Mario Mario
VIBE/ Stacy-Ann Ellis

Interview: Mario Is Coming Back To Music, But He Still Needs More

Mario gets cozy with VIBE and discusses his absence from the game and what he's bringing back to the table. It's deeper than you think. 

While the friend zone usually isn't a coveted space and getting braids isn't usually a romantic revelation, Mario took it there for us with 2002's "Just A Friend" and 2003's "Braid My Hair." He was responsible for creating adolescent anthems that kept us going and brought the Baltimore born R&B singer right into the seat next to us as we navigated those hormone-driven years.

Fast forward a bit and after acting in Step Up and Freedom Writers, the crooner seems to be on a hiatus. For seven years we don't hear much from the triple threat as he splits from his label, a lengthy process, and begin his own called New Citizen. There's no gossip to be found and the "Let Me Love You" singer is in the cut. The question begs, where is Mario?

Now, the crooner has officially returned to the scene with the new single "I Need More" under his label. In an enlightening sit-down with VIBE, the singer born Mario Barrett opens up about where's he's been, his new spirituality, his upcoming project Paradise Cove and exactly what he learned in his 20s as he rounds his 30th year.

VIBE: Let's start in the beginning. You started out the gate with "Just A Friend" and it was such a nostalgic moment working with Biz Markie. Do you feel like that shaped your music going forward from there?
Mario: I'm going to be honest with you, the first song that I ever recorded was with Fabolous. It was called "Tameeka" and it was on the Doctor Dolittle 2 soundtrack. It was first studio session I'd ever been in. I just remember being super young and being in the studio for like 16 hours, recording the same parts over and over. I was like "I don't wanna do this," I was crying. I was like 14 years old. He kept me in the studio for hours. So my first session was like... jail cell. It was punishment for wanting to be an artist.

But you made it through.
I made it through, but it ended up being a big song on the soundtrack. Then yes, my first single ended up being "Just A Friend." I think what that song did was it made me relatable. It was very boy-next-door meets young, soulful kid. Although the song was a remake, the way that I approached it, there was a lot of soul in there. That fun boy-next-door vibe. It shaped the relatability for sure.

"Braid My Hair" is still one of those songs. If someone says "I'm going to get my hair braided", its guaranteed that someone in their 20s in the room is going to sing the song. How does that feel to still have that moment?
It gives me a sense of appreciation for the people I was working with coming out the gate. The people I was around, they were very adamant making sure that the first album was relatable and I didn't loose that kid from Baltimore vibe. Although I was turning into a machine when it came to doing those interviews, shows, etc. I still had moments. I was telling this story the other day about when I was going to record "Braid My Hair" in New York. I was in the studio, my hair was looking crazy and I didn't want to record that day. I didn't want to work, I was out of it. I was telling Harold Lilly, "Yo I just want to go home bro and let my girl braid my hair. I don't want to be here right now." He was like, "Well if you don't feel like working, then we going to get something out of it. We're going to write a song about you getting your hair braided." I'm like bro, don't nobody want to hear that. The song ended up a moment, so I appreciate those types of approaches to music. It wasn't calculated, it just happened. Sometimes that's where the magic is.

How was it working with Gucci at peak" Gucci"? Was that calculated?
You mean when I did "Break Up"? That was little more calculated. I was in Atlanta recording with Sean Garrett and originally... I'm going to tell you the real story, originally it was just my song. Sean liked the record so much that he was like I'm not giving it to you unless I'm on it, too. Because he was doing his artist thing so he was like I got the relationship with Gucci so I should be on the record. Gucci got out of jail the night before, like the night I recorded the song he had just got out, the next day he was in studio recording. That was the song that took him into the mainstream so it was a good look for everybody. It was a fun song, it was a fun time. Doing the video in my hometown was super cool. it was the second video i shot in my hometown so it was cool. I actually shot "Break Up" at my crib back in Baltimore.

Getting into the present, outside of the music, where have you been at? What have you been doing?
Personally, a lot personal growth. A lot of deciding and digging into who I am as a person. The things that I desire, more into my spirituality. I've always been into spirituality, but now its become such a big part of my life because its been what's helped me balance out my life in the settings that make me who I am. From music, from the artist, to the person who grew up in Baltimore that never really dealt with issues that I had growing up, to the creative individual who can tap into himself confidently and can be confident about what I believe in instead of just being like, oh well, let me just be an artist on the label that they tell me what to do.

