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Interview: 'A Different World' Star Speaks On Show's Legacy 30 Years Later

Dawnn Lewis discusses how she grew being apart of the beloved sitcom, and continued to do so afterwards.

To the naked eye, it seems like there are so many occurrences in 2017 that have never happened before. However, the U.S. in 1987 has a few glaring comparisons to today. The President was also a former celebrity, the Ku Klux Klan held a rally in Maine, and there was a march on Washington D.C. calling for equal rights of a marginalized group.

Another similarity was the onslaught of self-love in the black community. While social media has helped coin terms such as #BlackGirlMagic and #BlackBoyJoy, it was television and movies made for us/by us during the 1980s that started it all.

Take A Different World for example. The show highlighted college students attending the fictional Hillman, where they not only attempted to navigate growing up to be affluent, black adults, but they also tackled situations that anyone- regardless of skin color- could encounter in life, such as sexual assault, discrimination and more.

Thirty years ago Sunday (Sept. 24), the show premiered on NBC, and was slated to be a spinoff of the beloved The Cosby Show. As we know, it took on a life of its own, and has become paramount to the movement of black self-love, acceptance, and just trying to figure it out. Additionally, the show set the stage for HBCU’s, which didn’t have the platform to showcase their importance previously.

Dawnn Lewis, who played no-nonsense (but still cool AF) Jaleesa Vinson-Taylor, believes that A Different World’s legacy lies in the lessons it taught its viewers. In the show, Jaleesa went from being the roommate of Denise Huxtable (Lisa Bonet) and Maggie Lauten (Marisa Tomei) to the wife of Colonel Bradford Taylor who held her own as a boss in her own right throughout. We watched her grow and learn about herself, as well as offer sage-like advice to her younger friends who were also trying to figure it out.

Much like A Different World conveys the importance of personal growth, the real Ms. Lewis has continued to do just that. After hanging up her cap and gown as a Hillman student, Lewis has been seen in shows such as the CW’s iZombie, and is in her fourth season on TNT’s Major Crime. Her voice can also be heard on animated series like Where In The World Is Carmen Sandiego and Doc McStuffins. She also eagerly awaits the release of her latest film, The Revival, written and produced by The Blacklist star Harry Lennix.

The Grammy Award-winning singer is also the founder and president of the non-profit “A New Day Foundation,” which provides financial and programmatic support to underprivileged and underserved youth and grassroots community based non profit organizations. She also finds time to teach master classes and give motivational lectures around the country, mentoring hundreds of young people along the way.

“Yes, I did A Different World, but this is who I've grown to be,” she tells VIBE about life after the show. “There's no limit if you're willing to do the work, live and participate on a level of excellence. Go ahead and do that thing.”

We chopped it up with Lewis over-the-phone about the 30th anniversary of the show, the impactful episodes throughout its six-season run, and its incredible legacy on television.

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VIBE: How did you get involved with ‘A Different World’?
Dawnn Lewis: Just like any young actor, you audition. You hear about auditions and you do your best to get into the audition. You want to be a part of a project because, one, you hear it's going to be a good project, and two, because you want to work! All we knew at the time was that it was going to be a spinoff of The Cosby Show, which, at the time, was the most successful television show on the air. It was something we definitely wanted to be a part of.

I was in a Broadway show at the time, The Tap Dance Kid, and the same casting director that cast The Cosby Show, cast the Broadway show I was currently doing. I was actually out on the road doing the national tour, and I heard that they were doing a new series, and I asked the casting director for three months about getting to audition. They kept telling me 'no.'

After three months, they finally called me back. I was down to my last unemployment check, the Broadway show had closed, and they finally called me back. Not even an hour after they called me, the gentleman who was the music director for The Cosby Show called me and said he was interested in seeing if I wanted to work with him on the theme song of "this new spinoff of The Cosby Show." I thought it was my friends playing a joke on me, because to get both those calls within the same hour, when I was told 'no' for three months? He sent me over a rough copy [of the music], told me the concept of the show. I called the casting director back and confirmed I would be there, and I fell on my knees, started praying and thanking God.

