Cam Newton said something stupid and other news of the week The Week That Was Oct. 2 – Oct. 6

Monday 10.02.17

A former South Florida plastic surgeon, who in 1998 was placed on probation by Florida’s health department for a botched penis enlargement procedure, didn’t let his reputation get in the way of being sentenced to 44 months in prison for a failed butt lift. Big Baller Brand owner LaVar Ball, an expert in basic economics as evidenced by offering a $495 basketball shoe, is pulling his 16-year-old son LaMelo Ball out of high school and will homeschool him. Former 10-day White House communications director Anthony Scaramucci launched a social media-only news company that “doesn’t have reporters or staff” and will “100% be getting things wrong” sometimes. The white New York police officer who mistakenly tackled black former tennis player James Blake but was not fired is suing Blake for defamation for being “cast as a racist and a goon.” The lawyer for O.J. Simpson called the Florida attorney general “a complete stupid b—-” and said “F— her” after the woman petitioned to deny Simpson a transfer to serve parole in Florida following his release from a Nevada prison. Rock musician Tom Petty died, then didn’t die, and then died again. One member of country act the Josh Abbott Band finally supports gun control legislation after being affected by a gunman killing 59 people and injuring another 500 at the Las Vegas music festival where he and his bandmates had performed. Hours after the Nevada shooting, former boxer George Foreman challenged actor Steven Seagal to “one on one, I use boxing you can use whatever. 10 rounds in Vegas.”

Tuesday 10.03.17

President Donald Trump threw paper towels at hurricane victims in Puerto Rico. The Tennessee Titans, in need of a mobile quarterback following the injury of starter Marcus Mariota, signed a quarterback not named Colin Kaepernick. Florida Sen. Marco Rubio, who has obviously never seen an episode of Game of Thrones, a show about terrible war strategies, said, “If I’d have watched [Game of Thrones] two years ago, I would’ve been president. … It’s got a lot of good strategies.” The NBA found a way for former teammates LeBron James and Kyrie Irving to not have to play together for the Eastern Conference during February’s All-Star game. Proving that the office of the president of the United States is now a joke, Dallas Mavericks owner Mark Cuban said he is “considering” running for president. The CEO of HBO, a network that will spend a reported $15 million per episode of the final season of Game of Thrones and greenlit Confederate without seeing a script, said “more is not better” in response to streaming competitor Netflix’s plan to spend $7 billion on content next year. Three billion Yahoo accounts were breached in 2013, exposing names, email addresses and passwords; roughly 100 people were actually affected. Rep. Tim Murphy (R-Penn.), who allegedly asked his mistress to abort their love child, voted for a ban on abortions after 20 weeks.

Wednesday 10.04.17

Murphy plans to retire at the end of his term. Based on, you guessed it, emails. Ivanka Trump and Donald Trump Jr. were almost criminally indicted in 2012 until Donald Trump’s lawyer donated $25,000 to the re-election campaign of the Manhattan district attorney. Secretary of State Rex Tillerson, according to NBC News, called Trump a “moron” during a meeting at the Pentagon in July; Trump denied the report and tweeted that NBC News “should issue an apology to AMERICA!”; an MSNBC reporter then clarified that Tillerson called Trump a “f—ing moron.” Hall of Fame receiver Jerry Rice crashes weddings in his free time, sometimes “cutting a rug,” including to rapper Too Short’s “Blow the Whistle.” Former Los Angeles Lakers forward Lamar Odom said he “woulda put my hands on” D’Angelo Russell after the former Lakers guard surreptitiously recorded teammate Nick Young admitting to cheating on his ex-fiancee Iggy Azalea. Former NHL forward Jiri Hudler, while on a flight to the Czech Republic, allegedly solicited cocaine from a flight attendant, threatened to kill her when she refused, eventually ingested cocaine in the plane’s bathroom, and then attempted to urinate on a food court; Hudler denies the allegations.

