PJ Morton PJ Morton
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PJ Morton Talks Grammys, Super Bowl And Finding His Niche

It's only three months into 2019, and PJ Morton has already had a strong year: A Grammy Award, a Super Bowl performance, and a beautiful new record with JoJo.

Thank goodness that PJ Morton trusted his gut.

“PJ, you're not mainstream enough / Would you consider us changing some stuff / Like everything about who you are / No offense, we're just trying to make you a star,” Morton sings on “Claustrophobic,” a song from his 2017 album Gumbo. “PJ, you're not quite street enough … can you switch your style up a little more? You can be yourself later, for now we need the radio.”

Whatever advice he got from out-of-touch record execs was nonsense. PJ Morton being himself has served him well: the album that hosted the above lyrics earned him two Grammy nominations for Best R&B Album and Best R&B Song. He took home his first Grammys trophy himself this year with the Grammy for Best Traditional R&B Performance for his “How Deep Is Your Love,” one of three nominations at the 61st Annual Grammy Awards from 2018's Gumbo Unplugged.

Along with the hardware, he also got one of the most memorable experiences of his life. As a member of Maroon 5, he headlined the Super Bowl LIII halftime show in a performance with Travis Scott and Big Boi. His beloved football Saints may have gotten robbed in the weeks leading up to the big game, but New Orleans still has plenty to celebrate with Morton’s recent success.

https://www.instagram.com/p/Btv9CuzBXIh/?utm_source=ig_web_copy_link

“I felt [the energy] even when we were rehearsing with nobody in there. But then, when you feel that audience in there and you know it’s live, it’s just—to me it started as nervousness a little bit and then it just turned into excitement, knowing that you’re reaching all these people. Really for me, it’s a sentimental moment,” Morton said. “Our manager passed away last year, and I remember, since I’ve been in the band for nine years, the Super Bowl was just something that we were always looking [forward] to. For Jordan [Feldstein] to not be here for this made me reflect a lot on that and reflect on my life as a musician and the things I’ve did that ultimately got me to the biggest gigs a musician could want.”

Rather than celebrate his accomplishments for the rest of the year, Morton is using them as momentum. Weeks after the Super Bowl, he had the Valentine's Day release of  "Say So," a beautiful new duet with JoJo.

VIBE caught up on the phone with PJ Morton prior to the Grammys as he sat in his studio in New Orleans to chat about his nominations, his journey into creating his sound, the Super Bowl halftime performance and New Orleans Saints, and whether black musicians and fans should still care about the ceremony.

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What were you doing when you found out about you were nominated a second time?

It was about 5 a.m. in the morning, I had to wake up, I was on the West Coast and that’s when I found out, but this year, I was more just in shock. I was shocked about [being nominated for] Best R&B Album, I wasn’t necessarily expecting it. I [was nominated for] Best R&B Album last year and…whew, I almost shed a tear last year. This year I was just in shock (laughs). I called my family and shared the news and it was amazing.

At this point in your career, what does the award mean to you?

It still means a lot to me. I’ve yet to win one [until now] as a solo artist or as an artist period. It still means that it was voted by your peers. It’s voted on by the professionals in the music industry so that always means a lot. You definitely want to impress your friends. So this is like impressing your friends, known or unknown, who are amazing artists, musicians, and engineers so it still means a lot to me.

There’s a lot of conversation about the validation of these type of awards when it comes to black music. Which one means the most to you? The validation of the Academy or the people?

Ultimately, I make music for people, whether I win an award or not. Like I said, I was up for two Grammys last year and didn’t win, but it didn’t take away from the impact that I had on the people who've been supporting me and being able to go out on the road and sell out tours, that’ll always mean the most to me. [The Grammy] is like a cherry on top, the award and the validation from them. I make music for the people first.

And a lot of your success reminds me of your song “Claustrophobic,” considering the story behind that song. Do you feel like you’re fitting in nowadays or are people recognizing your individuality more?

I think individuality is being more celebrated in general these days. Before, the big labels and everybody were able to prove to us what was hot and what’s supposed to be the best thing and everything. I think that the way the industry is moving now, people are able to make their own decisions. They don’t have to listen to the radio if they don’t want to or listen to anybody who tells them who to listen to. They can go and create their own playlist and find the artists they love. For me, now I’m able to stand out a little bit more and my fans are able to choose on their own without anybody having to feed it to them. I think that part is being celebrated, who I am in “Claustrophobic” and really fighting to be myself. I think people connected to that more than anything.

What was the real life experience that lead you to create that song?

It was a combination of things, but the last straw was that I had just left Young Money and was looking to go into working on a new record and I took a meeting with a label and the meeting had went so bad. These people didn’t understand me at all. I remember myself kind of checking out of the meeting even before I left. I knew I had to get out of there both figuratively and [literally]. I was ready to just move on and do something else. And that meeting kind of put me on my path to leave Los Angeles and move to New Orleans and really find myself again.