I listened to the track; it was this funky, R&B type song. Originally, the name of the show was gonna be "Stepping Up To Step Out," so I wrote the song with that concept in mind. The short of the long story is that in a week-and-a-half, I had auditioned for and booked a co-star spot on the new Cosby spinoff, I had co-written and recorded the theme song for it, and it wasn't discovered by the production company until the next week, at my final meeting with Mr. Cosby- they realized I was the same person. They hired the same person to do both jobs! At that point, I was no longer gonna be singing the theme song, because they figured that was too much attention on me, and it wasn't my show. It went through the round of "'who do we get to sing the song?'" They had Al Green come in first to record it, so I'm in the recording studio teaching Al Green my song. "'No, no, no Al, it goes like this!'" [laughs].

What were some of the lessons that you think 'A Different World' taught the black community, more specifically, black youth?
As human beings, we find ourselves wearing this brave face, but we can be our own worst enemies with insecurities and doubt. When I went in for that audition, I was the only person in the room I didn't recognize. I'd seen [the girls at the audition] on TV and commercials, and I thought, "'What I am doing here? I'm not what you see on TV.'" But by the grace of God, I did what I had to do, and I did it.

If you tie that into the premise of the show, that's what the show is about. It's about stepping up, taking a chance on you, being true to yourself. You can't quit on you, because if you do, you can't expect anybody else to pick you up and do it for you. Whether it's that you don't read as well, you don't speak that well, you don't feel as pretty as someone else, you're not as thin, you're too thin...whatever that negative spin it is you have on yourself. You've got to dig deep and recognize that you are who you are.

This is why I believe that the show is relevant and resonates with young people today. Those questions for humanity really just don't change, especially for our teens today. There's so many distractions out there stimulating us constantly. It's easy to say that you've got all this knowledge at your disposal, but you may not know how to put it together. A Different World allowed you to see that you can make it to college and still not have it all figured out. "How do I have a more realistic perspective on relationships? On society? Where do I fit? What works, what doesn't work?"

Even though it was 30 years ago, it seems like the show also does a really good job at conveying these newer concepts of "Black Girl Magic" and "Black Boy Joy" that have been playing out on social media.
I agree with you. I don't necessarily agree that they're newer concepts, though. I think those are newer tags for this generation of millennials that are going through this process now. But as people in this country, generation after generation, we've been trying to encourage ourselves as adults to see the beauty and the value of who we are in the mix of this country who historically denies who we are, and our contributions to the arts, to society, to history, to architecture, to science. Every generation has had that voice, that spiritual thing that says "black girl, you are beautiful, you matter. Black boy, you are powerful, you are a leader." I think that the hashtags are new, but the sentiment is foundational. I think that's why it still resonates 30 years later, because I don't think those messages will ever become obsolete. However you want to title it, so be it. Make it work for you, because it does fit you. It is yours, it is ours. 

The show also tackles some pretty important social topics, such as discrimination, sexual assault, the AIDS epidemic. What do you think is the episode that has really stood the test of time?
Wow. There's a few actually. The "Mammy" episode, where on the one hand, we want to embrace our blackness, but there are things about our blackness that caused shame. Some people look at it as shame, and others look at it as empowerment. Now, we have to deal with the N-word, and we see images of sagging pants and all those kinds of things where, depending on what perspective you take of it, you look at it as 'this is embarrassing.' Some people say that they say it [the N-word] as taking back the power of the word, but if someone else were to say that word to you of a different race, or made a comment on the way you look or dress, it brings offense. It's a double-edged sword, so I think that episode really rings true, particularly with our young people today.

How do you think the public would have reacted today to a more intense episode of 'A Different World' if it aired in 2017, such as the AIDS episode?
Well, some of the storylines that we covered back then were more delicate than they are today. I think we've become a bit desensitized to certain things. We are still very strongly impacted by these topics, but it's not as shocking, not as much of a mystery now as it was then. [In the 80s and 90s] we were still trying to figure out 'How do you catch AIDS? Who gets or doesn't get AIDS? Is it your fault?'

