killed. Potentially disrupting his money doesn't add up to Tommy leaving him to believe the hit on his life didn't come from the obvious source.

2. "We have to save ourselves." Holly 

Holly is tired of Tommy's stalling and is trying her best to convince him they'll never be safe as long as Ghost is alive. Yet despite her pleas, she senses the tide is turning, and Tommy's disdain towards Ghost is fading.

3. "There's just so many obstacles between us." Angela

The sparkle that was in their love affair is beginning to fade as Angela  contemplates all that has transpired. Between the rocky dinner with Paz and Tariq getting suspended from school, Angela wonders if their relationship will survive.

4. "In these moments I ask myself who am I going to kill first?" Lobos

Sandoval informs Lobos Ruiz is in federal custody and might snitch. Lobos instructs Sandoval to kill Ruiz, but Sandoval can't have another high-level informant die on his watch. Lobos doesn't care about protocol and threatens to have Sandoval or his daughter killed.

5. "What does Tasha know?" Proctor

Ghost wants to do right by Angela and instructs Proctor to draw up the paper work for a legal separation from Tasha. Proctor wonders why not get divorce and then questions what does Tasha know that's keeping Ghost tied to their dead marriage.

6. "Nothing's the same with him anymore. It's just different. He's different." Tariq St. Patrick

Tasha tells Tariq instead of going to see the therapist he's spending the day with his dad. Tariq isn't interested and would much rather be alone because in his eyes, his dad isn't the same.

7. "Places. product and names." Knox

Knox convinces the task force to switch strategy midstream and see if they can get Ruiz to rat out Lobos' entire network. Angela tries to push back and asks the team to stay on course, but Knox wants to Ghost to go down, and will do anything to get it done.

8. "I didn't have a f**king choice, the mortgage is past due." Kate Egan

Katie Egan comes by when she realizes Tommy neglected to pay the mortgage. Tommy tries to get his colorful mom to leave but after seeing Holly (who she refers to as Hailey) she decides to stay for a while and do a couple of lines with her son.

9. "What the f*ck!" Proctor

For safety precautions, the federal building gets cleared out as Ruiz walks in. Proctor slips the guard some money and asks that he hold the elevator door, which allows Proctor to see Ruiz along with Angela.

10. "I didn't want her to grow up the way I grew up or your pops." Dre

Tariq spends the day at the bar with his father and is tasked with helping Dre stock the bar. The two begin to chat and Dre reveals Ghost was hurt when he learned about Shawn, and also expressed his love for his own daughter and the life he hopes to give her.

11."You give me the identity of Ghost, and you get the deal and you and I will never have to see each other again." Knox

Knox is pulling out all the stops to get Ruiz to identify James St. Patrick as Ghost. He tells Ruiz if he doesn't, they have him on tape ordering the hit on his daughter's boyfriend, Nomar, which carries the death penalty as sentence.

12. "Like, what kind of father does that?" Tariq St. Patrick

Tariq finally tells Ghost his actions--moving out, forcing him and his sisters to meet Angela, not explaining what happened between he and his mother--is the reason for his behavior.

13. "Angela, I really don't want to but if I have to I'll fix it myself. " Ghost

Angela meets Ghost at the club and advises he gets a lawyer, but she soon learns Ghost already knows about Ruiz. Ghost tells Angela he wants to do the right thing, but if he has to, he'll "fix" the problem himself.

14. "This place is real nice. You didn't have sh*t when I met you, boy." Kanan

After just singing his daughter's praises, Dre comes home to find Kanan with his daughter. Struck with shock and undeniable fear, Kanan spares his daughter's life and tells Dre to be ready as he puts his plan in place.

15. "You're still a Soldado." Angela

Angela will do whatever to protect Ghost. During a private conversation Angela reminds Ruiz he's still a member of the Soldado Nation and reminds him the only reason he's still alive is because Ghost saved him, so he must return the favor.

16. "Of course I do, he's as much my son as you are." Kate Egan

Katie has worn out her welcome and Tommy is about to drive her to the train, but before she leaves he asks if she believes Ghost is as loyal as she claims, and while Katie Egan may not be the best mother in the world, her words helped Tommy put the missing pieces together about the hit the night before.

17. "No." Ruiz

As Ruiz gives up Lobos and his connection to him he's asked if he knows what Ghost's real name is and in a simple response, shuts down Knox's entire plan.