How long did it take you to find your niche all the way? I know you’ve been through some ups and downs with that.

That’s the other side of it. I feel like I’ve been myself the whole time. It’s not like I’ve made some huge transition and made some music that I’ve never made before. I’ve always kind of done it like this. But I think it was more so when I wasn’t making music, when I was trying to make music and couldn’t really get to myself and couldn’t figure out who I was. It’s just more of what I’m talking about in “Claustrophobic,” but any time I’m making music, I feel like I’ve been my authentic self. It was just a matter of making sure I got back to that and gotten back to it fully. And I feel like, for me, it’s always a journey. You live, you evolve, you grow, and I think the art reflects that. I never feel like I’m done learning and growing. I think it was all through the journey that I found my niche, but if you listen to my first album 10 years ago, you still hear the same PJ, you still hear the same instruments so it’s not like I drastically changed or found some new sh*t I didn’t have in the beginning. I’m always perfecting it and growing and evolving.

Let’s go back to the Grammys for a second. In previous years, they’ve gotten many awards wrong when it comes to our music and some would argue that both black artists and fans should no longer care about them or other mainstream award shows. Do you think that they’re relevant at all to black music?

I think black people—so there’s two levels to the Grammys, right? I think the voting usually gets it right because you have small committees who are making sure—and these committees are industry professionals. So, the R&B singers and the R&B producers are the ones who make sure that the right artists, the right songs are in the right category. Even [from] last year to this year, I think the categories are right, the songs are right, whoever I’m up against I think all of that is right. I think sometimes when you get to the general voting where sometimes people who aren’t experts in those categories have to put their vote in when they don’t even know what’s been going on in the streets or what’s been going on in these genres. That’s when sometimes it goes a little left. So, I think they’re relevant. I think the Grammys are relevant. When the Grammys work when they’re designed to work, it’s a beautiful thing. So, I don’t need to be voting in the country category because I’m not listening to country all of the time and I’m not creating country music. But when the country guys are voting for country music, then they’ll get that right. I think that’s what it comes down to, it’s being able to stick to what you know. In that sense, I think they’re relevant for sure.

 

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With this new influx of new R&B and jazz artists, do you think that at this point, both genres are getting the respect they deserve?

I definitely think it’s getting better, it’s growing. I don’t know if it’s getting the full respect that it deserves but it’s going in the right direction. We’re getting more love.

I’m sure you’re familiar with Jennifer Lopez performing the Motown tribute at the ceremony. Who are some legends that you think should get deserve a tribute that might not have had one before on that kind of platform?

That’s a good question. I think sometimes we wait until people die before they get a tribute. I think we’re at the point where probably Anita Baker deserves a tribute. Chaka Khan, maybe. It’s so many people who’s had an impact, I don’t think Al Green has had a tribute [since his BET Awards tribute in 2008] and that’s one of the soundtracks to America.

On your Super Bowl halftime performance, the New Yorker called it an “artless spectacle.” How did you and/or Maroon 5 handle the negative criticism?

I mean, I think the other side of when you play—when you have that many people watching you, at one time, you can’t expect for all of it to be good. What I haven’t heard out of everybody is the critique that they sounded bad (laughs), which is what I wanted to accomplish. I think they had expectations for us to do something other than play our songs. I think what gets you to the Super Bowl is lots of success and we’ve been blessed to have hit songs and successful tours for years and years. Like I said, I’ve been [in Maroon 5] for nine years while the guys have been a band for 20 years and to have success like that and still currently have success with a huge #1 song with “Girls Like You.” I can’t really let a bad critique [bother me]—or really not even bad, all of it just like a regular “it wasn’t great, it wasn’t bad,” that’s what I’ve been hearing.

To have a lot of that success over the years and to make it to the Super Bowl and to allow somebody that gives a “regular” critique to sway me in any way, it just doesn’t do anything to me. I’m happy. I wanted to make sure that we play the music well and that we sounded good and we put on a good show. I’m sorry that we couldn’t (laughs) live up to the expectations like I think we were supposed to do some backflips or something like that or do some other things, but I just wanted to play the music and that was our plan from the beginning and that’s what we did. I’m proud of my bandmates for doing what we do. We’re musicians and we play music and entertain people. That’s what we did.

As we both know, the actual Super Bowl game was terrible. As a New Orleans native, how did you feel about the Saints not making it to Super Bowl?

I was deeply hurt! I was deeply hurt, man! We should have been there. I thought that the call was as obvious as it gets, and I don’t think I’ve seen a worst no call blunder in my life watching sports. It was bittersweet with for the Saints not to be there. They should have been playing and it would have been a more exciting game too. It was disappointing and we should have been there. But at least one New Orleans native made it to the Super Bowl.

