AMERICAN MUSIC AWARDS
Lennox McLendon

Music Sermon: The One Minute Hit - When TV Theme Songs Were Lit

The idea of sitting around the TV for appointment television is an archaic concept. Multiple devices with screens for everyone in your home plus the control of streaming has changed how we consume nearly everything except sports, award shows, and Game of Thrones (until tonight). But the children of the 80s very much remember when TV watching was still an event, cable was basic, and the networks reigned supreme. Back in that era of genuine primetime programming, our favorite TV shows came paired with 30-second to one-minute themes. But not just a random little ditty to open the show; these were genuine mini-songs. Verses, chorus, hook, and maybe even a reprise for the end credits.

Now, a drive for more advertising inventory coupled with shorter attention spans has rendered the true theme song a rarity; but in the cases where they do still exist, the songs continue to be a key part of experiencing the show (again, like Thrones). The theme song draws you into the world of the show, it sets the tone, and it stays with you after. And the theme song game wasn’t a space like the commercial jingle game where only folks in the game know who the players are. The theme show business has its own OGs, but there are also names we know well - acclaimed producers, artists and musicians who helped create TV music magic. As such, there’s also a lot of hidden music history and connections behind some of these joints. I have watched an inordinate amount of television consistently throughout my life - you will pry my cable cord out of my cold, dead hands - and I consider myself an expert on the TV theme song. I offer you my list of some of the most soulful, slappin’ and impactful examples of the majesty of TV theme songs from yesteryear.

Sanford & Son

There is literally no music space Quincy Jones hasn’t conquered, including television. Q was in movie scoring land when Norman Lear’s partner Bud Yorkin came to him about composing a theme for their new show, Sanford and Son. “He said, 'I'd like you to write the theme for it.' I said, 'Who's in it?' And he said Redd Foxx,” Quincy told Billboard. “I said, 'Man, you can't put Redd Foxx on national TV!” I had worked with Redd Foxx 30 years before that at the Apollo. We used to do the Chitlin Circuit. I used to write this music for him to come out with.”

Q composed “The Street Beater” without even watching the Sanford and Son pilot. “I wrote that in about 20 minutes,” he said in an interview about his work in television. “I just wrote what he looked like. It sounds just like him, doesn’t it?”
The funky, rag tag, backwoods bluesy song was the perfect musical accompaniment for Fred’s surveying his junkyard as Lamont’s truck rolled up, “It was raggedy, just like Foxx.”

Good Times

Norman Lear was the goat of working-class American storytelling on screen, but his shows also had some of the most iconic theme songs – “Those Were the Days” for Archie Bunker, “One Day at a Time” has great lyrics if you pay attention, he even had Donny Hathaway singing about pre-Golden Girls Bea Arthor for Maude. TV producers often used the same writing and production teams for their shows' themes, and Lear often tapped the husband and wife team of Alan and Marylin Bergman, who got their break co-writing with Quincy on “In the Heat of the Night.”

But as I said before, don’t let the TV theme song credits fool you, the Bergmans are two-time Academy Awards winners and in the Songwriters Hall of Fame. That’s the kind of talent behind Good Times.

The Good Times theme is a negro spiritual (there’s a Hammond B3 organ in it; issa spiritual), and singers Jim Gilstrap, from Stevie Wonder’s backing group, Wonderlove; and Somara “Blinky” Williams, a former original member of the Church of God in Christ (COGIC) Singers along with Andrae Crouch and famed session player Billy Preston, put some extra oil on it.

You don’t believe me when I say this is worship music? Watch this.

I really wanna know what the Bergmans knew about hanging in a chow line, though. I’m not even sure I knew that was the lyric before Dave Chappelle told us.

The Jeffersons

Before we move on from Lear sitcoms we have to pay respect to the best black TV theme song of all time. And before you argue with me, let’s please look at the stats: a 35-person choir, stomping and clapping - even double clapping! - mention of fish fry, and a reprise over the end credits with hummin’ like your big mama used to do while she was cookin’ on Sundays. Winner.

Even though it’s one of the best-known sitcom theme songs ever, what’s lesser known is that another Lear alum was behind it – Ja’net Dubois, aka Good Times’ Wilona Woods, co-wrote and sang the theme. Also, the male voice that joins her in the bridge isn’t Sherman Hemsley (although it really sounds like it could be him) but career backup singer Oren Waters.

Ja’net, who was a singer as well as actress, ran into Lear on the CBS lot one day and shared that she wanted to display her talent beyond acting. Lear partnered her with Jeff Barry to work on the aspirational Jefferson’s theme. Jeff had pop hits under his belt as part of producer Phil Spector’s stable; he wrote “River Deep - Mountain High.” He also wrote “One Day at a Time,” and later “Without Us,” Deniece Williams and Johnny Mathis’ yacht-rocky theme for Family Ties.

Dubois later told Jet magazine she pulled from her own experience once she’d “made it” with Good Times. “I moved my whole family. I bought (my mother) a house, bought her a mink coat. I did everything, retired her. I did everything I ever promised her.” And you can feel Ja’net’s testimony coming through as that moving van makes its way across the Queensboro bridge and up the East Side.