It gets to a point in your career where you have to become a true artist. You have to decide who you are. I feel like in R&B, that's where a lot of R&B artists get lost. They get to a point where they hit a ceiling. At this day and age, you've got to be more interesting than just a R&B artist. Or else you'll just be the guy that people say "oh I love the music, he's dope." But what else? I'm more than just an R&B artist. I'm an actor, I'm a creator, I'm a writer, I'm an author, I'm a director, I'm a visionary. So these are things that I've decided that I'm okay with sharing this, I'm okay with being this person. Taking time off allowed me to tap into that side of myself. Also, I came in the game when it was really about the music and really about the art. Now, it's so many smoke and mirrors and gimmicks. I was like okay, let me step back and let that happen, and then when I come back I'm going to come back in the right way from all platforms. From behind the scenes, in front of the scenes, everything that I do is going to be meaningful so that I don't get lost in that. There's a distinctive perception that stands out of everything that's going on. Let me make sure there's no misconceptions.

A lot of true artists have that reclusive moment. They find themselves after disappearing for a minute, then they come back and they are their peak highest self.
I think those in this lifetime who are supposed to reach that part of themselves, will. Some people may have to reincarnate to do it again to reach that. But it's just interesting that I'm actually an artist, that I have this voice. Certain things I just experienced, I didn't ask for, it just happened because I started to be conscious about my health and that trickled into other things. Like what is this vibe, what is this energy, this is different. I want to pay attention. I didn't take no drugs, no psychedelics. Certain things are just happening.

A lot of also finding the right people to work with in the studio, that understand the vision and understand the path. Just wanting to make sure I'm in the greatest space possible to come back and take on the responsibility of influencing the culture and especially of the new generation.

You turn 30 tomorrow. You're at this point, but what did your 20s teach you?
How did you know?! I'm kidding. Oh my God. [Whistles] It's like three different phases. The first phase of my 20s was just me wilding out and kinda like having fun slash trying to prove to people that I was around. I felt like I had something to prove. Then the mid 20s was more like alright, love life and trying to find the type of girlfriend I wanted but, still kind of wilding out. And then the later 20s was kind of more stepping into my spirituality and stepping into my creative space and deciding this is the type of artist I want to be. I want to take this serious. I feel like my 20s overall taught me that nothing is a mistake, there are no mistakes. There are choices and there are consequences, whether they're good or bad. And then there are lessons.

That's what I learned in my 20s. I learned how to navigate the mental plane on a whole 'nother level. It's like on the mental plane, certain things can be transmuted. I learned to control my mentalism. Then after that, I learned how to do it physically. As an artist, you're doing all these things in front of the world. So how do you communicate that through the music, through your art, through your performances? These are all things that make up real artists. 30 is like everything you do is intentional. At 30, you have the knowledge, you have the tools but there is so much more to learn.

I was listening to "I Need More" and that's a new sound. I could see these things coming across in the new song. Like don't get me wrong, I f**k up some commas and I have all these things but, I need more. So is that really what you want to get across to your fans?
110,000 percent. I couldn't have said it better. Ultimately, I want people to look at me and understand when I do something and see the deeper meaning behind it. Understand that it's art and the expression of art comes from a higher place of creativity. That should inspire people to be their own artists. Whether it's fashion or writing or whatever. It's all communication, everything is communication.

For R&B now, do you think it's dying out with new wave and acceptance of trap and twerk music?
I look at things from all points of view and I think that we're all... we have the capability to do so much, why tap into one part of yourself? Of course it has evolved and it's changed. Because of the aesthetic, the R&B as we knew it, was so much more laid back and so much more about love and relationships, it was more musical. Now we're in a place where everybody is exposed to so much that it's not as interesting because their minds are being stretched, but also programmed at the same time. Stretched, but it's being stretched in these categories. But the people who stand out are the ones who do it, then they throw you off and do something interesting. I don't think it's "dead" because there aren't enough artists doing it an interesting way. It's also dead because programming. the radio programs, TV programs, all these things program what is cool and what's in. I love R&B, but I also love alternative music. I also appreciate trap, hip-hop.

What do I think could be better is the messages in the songs. A lot of the messages aren't really saying anything, it's not really leading the generation anywhere. Everything is driven by the ego, nothing is super, super vulnerable. There's only a few people in hip-hop that are vulnerable: Drake, J.Cole, Kendrick. I think it's coming back, though. It may not come back the way we envision it. I'll definitely have some of those type of vibes, but it may not be super traditional.

That was my next question, is Paradise Cove going to give the R&B vibes? What can your fans from "Let Me Love You"/"Braid My Hair" expect and what are your new fans going to get?
New fans are going to get definitely more vulnerability, definitely a more symbolic approach in respect to the music. R&B doesn't traditionally lend itself to that type of prospective, but it's just a new me, a new day. I can't even think about, let me try and go back and do this for the fans, I have to give them where I'm at and keep it quality.