18. "Together." Tommy

After Tommy realizes it was Ghost who killed the Koreans the night he got shot, Holly confesses to Tommy she hired the Jamaicans to kill Ghost. The two get into a heated argument with Tommy choking Holly to death. Ghost narrowly avoids death and goes to Tommy's house to realize what took place. While in the car the two devise a plan to bring down the one man that tore them a part: Lobos.

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VIBE Vault: 'Dre Day: Andre Harrell' (December 1995 / January 1996)

In the business of music, there's no name with as much resonance as Motown. Former Uptown Entertainment president Andre Harrell—the man responsible for Jodeci, Mary J. Blige, and Heavy D—is taking over the legendary label and promising to bring the noise. But can he fight through the nostalgia and lead Motown into the 21st century? By Anthony DeCurtis. Photographs by Dana Lixenberg

"You know how Jeffrey Katzenberg became Disney? That's what I want to do. Like, how you felt Jeffrey had a passion about Disney—his Mickey Mouse watches, Disney sweatshirt, Disney tie. That's what I'm talking about. I will be at the Motown Cafe. I'll make Motown ties, watch­es, sweatshirts. I intend to make Motown the black Disney," Andre Harrell says with a smile. "You might as well start calling me Walt."

Harrell, 35, is obviously a man with a plan. Good thing, too. He's stepping into one of the most vis­ible jobs in the entertainment industry: president and CEO of Motown Records. "It's always been a dream of mine to head up Motown," he says.

Yet the lofty position confronts Harrell with a critical challenge. Motown has fallen far from what it once was. Aside from the monumental Boyz II Men, Motown has increasingly become a sound­track for nostalgia, much more redolent of the past than the present. It's so hard to say good-bye to yesterday, indeed. Harrell, a product of the hip hop generation, knows his job is to introduce Mo­town—music, television, film, video, animation, and new media—to tomorrow.

A Bronx native, he got his start in the early '8os as half of the rap duo Dr. Jekyll and Mr. Hyde. (He was Dr. Jekyll.) After moving over to the business side of the business, he hooked up with rap mogul Russell Simmons and soon landed a top spot at Simmons's company, Rush Communications, where he worked with the likes of Run-D.M.C., L.L. Cool J, and Whodini.

Harrell stepped out on his own in 1986, when he launched his own label, Uptown Entertain­ment, as part of a joint venture with MCA. At Uptown, Harrell defined a contemporary R&B sound for the hip hop age, bringing the world Guy, Heavy D, Jodeci, Mary J. Blige, Al B. Sure!, Father MC, and most recently, Soul for Real (with whom he had his first No. 1 pop hit, "Candy Rain"). He produced the 1991 film Strictly Business, and he coproduces the hit Fox series New York Undercover.

Successful as the artists on his label proved to be, Harrell has felt constrained in his efforts to make them pop superstars, both by his arrange­ment with Uptown's parent company, MCA, and by the troubling racial politics of the music busi­ness in general. Moving to Motown, which is now based in Los Angeles and owned by PolyGram, presents Harrell with the opportunity to put at least some of these issues behind him. At Motown, Harrell says, he'll have more people, more prerogative, more punch.

Seated on a couch in the living room of his Upper West Side New York apartment, dressed simply in a black shirt and white slacks, Harrell focused squarely through his blue shades on what must be done. A framed photo of a serious-looking Harrell arm-in-arm with Mickey Mouse sat on an end table.

Clearly a man who enjoys control, Harrell was soft-spoken and intent. He didn't want to be mis­understood. "Am I correct?" he would ask. "Do you follow me?" He leaned forward, and his voice rose with passion as he discussed his frustrations with MCA. Otherwise, he slipped back into the pil­lows of his sofa and spoke as if he was envisioning his future life in a dream.

Harrell knows he has as much on the line as Motown, if not more. All eyes will be on him. It's one thing to say you would've done something if only you'd gotten the chance. It's quite another to get the chance and have to do it.

"Every record has gotta be right," he said. "I'm trying to sign stars. I'm not gonna have wack-juice on me. Never did, never will."

What has Motown meant to you over the years? When was the first time you knew what it was?

The first true Motown experience I had was when the Jackson 5 were on the Ed Sullivan Show. I think it might've been, like, 1969, '70. They sang "Stand!" and "I Want You Back." I had never seen a black teenager on television—it was incredible. After that, I realized who the Motown artists were. My parents listened to them: the Supremes, Marvin Gaye, Diana Ross, the Four Tops, the Temptations.

What did the company represent for you?

