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Courtesy of Black Music Honors

The Unrestricted Music Ministry Of Yolanda Adams

The actress, radio host, and singer reflects on her 30-plus unapologetic music career, fashion in the church and more.

Since the beginning of her career, gospel legend Yolanda Adams has accomplished an enviable feat for artists in the genre the Queen of Contemporary Gospel is respected and still sought after in both the genre and secular music world, but seemingly without the criticism and pushback her peers like Kirk Franklin and Mary Mary have faced at various times for straddling the two. We’ve marveled at the Grammy-award winner and radio host for her “She is serving - Wait, can she wear that?!” fashions and Ebony Fashion Fair model realness. And Yolanda, as a person, seems connected to “the world” in a way that may leave some church kids clutching pearls. But the Houston native (Houston clearly only produces real ones) didn’t grow up under the same strict doctrines as some of her gospel peers and her less restricted understanding of obedience in faith has made her incredibly open, accessible and connected.

On the eve of receiving the Gospel Music Icon Award at the 2019 Black Music Honors, VIBE talked to Adams about the sisterhood of Gospel, how she maintains her eternal slayage (who knew Yolanda Adams was a distance runner?), the power of music, and man-made restrictions in the church.

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VIBE: You are being awarded the Gospel Music Icon Award at 2019 Black Music Honors. The BMH are meant to tribute trailblazers in Black music who may not have otherwise gotten their roses. You are definitely a trailblazer, but do you feel like you’ve been under-appreciated considering the magnitude of your contribution not just to gospel music, but music overall?

Yolanda Adams:  I’ve never felt as though I’ve been cheated or not awarded. As a matter of fact, I believe, personally, that I’ve been one of the most applauded gospel artists, especially female. One of the things that I do know is that sometimes you’re blazing trails that you really feel are just the norm. It’s not like you’re trying to do anything that’s different; you’re just doing you. And you’re enjoying doing you so much, that everybody else comes along and they join the bandwagon. I’ve never felt that I was in it by myself, although I’m a solo artist. I’ve had such a great support system with my family; my husband, my daughter. I’ve had so many people, like Shirley Caesar, Tramaine Hawkins, Albertina Walker - all of the great women who said, “We’re so proud of you, you keep doing what you’re doing. You make us look good every place that you go.” I had that support. Whenever I would call Tramaine and say, “How do I do this, this, and that?” She would always explain. Same with Pastor Shirley Caesar. Same with Nancy Wilson. I did (The Yolanda Adams Morning Show) as a result of having a conversation with Nancy Wilson. She said, “There will come a time, especially when [your daughter] Taylor gets older, that you will want to be home. So the best thing for you to do is something that you can use your radio/TV journalism degree in.” And I thought about it, and I’m like, “Wow, you know what? You are so right!” So a great conversation with her and being built up by her resulted in the creation of (the decade-long show).

So, no, I never thought that I had been underappreciated or undervalued. I always knew that what I brought to the table - and CeCe (Winans) and I have this conversation often - there was never any competition between her and I, or Vicky Winans or all of the great women in gospel music at that time because we all had our niche.

The thing that I have always said is that in this vast universe that we live in, there is an audience for everyone, and then there’s an audience that’s being left out, that somebody else needs to capture. I don’t have to fight for what belongs to CeCe, I don’t have to fight for what belongs to Vicky, or what belongs to Tasha Cobb, or anybody like that, because God has so strategically given me the platform that I have, and my responsibility in that is to be the best Yolanda I can be.

That’s a word. Let’s talk about your audience, though, because you were part of the class - along with Kirk Franklin and Mary Mary - that broke gospel music open to the mainstream. Bebe and Cece Winans cracked the door open (in the ‘90s), but you, Kirk, and the Marys blew the gap between gospel and secular all the way open. I think it’s hard for people to appreciate how big that was, then. You probably got less criticism than Kirk and the Marys because people felt like their sound was secular. Your sound wasn’t as secular; it just translated. Or did you catch heat?

When I first started, people were like, “She’s really jazzy. Why does she have to be so jazzy?” They have to understand; I was never part of a traditional gospel-type upbringing. In my household, we listened to everything. There was no restriction. We danced in our house, so I didn’t have the stronghold and the bars of “You can’t do this” and “You can’t do that.” I lived in such a cool house, God was so cool, he went to the skating rink with us on Friday and Saturday and went right to church with us on Sunday. So in my mind, I never had those types of restrictions placed on me. It was only when I started my solo career - when I was totally solo from (Houston’s Southeast Inspirational Choir) and I started traveling - people were like, “Well why do you wear makeup? And why are your dresses so short? And why do you do this and why do you do that?” I’m the kid who was into modeling. I’m into fashion. I’m into all of this stuff, so for someone to tell me my lipstick offended them, I’m looking at them like, “Ok, well then you don’t wear it.”

So you didn’t grow up in the COGIC church.