Then, the things that were allowed to be shown on television were very different. In the AIDS episode that you are speaking of, we couldn't even show a condom on the show. It was against standards and practices to hold up a condom. We had to refer to it in our pocket or in our purse. Now, you see full nudity on primetime TV, you hear cursing and folks saying all kinds of things on primetime TV. That just was not the way back then. I think the mystery of some of the things that we were speaking about then is not the same as it is now. I don't know if it would be received the same way. I would hope it would be, but I wouldn't be surprised if people were like 'whatever, it's that, whatever, it's this.' Becoming desensitized to certain things is really not a good thing.

What issues do you think 'A Different World' would tackle today if the show was still on?
Oh goodness! We tackled politics back then, we tackle politics now. Politics has become our news now, not about what's happening in communities, in society, it's politics. Politics affects absolutely everything in today's discussion, which is kind of frightening, because you lose the humanity of who we are as people, and the power that we have will affect our reality. Now you feel like you're at the hands and mercy of people you will never meet. You're sorry that they are where they are, but they are there, and you have to deal with them, you know?

Do you ever think there's going to be a show like 'A Different World' on television ever again?
I know that there are shows now that are dealing with the young adult experience in the arena of education, shows like The Yard, Dear White People, those shows that are in the environment of education and young people trying to figure it out. I think there is an attempt...it's not always a revealing attempt, I don't know that it's always inspirational.

A lot of the activities that are shown in those programs are very real about what's happening on campuses with our young people today. Again, I think that comes with just being desensitized. It's very real, and it's very, very different. The work I do with young people through my foundation is to create an opportunity and support for those who are hoping to have a different result today than they did yesterday, and to me, A Different World was able to instill that kind of message, heart and sense of "love thy neighbor."

When you look back on the show in terms of what it did for the black community, how do you feel about being a part of something so impactful?
It's really humbling in all honesty. I don't take it for granted. It's been really, really humbling, it's been empowering. You asked me how I got into it in the first place; for me, I was just trying to get my next job. I was trying to do what I do as a performer and professional. You're looking for your next job, and when it started, it was just a job.

When we started going through the process, we started to realize the effect that it had on those watching the show. That's not just black, young adults- it was Latinos, Asians, Caucasians, Europeans, older people, little kids. It was amazing and remarkable, the response that we got from that show.

It was something for everybody. There were so many different characters on the show that people watched for different reasons. Some people watched just to see Mr. Gaines in the pit, because they saw themselves. They saw themselves as the person in the kitchen, the person in the library, the person who worked security who was part of the fabric of these young people. They worked and did what they could to support, to inspire, to enlighten, to protect. There were people who watched for my character, who didn't want to quit on themselves and went back to school, tried a new career. 'If Jaleesa can do it, I can do it.'

The show had so many facets that are inspiring to so many people, and the fact that it is still doing that all this time later is bananas. I do master classes and motivational speaking around the world, and I go and see these people who show up at my seminars and master classes dressed as someone on the show. They've shown me different videos that their schools have made as recruitment tools, reenacting our opening credits! Using the backdrops of some of the classes on their campus to show why it's important for them to brace themselves for "a different world" by coming to their university. It's mind-blowing to me. There's Hillman websites where you can get paraphernalia. They have more stuff than we've ever had on the show. I don't have a Hillman sweatshirt, notebook cover, pens or pencils! [laughs] It's incredible. And then ESPN recreated the opening credits, it was like, are you kidding me?! That was off the chain! It was so much fun, we had such a good time, and it's such an honor.