Motown has always been the epitome of black excellence and artistry. Stevie sang about love in the most sensitive way, as well as telling about the plight of his people. Marvin sang about the plight of his people and his internal fight, but he sang about love in a very sexy way. They were major influences.

Speaking of Stevie Wonder, he made a strong album last year and nothing happened with it. Can Motown sell a Stevie Wonder record in this day and age?

The Four Tops, the Temps, and, especially, Stevie Wonder and Diana Ross—these are national trea­sures. You have to treat them like events. Stevie Wonder, he's someone I would do an Unplugged with. Or a couple of years ago, it was Stevie's 3oth anniversary in show business. You could have got­ten Stevie Wonder a television special. We could have had artists pay tribute to him—pop artists, rock artists, R&B artists, rap artists, everybody could have participated. And there's probably no other female, black or white, who's as fabulous as Diana Ross, who epitomizes the glamour and excitement of a star diva.

What about new directions? What makes Motown happen in the '9os?

Motown has to become the lifestyle label for the times that the active record-buying audience—the audience who's 15 to 3o—is living in. One of the ways you do this is by putting out records that are in the groove that that audience is living in. Like if Mary J. Blige was a Motown artist, Motown would have some of her imaging on it. It's that young, hip hop—soul, Generation X energy. Same thing if Jodeci was on the label. Back in the day, Motown talked to everybody in the ghetto—and it talked to the rest of the world too.

"WHEN YOU THINK OF MOTOWN NOW, YOU'RE GONNA THINK OF ANDRE HARRELL. I'M NOT GONNA WORK FOR MOTOWN, I'M GONNA BE MOTOWN."

That sounds like the philosophy you espoused at Uptown.

The thing that [Motown founder] Berry Gordy led the way with is the idea that the label head becomes the image of the label. Myself, I allowed whatever celebri­ty occurred in my career to happen through the artists. I was so consistent with the kinds of artists who were on my label, after a while, it was, like, "Who's behind all this?" I was behind it.

Going into Motown, my plan is this: When you think of Motown now, you're gonna think of Andre Harrell. I'm not gonna work for Motown, I'm gonna be Motown—in the way I dress, the records I put out, the causes I choose to get involved in, the artists from the past, the artists who are there now, and the artists in the future. Like I lived Uptown Records, I'm gonna live Motown Records.

But you, Russell Simmons, Sean ."Puffy" Combs—and Berry Gordy before you—are entrepreneurs. You're identified with the companies you founded. With this, you're stepping into something—

—that's already existing. I'm gonna be Motown for this generation of young-adult record buyers. Motown was the blueprint. Berry Gordy was the blueprint for what I became.

Were you conflicted about leaving Uptown?

I had tremendous conflict. It was like I was walking away from my works of art. There will never be another Mary J. Blige—it's rare to find a queen. There will nev­er be another Jodeci. There'll never be another Heavy D. But I have to go, because Motown gives me the power I need to go to the next level. I have to make African-American superstars. At Uptown, I was able to make black icons, but they were icons only to black people.

[I was] trying to grow Uptown, to have indepen­dence, to be able to say, "This act is getting ready to be a worldwide star, and I'm gonna take all my resources, and we're gonna march to this one beat." I was trying to do that for nine years. Between me and the corpora­tion, I could never get it to happen.

In terms of support from MCA?

I think MCA, after a period, wanted some of these things to happen. For whatever reasons, though, the execution between the two sides never worked. The biggest record I ever had was Jodeci's [1991] Forever My Lady—3 million.

When [Arista president] Clive Davis got in the game, I felt myself shrinking. Once he got in business with LaFace [L.A. Reid and Kenneth "Babyface" Edmonds] and [Dallas Austin's] Rowdy Records and Puffy [Bad Boy Entertainment], Davis's commitment and his exe­cution were taking those artists where I wanted my artists to go. I wanted Mary J. Blige to sell the 7 million that Toni Braxton did.

Jodeci came to me because I had Al B. Sure! So they figured, "He knows how to do this. We wanna be down with him." They drove 13 hours, sat in my lobby for eight hours just to meet me. Now, I feel like, with Arista being involved with LaFace and the other labels, they sold 7 million Toni Braxtons. They sold 6 million TLCs. I'm, like, if I can't sell these kinds of records, I'm gonna slowly shrink. I was catching heat from my artists, who wanted that kind of stature. I would bring that frustra­tion to MCA, and we couldn't seem to come to terms.

Was the idea, "Well, Andre's doing fine. He's doing a cou­ple of million here, a couple of million there. He's covered. Were gonna invest somewhere else"?