Thursday 10.05.17

Murphy resigned. NFL spokesman Joe Lockhart, responding to an incident involving the Washington Redskins and a racial slur, said “we have no tolerance for racial remarks directed at anyone in an NFL stadium.” Carolina Panthers quarterback Cam Newton lost a yogurt sponsorship because he just had to get some jokes off. Former Los Angeles Lakers guard Kobe Bryant, conveniently retired, said if he were playing today he would “kneel” for the national anthem. Following an “offensive” performance at a Roman Catholic college, comedian Nick Cannon said he “ain’t apologizing for s–t”; the university’s president, winning this war of words, said the school had hoped to get the “NBC or MTV version of Mr. Cannon.” Former New Jersey Nets forward Kenyon Martin said there would have been no way current Brooklyn Nets guard Jeremy Lin, who is Chinese, “would’ve made it on one of our teams with that bulls— on his head” in reference to Lin’s dreadlocks hairstyle; in unrelated news, Martin, who is black, has Chinese symbol tattoos. The St. Louis County Police Department, following a lab test, concluded that bottles labeled “apple cider” were in fact apple cider and not “unknown chemicals used against police.” A Baltimore high school was evacuated due to a possible “hazardous substance” found in the building; the substance was a pumpkin spice air freshener.

Friday 10.06.17

Not to be outdone by Yahoo, AOL announced that its 20-year-old instant messaging program, AIM, which was apparently still in operation, will be discontinued in December. Los Angeles Lakers center Andrew Bogut, who last year pushed the conspiracy theory that Hillary Clinton was running a child trafficking ring out of a Washington, D.C., pizza joint, said “there are bigger issues … rather than focus on this stupid political s—.” Tesla CEO Elon Musk, who has followed through on roughly zero of his big promises, says he can bring power to Puerto Rico in the aftermath of Hurricane Maria. In a development that surely has D.A.R.E. shook, marijuana sales led to $34 million in funds for Oregon public schools. Former White House press secretary Sean Spicer, who said last month that he doesn’t believe he ever lied to the public, accused The Washington Post of intentionally not publishing a story about famous Democratic donor Harvey Weinstein on its front page for a story The New York Times broke. Despite (alleged) white supremacists (allegedly) infiltrating the White House, white supremacists killing a woman in Charlottesville, Virginia, and a reported increase in hate groups since November 2016, the FBI says the group that poses the greatest threat to law enforcement are “black identity extremists,” who don’t actually exist.

Five new TV shows worth watching this fall Last year’s bonanza of blackness hasn’t repeated itself, but you should still plug these shows into your DVR

What’s new in TV this season? Worth checking out? Honestly, the pickings this fall are slimmer than last year’s bonanza of blackness. Both The Carmichael Show and Pitch have been canceled. Atlanta’s second season was delayed so creator and star Donald Glover could go be Lando Calrissian, and Insecure became the most celebrated and discussed show — of the summer.

Empire, black-ish and ABC’s Shondaland lineup have been around long enough that they’ve morphed into reliable fall standards: This Is Us, though still young in television years, has clearly captured the country’s imagination — along with its appetite for Kleenex. And the OWN juggernaut and prestige drama Queen Sugar returns this week for the second half of its second season. We’ll finally get to see those episodes directed by Julie Dash!

[‘Queen Sugar’s’ second season explores a fraught mix of family and historical legacy]

So what’s left? Allow me to walk you through the best of the rest.

Big Mouth (Netflix)

Netflix’s oddball animated show about puberty is currently streaming. It features Jordan Peele as the ghost of Duke Ellington (he lives in one of the character’s attics) and Maya Rudolph as a hormone monstress. Yes, she’s a hairy, horny, imaginary monstress who puts bad ideas in the head of a 12-year-old girl named Diane.

Big Mouth follows the lives of a group of 12-year-olds navigating the hellacious road map of wet dreams, peer pressure, unfortunately timed boners, first periods and, yes, hormone monsters. Big Mouth also contains its share of meta TV and Hollywood jokes — there’s a shocking stinger about director Bryan Singer that I didn’t see coming — but mainly it really gets just how awkward, fraught, miserable — and, in hindsight, quite funny — puberty can be. It is not a show for 12-year-olds, but it is fun for anyone who felt like a mess as their hormones went bonkers for several years.

The Good Place (NBC)

If it feels like all of your favorite smart internet people are talking about The Good Place on Twitter, it’s because they are.