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CIRCA 1980: Photo of Bill Withers
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Bill Withers' Greatest Hits: Remixed, Sampled And Covered

The recent loss of legends in jazz, soul and classical music have saddened the music industry and reminded us of their touching gifts to music. The passing of Manu Dibango, Krzysztof Penderecki, Ellis Marsalis Jr., Bucky Pizzarelli and Alan Merrill brought endless tributes from peers and fans with the recent loss of soul singer-songwriter Bill Withers doing the same.

With a mirage of hits, the iconic songwriter left his mark on music with the release of his debut album Just As I Am in 1971. "Ain't No Sunshine" put a spotlight on his songwriting while 1977's "Lovely Day" reminded the industry of his signature vocals. Withers released eight studio albums, one live album and garnered three Grammys for his powerful songs that gave hope and love to fans to this day.

Hip-hop and R&B have gained the most from Withers as his music went on to inspire records like "No Diggity" by BLACKStreet, "Roses" by Kanye West and other songs from UGK, Dr. Dre, Jill Scott and more.

Take a look at some of Withers' finest tunes covered, remixed and sampled below.

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8. “Lovely Day” | Menagerie (1977)

Sampled On: T.W.D.Y., “Player’s Holiday” | Derty Werk (1999) LunchMoneyLewis - “It's Gonna Be A Lovely Day” feat. Aminè | Pets 2 Soundtrack (2019) Swizz Beatz - “Take A Picture” |One Man Band (2007)

Standout: T.W.D.Y., “Player’s Holiday” | Derty Werk (1999)

Short for "The Whole Damn Yay," the group used Withers' sample while throwing a splash of The Bay's laid back flavor. With cameos from future legends like E-40 and Ray Luv, the single already embodied the best of R&B and hip-hop with guest verses from Too Short, Mac Mall and Otis & Shug. The mimosas and yacht are also a great touch.

Covered By: Jill Scott, The Original Jill Scott from the Vault Vol. 1 (2011) Alt-J, This Is All Yours (2014) Robert Glasper Experiment, Black Radio 2 (2013) Kirk Franklin, The Nu Nation Project (1998)

Standout: Kirk Franklin, The Nu Nation Project (1998)

Who was going to beat a chorus singing to the lordt? Franklin's take on the classic gives us stirring gospel and appreciation for Withers and God. There are plenty of covers that have lifted the same vocals as Withers, but the ones listed have put their unique spin on the track.

7. “Ain't No Sunshine” | Just As I Am (1971)

Sampled On: DMX - “No Sunshine” | Exit Wounds Soundtrack (2001) Lil B - “Up And Down” | Based Jam (2012) 2Pac- "Soulja's Story" |  2Pacalypse Now (1991)

Standout: DMX - “No Sunshine” | Exit Wounds Soundtrack (2001)

"No Sunshine" served as the only single from DMX's film alongside Steven Seagal, which gave everyone the perfect backdrop to the movie and X's intricate storytelling. Both the original and flipped version points out the dark elements of our lives. Withers penned the song after watching the film 1962 movie Days of Wine and Roses, he pondered over the toxicity in his life. "Sometimes you miss things that weren't particularly good for you," he said in 2004 to SongFacts. "It's just something that crossed my mind from watching that movie, and probably something else that happened in my life that I'm not aware of."

Covered By: Soul For Real | Candy Rain (1994) Michael Jackson | Got to Be There (1972) The Boris Gardiner Happening | Is What's Happening (1973) The Temptations | Solid Rock (1972)

Standout: Michael Jackson | Got to Be There (1972)

At 14, the future King of Pop gave a riveting cover of Withers' hit for his debut album, Got To Be There. From his vocal control throughout the track to the instrumentation, his cover takes the song to another level of heartbreak.

6. "Grandma's Hands” | Just As I Am (1971)

Sampled On: BLACKstreet - “No Diggity” feat. Dr. Dre and Queen Pen | Another Level (1996) Big K.R.I.T. - “I Gotta Stay” | K.R.I.T. Wuz Here (2010) Brother Ali - “Waheedah's Hands” | Champion (2004)

Standout: BLACKstreet - “No Diggity” feat. Dr. Dre and Queen Pen | Another Level (1996)

R&B heads are well aware of BLACKstreet's neverending ballads and the genius of Teddy Riley. But the pivot of their sound for their sophomore album Another Level was due to Withers and the William “Stylez” Stewart. Speaking to Fact Mag in 2017, the creator of New Jack Swing gave credit to Stylez for bringing him the sample of "Grandma's Hands."