I felt like a figurehead. I had all this energy around me—like, I was the Man. I was the founder and chairman of Uptown Records, a major, culturally influen­tial entertainment company for African-Americans in the '9os. But I didn't feel like the Man, because I could­n't put my finger on the button that would really make it happen. I don't want to be in that position anymore. I need to have more control. I need to be responsible for the big picture. And being at Motown positions me to create a truly black pop company. I got a film divi­sion, a television division. I got green-light power for small movies. I don't have to ask anybody.

What are your plans with Gordy?

We're gonna do a series of commercials—print and television. He endorses me. We spoke yesterday for about an hour, and he said, "Any advice I can give you about where we go from here, feel free to call me." We're gonna spend time together and talk about his history with the elder stars. I feel as if I've had a tremendous amount of experience working with stars' drama and ego, but we're talking a whole 'nother level of stars. I've never built a superstar. There're superstars at this house.

How do you build superstars?

If black stars are gonna have a shot at becoming pop stars, it's gonna be because the chairman of the company is committed to them—and because their music is his personal taste. That's what I'm bringing to black music, to black musical stars. Not just their art form but their plight as African-American men and women.

What you're describing is a role that black executives play, but aren't they often frustrated in their attempts to rise at most record companies? 

I can't talk about it enough, how few black execu­tives get to control their playing field. Black music is becoming the music of the popular culture. Because of that, companies are repositioning their priorities and trying to get in the game. But as black music becomes more important, there should be more black presidents and black chairmen. As soon as the black executive's artist reaches platinum, suddenly the artist and man­ager have to deal with the president of the corporation, because he controls the priorities at pop radio. The black executive becomes obsolete. As his music gets bigger his power diminishes. He's more or less told, "Go find the next act and establish it."

It's an emphasis on the creative—

—as opposed to the business. That's why young black executives don't get to become the old chairmen—the wise men who've seen it and done it. They get to stay hot black executives so long as their instincts are hot. But this is a lifestyle business—only a few of us, black or white, are going to be cool enough to have great in­stincts our whole career.

The black executive is not given the opportunity to become the business and the music. Why not? Why shouldn't he be the one that everybody reports to? When you get an act that sells 5 million—at a major compa­ny—the black executive's out of the room. But when there's some sort of problem, the major label looks at the black executive: "Why can't you handle this act?" When the artist hires a violent manager and the violent manager is coming up to the record company, the label's, like, "How did it get to this?" How? Because they [the white executives] couldn't see it coming. Because they re not sensitive to his issues. By then the relation­ship between the record company and the artist is dys­functional. And then the black executive gets blamed and fired. But they created the monster.

When I had the artist, I talked to his mother, his girl­friend, his babies' mother with the two children, dealt with his drug counselor, and whatever other dysfunc­tional Generation X problems he has. He'd call me late at night.

But he feels like they're just businesspeople. And they don't understand. And they might be racist. He's comin' with all that energy. Even if they like him as a person, he still has goo years of issues he has to get over to accept them. And they have a lot of work to do to gain his trust and respect.

So what are your immediate plans?

I will be moving to Beverly Hills. I'll have a house out there for a 12-to-18-month period, and I'll be bicoastal between the New York and L.A. offices. Then I'm moving the company to New York. I'm going to have a satellite office in Atlanta—A&R-oriented. I'm going to build a recording studio in New York, Motown Studios.

Any new musical directions?

The sound I'm going for now is soul. I'm looking for voices that sound like 400 years of slavery and then some. I'm looking for that inspirational, take-us-out­-of-our-plight, Aretha Franklin, Bill Withers, Al Green voice. I'm looking to build those kinds of stars now.

What about the younger acts on Motown? Have you met with Boyz II Men?

No. Those meetings will come after I execute the deal. Boyz II Men are the biggest group I've ever seen. I don't know what I'm bringing to the party except to keep them from goin' crazy from the level of success they've had. They probably need a break, a little time out to lead their personal lives. Outside of that, that for­mula is working. Queen Latifah, I'd like to bring her record sales up to match her celebrity. Zhané I'd like to give a little bit more image. I'm gonna bring Johnny Gill back—he had a fabulous first album. And I'm excit­ed about working with Michael Bivins. He's tremen­dously talented, and if he and I get together, we can real­ly do some important things.

Are you apprehensive?

I got a lot of work to do. But no problems. Making hits is not a problem. I'll be making some noise real quick. And I ain't gonna stop makin' noise until I'm done.

