Smino Smino
VIBE/ Stacy-Ann Ellis

NEXT: The Byproduct Of Smino's Soul-Infused Rap Is The Inevitable Transfer Of Black Joy

St. Louis-born rapper and singer, Smino, is setting the bar high for joyous, soul-infused music.

There’s no feeling quite like knowing you belong. Nothing like having the privilege of understanding your place in society and knowing that, unwaveringly and undoubtedly, it is yours. This particular sensation is one that black and brown people in America—whether born on U.S. soil with cultural ties elsewhere, or to deep American lineage or otherwise—seem to know the least about. Historically, hued people in the U.S. have had to fight for the respect and recognition of their personhood, and up until now have only made footsteps of progress in their perpetual quest for societal, economical and systemic equality.

So when spaces are carved out by us and for our own solace and comfort—in the arts, in education, in entertainment, in worship—we occupy them with a joy and fullness that, at times, cannot be outwardly conveyed beyond those confines. We wax poetic about triumphant, turbulent and trifling roads to love and lust, relish in the quirks of our upbringing, and vent about the things that cause us pain and hold us back. Smino, the nimble St. Louis rapper with an equally enviable singing voice, makes the right kind of music for those experiences right in the pocket of what we as a colorful and cultured people cannot always express without being misunderstood.

Part of Smino’s artistry, a hip-hop-soul-funk-jazz hybrid of sorts, orbits around understanding the space he occupies in the world. On his blkswn debut album, that self-awareness quickly finds its way to the forefront. “Since Ferguson, days on Castro/I knew what the black on my back hold/Snakes big, grass low/Ashy lil' black boy,” he raps on “Ricky Millions.” But even more importantly, his music offers a transfer of positive energy within his extended communities: in the booth with his Zero Fatigue crew, to his fans on the other side of the ear bud and with his blood and chosen families in the Lou and in Chicago, his second home.

“When I f**ked my foot up, I was depressed from the moment I did it, to the moment I stepped on stage in Toronto, then all the joy that I lost came right on back,” he says, referencing his discreetly bandaged right ankle. A mosh pit experience gone wrong in Pontiac, Michigan, just the second date on his Swanita Tour, bound him to a pair of crutches he’s since tricked out with a pair of baby Air Force Ones. But injury or not, the shows must go on. “By the moment you get to ‘Anita,’ it's like, ‘what can you be mad at right now?’"

“Anita,” the LP’s second single, is a prime example of his craft’s medicinal effects. Creating music to pay the bills is one thing; becoming a vessel for joy is another. Smino—né Christopher Smith Jr.—is the product of a family well entangled in the music and soul of the church, where he played drums for the band. His savory vocals—gritty, raw and densely seasoned like Cajun fries—come from his mother, while his instrumental musicality derives from his father and grandfather, who play the keys and bass guitar, respectively. And according to him, there’s one thing being a church boy has taught him for sure: how to find his little bit of sanctuary on that stage. Standing before crowds has proven to be his happy place and a cure-all for whatever issues may happen beyond them.

During sound check on a still-sunny Tuesday evening, the muffled bass and vibrant keys of “Anita” can be heard beyond the walls of NYC’s Bowery Ballroom. Smino is holed up here two and a half-hours ‘til show time, holding court on a crowded stage with his band, making last minute tweaks on the visuals to accompany his set-list.

Yeahhhh, @smino snapped last night. Hop your ass on this bandwagon if you don't know about him yet.

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“Can we try some light sh*t? I wanna see how the blackout looks,” he asks the sound technician while rehearsing “Amphetamine,” a song that should backdrop a date at the city’s Blue Note jazz club. It will be the last song of the evening, and he wants to sing it with the house lights dimmed and disco lights overhead. All other lighting will come from the glow of his fans’ cell phones. After one last set of instructions for his band to not build the song back up at the end, he wraps rehearsal, grabs his crutches and slowly makes his way down the stage stairs towards the smattering of early patrons.