Amen

Sherman Hemsley had the good fortune of being associated with two entries in the Praise Songs of TV (I just made that up) category. Amen’s “Shine on Me” is not only a rousing bop, it’s a forreal and actual gospel song. The theme was written, produced and played by the father of modern gospel, Andraé Crouch, and sung by gospel legend Vanessa Bell Armstrong. Sister Vanessa was backed in the TV version by the choir from Crouch’s First Memorial COGIC church. She later did her own version, but it didn’t have quite the same oomph when slowed down a little and without the full voices of a choir behind her.

Sigh… Imagine a time when a sitcom about a deacon in the black church with a whole gospel theme song was a primetime network hit. Also shout out to “There’s No Place Like Home” from 227, which preceded Amen on Saturday nights.

The Cosby Show

We’re going to set everything about Bill Cosby the man aside for a minute to talk about the show and its music. Agreed? Amen.

The Cosby Show has to be in this conversation, because over the course of the show’s history, the theme song and opening sequence became a hallmark of the series’ greatness, and it’s a prime example of theme songs being deeper than just something to play over opening credits. Every season, a new adaptation of “Kiss Me,” the theme written by Cosby and Stu Gardner (who also co-wrote the themes for A Different World and Living Single), opened the show. The opening sequence featured a Huxtable family dance showcase, changing as the kids grew and the cast core cast added, and sometimes subtracted. We were as anxious for the Cosby season premiere to see the new intro as we were to see the show itself.

Season 3 is when it started getting crunk, with a little Latin action. Auntie Phylicia was gettin’ it.

In Season 4 (my least favorite), “Don’t Worry, Be Happy” mania had made its way to the Huxtable family with Bobby McPheren’s rendition and a bit of a roaring ‘20s (and for the sake of the show location, we’ll say Harlem Renaissance) feel. Elvin’s first year in the sequence, Denise’s first year out.

Season 5 was a production. Literally, it was staged like a Broadway production. By now, the show was known for exposing diasporic art and culture and the people behind it to the world whenever possible, and that was the intention here as well, on the low.

The set design was a little South Pacific-esque, and costumes had a Caribbean flair reminiscent of some Alvin Ailey American Dance Theater pieces - appropriate since the movement was choreographed by Ailey great (and Boomerang’s off the chain creative director) Geoffrey Holder. Cosby’s high school classmate James DePriest, one of the first internationally recognized African American orchestral conductors, arranged the music, played by the Oregon Symphony orchestra. It was sweeping and gorgeous and I remember it being kind of a big deal. Second season with no Denise in the credits. I think she had left Hillman and gone Africa by this point. Or something.

Season 6 is my favorite. It was a party. The entire family was getting it in to a jam session take on the theme remixed with Junior Walker and the All Stars’ “Shotgun.” Even though the opening was set in front of the Apollo marquee, this was the Motown sequence. “Shotgun,” was a massive crossover hit, produced by Berry Gordy, and featured Motown’s famed session players, the Funk Brothers on instrumentals.

Welcome back, Denise. And hi, Martin and Olivia.
Theo and Vanessa were hitting. that. heaux.

Ok, actually, Season 8 is my least favorite. Least favorite season, theme song, opening sequence, all of it.
Here, I think, it’s clear that the show was past its prime. This jazzmatazz intro didn’t feel super fresh or creative, and Theo was trying to hit b-boy moves, and cousin Pam clearly wasn’t comfortable, and Vanessa looked like she just got engaged to a 40-year old ninja named Dabnis, and Clair still had her coat on because she couldn’t be bothered.

But on the cultural side, it was still in theme. The mural was created by kids at Harlem’s Creative Arts Workshop, although a legal dispute over art clearances kept this visual from being used as originally intended in Season 7. On the horn is Lester Bowie, a trumpeter known for his free jazz style.

A Different World

Obviously, we were paying a visit to Hillman next. “A Different World” is one of the best theme songs of all time – for Seasons 2 through 5 (also one of the best shows of all time – for Seasons 2 through 5).

Dawn Lewis, aka Jaleesa, co-wrote the song with Stu Gardner. She was originally supposed to sing it, as well, until whoever hired her to write the song realized she was also in the cast, and whoever cast her as Jaleesa realized she also wrote the song. The collective powers that be thought Dawn singing the theme would center her too much when the show was about Lisa Bonet, so they went to Al Green. Yes, the Reverend Al Green. A version of the “Different World” theme song sung by Al Green exists out there in the world somewhere, and I now have a life mission to hear it. Producers didn’t like it, though. They decided to go with a female voice, and pegged folk and blues singer Phoebe Snow.

As the show went into its second season, producers decided to take a similar approach as The Cosby Show and flip the theme every season with different artists and styles. Then Aretha Franklin recorded her version, and that idea was dead, because why would you ever ask someone else to sing behind Aretha. Debbie Allen, who had just stepped in as the show’s executive producer (Aunt Debbie brought A Different World out of the middling fare of its first season to the strong, black and relevant show we remember it as, but that’s a different Sermon) called Auntie Re personally, and then brought her whole team from Detroit to LA on a bus (because Auntie Re wasn’t gonna fly, chile). Then, TV history was made.