What are some of things, if you can tell me, that you'll be talking about on Paradise Cove?
I have a record called "Same Thing" that's all about cycles being repeated until we learn our lesson. The first lines go "Money, fortune, fame, and women/So much to taste in this kingdom/Don't know if I can trust my feelings/I got the love but do I mean it." It's a lot deeper, the lyrics are a little more introspective. I just go into real situations that ain't always pretty.

You were speaking about getting into the behind the scenes stuff. Did you get into any producing, etc?
Co-production on "I Need More" and writing on it, co-production on "Same Thing." I'm pretty much involved in every aspect of it. Just to make sure it's super authentic. I also co-directed the video [for "I Need More"] and created the concept for the video as well.

That's awesome. Parting ways from your label, that took some time. How is your new label going?
It's a lot of work! You want to be professional, you want the people who work for you to be excited to work for you. It's a lot of staying on top of everything, making sure that people are paid on time and making sure things on time. Especially when you're doing a video, you got to get through the casting, you have to get through this and that. I love that process because it comes out exactly how I want it to. It's not like I have to argue with the label to get approvals for this or that or they like a concept and I don't and then they're like, well we're spending money so you're going to shoot it anyway. I don't have to worry about any of that and that's what I love about it.

Getting into the future now. What are your short term goals for your career right now?
My short term goals are to reestablish my brand. To continue to communicate as a creative through platforms like VIBE, different print platforms. To create visuals that allow people to see where I'm at now as a performer, as a singer, as an artist. And to touch as many platforms again, get in front of the big screen again.

How is that going?
I haven't done anything in awhile, so that's what I'm working on. Building my team for that again, that's a short term goal. Just really getting the brand back out there and getting myself back out there as a performer, as a model, as an actor. I'm writing a book right now, Life in Exchange. I feel like we are constantly exchanging parts of ourselves for another. We are constantly in this exchange with life. Life gives us an experience and we exchange our reaction to the experience with life. That gives us our present moment in where we are. It's just different tools and different perspectives that are used to advance the life on a personal and spiritual level.

What are your long term goals? Like 10, 15, 20 years from now.
I hope to be sitting back watching all the things that I create continue manifest new opportunities and hand it over to people that I trust to really take it forward. By that time I'll be 50 years old, so I hope to be sitting somewhere writing another book or shooting a movie, just manifesting all the great creatives in the world and keeping the culture the going. Hopefully by that time, the world will transition to a better place. That we, as in humanity, will be in a better place collectively.

Ultimately that's what I want to add to it. Outside just doing music and films and entertainment, I want to add to humanity in a positive manner. And show people that you can be individual and follow your dreams and you can add to the uplifting of humanity in any way creatively. I would like to have family and kids. Later on down the road.

So if you could go back to any historical period to be a singer, though, which one would you go to?
The '50s, '60s, '70s, Marvin Gaye, that vibe. Play the piano, afro probably. It was where all you had was music. That was in a time in film that had really good storylines and dope music, that was really all people had. They didn't have Instagram and Twitter, it was all about the art. Fans could only see you at your show. They had to come to the show and you had to give your all. That's all you had. You came from small city and your parents didn't have much, music was all you had and you gave it all on the stage.

Speaking of, how do you balance your new spirituality with being in such a high visible, social media heavy world?
For me, its kind of easy to balance that out. I'm not really out in the club every single night or trying to be that guy who f**king with all the latest models just to be able to say I bagged her, I don't care about stuff like that. So you not going to find any gossip out about me and I don't deal with crazy girls out here, I don't have time for none of that. You gotta be in your square as a woman, I need a conscious woman. I didn't bring myself this far... I'm not judging anyone, but if you want to be a writer then you should probably hang around writers or someone that can write better than you. So if I'm going to be intimate with a woman, I want to make sure I'm okay with being that person. Take on that vibration of whatever they got going on and if not, just because I understand what's happening, a lot of people don't understand whats happening during exchanges of sexual energy. So it's like for me, you aren't going to find me acting crazy.

 

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(L-R) Cynthia Erivo at the 25th Annual Critics' Choice Awards on January 12, 2020; Scarlett Johansson at Netflix's 'Marriage Story' L.A. premiere on November 05, 2019.
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Cynthia Erivo, Scarlett Johansson And The Oscars' Ongoing Whiteness

The 2020 Academy Awards nominations were announced Monday, Jan. 13 and, after a few years of glad-handing their supposed embrace of diversity, the Academy’s nominees were once again a distressingly predictable bunch—particularly amongst the major award categories. Bemoaning lack of diversity at the Oscars has become a punchline unto itself, but, for an Academy that is suddenly so image-conscious, this was a step backward. Alongside a Best Director field made up exclusively of men, Black actors were almost totally shut out in the top categories. Strong performances from previous Oscar winners/nominees like Lupita Nyong’o, Eddie Murphy and Jamie Foxx seemed to be likely contenders for a nomination but were snubbed. There is the notable exception, of course, of Cynthia Erivo. The Tony-winning actress received an Oscar nod for her turn as freedom fighter Harriet Tubman in Kasi Lemmons’ Harriet, a film that seemed to engender both praise and derision well before it opened in theaters in November 2019.