The Good Place, which recently began its second season on NBC, is a sitcom about ethics and philosophy — yes, the stuff Immanuel Kant spent so much time noodling in his brain about. It’s smart, funny, fresh, inventive and quite good at anticipating the questions viewers will form in their own minds. It’s also like The Good Wife in that it excels at finding ways to circumvent and poke fun at profanity restrictions on prime-time network television (and The Undefeated). You can’t curse in The Good Place, and so “f—” has been replaced by “fork.”

The show stars Ted Danson as Michael, the architect of what he hopes will be The Worst Place in the Afterlife. His grand plans for reinventing hell — or The Bad Place, as it’s known — keep getting upended by his wards, Eleanor Shellstrop (Kristen Bell), Chidi Anagonye (William Jackson Harper), Tahani Al-Jamil (Jameela Jamil) and Jason Mendoza (Manny Jacinto). Eleanor, Chidi, Tahani and Jason are all dead and have been sentenced to spend eternity in The Bad Place, though they don’t know it. They think they’re in The Good Place, although they all (except for Tahani) have a sneaking suspicion that they’re not supposed to be there.

By the end of season one, Eleanor, Tahani, Chidi and Jason have figured out that they’re in The Bad Place and that Michael is using them to experiment with a new form of torture. Rather than subjecting folks to lakes of fire — you know, your run-of-the-mill hellish unpleasantries — he’s created an elaborate scheme of psychological torture and gaslighting, mostly by making an environment that’s supposedly perfect a bit of a drag. To Michael, hell is the suburbs.

Now that we’re at season two, there’s just one problem with Michael’s scheme: Eleanor, Chidi, Jason and Tahani keep figuring out what he’s doing and Michael constantly has to erase their memories so he can start over with his experiment. Being middle management in hell is tough, man. Michael’s problems just keep compounding: Even though Eleanor and Chidi are deliberately mismatched as soul mates, Eleanor’s begun to fall for him anyway. Even Jason, the dumbest of the bunch, has independently figured out what Michael’s up to. There’s also a very helpful android named Janet (D’Arcy Carden). Every time Michael has to wipe the memories of Eleanor, Chidi, Tahani and Jason, he has to reboot Janet too.

There’s a lot to like about The Good Place, from its critique of our conceptions of utopia to its interrogation of what it means to be truly “good” or “bad.” The show follows four characters who are kind of terrible, but not genocidal maniac terrible. They’re terrible in an everyday, narcissistic, common sort of way — and they’re capable of change.

The Good Place also works in diversity in a way that doesn’t feel forced or like an afterthought, or as though it came from a network on a cookie-seeking mission. It just feels natural. Anagonye is one of the few African characters on television. (While both Issa Rae and Yvonne Orji are kids of African immigrants in real life, their ethnicity hasn’t come up in Insecure.) There’s such a dearth of characters who are Africans living in America, which is why I was disappointed to hear that HBO would not be developing the K’naan Warsame pilot Mogadishu, Minnesota.

Loosely Exactly Nicole (Facebook)

After garnering less-than-impressive ratings in its first season as an MTV comedy, Loosely Exactly Nicole, starring Nicole Byer, has moved to Facebook for its second season.

Given the return of Curb Your Enthusiasm, there’s obviously still an audience for shows about people who are awful and also unaware of (or maybe simply don’t care about) their awfulness, and the comedy that ensues as a result.

[The temerity to be terrible]

Byer is quietly daring in that the Nicole of Loosely Exactly Nicole is sexual, nervy and self-obsessed in a way that’s generally reserved for Beckys. Like Gabourey Sidibe’s Empire character (actually named Becky), Nicole hooks up with cute guys (white guys, at that). She’s not consumed with hatred of her body or her hair or her blackness, and she’s not an irritated government employee in the way that fat, dark-skinned black women often show up on television.

I want to see success for Byer, for Yvette Nicole Brown, for Retta, for Amber Riley, for Leslie Jones and for all the funny black women who don’t necessarily look like Yara Shahidi or Tracee Ellis Ross but are still bawdy, dangerous and funny. What’s more, their youth and sexuality deserve acknowledgment, and I don’t just mean in the predatory, Leslie-Jones-is-obsessed-with-Colin-Jost sort of way either.