I didn’t grow up in COGIC or Pentecostal. I grew up in a Damascus church setting, and then we moved to non-denominational, which was like, “Hey, if the Bible doesn’t put all these restrictions on you, then why would you let people put these restrictions on you?”

I love that because that is such a challenge: Even though Christians are called to be circumspect and “in the world, but not of the world,” people are the ones who put so much restriction on faith. That’s us doing that, not God doing that.

Here’s the thing about knowing the Bible; you have to know the Bible for yourself.  You have to know what God said. Because if you look at what Jesus concentrated on - and I tell people all the time, you need a Bible or a Bible app that shows you the words of Jesus in the red - think about it. He’s concentrating on being loving, sharing, caring and giving, and treating people like you want to be treated. And healing people from the inside out. That was His core thing. And He said, “I came to bring the Kingdom to you,” so what is Kingdom mentality? Kingdom mentality is; if you’re broken-hearted you don’t have to be hurt; if you’re poor you can become wealthy; if you’re lonely, you don’t have to be lonely anymore. So you have to look at that, because folks start taking the Bible at face value, and they never look at the history behind it.

You’re thirty years into your career and working on new music now. Gospel music is going through some of the same transitions that R&B is going through, and we’re having the same conversations about the fundamental ways (of making music) versus the new ways, etc. What are you looking to do with your music now?

Here’s the thing: everything in life goes through cycles. Everything. Whether it’s fashion, whether it’s automobiles, whether it’s tech. It doesn’t matter. Everything goes through cycles. We’ve been having this conversation since…1987 (laughs). “What do you expect your music to do?” “Why is it that gospel music is going through this  transition?” Well, all music goes through transitions; life goes through transitions. I’m going through a different transition with my life right now with my daughter being in college. It’s just the way life goes. Everything turns around. It’s the way of nature; the sun rotates and we rotate, and we’re always turning on an axis, so that is the rhythm of life.

But here’s what I always focus in on: I am not recording an album to get another Grammy. Thank God if I get one, or when I get one because we call those things that be not as though they were. And you know, thank God for all these accolades. But at the end of the day, how can I help heal the world with what God has given me in my heart? That is always my basis for doing any album, any product, going into any business venture. All of that. Everything in my life has to do with what is in my heart at this present time. God, how can we get it out to the people that need it?

You said earlier you believe you’re one of the most celebrated female artists in gospel, and you’re definitely still one of the most visible artists in contemporary gospel. You get called for every tribute. I’ve seen you tribute Lionel Ritchie, Patti Labelle, [and] other gospel artists. You walk that line between gospel and secular so well. What do you attribute to people calling you up, even when they’re doing a regular tribute for R&B artists, and are like, “We need Yolanda”?

One of the things I think people sense with me is that I truly love people. That’s the first thing. And usually, I have a relationship with the people that are being honored. So they know that I will be very respectful to the tribute, and I will be very respectful to the artist. I will be very respectful to my friend. They know that my gift is being able to translate other people’s music that I admire into my own style without veering so far away from what they originally did with it.

I saw you do “Jesus is Love” for Lionel Richie a couple of years ago, and I was at Black Girls Rock last year getting the holy ghost right quick (during the Aretha Franklin tribute). You just bring the house down with your energy and your vocals every time, you kill it, so I think another thing is that they know you’re gonna SANG! (Yolanda laughs).

We touched on your fashion and the fact that you briefly dabbled in modeling. When you step on stage, so many women I know are like, “Yolanda is snatched! I need that dress!” Can you speak to the choice to be fashionable even while ministering?

I think I inherited that from folks like Mahalia Jackson. If you look at the history of gospel music, we have a history of being fly. You have to go back to the Clara Ward Singers, The Barrett Sisters, and folks like that. Even when Shirley Caesar and them were younger, they would wear gowns, they would wear updos. You could see Albertina Walker in the same room you saw Aretha Franklin, and Albertina Walker’s gown would be more killin’ than Aretha’s at the time! The beauty of gospel music is that our fashions are so unexpected. People are like, “Oh, they’re just gospel artists.” Then you show up and they’re like, “Wait a minute, now!’ And if you go back into our history as African-Americans, that’s why they call it your “Sunday Best” because church was the place you could go to show off your fashions. The hats, and the gloves, and the pocketbooks, all those kinds of things. We had to have it straight.

Do you have a fitness regime?

Oh yes, I am very wellness-centered. I know that at any time, without warning, I can be called to be on television, and it has been a practice of mine, since I started, to make sure I am physically fit, spiritually fit, emotionally fit, and sometimes that’s not so easy with the climate of the world that we live in now. But my regime is once I get off the morning show, I go straight to the park or the gym for strength training. I run at least three miles when I do my runs. My long days can be anywhere from 9-12 miles, but I never do less than three miles. Sometimes it’s for sanity purposes, sometimes it’s for meditation purposes, but I love fitness because I know what I want to look like in my clothes.

For the record, you’re 50...something. I’ll say fifty-something. But you are in peak shape, form, energy, all of that. So it’s obvious that you take care of yourself.