Brightened house lights reveal Smino to be a handsome shorty with smooth, even brown skin and perfectly symmetrical and leveled facial hair. He’s sporting a lumpy black du-rag for today, but ever since he announced the coming of blkswn, Smino’s signature crown has been his identifier. Usually, three cleanly parted bantu knots grace the front of his head, with the fourth undone like the rest that fill out his well-moisturized ‘fro (upkeep courtesy of his girlfriend and fellow musician, Jean Deaux, who can be heard on “Amphetamine”). Seldom is he caught without a flashy pair of Forces on his feet, a not-so-subtle nod to Nelly’s 2002 single, and trendy garments that freely experiment with color blocking, patterns, texture and fit.

Six fans with meet-and-greet access wait for him to come their way for hugs, daps, selfies and plenty of toothy smiles. Don't be fooled by the stoic resting face. Smino is a smiler. When he’s cheesing, it’s wide, rich and all encompassing; the kind that when it emerges, it prompts you to smile and be happy for other no reason than because you saw it. Just ask the crowds that clamor to see him live, as they’re privy to the same grins that friends old and new witness behind closed doors.

Later, pushing to the front of a thick crowd at a Zero Fatigue show should’ve been harder than it actually was. When the Ballroom finally fills to its 575 person capacity, gentle excuse me’s are enough for the amped fans, shrieking Zero Fatigue call-and-responses to each other, to part ways. No attitudes. No sucked teeth. No shoving. There’s something about the crowd that he attracts. There’s a joy and positivity in them that, for the most part, he’s responsible for.

To put it lightly, his show feels like one big party. When he emerges on stage after opening sets from Jay2AintSh*t, Bari and Jean Deaux and gets to the mic stand, he throws his crutches to the side. He props his injured leg up on the center speaker for balance to jump with his left, refusing to let a little fracture kill his vibe. Smino looks out at the crowd, grinning ear-to-ear as fans recite all the words to “Anita,” “Spitshine” and “Netflix & D’Usse” from the first chords.

When he’s rapping, he’s slashing the air with his arms, providing no shortage of tongues stuck out and animated body movements. “All you n***as need to go grab a girl, don't even play yourself,” he commands during “Wild Irish Roses,” body rolling with his eyes closed and hands up like an uncle at a cookout after his third cup. When he sings, it's all in the face. He smiles through his high notes (a trick learned from singer-songwriter, Ravyn Lenae) and that one vein on the left side of his neck pops out when he nails them.

There’s even a whole breakout section dedicated to Nelly, a St. Louis legend and someone he’s strangely doubtful he'll ever cross paths with—if they do link in their hometown, he imagines it’ll “feel like the Cardinals won the World Series”—and T-Pain’s “Chopped & Screwed” before winding down the show. Even though the tireless crowd gave him a run for his money all night, it’s evident that nobody’s having more fun in this moment than Smino.

 

For the past two hours that Smino’s allowed me to crash his downtime day of pizza, beer, weed and Black Ink Crew, he has not left the spot on the brown corner sectional couch I found him in. Today he’s in homebody mode, loafing around his temporary New York digs in yesterday’s ensemble, reflecting on the day’s canceled plans with satisfaction. It’s a crowded set-up in here, but it works.

For approximately 15 people—Smino, two backup singers, a DJ-slash-photographer, mix engineer, drummer, bassist, guitarist, pianist, manager Chris Classick, rappers Bari and Jay2AintSh*t, Jean Deaux and Monte Booker, the producer/mastermind behind Zero Fatigue—an airy fourth floor duplex on Lexington Ave and E 29th Street has been their ritzy Kips Bay crash pad. A handful of this traveling crew is huddled around the Airbnb’s kitchen counter, visibly enamored by the loft’s smart house capabilities. There’s a cooking vent that rises up from the sleek countertop at the push of a button. On-demand heated floors enhance the duplex's lower half. The fridge blends seamlessly with the grayscale cabinet wall. A floor to ceiling panel of windows leads out to the lush green view of backyard trees and, ultimately, the killer rooftop that Smino's not even going to get to see on this trip.

From the comfy couch, every so often he'll lean forward to push his crutches out the way, reach for a bag to ash his J in, or pick up a glass of water that a little weed nugget fell into but he's still drinking from anyway (because, hydration). But other than that, his dent in the cushion remains unchanged. His sock-covered right foot is stretched out and propped up on two pillows, while his left leg is planted on the ground, protected by his trusty sneaker of choice. The night before, he tired himself out defying doctors’ orders and bouncing around the Bowery Ballroom stage, one of many sold out venues along their 22-city North American trek, on one leg.