-

This article originally appeared in the Dec. 1995 - Jan. 1996 issue of VIBE Magazine | Written by Anthony DeCurtis | Header Photography by Dana Lixenberg

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DJ Khaled attends the 62nd Annual GRAMMY Awards at STAPLES Center on January 26, 2020 in Los Angeles, California.
Frazer Harrison/Getty Images for The Recording Academy

DJ Khaled Cuts Off Twerker On Instagram Live, Inspires "Talk To Me Normal" Remix

Like the saying goes: when you give an inch, they take a mile. DJ Khaled learned that lesson over the weekend after he had to cut off a twerking follower on his Instagram Live session.

The producer and recording artist hopped on his social media account on Sunday (May 3) to chat with his fans and followers. To make the moment more engaging and interactive, Khaled opened up his request lines for one-on-one chats and chose a couple of lucky followers. What he didn't realize was that one request would be from a woman ready to twerk on camera, Quarantine Radio style.

"Oh, sh*t, oh, sh*t," he said aloud with his hands up in the air once he realized what was about to go down. "No, no, don't do that. No, it's all love but you know what I'm saying? I've got a family and everything. I've got love," he stressed to the giggling blonde before she proceeded to pour water on her derrière.

 

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I have love for everyone please take it easy when I’m on fan luv ig luv . Again I have love for everyone please lets be respectful nothing but love BLESS UP !

A post shared by DJ KHALED (@djkhaled) on May 3, 2020 at 4:25pm PDT

"Just talk to me normal, talk to me normal," he requested as he covered his eyes from seeing what she was doing. But did she care to oblige? Nope, because 45 seconds of fame and "we live baby!" Khaled gave up on pleading and closed out the chat repeating, "I can't, I can't."

Shortly after, Khaled posted the incident on his Instagram account with the caption, "I have love for everyone please take it easy when I’m on fan luv ig luv. Again I have love for everyone please lets be respectful nothing but love BLESS UP!"

And like clockwork, the video made its rounds and inspired one producer to create a remix, because, that's what we do when we need another level of comic relief. Much like Brooklyn's own DJ iMarkkeyz, who gained momentum on Billboard's charts for his remix of Cardi B's coronavirus rant, producer DJ Suede posted a remix of the moment and it brought more laughs to probably one of DJ Khaled's most stressful moments.

Hear it down below. You're welcome.

 

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#IGotAFamily #IGotLove 🕺🏾💎#RemixgodSuede #AnotherOne @therealcocoabrown #Diamonds @sophiajamesxo

A post shared by Dj Suede (@remixgodsuede) on May 3, 2020 at 9:48pm PDT

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Will Smith Hosts Virtual Reunion With ‘Fresh Prince Of Bel-Air’ Cast

Ahead of the official 30-year anniversary of The Fresh Prince of Bel-Air’s debut, Will Smith hosted a virtual reunion with his cast members for the latest episode of his Snapchat show, Will From Home. Tatyana Ali, Alfonso Ribiero, Karyn Parsons, Joseph Marcell, DJ Jazzy Jeff, and Daphne Maxwell Reid reunited with Smith via the video conferencing app, Zoom.

“Reunited and it feels so good,” Smith wrote on Instagram on Wednesday (April 29). “It’s been 30 years since the first season of ‘The Fresh Prince of Bel-Air’ so I thought we should have ourselves a lil Zoom reunion!! Check us out.”

Smith posted a snippet from the Zoom reunion that showcases the special bond between the Fresh Prince cast. The crew also sent well wishes to Jeff, who recently recovered from coronavirus.

“Jeff you had us all scared,” says Ribiero.

“Not as scared as I was,” Jeff responds. “It was a little rough but I’m definitely happy to be on the other side.”

Marcell, who played the family butler “Geoffrey” on the series, appears to be enjoying life under quarantine. “There’s something amazing about house arrest,” he quips.

“This is probably not your first time [on house arrest],” Smith jokingly replies.

Loosely based on the life of show producer Benny Medina, The Fresh Prince of Bel-Air premiered on September 10, 1990. The sitcom aired for six seasons before ending its run in May 1996.

Watch a clip from the reunion below.

 

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Reunited and it feels so… AHHHHHH! It’s been 30 years since the first season of The Fresh Prince of Bel-Air so I thought we should have ourselves a lil Zoom reunion!! Check us out, link in bio. #WillFromHome

A post shared by Will Smith (@willsmith) on Apr 29, 2020 at 10:50am PDT

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