I tell people all the time: If you want to start living better, start today. With an extra glass of water, an extra apple. And I’m not saying cancel sugar out altogether because our brains need the sugar, but you don’t have to add extra sugar.

Right. And I do think that’s something that presents a challenge for folks who’ve grown up in the church - we eat with our fellowship.

It can be food and fellowship as long as the people who are bringing the food know how important eating well is. Just like you can bring fried chicken, you can bring baked chicken. Just like you can bring fried fish, you can bring baked fish. You don’t have to put all of that grease in your system. Now if you’re only doing it once or twice a year, that’s not a problem. But if you’re doing it every Sunday, every Wednesday, every Thursday, every Friday, you gon’ have a problem.

I used to go to [your 1993 hit] “The Battle is Not Yours” when I needed encouragement. Who do you listen to for encouragement?

I listen to a lot of the stuff that I have recorded and have written. My go-to's are Tramaine, Cece, Vicky, Richard Smallwood, Donnie (McClurkin), Donald Lawrence...I listen to everybody. I love listening to all gospel music. Especially at that time.

Who do you listen to on the secular side?

I listen to Mary J., Lauryn Hill, I listen to Monica, I listen to Brandy, Kenny Lattimore—

You listen to the voices.

Yes, I love voices, and I love different voices. Rashan Patterson. PJ Morton - I’ve known him since he was three years old. I love to hear young people express themselves, whatever it is. India Aire; I love her new album (2019’s Worthy). I’ve been listening to “Roller Coaster,” that song is so amazing. There are just certain things I hone in on. Tamia’s new project (2108’s Passion Like Fire). Johnny Gill has a new project (Game Changer II). Uncle Charlie (Wilson) has a new project. Lalah Hathaway, she is so amazing. I love the richness of voices, and I love people who are passionate about what they’re writing, what they are expressing and how they make you feel. I need some feeling in my songs, you know?

Who would be in your ideal line-up for a tribute to Yolanda Adams?

Oh my gosh, can I pick like 20 people? (laughs). If I could pick 20 people, it would be Avery Sunshine, Anita Wilson, Jekalyn Carr, Tasha Page House, Monica, Brandy, Jazmine Sullivan, Kelly Price, Donnie McClurkin, Jonathan McReynolds, Brian Courtney Wilson… I know I’m probably at 40 now! Joss Stone...So many people. I am a music lover, and I love to hear people expressing their love for what they do, and I know I’m repeating that, but all of those people I named, they’re so passionate about everything that they do. I could just listen to all of those people all of the time. Oh, and Lalah!

Based on how much you love music and you love feeling the emotions, can you speak to the power behind ministry in music?

Music is so… it’s so a part of us. Remember I said earlier that everything has a rhythm? It is in us. Our hearts beat at a rhythm, our blood flows in a rhythm. We can be walking down the street and then all of a sudden, we’re walking at a rhythmic pace. It’s just the way that we’re wired. So it is automatic that music has such a profound influence on the way we feel. When we’re in love, we can listen to Anita Baker. When we’re asking questions, we can listen to Donny Hathaway or Roberta Flack, or Donnie McClurkin or Fred Hammond. When we have a heartbreak, we can listen to Mary J. Blige. When we wanna be empowered, we can listen to Beyoncé. When we wanna cuss somebody out, we listen to Cardi B (laughs). I love Cardi!

But I’m just sayin’. There’s a rhythm to everything, so my thing is, it is automatic that we feel the power of someone’s interpretation when we’re listening to music. There is no way you can’t get the feeling that Jazmine really did knock the windows out of somebody’s car. It’s almost like you go back to that experience where somebody made you so mad you wanted to do that. And this is what I think music does as ministry. When we talk about ministry, the root is “minister,” which is also where we get “administer.” So music can administer healing, it can administer hope, it can administer empowerment, it can administer everything that you need it to. Power that changes people’s lives comes with the impact of music.

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The 2019 Black Music Honors, celebrating Yolanda Adams, Tamia, Xscape, Freddie Jackson and Arrested Development, is set to air in broadcast syndication Saturday, September 14, 2019. Visit BlackMusicHonors.com/airdates for more information.

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20 Minutes With Davido: The Afrobeats Giant Talks Confidence, Timing And Strong Foundations

Davido can’t sit still. Maybe it’s early afternoon energy or impatience or knowing that his press rounds for the day aren’t winding down for some hours. Or maybe it’s just the fact that he’s sitting on what he considers to be an audio goldmine. David Adeleke, the gifter of astronomical hits like “If” and “Fall”—two-year-old songs with gravity still strong enough to pull Snapchatting wallflowers and clumsy dancers to the center of the floor—knows there’s much more where that came from.

“It's an album for everybody, I'll say,” he says of his forthcoming album, A Good Time, with a smirk. “I feel like everybody will have at least three songs they love in different genres.”