“If he hadn’t played that sample for me, there would never be a ‘No Diggity’ And if he didn’t write it according to the melody I gave him so it would sound that way because I wanted it to sound funky,” he said. “I wanted it to be appealing to everyone, but mostly to women. I wanted every woman to feel like they were the ‘No Diggity’ girl and that song was about them and it came across. And now, still, today, that song plays and people are on that dancefloor.”

Covered By: Gil Scott-Heron, Reflections (1981) Merry Clayton, Merry Clayton (1971) Barbra Streisand, Butterfly (1974)

Standout: Gil Scott-Heron, Reflections (1981)

Gil Scott-Heron's version of the soul classic reminded us of his versatile talents. From spoken word to his vocal abilities, the Godfather of rap music always came through with his own sound and style. Reflections was one of four albums the late artist dropped in the 80s with critics looking to it as one of his finest projects. Other cuts from the album included "Inner City Blues (Make Me Wanna Holler)" and "B Love."

5. "Use Me" | Still Bill (1972)

Sampled On: Kendrick Lamar - “Sing About Me, I'm Dying Of Thirst"  | Good kid, Maad City (2012) J. Cole- "Dollar And A Dream II" | The Warm-Up (2009) Leela James - “So Good" | Fall For You (2014) UGK - "Use Me Up" | The Southern Way (1992)

Standout: Kendrick Lamar - “Sing About Me, I'm Dying Of Thirst"  | Good kid, Maad City (2012)

Lamar's take on "Use Me" blended right into the themes of his debut album, Good kid, Maad City allowing the artist to create another world on the project. To make things even better, Lamar also sampled Al Green's "I'm Glad You're Mine" for the track.

Covered By: Grace Jones, Indigo Nights, Live (2008) Mick Jagger feat. Lenny Kravitz, Wandering Spirit  (2004) Issac Hayes, Dr. Dolittle Soundtrack (1998)

Standout: Mick Jagger feat. Lenny Kravitz, Wandering Spirit (2004)

On his third solo album, Jagger linked with Rick Rubin to test his creative energy, allowing him to work with Lenny Kravitz on their version of "Use Me." Colliding worlds was one thing but to hear Kravitz's vocals come in on the bridge, set the track apart from the rest.

4. “Kissing My Love” | Still Bill (1972)

Sampled On: J. Cole - “The Cut Off" featuring kiLL Edward  | KOD (2018) Dr. Dre - "Let Me Ride" featuring Snoop Dogg, RC and Jewell | The Chronic (1992) Masta Ace- "Movin On" | Take A Look Around (1990) Master P- "Bastard Child" | The Ghettos Tryin To Kill Me! | 1994

Standout: Dr. Dre - "Let Me Ride" featuring Snoop Dogg, RC and Jewell | The Chronic (1992)

"Kissing My Love" is one of most sampled from Withers catalog, thanks to its feverish drums. It's also why it fits into Dr. Dre's single and the G-funk era.

3. Grover Washington's “Just The Two of Us” featuring Bill Withers | Winelight (1981)

Sampled/Covered On:  Will Smith - “Just The Two of Us” | Big Willie Style (1997) Eminem- "Just The Two of Us" | Slim Shady EP (1997) Keri Hilson- "Pretty Girl Rock" | No Boys Allowed (2010)

Standout: Will Smith - “Just The Two of Us” | Big Willie Style (1997)

Touching and soulful, Smith's dedication to his eldest son Trey is just too cute for words.

2. “Let It Be” | Just As I Am  (1967)

The Original: The Beatles - “Let It Be” | Let It Be (1968)

"Let It Be" is a pretty special record. Aretha Franklin recorded a version a year before the release of The Beatles' version and Withers gave his take on the record in the 70s. Slightly faster, his upbeat take on "Let It Be" just hits different.

1. “Rosie” | Menagerie Re-Issue (1977)

Sampled On: Kanye West - “Roses” |  Late Registration (2005)

As the somber part of Late Registration, "Roses" brings us into Kanye's world where he contemplates the mortality of a loved one. It's a sentimental take on the sample and one of the artist's most underrated songs. It's also a hidden gem for Withers as it isn't featured on Menagerie's LP. It was added as a bonus track on

Enjoy the jams in playlist form below.

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Andy Chan

Stephon Marbury Talks New Documentary And Bringing Hip-Hop Culture To The NBA

The epicenter of culture and entertainment, New York City is known as the land where stars are born and legends are made. The birthplace of hip-hop and the mecca of basketball, the grittiness of life within the five boroughs has cultivated an innumerable amount of creatives notorious for their tenacity in the booth, as well as talented athletes known for their exploits on the hardwood. Stringing rhymes together may not have been Stephon Marbury's claim to fame, but his story of surviving the projects of Coney Island and using his athletic talent to reach fame and fortune has made him a global hero. His journey is examined in the new documentary, A Kid From Coney Island.