As a child growing up, it was my habit to return to my Elementary and High School to visit my favorite teachers and to share stories of my journey to the students that were there. After A Different World aired, I would continue to visit my high school, the Fiorello LaGuardia High School of Music and the Performing Arts, the difference now being, while I'm in the hallway with a teacher...all of a sudden, I start hearing people cheering "Oh my God, it's Jaleesa!" All of these kids flooded the hallways to try to speak to me, and the principal had to get on the loudspeaker to tell the students to go back to their classes, and that Ms. Lewis would get to every classroom. I kept my promise, and mind you it's a performing arts high school, so they were asking me about the business, too. That's when I had a "wow" moment, and I made a paradigm shift in my thinking. Before, I was doing my school visits to see my old stomping ground and visit my teachers. But now, I had a completely new perspective on it.

'This matters to other people, what I'm doing, what I have to share. I have something to offer.'" I never thought of it that way before. I never thought that what I was doing would be of value to someone else on that kind of level. It was a personal shift and it became part of my personal mission. I've been doing it ever since. I think that's what this show does, it gives us the opportunity to pay it forward. It may not have been the intention, or maybe that was Mr. Cosby's intention all along when he created this show, that this would be something entertaining and beneficial to anyone who cared to watch it. 30 years later, I guess he was right.

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Tyler Perry, Popeye’s Chicken, And Who We Call ‘Coon’

Black shame has been something of an online talking point in recent weeks. From a chicken sandwich’s bemusing popularity, to a movie mogul opening a major studio on the back of a controversial cinematic legacy, big headlines have led to heated conversations about who or what embarasses us as Black folks. This is an ongoing discussion – about “coonery” and how it affects Black America and Black Americans’ perception of themselves. Filmmaker Tyler Perry’s successes, a stabbing at a Popeye’s chicken, and the resurrection of a blaxploitation cult classic have all offered interesting peeks into how we see the more polarizing aspects of Black popular culture.

But there’s still no clear answer to the question: who, or what, exactly, is a “coon?”

The opening of Tyler Perry’s studio in Atlanta has been hailed as a major event for Black Hollywood; a moment where Black ambition and individuality broke new ground for Black storytelling and ownership of that storytelling. But no Tyler Perry success is an easy thumbs-up; from the moment the writer/director/actor broke through with Diary Of A Mad Black Woman back in 2005, Perry has been a polarizing figure for Black critics and audiences. While beloved by his fanbase, Perry, with his broad folksy comedy characters and church fan messaging, has been blasted as a purveyor of “coonery” for years. Notables like Oprah Winfrey have remained staunchly pro-Perry, while fellow filmmaker Spike Lee was once one of his harshest detractors.

"Each artist should be allowed to pursue their artistic endeavors,” Lee said in an interview with Black Enterprise in 2009. “But I still think there is a lot of stuff out today that is 'coonery buffoonery'."

Perry responded to Lee in a 2009 60 Minutes interview. "I would love to read that [criticism] to my fanbase. ... That pisses me off. It is so insulting. It's attitudes like that that make Hollywood think that these people do not exist, and that is why there is no material speaking to them, speaking to us."

The idea that what Perry does is “coonery” is complicated and has always raised questions. Perry’s brand of screwball humor (particular in his Madea films and former sitcoms) isn’t all that different from slapstick and over-the-top characters that we’ve seen from the likes of Martin Lawrence and Marlon Wayans. Lawrence’s beloved 90s sitcom Martin had its detractors during its heyday (and now), but there doesn’t appear to be the same level of contempt as compared to Perry; judging from how popular his old show has remained, its fair to suggest that Lawrence is beloved by many of the same people who have seen Perry’s Madea movies as embarrassing. As Perry himself mentioned in his rebuttal to Spike Lee, he speaks to his fanbase—a base that largely goes ignored by many of the more critically-acclaimed Black storytellers in cinema. While auteurs like Lee or Barry Jenkins may speak to a specific type of urban experience, Perry has always been most connected to a sensibility that’s more southern, rural and Black Christian-leaning. The fact that his brand of more countrified broad humor is so unsettling for some Black folks indicates an ever-present sense of shame for country Black-isms--particularly when they’re presented in slapstick comedy. Perry has built his empire on Black audiences, yet certain Black critics have always acted as though that audience doesn’t matter. Who gets the final say on Blackness in entertainment?