Technically speaking, the Atlanta-born and Lagos, Nigeria-raised artist has made a moderate splash on the Billboard charts, the metrics most artists use to quantify their success and measure progression in the industry. (In 2019, “Fall” became the longest-charting Nigerian pop song in Billboard history thanks to admittedly delayed radio push.)

However, Davido’s worldwide footprint speaks louder than a few hard figures. This year alone, he’s sold out shows as intimate as nightclubs and massive as London’s O2 Arena, rocked sets at Essence Music Festival and Hot 97's Summer Jam, and was an international headliner abroad at Oh My! Fest in the Netherlands, Afro Nation Portugal, and eventually Afro Nation Ghana alongside afrobeats greats he can safely consider peers.

July summoned his album’s breezy lead single “Blow My Mind” featuring Chris Brown, and a burst of new guest spots this month are carrying that same fresh energy into October. Davido was featured alongside Jeremih in “Choosy,” a new release from Fabolous, as well as on Brown’s “Lower Body,” a newbie on the extended version of his Indigo album. To say he’s ready to fan the mainstream flame with fellow afrobeats and afro-fusion hitmakers is an understatement. “Let us in, open American doors,” he jokes, knowingly. “We will finish everybody.”

In between banter about the turnup we’re missing in West Africa—trust, December in Africa is a thing—Davido opens up about his A Good Time (a genre hodgepodge guaranteed to please), the source of his success (part luck, part work ethic), and afrobeats’ undeniable global appeal.

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VIBE: Tell me about how your 2019 has been so far? Davido: 2019 has been a journey. It’s been the longest time that I’ve spent away from Lagos probably since I came to school in America. Reason being, just wanted to focus and get new energy, new environment to record the album. There’s just so much going on back home, so we’ve been out here the whole year, basically. “Fall” blew up and then we just came out here and worked with it. That album is about to come out and it’s gonna be crazy.

Given the momentum and expectations that come with it, are you more excited or nervous about this next album? I’m not nervous because I’m confident about the music. I’m just anxious to see what the next stage is, the next step. I like to challenge myself. When you reach a stage, you want to challenge yourself to reach higher stages.

You said it’s been the longest time you’ve spent away from Lagos. Is that a good or bad thing? No, that’s good. To me, it's a new energy. The people miss me, of course, but sometimes it's good to be away. To just step back and see where you’re at in your surroundings and stuff like that. I think every artist needs that.

Sometimes when you're too present, people think they know what you're going to deliver. Exactly, and me being out here recording, all my producers I flew in from Nigeria. It's not like I left my team. The whole team is here, so people ain't really heard the music. Back home, in my studio, it's like everybody comes through, so I can imagine recording my album back home, four or five of the songs would have probably leaked already.

You had a great year and so has music from African artists. What has it been like to watch that happen, to see us latecomers catch on? I felt like it was always going to happen. Even when I was in school in Alabama, when I used to play Nigerian songs from artists that were the top artists then—they were the biggest artists, like D’banj, P-Square—when I used to play their music in my dorm room, my American friends would love it. I always knew it was a thing that once America heard it, they would love it. Afrobeats, you hear it once, twice, I promise you, it's going to ring. So I feel like it was just for the people to hear it. Give us a channel to be heard. Radio, now you have social media. Back then all those things weren't in place. Now you have things in place where even if it's not in your face, one way or the other, you can find it. I think if you had all those things back then, social media and the support, it would've been the same.

 

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Were you frustrated with how long it took? Not really, because we've got our stuff going back home, too. You know what I'm saying? Even me today, I make most of my money from back home. And even before afrobeats got mainstream in America, we’ve been coming to do shows. I did a show in New York in 2013 to 5,000 people, and this was when I didn't have most of my big records I have now. Sold it out. But now it's mainstream. You have Live Nation now partnering with us to do shows. Back then it was just like local promoters selling tickets at the clubs and we still had the numbers. Now, our fans can put on the radio and hear us.

It even gives them more confidence. Confidence to be like, you know what? Let's go out and support this culture. So that's why the Afro Nation festival in Portugal, it was bigger than Coachella to me. It just shows that you just needed that platform, and then the fans needed the confidence to come out and really support. The next step now is getting the fans to buy the music because we have the numbers, but you've got to come out and buy it. That's the only way we can really break. The music is spreading. It's on the radio. Everybody’s doing shows. Everybody's touring, but now the next step is getting these sales up.

In a way, that’s most artists’ problems now. Touring is the moneymaker. That and streaming. There's nothing really wrong with streaming. That is why they want us to appeal to the Western crowd because those people buy music. Those people buy merch, blah blah blah. But we have to do what we know how to do. So the Western [crowd], they're actually buying it, but we need our real fans to come and be like, yo, Davido album dropping. It's a campaign—80,000 copies the first week, let's go out and buy. Look at the Latin industry. They're doing numbers. So apart from the music getting big, I feel like, yes, the music is getting accepted, but where are the numbers? When you walk into a building, it's all about numbers. It's not about if your music is sweet or this, or that—it's all about the profit. That's what we'll be working on getting up.