Chronicling Stephon's journey from Coney Island's Surfside Gardens housing projects to Beijing, China, the film documents his family's lineage within the basketball world, his meteoric rise as a high school prodigy, the successful, yet tumultuous NBA career that followed, and how he rediscovered himself thousands of miles away from home. Directed by Coodie Simmons and Chike Ozah, and executive produced by NBA superstar Kevin Durant, A Kid From Coney Island came to life when producers Jason Samuel and Nina Yang Bongiovio reached out to Coodie and Chike, who were working with Samuels on the HBO documentary Legacy of a King, to jump on board.

From there, Coodie and Chike met with Marbury, with both parties bonding over their spiritual backgrounds and focus on family, earning the trust that would result in a transparent glimpse into the inner workings of his life and the chain of events that led to his most controversial moments. With Hollywood veteran Forest Whitaker in the fold as a producer, the last domino to fall would be Kevin Durant, who, along with his business partner Rich Kleiman, expressed an interest in taking on the project under their Thirty Five Ventures media company. "Kev, him and Rich Kleiman, they came in as executive producers and [out of] his love for Stephon," Coodie explains. "And then when they saw the final product, they wanted to definitely support it and made sure that we got it out there for these kids to see. It was an important story to him."

In addition to Marbury's exploits on the court, A Kid From Coney Island also touches on his impact as one of the first NBA players to fully embrace and embody the look, attitude, and vibe of hip-hop culture, a period which Coodie Simmons recalls fondly. "It was definitely the golden age of hip-hop, 96, that era," he shares. "And it was the emergence of hip-hop and basketball. We seen it, it happened with Stephon and A.I. and Kobe Bryant and all of them guys who came in, 'cause you'd see Magic Johnson and 'em, they're suited up. Or even Mike, Mike had his tailor-made suits so that's all we'd pretty much seen, but when those guys came in, they had to change the dress code because of them guys."

One of the directors' goals for the project was to help humanize Stephon Marbury and illustrate the toll that mental health can take on a person's psyche, whether it be a world-class athlete or not. "For those that don't know Steph, I think that they will just get a great story of redemption," Coodie says. "Of not quitting and going somewhere to actually succeed. When we weren't welcome in one place,we went somewhere else and made it happen. And then I think, two, the whole depression and mental health, people don't really understand that in our community that's real big, but we ignore it or we shun it away, we don't get therapy like we need, so I think people will see Stephon's story as a redemption and really inspire 'em. His story will inspire so many when they see it and those who knew Steph and remember him from the NBA, I think they will see that he's a real person."

Featuring a cast that includes Ray Allen, Fat Joe, Chauncey Billups, Cam'ron, Stephen A. Smith, DJ Clark Kent, Bonz Malone, Set Free Richardson, and more, A Kid From Coney Island is a riveting watch for any sports or hip-hop fan and gives insight to the life and times of one of the most beloved athletes of the hip-hop generation. While the film’s theatre release was thwarted by the coronavirus, it’s now available to watch and own digitally.

VIBE hopped on the phone and spoke with Stephon Marbury about his journey across the globe, his role in solidifying the marriage between basketball and hip-hop, and what it means to be A Kid From Coney Island.

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VIBE: How did the idea to document your journey from Coney Island to Asia and back come to life? Stephon Marbury: Well, it started with talking about my experiences and my journey and all of the stuff that was going on in my life. When we spoke about these different things, about four years ago, we were speaking about doing a biopic movie and then we said there was an opportunity to do a documentary. They said, “Well, why don't we start it off with a documentary first before we do a biopic movie, that would be pretty cool to tell the story and get people to understand what had taken place.” So then we went into speaking and talking about all of the different things that I've done and about us documenting what was going on in China. We did that for a whole season, a whole year, and then it pretty much came to life after putting all of the right people in place and making sure they could execute the flair.

Kevin Durant is one of the executive producers on the documentary. How would you describe your relationship? Kevin Durant, I've been watching him since he first came into college and he ventured off in Thirty Five Ventures, the media company. The opportunity came about where he wanted to be a part of it. After he watched it he asked me. … I have a lot of love for him, his game and what he tries to do off of the basketball court, trying to help people. And he's one of the best basketball players on the planet. So him coming on board was right in alignment with what we were doing and having his own media company.

What was it like working with Coodie and Chike on the film and how would you describe that dynamic? Those two, they're authentic, they're real. They understand capturing the moments that people need to capture from what we put on the screen, to want to be inspired and want to reach higher. To want to have that motor and that motivation to keep pushing forward throughout the ups and downs of going through life. People can watch, and hear it, people can listen. Those guys have their style and what they want the world to see, and I think working with those two guys, they had the vision. Along with partnering up with Jason Samuel. And having Forest Whitaker basically oversee and make sure it looks the way it needs to look and sounds the way it needs to sound for people to resonate with the story.