The British-born Erivo was at the center of much criticism when it was announced that she would be playing the legendary Tubman, the escaped slave born Araminta Ross, who led at least 13 trips along a treacherous journey from Maryland to Pennsylvania to free first her family, then others in bondage; she also became an officer in the Union army and an activist for women’s suffrage. The casting of Erivo as Tubman became a flashpoint after tweets from the actress were widely publicized in which she appeared to mock Black Americans in a Twitter exchange with actor Joel Montague after he asked her to sing a song she’d written.

“@joalMontague (ghetto American accent) baby u know I gatchu imma sing It To you but I still gatta do wadigattado, you feel me #scene xxx.”

The tweet was screenshotted and popped up on countless media sites, as the public criticism of Erivo grew. As she began making media rounds in the lead-up to Harriet, she addressed the issue.

"I would say it took a lot of hard work to get to this place [of playing Harriet Tubman] and I didn't take it lightly," Erivo said in an interview with Shadow And Act back in October. "I love this woman and I love Black people full stop. It would do me no service, it would be like hating myself.

“As for the tweets, taken out of context without giving me the room to tell you what it meant—and it wasn’t mocking anyone really. It wasn’t for that purpose at all. It was to celebrate a song I had wrote when I was 16.”

But the bad will had taken root. Harriet had a successful opening and a strong showing at the box office, but it was met with derision on Twitter as rumors swirled about various aspects of the film’s plot and historical inaccuracies. The word of mouth reception was far from glowing, but the borderline smearing of the film on social media was more scathing than the actual reviews once the movie hit theaters. But while the critical reception to the film itself was lukewarm, Erivo’s performance was consistently praised. “The British singer and actress…nails [Tubman’s] thousand-yard glare with a furious and mournful eloquence,” wrote Owen Gleiberman of Variety; and The New York Times’ A.O. Scott felt that “Erivo’s performance is grounded in the recognizable human emotions of grief, jealousy, anger, and love.” In an age when Black pain on the big screen can make for predictable platitudes from pundits, there is an ongoing question of who such a film as Harriet is meant to speak to and speak for. In the case of Erivo, you have more than a strong performance in a middling film. You have a performer who has, in many ways, lost the audience that would’ve been most invested in that performance.

Erivo's nomination for Harriet comes alongside a double-nod for Scarlett Johannson, another actress who found herself embroiled in controversy in 2019. Of course, ScarJo is much more high-profile than Erivo, an A-lister who finds herself in any number of prestige pictures and major blockbusters. But ScarJo’s defense of Woody Allen, at a time when Hollywood is at least attempting to come to grips with how it has enabled abusers, drew gasps and derision when she made press runs for her role in the acclaimed Netflix film Marriage Story. She told Vanity Fair in November:

“I’m not a politician, and I can’t lie about the way I feel about things,” she said. “I don’t have that. It’s just not a part of my personality. I don’t want to have to edit myself or temper what I think or say. I can’t live that way. It’s just not me. And also I think that when you have that kind of integrity, it’s going to probably rub people, some people, the wrong way. And that’s kind of par for the course, I guess.

“Even though there’s moments where I feel maybe more vulnerable because I’ve spoken my own opinion about something, my own truth and experience about it—and I know that it might be picked apart in some way, people might have a visceral reaction to it—I think it’s dangerous to temper how you represent yourself because you’re afraid of that kind of response. That, to me, doesn’t seem very progressive at all. That seems scary.”

Johansson’s controversial statements surrounding Woody Allen (and earlier comments about her playing trans and Asian characters) were met with widespread criticism that was subsequently muted by the acclaim following her turns in both Marriage Story and the WWII-set period comedy JoJo Rabbit. They weren’t misguided or misrepresented tweets from six years ago, they are her expressed positions on the subjects; she’s announced that she doesn’t intend to continuously apologize or even recant where she stands. And at the end of the day, she’s now a two-time Oscar nominee.