What are your thoughts about seeing really large artists pay so much homage to the afrobeats sound? I mean some people find it offensive, but I actually don't. I mean, first of all, people in Africa do hip-hop, right? So you can't come and say these people are taking our sound when we have artists back home doing trap, doing all these things. I feel that everybody should feel free to do what they want to do, but maybe it won't hurt to evolve. Like, I feel like it was nice how Swae Lee had Tekno produce that record for him and Drake, stuff like that. And they have more of our producers more involved in the sound because those are the ones who really know how to get the sound. Yeah, I think the producer side needs more shine but apart from that, doing afrobeats is [for] everybody. Any artist is free to do any kind of music they want.

Who are some of the producers that we should know? Give us a starter list. I mean, first of all, Shizzi, that's my producer. He did most of my stuff. And we have Kiddominant, that's my other producer. And we have Speroach, this dude Rexxie, he's the one that's doing all the Zanku songs. So he's going crazy. But I feel like they should bring all these artists out here, get a camp, put 'em all in one room and trust me, they'll make magic.

Do you still consider yourself an afrobeats artist now? Some of your counterparts like Afro B and Burna Boy have classified themselves as afro-wave or afro-fusion. I'm just an artist, man. I'm just a musician. Every kind. Of course I do afrobeats, but I'm just a musician. Worldwide musician. World music.

You mentioned the Latinx music scene. Is there anyone you’re looking to collaborate with from that space? Bad Bunny, Maluma. I really want to work with them. I might get a studio session with them when I get back from Nigeria.

How would you say your sound has progressed over the years from your try at making music to now? Of course [when] you're growing, you learn. Sometimes I don't even listen to some of my earlier records, even though I always used to put a lot in my records so it's not like that shit was whack. It was cool but I can see the growth and the quality of the music. Back then we didn't really focus on our sound and mixing and mastering. We’d really just record, next day release. Right now, it's a whole package and music has to be perfect. Right now, they’re playing Nigerian music on the radio, African music, and after African music, they start playing American music. You don't want the level of the quality to drop. And planning. I'm at the label now. Before I could just wake up and just drop, but now they gotta submit the single two weeks before. You know how it is. So, of course, it's way different now from like four years ago.

What else have you learned about yourself personally and the way you work? I'm really, really, really free with my work. I don't really bother myself with strategic planning and stuff like that. What's most important to me is the music. Once the music is good, I feel that's really all you need. And, of course, a good team around you and they're doing what you want. Connect with your fans. Very important, connect with your fans. Don't lose touch of home because that's your foundation, really. Without that foundation, you can't really be big in America when you don't have that foundation in Nigeria. An example is, I've known a lot of American artists for a while who are bigger in America, but when they came to Nigeria they saw the love I get at home. Then coming back is like, the respect is different. They'd come and they were like, Yo, you're the president. You know what I'm saying?

When was the first moment that you realized where you stood with your hometown? That they would be such a solid support system? That was probably for my first song, really. From the first record, man, it's just been love. Davido this, Davido that, negative, positive, negative and whatever.

Negative? What's the biggest critique you've seen of yourself? I don't know. Probably my voice. That's the worst I can think of. I can't think of nothing else.

What's the most memorable place you've ever performed? I've got a couple places. O2 Arena [in London]. I just did [Madison Square Garden] with 50 Cent [for the Power premiere]. That was cool.

Walk me through that. He [50 Cent] brought me out. It was just crazy cause I ain't really met him before. I met him at the pool party or something like that, when I was performing at the pool party, and the reception when I performed was crazy so I think it got his attention. The next day he called me up to perform at MSG.

And then in July, you headlined your first international festival. Oh yeah, yeah. Amsterdam. Yeah. Oh My! Festival, and then Afro Nation, too. This summer was lit, but next summer is about to be dumb lit. This fall's about to be lit. Album's coming October.

One thing I notice about you and the progression of your career is that it’s fueled by a strong sense of faith and confidence. Where do you get that? It just depends, man. Honestly, it's not even confidence. I wouldn't say that Nigeria spoiled me, but like bruh, they just showed me so much love. Like, I didn't really go through like a lot of things. I just dropped and it just took me... I didn't really have to overkill myself. They just kept me there. I don't know why they liked me so much, (Laughs) but they just kept me there, kept me comfortable, kept me confident. Always came out to all the shows, supported all the music. It's just love, everywhere is love. Even the love for Davido spreads to everybody around me. My family members.

Have newer artists in Nigeria or on the continent asked you for advice? If so, what do you tell them? You have to be very hardworking and ready to play the part. That's what they're always asking. But everybody has their different ways of getting to where they need to get to. My way might be different from somebody else's way, but most importantly is just be ready to work hard and the music has to be good. Once the music is good, get your team right, and just work hard. I feel like the other steps, you kind of figure it out yourself.