New York City is notorious for its crack epidemic and the violence that came as a byproduct of it, which coincided with your own coming of age. The documentary covers how that environment also sheltered you and provided a safe haven for you to hone your talents in. How would you say that relationship with the people in your community shaped you as a man and inspired your drive and will to win? I was blessed to grow up in the projects, where I was able to have my mom, my dad and brothers and sisters guide me in the way that I needed to be guided. So me, having that spiritual-based background, I've always been able to understand what it was that I was pushing for and what I was looking to see for myself. And I had the faith and I trusted a higher power to get me through those obstacles. Coming from Coney Island, you get the bitter and the sweet, as far as growing up in an impoverished area, in the ghetto. whatever you wanna call it. I come from that, and to make it better was the only resort.

One of the common themes that is touched on throughout the documentary is the bond you have with your family and your lineage within the basketball community. How important was it to highlight the role your family played in your journey? It's all about stories. I pretty much cultivated all of their thinking and doings on the court, and their ways and how they see the game should be played, I put that all together. When you see me on the court, as the person that's playing in the NBA, but all of their games are entwined into my game and they taught me all of what I know and I was able to take something from each and every one of them. But for me, having them and my family - my mom and my dad, bless my dad's soul, he's not here anymore - to have them be able to give me not only the tools, but to help me utilize the tools [was great].

You were also one of the first basketball players to truly embody and exude an aura comparable to a rap or neighborhood, from the part in your hair to the earrings, tats, jewelry and that whole rugged demeanor. At that time, was it important for you to display that look and attitude for the world to see? That '96 era, B.I.G., Pac, Nas, what they did during that time was a correlation to what we were doing in basketball, Iverson, myself, so that was our era. That's what we were listening to during these times. So because of that, that direct correlation had an impact on the culture and what we did and how we did things, so we grew up with that type of swag. We had that atmosphere around us at all times, which was a motivation and push to inspire us to do great things. To be different, to create abstract things on the court. To go on the court and do what you do, play how you play. You get to paint your vision and your idea of who you are as a basketball player on the court. They gave us that culture side on that music side for that part.

Your draft night moment is one of the most memorable in the history of the NBA and was a moment that was not only about you, but your whole family. What emotions did seeing that footage 25 years later bring to the surface? It was an amazing time and it was a very emotional, impactful moment, not only for myself and my family, but all of the people from Coney Island. Somebody made it from where we're from, doing something that we love to do, so all of the emotions they run high and stay high and it's always something that will continue to be impactful. And that will continue to be monumental because we did it together, it was a team effort, what we were able to accomplish.

One of the more intriguing aspects of the documentary is your relationship with Kevin Garnett and how your careers and journies would become synonymous with one another. How would you say that brotherhood impacted both of you during your coming of age? It always was love and will always be love. For me, I stay consistent in who I was and how I was as a basketball player and as a person. Sharing the court with Kev, he's doing something to help me and I'm doing something to help him and we made each other wise when we played [with each other] on the basketball court.

The documentary also highlights you being a host to other future pros like Chauncey Billups and others. How did these relationships form and manifest in kids coming from all over the country to visit you in Coney Island, Brooklyn? Basketball. I mean, Chauncey was at an All-American camp and when he was at All-American [camp], I was like, 'Why don't you just come to Coney Island and stay,' so when he's staying he was shocked, he was blown away. I'll never forget, it was one of the hottest days during that time in the summertime and we didn't have no air-conditioner and we were on the hunt trying to find a fan, but you couldn't find a fan. He was like, 'Man, I ain't ever experience being in the projects, all of these big buildings and just seeing how people live and all of that.” It was fun to give someone that experience and Chauncey and I are still friends as we speak. I've known him since high school and he's one of the people who I've stayed in touch with, talked with, and has just been an inspiration in our lives. Not just in basketball, but seeing all of what he's doing and how he's trying to help people. Building these bonds and building these relationships as basketball players is all because of the ball,and the ball gives the opportunity for people to connect.

New York City basketball was very competitive, with players like you, Felipe Lopez, God Shammgod and others in heated competition, and is now considered a golden era for the city. What were those battles against guards like Rafer Alston and Shammgod like and did you feel the weight of that competition for the top spot? Nah, I just did what I did and went on the court and played the way so that I'd get myself to be where I could be. I always felt like if you wanna be the best, you gotta play against the best, you gotta dominate against the best. You gotta just show and prove what you can do, and in New York, you know you're always gonna have that competition on the court, you gotta have that drive and that motor in New York in order to be the top. And those guys were some of the top players in the world so everybody was going for it to be one of the top, which was pushing us to fight and try to make it in the NBA."