Obviously, Erivo is also basking in the recent glow of Academy recognition. This isn’t a case of a white actress bouncing back from backlash while a Black actress fades into obscurity because of it. But when Scarlett Johansson walks the red carpet on the night of the Oscars, if she takes the stage after her name is read as Best Actress or Best Supporting Actress or both, she won’t have to contend with the idea that those who have given her the award stand in stark contrast to those for whom she wanted the film to resonate. Scarlett Johansson also wouldn’t have to wrestle with the idea that she’s only the second woman of her background to win an Academy Award for Best Actress. She won’t have to face the hurt that she and others like her were shut out in her native country’s biggest movie award. She won’t have to think about all the criticisms of “slave movies” and being nominated for being in one.

Whatever criticisms there may be of Cynthia Erivo, whatever criticisms there may be of the film in which she starred, there’s always a softer landing for those who don’t have darker skin; simply because being Black on the whitest of nights means that all eyes are on you. It also means you have to carry so much more than your white counterparts will ever be asked to shoulder. Oscar or no Oscar; criticism of Cynthia Erivo never required condemnation of Cynthia Erivo. But on a night when white actresses will once again be widely represented, from the reliable grace of Little Women to the martyr-making propaganda of Bombshell, it’s disappointing that this one Black actress being amongst them is going to be picked apart.

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Shawn Wayans and Marlon Wayans during The 2004 Teen Choice Awards - Backstage and Audience at Universal Amphitheatre in Universal City, California, United States.
KMazur

10 Most Memorable Episodes Of 'The Wayans Bros.'

If you're a product of hip-hop, the '90s was a glorious time for television, with a plethora of shows being introduced to the public that helped inform and reflect the culture, from music to fashion and every aspect in between. One program that embodied the raw essence of hip-hop was The Wayans Bros., which made its debut as the first sitcom to air on the newly launched network, The WB, on January 11, 1995. Created by Marlon and Shawn Wayans, Leslie Ray, and David Steven Simon, The Wayans Bros. put the focus on the two youngest brothers in the Wayans clan, both of whom had tasted fame alongside their elder brothers when their appearances on In Living Color and in films like Mo’ Money putting them on the radar. Set in Harlem, the show revolves around the Williams brothers' ill-advised attempts at turning a quick buck, maintaining their romantic relationships, helping out their father, Pops Williams (John Witherspoon), and assisting friends and family in their own times of need.

While Lela Rochon (Lisa Saunders), Paula Jai Parker (Monique), and Jill Tasker (Lou Malino) were all main cast members at some point during the show's first two seasons, the core cast was comprised of both Wayans brothers, Witherspoon, and Anna Maria Horsford as Deirdre "Dee" Baxter, the latter of whom made her debut appearance midway through the show's second season. Recurring characters included Thelonious "T.C." Capricornio (played by Phil Lewis), White Mike (Mitch Mullany), Dupree (Jermaine 'Huggy' Hopkins), and Grandma Ellington (Ja'net Dubois), all of who left their own imprint and were instrumental in some of the show's most memorable moments. In addition to the core cast, The Wayans Bros. also presented additional star power in the form of cameos, with athletes (John Starks, Kenny Lofton, Hector Camacho) actors (Bernie Mac, Lawrence Hilton-Jacobs, Elise Neal, Shari Headley, Gary Coleman, Pam Grier, Antonio Fargas, Monica Calhoun, Garrett Morris, Garcelle Beauvais, Richard Roundtree, etc) and musicians (Busta Rhymes, Keith Sweat, En Vogue, Missy Elliott, Paula Abdul) all appearing on the show, as well.

The Wayans Bros. show's run would be cut short after five seasons, with its final episode airing on May 20, 1999, marking the end of an era. However, the show has continued to entertain a new generation of viewers through syndication and is one of the definitive television shows from the '90s that spoke to and for the culture. In celebration of the show's 25th anniversary, VIBE looks back at ten of the most hilarious and entertaining episodes of The Wayans Bros. Show that made it one of the most beloved sitcoms of the hip-hop generation.

Season 1, Episode 1 "Goop-Hair-It-Is"

Our introduction to the zany hijinks of The Wayans Bros. came via the show's pilot episode, which found Shawn and Marlon attempting to cash in on a half-baked foray into the world of cosmetics. After accepting a proposition to become the manufacturers of a new hair product called Goop, Hair It Is, Marlon creates a homemade concoction that appears to work wonders for his follicles, prompting Shawn to create a scheme to sell it via an infomercial. Enlisting the help of Gary Coleman, the brothers and their new pitch man go live on air to wax poetic about the goop, but their presentation goes awry when Coleman's new hairdo goes ablaze, resulting in an impromptu fire drill that gives "Stop, Drop & Roll" a whole new meaning.