Who do you think is next up in terms of afrobeats artists?  I mean, there's a lot of other artists. It's like 500 of us. Let us in, open American doors, we will finish everybody. There is a lot of us. I feel like before you stand up and leave Africa, like, yo, I'm going to chase the dream in America, I'm going to chase the dream in Europe, you have to make sure your foundation, your home is super strong.

Is it still a goal to capture or change up the American market? No, not [to] change it, we just want to join it. Add us. We should have our own chart, I think. You know what I'm saying? Like if reggae could have their own chart, I think we can have ours, too. Or let us in the main chart, something. But I feel like it's gonna happen, man. It's been happening, man. Most importantly, I'm happy that American artists themselves open their arms for us as well. I got a lot of records dropping that are not even myself, they're their songs featuring me. Stuff like that helps us as well.

What can we expect from the new album? Just a lot of good songs. It's an album for everybody, I'll say. I feel like everybody will have at least three songs they love in different genres. It’s going to be 13 songs. Well, I’ll probably have "Fall" and "If" on there, so it's really like 11 new songs. But yeah, it's going to be an album for everybody. Trust me. Every type of song is going to be on there. Predominantly afrobeats-infused, of course. Mainly my producers and a lot of your [American] producers, too. With features, me and Chris got a second record.

And lastly, since you speak highly of your foundation, what is the best thing about Nigeria? The people. The attitude, rich or poor. It's just a jolly place. You would laugh, comedians everywhere. There's some bad, bad spirits sometimes, (laughs) but for the most part, it's a very beautiful place.

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How 'My Brother And Me' Resonated With A Generation Of Young Black Men

In terms of cultural impact and influence, the '90s ranks as one of the defining decades for black entertainment of the past century. This proves particularly true in the realm of television, with a number of landmark programs debuting that reflected the life and times of blacks in the urban community and beyond. While the '80s produced groundbreaking sitcoms like The Cosby Show, A Different World, Family Matters, 227, Amen, and Frank's Place, all of which featured predominantly black casts, these shows were few and far in between.

However, the arrival of a new decade coincided with an influx of programs starring black leads, with shows like Martin, The Fresh Prince of Bel-Air, Living Single, Hangin with Mr. Cooper, Roc, Thea and South Central all making their debut. While these shows were hits across various age groups, they all starred and revolved around actors of age, in some form or fashion. One of the first programs to divert from this formula and place the focus squarely on adolescents was My Brother and Me, a sitcom that often gets overlooked when listing the pivotal shows of its era.

Making its debut on October 15, 1994, My Brother and Me was among the first live-action series to air on Nickelodeon and the first to feature a predominantly black cast. Created by Ilunga Adell and Calvin Brown Jr., and directed by Arlando Smith and Adam Weissman, the show centers around brothers Alfred "Alfie" Parker and Derek "Dee-Dee" Parker, the two youngest children of parents Jennifer (Karen E. Fraction) and Roger Parker (Jim R. Coleman) who experience the typical growing pains of pre-pubescent young men that are coming of age.

Additional core cast members include Alfie and Dee-Dee's older sister Melanie Parker (Aisling Sistrunk),, Alfie's best friend Milton "Goo" Berry (Jimmy Lee Newman, Jr.) who has an infatuation with Melanie, Melanie's best friend and Donnell's older sister Dionne Wilburn (Amanda Seales), Dee-Dee's best friend and Dionne’s younger brother Donnell Wilburn (Stefan J. Wernli),, Dee-Dee’s other best friend Harry White (Keith "Bubba" Naylor), and local comic book store owner Mrs. Pinckney (Kym Whitley).

Set in the suburbs of the west side of Charlotte, North Carolina, My Brother and Me was the Nickelodeon's answer to Sister, Sister, a sitcom on ABC starring identical twins Tia and Tamera Mowry that had debuted earlier that year. With a beat writer for the local newspaper for a father and a school teacher for a mother, Alfie and Dee-Dee enjoyed a stable living environment in which they could thrive academically and socially while simply being kids. A middle-class family with access to all of the basic amenities, the Parkers' economic situation was in stark contrast to the usual scratching-and-surviving, rags-to-riches themes often associated with sitcoms geared towards people of color.

While removed from the harsh realities that often accompany life in the inner-city, the Parker boys were drawn in by the allure of street culture, with Alfie and Dee-Dee both being avid fans of hip hop music, fashion, and style. This love affair would be the driving force behind various episodes, most notably "Dee-Dee's Haircut," during which Dee-Dee allows Goo to butcher his hair after marveling at fellow student Kenny's "Cool Dr. Money"-inspired haircut. Going as far as handpicking designs out of a rap magazine Donell borrows from his sister Dionne, Dee-Dee goes to the extreme in an attempt to mirror Kenny and Cool Dr. Money, a testament to the influence hip hop holds over him. His affinity for the culture is also reflected in the "Donnell's Birthday Party" episode, during which the impressionable youngster mimicking dance moves from a rap video in hopes of tightening up his dance skills.