There are other reasons people criticize aTyler Perry: a penchant for heavy-handed moralizing in his movies, a tendency towards colorism, questionable labor policies – that’s all valid. It’s just as valid as calling out Spike for the choices he’s made regarding female characters in his films, or addressing the colorism of Martin’s Pam jokes. But those specific criticisms aren’t inherently connected to “coonery” and what that uniquely damning insult signifies.

Eddie Murphy’s Dolemite Is My Name premiered on Netflix in October to widespread acclaim, with the Rudy Ray Moore biopic earning Murphy his best reviews in a decade. The film focuses on Moore’s determination to make his Dolemite comedy character a movie star, independently using family, friends and associates to get his movie off the ground. Hustling his way up from standup through hit comedy records to actually seeing his movie on the big screen, Moore is portrayed as a symbol of Black individuality and self-actualization. As I was watching his story unfold, I was reminded of the parallels to Perry. Like Perry, Moore and his team wouldn’t really be considered great filmmakers, but also like Perry, Dolemite’s appeal doesn’t really lie in craft or execution—Moore simply told stories that resonated with his particular audience. In one scene in ...My Name, when Moore watches an Indianapolis crowd guffawing at his low-budget blaxploitation spectacle, the sense of pride he feels isn’t just in what he’s accomplished, its in who he’s doing it for: an audience that wanted Dolemite humor and camp—an audience that existed even within the broader blaxploitation fanbase.

With so many raving about Dolemite Is My Name and Murphy, there’s a question of hindsight being 20/20 and how Black art is often policed through a sense of shame. How many of those applauding this 2019 biopic would have cringed seeing Dolemite in 1975, a jive-talking, pudgy quasi-pimp at the center of a shoddily made flick? Now, that story is being told with reverence and heart, and it speaks to how, once you can put some distance between time and place, it’s easy to see a bigger picture and celebrate the spirit--even when the end result may not be to your taste.

When Popeye’s now-mythic Spicy Chicken sandwich made its return last week, the online jokes and customer enthusiasm was met with criticism and handwringing from those who obviously felt Black folks were falling into a stereotype over fried chicken. When a news report revealed that someone had died violently at a Popeye’s over an argument while in line, many bemoaned how embarrassing Black folks had supposedly gotten over this sandwich. Of course, there wasn’t a widespread epidemic of chicken sandwich-related violence, it was just an incident that happened at a restaurant. But because the shame was already boiling over in some Black folks, this became a chance to finger-wag the culture for everything from poor eating habits to not supporting Black business to voter apathy. In a society that teaches us racism from the moment we are aware of race, it’s imperative that Black folks un-learn Black shame. And it’s time to stop running to “coon” any time you believe someone fits a stereotype racism taught you to be embarrassed by.

Black folks could stand to be a lot less embarrassed by Black folks.

Who “fits the stereotype” isn’t really what’s most damaging to Black people in America – it’s the fact that these stereotypes exist in the first place. Tyler Perry’s characters weren’t created by some outsider and foisted upon Black audiences from a place of derision; they’re affectionate parodies of his own family, written by and for someone who knows that churchy, southern voice and isn’t so ashamed by it that they can’t have a little fun with it. In the same spirit that we now applaud figures like Moore and southern rap impresarios like Master P (who built an empire with a No Limit Records label that catered to its audience while often being criticized for mediocrity by rap “purists” of the mid-90s). The shame in Popeye’s popularity, the shame in a Madea character, the shame in so much of what we see in Black people—is only there because racism put it there. Before deciding to speak against a Black creator as a “coon,” shouldn’t we be sure to not marginalize an audience? Black art is still Black art even when it doesn’t necessarily speak to your specific Black experience.

And beyond even art, maybe it’s past time that we just stop being so ashamed of Black people.