With all of the similarities, the belief has always been that He Got Game was inspired by your own story of being a coveted basketball prospect out of Coney Island, which is covered in the documentary. Did you have a relationship with Spike prior to the film and did he ever reach out to you personally during that time? Yeah, he reached out to me. He wanted me to audition and I wouldn't audition to play me so that's how that pretty much went. And I understood what he was saying later, but I still didn't understand then because I was like, 'You want me to play me?' But it was about acting, it wasn't really about playing the part, which was understandable, but the movie was a well-written movie. It wasn't all true. Like some of it's true, a lot of it's not true, but it was a great basketball movie to tell a story about a player who came from a place [like Coney Island].

You and KG were one of the first athletes to go outside of the traditional system and sign a shoe deal with AND1, who were up and coming at the time. How did you get involved with the brand and what were some of the other opportunities you turned down in favor of working with AND1 that you can mention? During that time, we could've signed with anybody. Anybody would've signed us, but AND1, at the time, all they had was T-shirts of, like, Larry Johnson on 'em with Grandmama, so for me it was an opportunity to build something from the ground up. It was something that was different, it was something that was unique because it was different and they were willing to sell shoes at a reasonable price point.

Your transition to Minnesota and being away from your family was touched on in the film. How would you describe that distance between you and that core unit affected your tenure there? I mean, it was different. I went from New York, where it's a melting pot, to Atlanta, where it's predominantly black where I was at, and went to Minnesota, where it's primarily white. But for myself, around that time, at a young age, that was a culture shock to me, which was part of my decision in me wanting to go back home and play in the tri-state area. I wanted to be in a culturally diverse city, [like] where I was from. That was when I was young and then, as I grew older, I started to see what people were saying as far as, "Oh, you see the possibilities about you and Kevin Garnett playing together for so many years in Minnesota?' I was like, "Yeah, I can see that," but I would've had to spend seven years in Minnesota and it wasn't just about basketball with me, I had a life as well. It snowed all the time and it's always cold, there's 10,000 lakes. Weather watch season, warning watches. Like, "If you go outside today, you can die if you get caught outside." There's things like that, just from natural habitat, to put myself in that position where I would have to make a decision for life and death things, which that's every day, all of the time, but because of the weather? I couldn't receive that message at the time and stay in a place like that. It was never about basketball or playing with Kevin.

One of the highlights of the documentary is your performances in the EBC tournament at Rucker Park, which you were a long-time participant in. What are some of your favorite memories from those tournaments and how would you say your impact helped bridge the gap between streetball and the NBA? When you play against guys that could've or should've made it to the NBA, not only are those guys reminders of our lifestyle from the street guys that didn't get to make it, it's fun because they get an opportunity to see the difference in why you're playing in the NBA and why some may not make it. Because you got guys in the NBA that can't play in the Rucker, they don't know how to get on the court and play that style, but you put them in an NBA game and they can play. Not everyone can perform on that stage, playing in the Rucker. Now, with the way our basketball is right now, you gotta be able to do both.

What's the backstory to your relationship with Fat Joe, who also appears in the documentary? I mean, we just clicked since when I was playing with the Nets, and this goes back to '99, over twenty years. And our relationship has just been love, that's all. He's real funny, he's real, he's street, he's Joe (laughs), you know, so our relationship just grew and built from that. He was like, 'Yo, I'm putting together a team at the Rucker.' I was like, 'I'm down, what's up.' He was like, 'Steph, five, I need this chip, five.' I'm like, 'That's done, don't worry about that. We gonna get that.'

Were there any moments in the documentary that were raw to the point you were a bit hesitant to touch on or revisit? Nah. My life is my life, what happened is what happened, it's a part of it. One dude was like, 'Ah, you were crying on the internet.' I said, 'I see people cry every day when people die, I can't cry about my dad? I can't cry about me having a moment from my father eating Vaselines?' I was like, 'I'll eat Vaseline right now, in front of your face’ (laughs). People stick needles in their arm or their mom sniffs coke, and I was like, 'You're talking about me eating Vaseline?' It doesn't make sense. It's okay for you to speak about something that everybody talked about and that's all they talk about. And I was like, 'If that makes me crazy, I'm sorry for the people that are born with the things that make them crazy.

Aside from old video clips, you don't appear in the documentary until you begin recounting your transition to China. Whose decision was that and what, if any significance, do you think that added to conveying the gravity of that moment? It's storytelling. The story speaks for itself, it tells the whole tale until I started talking. The way they did it was perfect. When I come on, it's picking up from where everyone watched and when I say watched, I mean the time frame of what was going on in my life. But no one knows about China. So that's why I told the story about China.