Alfie and Dee-Dee may have been the intended stars of the show, but to many viewers, the most memorable character from My Brother and Me was Goo, who stole scenes with his humorous wisecracks and mischievous hijinks, often at the expense of Dee-Dee and his friends. From showering Mrs. Parker with disarming compliments to masterminding various plots and schemes in an attempt to get himself and Alfie out of trouble, Goo proved to be the most entertaining member of the show, exuding swagger and confidence that are palpable to the viewer and as hip hop as it gets. On the other hand, Alfie, who is not as overtly demonstrative in his rap fandom as his younger brother or Goo, reps his allegiance to the culture more subtly, with his haircut, backward caps and boisterous mannerisms.

While race was never a prevalent topic on the show, if one was to look closer between the lines, My Brother and Me was unapologetically black and pridefully so. Take, for instance, the various nods to HBCU culture throughout the show, including Roger Parker's various North Carolina Central University sweatshirts and hats, Alfie's Morehouse fit, and insignias from various black fraternities. One other common thread of the show was its incorporation of sports, starting with the Parker household's fandom of Charlotte's local professional franchises on full display, as Charlotte Hornets and Carolina Panthers memorabilia are all visible throughout the household. Cameos also included appearances from NBA stars Kendall Gill and Dennis Scott, the latter of whom teaches Alfie, the superior athlete of the Parker brothers, a lesson in selflessness and teamwork by cutting him from the school basketball team in "The Basketball Tryouts" episode.

Of all of the aspects of My Brother and Me that made the show a game-changer, the fact that it was one of the first times young black males saw themselves in characters on the TV is the most enduring. While plenty of shows and networks fixated on coming-of-age storylines centered around the privileged youth of white America, My Brother and Me provided the alternative, promoting the bond of brotherhood and family values with each episode aired. Preceding shows like Kenan & Kel and Cousin Skeeter, both of which implemented overt comedic or fictional elements, My Brother and Me was a realistic glimpse at the life of the average black boy in America without the overarching narratives of impoverishment, temptation, and despair. For many young black men born in the '80s, the show left an indelible impact on them and holds a place near to their heart a quarter-century later.

In spite of its critical acclaim and popularity, My Brother and Me only aired for one season, as it was canceled after airing its final episode on January 15, 1995. The network would air reruns into the early 2000s before returning briefly during The '90s Are All That block on TeenNick in December 2013, the last time the show would appear on television. In June 2014, Nickelodeon released My Brother & Me: The Complete Series as a two-disc DVD, giving a new generation of viewers and longtime fans of the show an opportunity to relive the magic that the show captured during its short, yet unforgettable run.

In the years following My Brother and Me's cancellation, many of the actors and actresses from the show would fail to find their footing in the entertainment industry, resulting in their acting careers fading into obscurity. Arthur Reggie III scored a few additional credits, appearing in the TV shows Sliders and C-Bear and Jamal, as well as the 1998 film Bulworth, but later transitioned into a rap career, performing under the name Show Bizness. My Brother and Me would mark Ralph Woolfolk's last appearance as an actor, as he decided to leave the industry behind and focus on his education, pursuing a degree in English at Morehouse College in Atlanta, while also attending law school. He is also a member of the Alpha Phi Alpha fraternity and currently serves as a police officer for the city of Atlanta. Jimmy Lee Newman, Jr. scored bit roles in the TV shows Sweet Justice and Sister, Sister in the subsequent years after the show, while Aisling Sistrunk, Stefan J. Wernli and Keith "Bubba" Naylor would never act professionally again.

However, a few members of the cast were able to sustain viable acting careers well beyond My Brother and Me's cancellation, most notably Amanda Seales, Karen E. Fraction and Jim Coleman. Seales would rebrand herself as Amanda Diva and become a successful media personality before transitioning back into acting, last appearing as Tiffany DuBois on HBO's "Insecure." In 2019, Seales debuted an HBO Comedy Special I Be Knowin', and was chosen as the emcee for NBC's comedy competition, Bring the Funny. Jim Coleman has kept himself busy with various roles over the past two decades, last appearing in "The Council," and continues to receive steady work. Karen Fraction would add a few additional credits to her resume after "My Brother and Me," but passed away on October 30, 2007, after a five year battle with breast cancer. She is survived by her two children, Lauren Elizabeth Jean and Lawrence Wm. Morris, and her husband Lawrence Hamilton. And last, but not least, Kym Whitley would enjoy a fruitful career on television and on the big screen, appearing in dozens of shows and films throughout her lengthy career, with her latest role being Mrs. Malinky in the Netflix animated comedy Pinky Malinky.

In the time since the debut of My Brother and Me, a lot has changed in terms of the presence and representation of black youth on television and beyond. A number of black actors and actresses have had the opportunity to shine in a big way, including Tyler James Williams (Everybody Hates Chris) Zendaya (Shake It Up), Kyle Massey (Corey in the House), Keke Palmer (True Jackson, VP), Miles Brown (Black-Ish) and Alex R. Hibbert (The Chi) all among the more prominent child stars making major waves on TV over the past two decades. That said, 25 years later, the fact remains that My Brother and Me was ahead of the curve as one of the first instances of seeing ourselves in a positive and uplifting light on the small screen.