Season 2, Episode 4 "Two Men and a Baby"

Brotherhood may be second nature to Shawn and Marlon, but fatherhood is a whole different story, which we find out during the course of this classic from the show's second season. After discovering an abandoned baby that's supposedly Shawn or Marlon's kin outside of the front door of their apartment, the bros get into a heated rivalry over who's the biological father of the child. With little background information other than a note from the child's mother to go off of, the Williams' take matters into their own hands, stepping up to the plate to provide a nurturing environment for the newest member of the clan. The responsibility of parental duties prove to be too much for either brother to handle on their own, but they’re bailed out when the mother returns to recover the child after realizing a mix-up in her delivery process.

Season 2, Episode 5 "Loot"

The fortunes of the Williams family are on the brink of changing for the better after Shawn, Marlon, Pops and the rest of the gang discover a garbage bag filled with $100,000 in cash. A police report is filed, but the Williams' keep their fingers crossed that they'll be deemed the rightful owners of the money when the goes unclaimed. This doesn't stop the members of the family from counting their chickens before they hatch, as extravagant plans and pricey purchases are made in the ensuing days. Greed nearly causes the Williams' to turn on one another, but when an elderly woman shows up to recover her belongings, their dreams at a come-up are quickly dashed, putting the family back at square one.

Season 2, Episode 8 "Head of State"

During the second season of The Wayans Bros., Dee Baxter (Anna Maria Horsford) replaces Lou (Jill Tasker) as the Neidemeyer Building's security guard for the remainder of the series. When the President of the United States comes to Harlem during his campaign trail, Pops' Diner is designated as the location where the prez can relieve himself, which the family considers an honor. With Pops eager to reap the benefits of having the leader of the free world pass through his establishment, and Marlon determined to shake the President's hand, the visit is a pretty big deal to the family However, the Williams' world is flipped upside down when the Secret Service lock down the diner due to safety concerns, infringing on their privacy. In the end, Pops' gets an uptick in business, Marlon gets to shake the President's hand, and Dee gets to experience a bit of sexual tension in her debut appearance.

Season 3, Episode 1 "Grandma's in the Hiz-House"

When Grandma Ellington (Ja'net Dubois) stops in town, Shawn and Marlon are ecstatic to see the family matriarch, even making room for her to stay in their apartment. The decision is one that the brothers will quickly regret, as Grandma Ellington begins to infiltrate their life, from ruining their clothing to chasing away their dates. Shawn and Marlon decide to make things uncomfortable in hopes that she will leave, but the plan backfires, with Grandma Ellington’s discovery of the ruse putting a wedge between her and her grandsons. Realizing the error in their ways, the brothers attempt to win their grandmother back over and get back in her good graces.

Season 3, Episode 9 "The Return of the Temptones"

Pops gets a blast from the past when Shawn and Marlon decide to round up the members of his old group The Temptones for an epic reunion after thirty years. While the gesture is well-intended, things fall apart when the members let bad blood get into the mix, which puts The Temptones' upcoming performance in jeopardy. As Pops and the crew struggle to find common ground, Shawn and Marlon stand-in for the missing members, resulting in a hilariously horrendous rendition of The Temptones' hit, "Bang, Bang Bang." However, the original members of the group decide to put their differences to the side for the sake of the group's legacy, tearing down the stage in one of the more memorable moments in The Wayans Bros. history.

Season 4, Episode 9 "Can I Get a Witness?"

After finding himself in the wrong place at the wrong time, Marlon becomes an eyewitness to a bank robbery and identifies the criminal in a police line-up. This results in the Williams' being put in protective custody until the case is resolved, but when word gets out that the culprit's brother is on the hunt for them, it appears as if they cannot avoid meeting their eventual fate. However, the criminals' thirst for vengeance gets thwarted just in the nick of time, keeping Marlon, Shawn and Pops in the clear and out of danger.

Season 4, Episode 19 "Talk is Cheap"

Shawn and Marlon are summoned to The Jerry Springer Show to see just how close their relationship is, which leads to a few secrets between the two being revealed. When Marlon finds out that Shawn had paid his girlfriend a visit at her apartment, the two begin to bicker with one another in front of the studio audience, with Pops and Dee getting involved from the comfort of the crowd. As things get heated between the two, the bros resort to throwing blows, hurling insults and embarrassing one another. While the pair eventually come to their senses and patch things up, their dust-up and Jerry Springer's appearance made for classic television.

Season 5, Episode 7 "The Kiss"

Dee Baxter catches up with old friend Missy Elliott, who gives her a pair of tickets to her concert later that night. Deciding to take Shawn as a guest, the two enjoy one another's company to the point that they wind up kissing after a long night of drinking before passing out. Waking up half-naked and in the same bed with one another, it appears as if the two had slept together, making for a string of awkward encounters between the two. However, the potential lovebirds discover that they were victims of a prank by Marlon, which brings Shawn and Dee's friendship back to normal.