“Coon” has merit, no doubt. But when it’s tethered to a sense of embarrassment, it can become a weapon of respectability. Being who you are, telling your story, maintaining your voice—those things shouldn’t make you a “coon.” Even if your voice is loud and country, even if your voice is problematic in certain areas, even if your voice doesn’t match my own—you aren’t a “coon” until you begin shucking and jiving for the status quo; not just because you’re being you, regardless of whether they’re watching or not. That’s an important distinction that often gets lost in the haze of embarrassment. Using descriptors like “country” and “ghetto” as pejoratives is an indication that something taught us that these types of Black folks “make us look bad.” Believing that would mean that we’re buying into the lens of other folks. Do we really think Black experiences, Black voices should be shaped by how racism sees us? Because if so, that’s the real shame. 

Todd “Stereo” Williams is a writer/editor/media producer based in New York City. An outspoken veteran entertainment journalist, his work has been featured in The Daily Beast, XXL, Ebony and The Undefeated. He's also an accomplished screenwriter and documentarian who's co-produced films such as Exubia and Beautiful Skin.

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Solange Uses Her Divine Spirit To Calm The Mind And Body For "Bridge-s" Performance Piece

There's a serene feeling over the bodies standing in the iconic architecture at the Getty Center Museum. Jazzy horns, peaceful keys, and crisp guitar riffs gently interrupt the soothing silence as dancers dripped in marigold threads swayed to "Counting," a composition created by Solange. A series of odd numbers like "5", "7" and "9" are recited on a loop by half of her dancers while the others chant "6", "4" and "2." It's just a preview of her latest creation Bridge-s but felt like a dynamic meditation.

Bridge-s brings yet another magnetic piece into her series of interdisciplinary works that spawned after the release of her magnum opus, A Seat At The Table. The world was introduced to Solange's artistic side thanks to performance art pieces at the Guggenheim in New York and the Hammer Museum in Los Angeles.

Composed by Solange and choreographed by Gerard & Kelly, Bridge-s was created with the pillars, beams, and columns around the museum in mind. Dancers and the orchestra used the space to their advantage, with tuba players catching the peripheral of attendees from afar.

Four rollouts will take place November 16-17, curated with a selection of films that include Black to Techno by Jenn Nkiru, AFRONAUTS and Boneshaker by Nuotama Bodomo, The State of Things by singer-songwriter Kish Robinson (Kilo Kish) and more. In its entirety, Bridge-s was designed to explore "transitions through time."

This was felt throughout the performance piece as dancers move with the intent of love, internal struggle, and unity. In a stunning zine designed by Sablā Stays, Gerard & Kelly shared the emphasis behind their modernist and inclusive approach.

"Our work, like hers, is part of an interdisciplinary effort throughout the arts and humanities to redefine modernism by critically engaging its prevailing narratives. By accounting for differences of gender, sexuality, and race. By focusing on intimate and collective histories. By centering our work around the body, dance and movement," they said.

Solange also opened up about the importance the museum and the Elbphilharmonie Hamburg played in the performance piece. "Both Elbphilharmonie Hamburg and the Getty Museum have sure strong distinctive voices spatially, and so the intention is that all of the work, the movement, the language, the songs all align with those principles," she said. "Working with Gerard and Kelly, who share many of the same philosophies on their approach to interpreting time and space through performance has really built the foundation [for] the spirit of this collaboration."

Like the rest of us, the artist watched closely the dancers glide across the floor, while bandmembers release enchanting sonnets with vocalists dropping a few high notes in between. Guests like Thundercat (and his Pikachu backpack), Kilo Kish, Dev Hynes of Blood Orange and Tyler, The Creator were also left speechless after the performance.

“I just want to thank you guys for allowing me the space to evolve, experiment and express new frontiers,” Solange said to the crowd after the assembly provided endless cheers.

Learn more about Bridge-s and get free tickets here.

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Meet D Smoke, Inglewood And Hip-Hop's Next Hometown Hero

D Smoke is humble. The Inglewood native exudes an aura of maturation, needed for his quick ascension into popular culture as the first winner of Rhythm + Flow, Netflix’s hip-hop reality competition centered on the discovery of hip-hop’s next star. His signature authenticity shone throughout the 10-episode series and international audiences were drawn to his charisma as he proudly rapped about his lived experiences as a young black man in Inglewood.