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Darren Xu

Brent Faiyaz Channels International Life Into New Musical Gems

Finishing up his summer in Europe, Brent Faiyaz (born Christopher Brent Wood) indulges in spiked mimosas and enticing conversations with his team after handling business for the day. Jet-setting overseas to add more memories to his life’s reel, the singer-songwriter and producer just celebrated his 24th birthday days before. “I think anytime you go places internationally you get a different perspective," he says. "I felt like creatively, it would bring out some more shit.” Many doors have opened for the DMV crooner since he first appeared in front of the public’s eye with his single “Natural Release” in 2014. Pulling pages out what seems to be his journal entries, Faiyaz shares his autobiography through the dynamics of string ballads, haloed hymns, and tinder timbre.

The Columbia, Maryland R&B talent has shared his soothing vocals with fans ever since. Studiously making beats from the age of 12 or 13, it wasn’t until after graduating high school and moving to Charlotte with his parents that he began to invest in music full time. His rhythmic resonance and gut-punching lyrics turned into his first five-track EP speaking to women, relationships, and sex in A.M. Paradox in 2016 with his hit single “Poison.” He formed a group called Sonder with fellow musicians Dpat and Atu, and released a group EP with them called Into before dropping another solo project, Sonder Son. The 12-track project delved into his childhood: he brought his fans right into his living room in “Home,” gave them a seat at the table in his classrooms in “Gang Over Luv,” and walked his newfound Los Angeles streets with them in “L.A.” He then unleashed his tightly knit six-track EP Lost with standouts “Trust,” and “Around Me.”

“I come from a very real place. I think that I can give a lot of people around me a lot of real perspectives. I’ve been seeing a lot of people in certain avenues gravitate towards a nigga,” the LA-based artist said.

The indie artist truly received a standing ovation after organically co-creating the 2018 Grammy-nominated single “Crew” with GoldLink and Shy Glizzy. “I’m going to be real; I didn’t go into music with the intention of being an independent artist, especially not this long. But then [I] hopped onto “Crew” and we fucked around a got a hit record without even being signed to a label. After that I started getting paid so I was like ‘Fuck it, we really don’t need that,’” he said.

His first 2019 summer single “Fuck the World (Summer in London)” opened a perspective of contronyms that approached both the literal and lustful world. What he calls “the woes and the woes.” “Meaning the shit that I hate. [What] is terrible about life right now that’s fucked up, fuck the world on the negative end, middle finger fuck the world,” he says. “And then it’s ‘Fuck the World’ where it’s like the girls and the money and the clothes and the bullshit.”

He later dropped his latest track a month later. “Rehab (Winter In Paris)” mirrors a story when the singer was balancing his personal time while being addicted to a person who is addicted to a substance. With “Rehab” already penned, Faiyaz went to producing the track alongside No ID, known for his work with rap greats like Jay-Z, Common and Kanye West. “He’s an OG. I soaked up a lot of game from him. I locked in with him for a whole week and cut a bunch of ideas.” Observing the producer's process, Faiyaz implemented some of No ID’s ways into his own. “I would take certain shit he said and put that in my own shit. Real talk, he is one of those niggas that will put you on game.”

With a uniqueness to his voice that is charming yet elusive, the singer has raised eyebrows by not resembling the stereotypical genetic makeup of a rhythm and blues artist. “I don’t really know how a sound is supposed to look. If somebody tells me how a sound is supposed to look, I will understand,” Faiyaz chuckled. “I don’t really connect the two. I can’t change how I look; I can’t change how I sound. I’m going to keep doing me.”

During what one could consider a hiatus, the vocalist used that time to focus on his craft, give back to his mom, jump on A$AP Ferg’s album Floor Seats, and walk in Pyer Moss’s New York Fashion Week Show. As he has geared up for a musical return that will unveil a different side, Faiyaz is under renovation. “I [don’t] want to give people the same sh*t that I’ve been giving them this whole time. I’m not about to put out a new project and it sounds the exact same as the last project. I want to keep reinventing myself as this sh*t goes on.”

“Right now, I am probably the most creative that I’ve ever been.”

Brent has successfully left his fans longing for more all while remaining authentic, not purposefully trying to create any kind of enigma around himself. “It’s not a goal of mine to be on the tip of everybody’s tongue all the time.”

With the year wrapping up, the 24-year-old is “pushing boundaries” as he prepares to release more original melodies. While he experiments with the production elements of his music and strengthening his vocals, the artist is effortlessly surprising himself in the studio. “I’m kind of saying whatever the fuck I want to say on the track and somehow it’s coming out pretty good. I know how to put it in a way where it comes off ill.”

Plotting his next moves, the creative has become enthralled with art all across the board in his performances as it translates to visual art. “I’m really learning how a bunch of different avenues go aside from just music. I’m on my young renaissance man shit.”

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