That’s part of the reason that the summer show Claws was such a hit. In many ways, Niecy Nash is a precursor for a lot of these younger women. It’s taken years for her talents to be acknowledged, although playing Nurse Didi in Getting On may have been what it took for her to be taken seriously — she was nominated for Emmys twice for the role. Octavia Spencer is a terrific comic actress (see: Spencer as Harriet Tubman in Drunk History). There’s no doubt her career has blossomed since The Help, but I hate seeing her typecast as dowdy, matronly figures, and the more women like Byer insist on playing otherwise, the more that will hopefully change.

The Mayor (ABC)

From creator Jeremy Bronson and executive producer Daveed Diggs, The Mayor (which debuts Tuesday on ABC) stars Brandon Micheal Hall as Courtney Rose, a rapper who just wants to get some shine — so he decides to run for mayor of his hometown of Fort Grey, California. And, as you might have guessed from the title, he wins. So now you’ve got a person with zero experience or qualifications, who really just wanted a bit more fame, in public service as the head of the executive branch of a city.

I know — impossible to imagine something like that happening, right?

The Mayor reminds me of the 2003 Chris Rock movie Head of State, in which Rock stars as alderman Mays Gilliam, who is engaged in a long-shot bid for president (mostly for the publicity) with Bernie Mac as his take-no-prisoners, blackity-black hype man and brother. Head of State found comedy in the process of running for office, and the movie ends just as the awesome, weighty reality of being president is falling on Gilliam’s shoulders.

The premise of The Mayor is certainly interesting, but what I’ve seen so far doesn’t necessarily make me excited about where the show will go once Courtney has to actually start governing. It’s hard to avoid cynicism there, but maybe as the mayor, Courtney will grow into something a little more like Leslie Knope. Otherwise, there’s a scenario that’s so serious, there’s little to laugh at. Yvette Nicole Brown, who was such a treasure in Community, stars as Dina Rose, Courtney’s mother. It’s a bit of a waste to see Brown, who in real life is young and vivacious in the role of churchy, kinda sexless (though quite funny) mom. Which again, says something about the type of woman Hollywood sees as plausibly forkable.

White Famous (Showtime)

White Famous, the new comedy from creator Tom Kapinos starring former Saturday Night Live actor Jay Pharoah, joins the ranks of shows that expose, comment on and make fun of the artifice of Hollywood, such as BoJack Horseman, Episodes and Entourage.

In terms of the callouts that raise eyebrows for torching real-life relationships, White Famous, which premieres Oct. 15 on Showtime, does not disappoint. Pharoah plays an up-and-coming comic named Floyd Mooney who’s a bona fide star with black people but still gets mistaken for a restaurant valet by white Hollywood producers. Within the first 15 minutes of the show, Pharaoh has already thrown two symbolic middle fingers at director, producer and vocal Bill Cosby critic Judd Apatow.

It’s a tricky jump. Mooney has a meeting with the thinly veiled Apatow character named Jason Gold (Steve Zissis), who is directing a movie about an imaginary attorney who was the first woman Cosby assaulted. Gold wants Mooney to play the woman, a la Eddie Murphy or Tyler Perry. Mooney tells Gold that focusing solely on Cosby’s lechery is racist, although he makes the unfortunate misstep of downplaying the accusations against Cosby of drugging and sexual assault from more than 50 women.

[Why the hot black bodies on ‘Insecure’ are more revolutionary than you think]

White Famous engages in a practice I find annoying about premium cable shows: It treats naked women as mostly silent pets that can be sent to another room when their nude bodies are no longer useful to a scene. Sometimes that works as a reflection of the actual sexism that pervades Hollywood and makes pretty women disposable. For example, there’s a scene in which Mooney and Gold walk in on Jamie Foxx going to town on some unnamed woman in his trailer, and he just keeps going while continuing to hold a conversation. But sometimes, like the moment we’re introduced to a clothed Gold sleeping next to a naked woman, it’s not saying much of anything except, “Hey, I too have the power to put naked women on TV for no reason except to show boobs and butt.”

How novel.

Despite its sexist deficiencies, White Famous is still engaging. It confronts race and success in Hollywood head-on, raising questions about when and why artists end up compromising their own principles.