Season 5, Episode 18 "Hip Hop Pops"

Shawn and Marlon gather Pops' closest friends and throw him a surprise party to celebrate his 50th birthday. However, while the brothers' efforts were meant to put Pops in good spirits, they actually put him in a depressive and reflective state due to his age and fear of death. Looking to infuse a little fun into their father's life, Shawn and Marlon takes Pops out to the club to help make him feel young again, but the experience inspires Pops to change his wardrobe and slang in an attempt to hold onto his youth. From engaging in freestyle battles to donning iced-out chains, Pops' new style rubs Shawn and Marlon the wrong way, forcing them to cook up a plan to get him to revert back to the man they used to know.

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Che Pope interviews Vincent “Tuff” Morgan, peermusic’s head of A&R urban/pop, on Q&A With Che.
HiStudios

Che Pope Talks ‘Q&A With Che’ Podcast, Kanye West, And Why He Left G.O.O.D. Music

At some point in your career, you want to pay it forward. Regardless of the industry you’re in, there comes a time when you reached a certain level of success and want to groom the next generation with your knowledge and expertise. Che Pope, a Boston native, veteran music producer, songwriter, and former head of Kanye West’s G.O.O.D. Music, is in a position to do just that. After spending seven years with G.O.O.D., as well as making music with critically-acclaimed artists like Lauryn Hill, Dr. Dre, and The Weeknd, Che Pope has utilized lectures and podcasts to discuss his diverse career, sharing a perspective tailored to young creatives who want some mentoring in their own paths. Pope’s experience allows him to give gems in all aspects of the music business – no matter if you’re an aspiring manager, producer, singer, or artist, he has a piece of advice that can apply to you. 

It’s why he’s finally launching a podcast of his own called Q&A With Che, a HiStudios Original, that’s available on the Himalaya app, Apple Podcasts, Spotify, and more. He describes the show as “Ted Talks with the urban entertainment industry,” using his large network of friends for real conversations on how they made it. The format is more for educational purposes and using the platform to expand his Q&A section of his discussions, with each guest detailing what they do, how their industry works, and their take on the future. Che’s first guest is DMV rapper IDK, who is coming off a major 2019 with his partnership with Warner for his label Clue and the release of Is He Real? 

Speaking with VIBE over the phone, Che explains the genesis of Q&A With Che (the idea came after having a convo with Jay-Z), why IDK was the perfect first guest, his thoughts on Kanye and G.O.O.D. Music, and the books he’s reading today.

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VIBE: Q&A With Che is going to be part of HiStudios’ original programming slate. You’re alongside sport personalities that also have podcasts like Mike Tyson, Gilbert Arenas, and Caron Butler. If I did my research, you’re the first “music veteran” with a show on HiStudios. Was podcasting a logical next step in your career?

Che Pope: I think it was important for me to share the information. And just really what’s the best way to? Obviously, the lectures are great. That’s like, ‘Okay, cool. I go to Harvard Business School just so those kids get it.’ This was a way to really share it with a wider audience, with anybody. And I’ve been getting hit up on Instagram or Twitter where people are always asking me tons of questions and this was a way for me [to reach them]. So many people would be like, ‘Hey, can you mentor me?’ I can’t mentor all of them. This was kind of my way of like, ‘OK, I can’t mentor all of you, but I can do this.’ I think that is what really attracted me.

I had a really great conversation with Jay-Z about it and he just loved the idea of it and that really put a battery in my back. Because at one point in time, it was this great idea we had, and just getting caught up in work and [being] busy and not pursuing it. Once I spoke with Jay-Z and he said, ‘This is amazing. You have to do this.’ That really put the battery back, and then partnering with HiStudios and Himalaya, it just really gave me the team I needed to really bring it out there in the manner that I wanted to do, the professional level that I wanted to present it at.

So you were already thinking of podcasting back then. When did that Jay-Z convo happen?

That happened about two years ago in his living room.

How’d the convo go? Were you trying to pitch yourself to Tidal?

No, I actually wasn’t. He said, ‘You know, you’re more than welcome to consider Tidal.’ But he was like, ‘I just think it’s a great idea.’ I wasn’t actually pitching anything. We were just having a business conversation. I guess you could say the next step in my career is not only the podcast, but I also have a start-up. I was just getting business advice and out of that meet, Q&A came up.