“There’s such a rich history,” he says about his hometown, the inspiration for his forthcoming EP, over the phone. “I feel like it’s a beautiful but brief journey through my mind, my lived experiences, and the place that I’m extremely fond of.”

His musical confidence was displayed on the three-week series as he incorporated Spanish and live instrumentation to uplift the community-centered messaging embedded within his raps. Inspired by his childhood friends in Inglewood’s Latinx community, Smoke found music as unifier and way to remove barriers between Latinx and Black communities in his hometown. Demographics reflected in his students as a bilingual and music teacher at Inglewood High where he invests in the next generation of leaders.

He’s won an American Society of Composers, Authors and Publishers (ASCAP) award with his older brother, Sir Darryl Farris aka SiR, for “Never,” a Billboard-charting song from Jaheim in 2007, and received songwriting credits for Ginuwine and The Pussy Cat Dolls projects.

As the show’s first winner, there’s an added level of pressure for the rapper who has completed three music videos and started work on a 15-track mixtape since the show’s release. In the midst of press runs, D Smoke opened up about his experience on Rhythm + Flow, his Inglewood High EP, and his next steps as an independent artist.

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VIBE: Tell me about Inglewood High, your latest EP.

D Smoke: Inglewood High is an EP about my experience coming up on Inglewood, going to Inglewood High, and teaching at the high school after I graduated from UCLA. It’s an important project for me because Inglewood High School holds stories for me as a student and teacher. There are so many youngsters that I had the privilege of teaching that still walk those hallways and are walking the same path I did. I thought it was only right to start with this project first; some of the songs are about my experience, while others are about trends or stories that I often heard growing up in Inglewood. I took a third person approach to tell these stories; some bright, some dark, but they really capture what’s going on in the city.

In a Time interview, you stated Rhythm + Flow’s authenticity around cyphers and battles undid your skepticism. Could you speak about your transition process from being a bilingual teacher into a contestant on the show?

As a teacher, you’re performing every single day, right? Your students are your harshest critics, so performing wasn’t nerve-wracking for me. It was more that I didn’t want to subject myself to the critique of another artist. In the later rounds, I was unsure that their biases would either serve in my favor or to my detriment. So it wasn’t the nerves of performing, but how would they receive and understand my art? Because I believe the audience...before I went on the show, I knew that there’s a large audience for what I do. Submitting to three judges is very different, but by the time we had gotten into the later rounds, I felt like they appreciated what I was doing artistically and creatively. By the end of it, they thought of me as a peer.

Towards the later episodes, you incorporated live instrumentation into your performances which won over Cardi, T.I., and Chance. Is the next direction for your artistry going to implement live band performances?

Going into the show, my goal was to do that before I left. [With] the last round’s challenge of making a live performance, I was like, “Okay, this is the time where we’re going to pull that rabbit out of the hat, so to speak, and show them my musicianship side.” To be honest, I’m a musician first. My first love was playing piano. My mom is a music instructor and minister of music. Since the age of six, I’ve been playing the piano. That’s going to be a huge part of my artistry; to the same extent that playing the drums, singing, and rapping. It speaks to me authenticity as an artist, creative, and musician.

Being on the show has developed your relationship with the audience, in addition to your original support system of Inglewood. How do you feel about having fans around the world who have fallen in love with your music during your time on Rhythm + Flow?

To keep it completely honest, the reception has been amazing. I’m getting messages from all over the world. People love what I did and represented on the show while being entertained by it at the same time. I think when you combine somebody believing in your message, but being thoroughly entertained by your presence, I feel like that’s a true impact on the audience. I’m really overwhelmed by how much love people are pouring out and the messages. I’m trying to read as many as possible, but I’m only one guy. My following grew from 7,000 followers prior to the show to 700,000 and counting, and that’s in less than a month.