“I just know that she came in and hit it,” Allen told Vulture. “It wasn’t like she had to do ten takes, that’s what I know. She just hit it. That’s what I remember and then we all kind of hung out and had food together, you know — she loved our show which is why she did it.”

I’m low key surprised Aretha agreed to do the song since her ex-husband, Glynn Turman, joined the cast in Season 2 and she’s petty like that, but she also watched a lot of television and was a fan. When most think of A Different World, they’re thinking of seasons two and beyond. That iconic montage we’ve see recreated in tribute again and again, from SportsCenter to Grown’ish Season 2 promos. Nobody references car washes and hanging out outside of….a barn, I think? Where they at a farm for the Season 1 opening sequence? (You can tell some white people put that together – no shots).

Finally, the last season of A Different World was sort of “Different World: The Next Generation,” so they went in a new direction for the theme with a very non-Boyz II Men sounding Boyz II Men (I thought it was Take 6 for the longest), but Seasons 2 through 5 still reign supreme.

Different Strokes

On to a different show about different worlds. Remember I mentioned OGs in the theme song game? One of them was Alan Thicke. Yes, Robin Thicke’s daddy was not only lovable TV dad Jason Seaver, but also a professional theme writer. Thicke penned the tracks for a couple of sitcoms, including Facts of Life (with Robin’s mama Gloria Loring on vocals), but his thing was game shows. Your grandma has Alan to thank for the “Wheel of Fortune” theme. He not only wrote but sang “Diff’rent Strokes” (sounding a little like his son), and I mean, the song is perfect. The opening, the harmony build in the second verse, the bridge, the breakdown “…and together we’ll be fine, ‘cause it takes…,” the hum at the end of the closing credits version. You can tell from this one-minute jamalam that Robin got his blue-eyed soul honestly.

Speaking of the Chappelle Show again (there’s a Chappelle reference for everything in life), Dave closes out his famous White People Can’t Dance episode (Season 2, Episode 3) with a spirited performance of “Diff’rent Strokes,” going into a “Facts of Life” vamp, backed by Questlove and John Mayer.

The Fresh Prince of Bel-Air and Living Single

I’m putting these two together because they’re two of the last examples of the explanatory theme song for black prime time television.

The Quincy Jones-produced Fresh Prince theme tells us Will’s entire back story and the premise of the show – a ‘90s hip-hop answer to the Gilligan’s Island theme.

Living Single’s theme conveyed the high energy city life the four upwardly mobile friends were navigating, with emphasis from Queen Latifah’s sing-rapping about her homegirls standing on her left and her right, and the legendary dancing silhouette that is Big Lez.

Both shows, songs, and visuals have become representative of the hip hop generation’s takeover of ‘90s black television and ‘90s black culture, and both continue to hold up amazing well 25 years later.

We haven’t even touched on the soulful ‘70s themes that became hit singles, like “Welcome Back Kotter” (my joint) or “Angela” from Taxi, or sketch show theme songs like Heavy D for In Living Color (or TLC for “All That,” for y’all younger folks), or the cartoon smashes. There are gems galore to be mined, all containing shining bits of nostalgia and callbacks to a simpler time. These songs often resonate with us even more strongly than our favorite singles from the era because they were a constant for years instead of months. And thanks to networks later devoting blocks of time to classic TV reruns like Nick at Night and TV Land, many of these shows – and theme songs – have been introduced to a new generation.

We’ve focused mostly on black TV shows, but there are a few theme songs that cross cultural, generational and international boundaries. When the Golden Girls premiered in 1985, the series featured a remake of the 1978 song “Thank You for Being a Friend,” and it has lived in all our hearts ever since. So much so, that a member of the black church delegation gave the song a proper remix a couple of years ago. Let this be a reminder that great TV theme songs were not only catchy songs that stuck in our heads for decades, but also impetrated universal lessons about life, love, and friendship.

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#MusicSermon is a weekly series by Naima Cochrane that highlights the under-acknowledged and under-appreciated urban artists and sub-genres from the '90s and earlier. The series seeks to tell unknown and/or forgotten stories that connect the dots between current music, culture and the foundations of the past.

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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.
Matt Winkelmeyer and Kevork Djansezian

Cynthia Erivo, Scarlett Johansson And The Oscars' Ongoing Whiteness

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

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

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

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

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

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

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

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

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

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

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

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

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

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

10 Most Memorable Episodes Of 'The Wayans Bros.'

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

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

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

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

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

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

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

Season 2, Episode 5 "Loot"

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

Season 2, Episode 8 "Head of State"

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

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

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

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

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

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

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

Season 4, Episode 19 "Talk is Cheap"

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

Season 5, Episode 7 "The Kiss"

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

Season 5, Episode 18 "Hip Hop Pops"

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

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

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

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

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

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

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

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

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

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

That happened about two years ago in his living room.

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

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

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

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

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

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

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

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

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

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

Why did you want to leave?

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

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

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

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

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

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

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

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

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

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