I’m sure you’re familiar with the hip-hop podcast landscape. We got everybody from ItsTheReal’s, which you were on. The Joe Budden Podcast. Rap Radar Podcast. Do you see the success of those guys as motivation to reach that level or are they competition?

I don’t think they’re competition. We are really two different things. I’m much more like Ted Talks than I am No Jumper, ItsTheReal, Joe Budden. Although ItsTheReal is a little bit different than Joe Budden. Joe Budden wants to be opinionated, sort of controversial at times and really drive listeners on entertainment. Mine is much more educational focused. Entertaining in the fact that people who are going to be on it cause anyone could be on it. It could be anyone from Diddy to someone you haven’t heard of. I think it is entertaining in that [regard], but it is much more educational than I am trying to entertain you and be controversial and all that kind of stuff.

And I think it's really interesting that you chose IDK as your first guest. He’s coming off his Warner partnership for Clue and his album Is He Real? dropped last year. He’s a younger rapper but he has this business savviness to him. Why did you want to interview him?

That’s specifically why. I built a relationship with the kid cause he was in negotiations at one point and time to sign with G.O.O.D. Music. He is from the DMV area originally, which is where my mom is from. So we kind of made a cool connection a few years back when he was still this independent kid coming up trying to figure it out. But he was far more informed than most artists I meet. He was talking to me about his independent promotion and his marketing plan and things of that nature, which he had written himself. And I was like, ‘Wow, this kid is [incredible].’ When he finally did the deal with Warner, he was just the perfect first guest for me cause he is living what these kids want to do, what many of them want to do. His journey is really a testament to educating and empowering yourself and challenging. He had overcome adversity. He had been in jail before. It built himself up from scratch. Really talented story and his story is just getting started. I think the sky's the limit to where he can go.

Before I let you go, I want to talk about Kanye. You’ve been there since Yeezus. You’ve been there since Cruel Summer. Now, he’s on this new trajectory of dedicating himself to God, releasing Jesus Is King and Jesus Is Born. He’s no longer making secular music and is reportedly done performing solo shows. When you were working with him, did you see any early signs that his artistry was progressing towards this?

No, but I would say the thing with him is he is always evolving. I would say you never know what is next, which is exciting. I couldn’t say I saw this coming, at all. You never know what’s next, I will say that, which is one of the exciting things when working with him, for better or for worse, you know? Whether it was a Trump hat or “slavery was a choice” comment or whatever, or those amazing moments like Yeezus or some of the amazing musical experiences I was apart of. You never knew what was coming and that was exciting. I wish him the best on it. When it was time for me to move on? I wish him the best with it.

You were with G.O.O.D. Music for six and a half years?

Yeah, seven years. Since 2011. I was one of the longest running people that lasted the longest with him [Laughs].

Why did you want to leave?

I think for me it was the next progression in my career. To transition from working with somebody and helping them build their stuff to building my own company. I am building a music incubator, start-up. It was really sort of the next progression in my career. I had to take that step as a business owner. And that takes a lot of work, a lot of focus, and a lot of commitment, you know? It’s one of those things. They say that saying, ‘if it was easy, everybody could do it?’ It’s not easy.

You once described your role at G.O.O.D. with Noah Goldstein as “getting shit done.” Now that Pusha-T has taken the role as president, what do you think of his “term” so far?

I think Pusha-T is an artist, and I think he has aspirations of his own label. I don’t know what’s going on with G.O.O.D. Music. It’s kind of like in…what’s the word when something is in suspended in time? Desiigner left the label. I know 070 [Shake] is putting her album out, but that’s more Def Jam. I don’t think there’s really a G.O.O.D. Music focus there.

I think Kacy Hill isn’t there either, right?

Yeah, Kacy Hill left. I do think they still have some artists. I know Teyana is active. I don’t really know much about what’s going on these days at G.O.O.D. Pusha-T is one of my favorite artists, and I think he’s still focused on Pusha-T. I don’t know what his involvement is with the label at all or a day-to-day basis or if he’s still involved at all. 

I think that means we’re going to see something major happen. Big Sean still has his album coming out, so maybe something like that.

Yeah. Big Sean’s coming. I’m sure Pusha’s coming. I know 070 Shake’s album is amazing. I’ve heard it so I’m excited for her because I know it’s a long time coming and she’s great. She’s gonna be on the Swedish House Mafia project as well. I think she could really be one of the next, big young artists.

I saw that books are your thing. What are you reading now?

As far as this year, I want to read as many as I can. I have different people that turn me onto books. You never know what someone is going to refer. Right now, I am reading Ben Horowitz’s new book What You Do Is Who You Are. I think Ben is just a brilliant guy and the fact that he loves hip-hop too, which is really cool. Anytime he drops a book, I try to get it.

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