Towards the end of the documentary, you visit a local barbershop in Coney Island and befriend a young child, which results in one of the more emotional scenes in the film. Can you take me through what was running through your mind at the moment and why the child's answer to your question about him being president garnered that response? Nobody ever told him that he can be anything, that he can be the president. He just thought that, 'Oh, only these people can be the president,' no, you can be the president, too. So for us to be able to teach these children and give these kids the idea of, 'You can do this and you can do that,' that's really what it's about. It's not really about anything else because we're gonna leave this space and go to another space when we pass on and they will be the ones that will be here to continue. And then what we want them to pass on to the next generation. Encouraging and giving them the idea that they can do whatever they wanna do on the earth if they aspire to do that."

China was a spiritual awakening for you, it seems. How would you say that experience helped you heal and grow in different areas? One of my mentors said to me, “Steph, it's like going on a retreat,” before I went, and that's exactly what it was. It was not only a spiritual journey and a spiritual awakening, to be able to have gone over there to do some of the things that I've done, it was all in accordance and it's all in the plan as far as what was bound to happen in your life, but you don't know there's something going on 7,000 miles away. Like, if somebody told you, “Oh, if you go over there, these things are gonna happen.” What's gonna happen? “Oh, you're gonna have two statues, a museum, you're gonna have three championships.” You're gonna be looking at them like, no way, not a kid from Coney Island is gonna receive all of these different things. “Yeah, this is what's gonna happen, you're gonna go to China and you're gonna do this, you're gonna do that and this is gonna happen, that's gonna happen and you're gonna be one of the people that makes China a basketball country.” That's not something that you think about or dream about. So going there was part of my story, it's part of my history, it was part of what was going to put me back into a space within myself where it was going to allow me to be focused in my life. So for me, seeing it play out how it played out, I'm blessed and thankful that I was able to see my obstacles, but at the same time, have the guts to continue to go forward. I felt like I wasn't gonna be able to.

What do you hope viewers take away from this documentary after watching it? Become more aware of the truth because when you can tell your own truth people can get a better understanding of the lies that were told. That's how I like to look at it because a lot of people had a lot to say about what happened and what went on with my life and my journey, but they weren't living in my journey, they were only reading about my journey. I think they see this, they'll have a better understanding because sometimes people just don't know and they go with what they think and then they talk about what they think or what they heard. And more importantly, I hope people can become inspired by it, to do what they feel they wanna do in their lives and go for it.

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Mario Tama

People Of Color Are Hesitant To Wear Homemade Masks

While the country is experiencing a shortage in face masks, the Center for Disease Control recommends that people wear homemade face mask. But many people of color have reservations about going outside with bandanas, or other homemade masks wrapped around their faces.

One person exercising caution in following the suggestion of the CDE is Trevon Logan, economics professor at Ohio State University.

"We have a lot of examples of the presumed criminality of black men in general," Logan said to CNN. "And then we have the advice to go out in public in something that ... can certainly be read as being criminal or nefarious, particularly when applied to black men."

I don’t feel safe wearing a handkerchief or something else that isn’t CLEARLY a protective mask covering my face to the store because I am a Black man living in this world. I want to stay alive but I also want to stay alive.

— Aaron Thomas (@Aaron_TheThomas) April 4, 2020

Hospital administrators around the country are seeking government help to secure more masks and other personal equipment. With many out of work, there is an untold number of poverty-stricken families who simply can't afford to buy masks.

"This (wearing a homemade mask) seems like a reasonable response unless you just sort of take American society out of it. When you can't do that, you're basically telling people to look dangerous given racial stereotypes that are out there," Logan said.

Racial profiling is a longstanding and deeply troubling national problem. It occurs every day, in cities and towns across the country, when law enforcement and private security target people of color for humiliating and often frightening detentions, interrogations, and searches without evidence of criminal activity and based on perceived race, ethnicity, national origin, or religion. Wearing homemade masks during the COVID-19 pandemic could easily expose blacks to more racial profiling.

"This is in the larger context of black men fitting the description of a suspect who has a hood on, who has a face covering on," Logan said.  "It looks like almost every criminal sketch of any garden-variety black suspect."

Gang affiliation is also a serious issue in large cities such as New York City, L.A., Chicago, among others. With this, there's a great possibility that wearing bandanas for masks could expose men and women to violence from gang members as well as police.

Cyntoria Johnson, assistant professor in the Department of Criminal Justice and Criminology at Georgia State University told CNN that bandanas are commonly associated with gang affiliation or part their respective uniforms, including a bandana tied around the forehead similar to a sweatband.

"People of color have to make conscious decisions every day about the way they show up in the world and are perceived by others, especially the police," Johnson said.

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