 

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We climbing the Charts!!! Let’s push it to #1 #share #tellafriend #GodisGreat

A post shared by Supa Good (@dsmoke7) on Nov 9, 2019 at 12:31am PST

Some viewers waited until all episodes of Rhythm + Flow were on Netflix to binge-watch. Why do you think people should've watched and witnessed your evolution as an artist to step into confidence?

I think people should watch the entire journey; go back and do their detailed research because we aren’t necessarily doing different things than we were already doing. I speak in “we” because I have a strong team of people that were working with me to prepare for being on the show. When the audience watches my performance, it’s not like this is something that I haven’t already been doing. I look forward to seeing the growth in numbers of my previous works, whether it be Subtitles - the series that I did demonstrating my rapping ability in both languages and having fun over beats that I loved and influenced me. It’s super vital to go back and see the whole story because although I’m new to a lot of people, I’m not new to music by any means.

On Rhythm + Flow, Cardi referenced Kendrick Lamar in relation to your music. You have close affiliations with Top Dawg Entertainment, your brother SiR is Kendrick’s labelmate, and you’ve opened for the Pulitzer Prize winner in 2011 at the Whiskey A Go Go. Do you see yourself continuing your relationship with TDE?

 

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Today is my younger brother’s birthday. Same mom, same dad, same blood, same schools, same hair, same goals, but @InglewoodSiR is and will always be his OWN MAN. My younger bro opened doors for me that he may not even be aware of. He’s fearless and original. His music is DOPE as Fuck and he’s as real as they come. Go wish my lil bro @inglewoodsir of TDE a happy Birthday! LOVE YOU BRO! 7

A post shared by Supa Good (@dsmoke7) on Nov 5, 2019 at 7:42am PST

I like the way you put it..continuing that relationship. We’re neighbors; they’re less than 10 miles from me. I was my brother’s keyboard player and musical director while he went on tour with Miguel. For a couple of years, Top Dawg Entertainment has been somewhat of a home base in the sense that I’m supporting their works indirectly. What TDE is to my brother or was to my brothers in terms of the platform to allow his following to grow exponentially. It’ll be more of a partnership where there’s an open dialogue about best practices to collaborate with artists, how we can plan community events, and coordinating impactful things. It’s opening the door for me to collaborate with my brother, similar to how we started off, and have the full support of TDE. That’s something I’m excited about and look forward to sharing.

Are you hoping to bring the spotlight to Inglewood similar to TDE’s upliftment of Compton? On Rhythm + Flow, you rapped about the familiarity of victims of fatal police shootings, because everyone in Inglewood knows each other.

I’m certainly looking to put Inglewood on the map. A lot of things are happening on the business development side with the stadium being built and the rise in property values. I’m looking to make investments in property and building connections within the city to continue education and community development work. My background is in mentorship, so being a visible face in the public, championing youth-driven programs is something I look forward to doing.

Do you plan on using your cash prize to start educational programs at Inglewood High and give back to your students who inspired your performances in the competition?

I’m looking forward to doing the scholarship. I’ve initiated the conversations with the city of Inglewood and Inglewood High School. We’re going to have an event to celebrate. I want to see the marching band come out and play the same cadences they played when I was there. I want to drive the energy back towards competitive academics because that’s what Inglewood was for me. It may not have that reputation but I can go back and name all of the teachers who had that impact and pushed me into being an academically competitive student.

Since winning Rhythm + Flow, you’ve gained a greater following and secured a series of upcoming collaborations. Are you aiming to remain independent, reflective of your underground spirit?

I haven’t altered how I move through the world since winning Rhythm + Flow. I’m always seeing my family, eating healthy, getting my workouts in, and connecting with people that I love, admire or respect. Engaging in different texts and conversations that really keep me sharp. Those things aren’t going to change. We also got business endeavors that keep me sharp and very grounded in conversation. I’m not concerned with the about of new publicity, altering how I operate. It’s cool and flattering, but prior to this, I knew exactly what I’m here to do and those things are still in motion.

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