“Bro, I was buzzing after the show for so long last night,” he says, with a subtle reminiscing grin sneaking in. He doesn’t take part of any debauchery before hitting the stage since he can’t imagine being high and high. “I got off stage, went upstairs, went onto the bus by myself, sitting on the bus just buzzing. Bro, that sh*t was raw as f**k. That was one of my favorite shows of my life last night, real sh*t.” He returns to rolling his blunt on an ¡Hola! magazine splayed across his lap to catch the guts. It falls apart, crumbling in his hand. “Look at this sh*t,” he says jokingly before giving it another round of repairs.

If you ask Smino, this touring sh*t is easy. It’s just an extension of the fun he has while actually making the music. “I'm my biggest fan, so I be waiting on me to make some new sh*t so I can bump some new Smino,” he says. “After I make a song and leave the studio, I go to sleep to that song, wake up to that song, bump it on the way to wherever I'm going. Play it to everybody when I see them.”

Similarly to how he digests his own music, Smino fans have the same musical appetite. It takes a lot to get down to the nitty-gritty of what Smi spelled out for listeners on blkswn. The ears of lazy listeners are challenged from the first second of the album to the very last, with all dead space and wasted words nixed from the final product. “I try to keep it that every second of the song is interesting,” he says, reflecting on how he strung together the 18-track project. In addition to that, one of Smino’s most noticeable and most intriguing attributes is his thick St. Louis twang, stretching vowels and clipping words and phrases basted in Southern flavor. Paired with his penchant for riddles, stacked metaphors and run-it-back plays on words, it makes for a difficult, yet rewarding musical experience when it comes to decoding his discography.

While his lyrics are akin to the standard rapper material his contemporaries are also putting out, the difference is in the packaging. “Good riddance/Shawty she be comin off the top like some good writtens/Pulpittin,’ Every time I speak, where the deacons?/Need a good witness,” he raps charismatically through the bass lines of “Father Son Holy Smoke.” A clear understudy of Twista and Eminem, he can shoot out rapid-fire, tongue-twister couplets when he wants to. “I'm from the Lou, Gimme Da Loot, All of my n***as shoot/Pocket on Winne the Pooh, I'm feelin' my juice, she feelin' it too/I'm in a league of my own, nobody putting me on,” he spits on “B Role.”

Smino loves to actually write out these lyrics, visualize and marvel at his lyrical somersaults before he shares them. In fact, he sends or uploads most of his lyrics to Rap Genius straight from his phone, that way there’s no room for guesswork. His listeners work hard enough; no point in them not being able to get correct lyrics to sing alongside at his shows, an impressive feat all its own. “One standout moment was this nerdy white boy screaming the lyrics to ‘Spitshine’ at the top of his lungs behind me,” says Daveed Audel, an attendee at last night’s show. It was his first time seeing Smino live, and he was admittedly thrown off to see so many people in a diverse crowd rapping along word for word. “I was amazed by the amount of people that knew his music.”

Having multiple demographics relate to one’s art is a beautiful thing and a clear goal of today’s newer artists with Internet-grown fan bases. Nothing quite beats looking out into a crowd and seeing the hued faces that make up that proverbial black swan. There’s an inexplicable power in black assembly, a wonder he details in “Long Run.” Let him tell it, black people are the Earth’s gold.

I realized that in clusters they can't touch us
I've been tusslin' with my brothers and my sisters about lovin'
'Cause this country don't love us
It ain't for us, mane, f**k 'em

“The coolest sh*t about being black is you feel like you're a part of a cool a** coalition,” he says. “Now more than ever, we have more opportunities to do miraculous sh*t because we can find each other, help each other from a distance and just push each other forward from any parts of the world.”

As a black man navigating this white world and industry to match, one question remains: how will Smino propel his artistry while staying true to himself and the people, places, and things that bring him joy? Easy. Own his truth, create on his own timeline, love, laugh, live and the rest will follow as planned. His “Maraca” intro put it best: “Life insurance is really doin' exactly what you like and love/'Cause that's the sh*t that keep the fire lightin' up/Get out the dark and spark, yeah gon' head, lighten up/No gravity on me, one with the sky.”

 

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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.
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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.
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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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