Growing up Gucci Mane With a new book, new album and new reality show, the Atlanta star is ready for prime time

Radric Delantic Davis wanted the Christmas his mother couldn’t afford to give him — and the eighth-grader was willing to sell slabs of dope to make it happen. Toward the end of 1993, Davis, then 13, had his eyes on a pair of jeans, some new Air Jordans and a Starter jacket. Going back to school, postholiday break meant his classmates would show off their gifts from Santa.

But when his mom told him that bills were really tight and that she could only give him $50, Davis, today known as hip-hop star Gucci Mane, left the apartment with the money and walked to the other side of Mountain Park in East Atlanta’s Zone 6. Davis, who was already selling marijuana for his older brother, Duke, handed a dope man his mother’s $50 in exchange for two tightly wrapped slabs of crack cocaine, roughly 1.5 grams each.

“Now you owe me $50,” Gucci recalls the drug dealer telling him. “Get it?”

It was the moment Gucci realized he was officially waist-deep in Zone 6’s drug game — even if he didn’t have a clue of what he was getting himself into. “I remember … trying to carve out my own individuality,” he said. “I felt like fashion [was] a way to express myself, and I knew the only way I could get it at the time was that route: selling crack. I felt like dope would be the best route … at that time. That wasn’t one of the best decisions I ever made, but I was young.”

“There’s a lot of pain and heartache associated with the drug game that kids need to know about.”

Gucci’s family life, drug dealing and arrests — as well as the perfection of a musical style that would help elevate the careers of a slew of young Southern artists such as Migos, Young Thug and Zaytoven — are on full display in the new The Autobiography of Gucci Mane. In the book, co-authored by Neil Martinez-Belkin, Gucci, who has four top-10 rap singles — including this year’s hit with Migos, “I Get the Bag” — digs deeper into his upbringing than ever before, offering insight into how a kid caught up in Atlanta’s drug game made it through violence, rap beefs, a crippling addiction to the drug lean and run-ins with the law, including a 2005 murder charge (which was eventually dropped), to become the undisputed king of trap music.

“I finally know what it’s like to be a professional, to feel what’s going on,” Gucci said just ahead of the release of the book and his 11th studio album, Mr. Davis (due Oct. 13). The BET reality show Gucci Mane & Keyshia Ka’Oir: The Mane Event, featuring his fiancée, is set to debut Oct. 17. “I now appreciate that, and I’m not trying to take my talent or those opportunities for granted.”


By the time Gucci moved to Atlanta with Duke and his mother, Vicky, in August 1989, he had already experienced the highs and lows of family life.

Growing up in his grandfather’s house at 1017 First Ave., an olive-green two-bedroom near the train tracks in Bessemer, Alabama, young Radric took to his grandfather, the closest thing he had to a father. Gucci remembers Walter Davis Sr. as someone he’d run to and help walk with the rest of the way. He’d dive under his bed in laughter when his granddaddy chased him. But his granddaddy was a drinker, with bourbon often fueling those drunken stumbles home.

Amanda Dudley

When Radric was 7, his grandfather suffered a fatal heart attack. Losing the patriarch of the family triggered infighting that went on for years — his mother and aunts spilled blood on multiple occasions. “My granddaddy’s death divided the family,” Gucci said somberly. “Eventually, we figured it out, to be a tight-knit family again. But I learned a lot in that house.”

“I didn’t want to get caught up in that corner again, so I had to get creative.”

His brother Duke would head down to the Bessemer Flea Market and come home with whatever hip-hop cassettes he could find. The brothers would listen to the albums they could get their hands on, from Run-D.M.C. to N.W.A., committing lyrics to memory, rhyming back and forth. Soon, the bedroom they shared was covered in posters ripped from Word Up! magazine. “He definitely helped shape my taste in music,” he told me. “It kind of formed my love for hip-hop.”


This was long before Gucci’s idea of reaching out to local bootleggers (as a way to get his music out to the locals) came to fruition. With Bessemer in the rearview mirror, Gucci was living in deep financial fear in East Atlanta, worried about how his mother was seemingly always behind on rent and why they couldn’t pay the light bill. “I learned young that if I ain’t got s—, then I just ain’t got s—,” Gucci writes in the book. “If I wanted something in life, I would have to find a way to get it myself.”

Gucci said that while he’s glad he experienced what it was like to sell drugs, it’s a part of his life he never wants to return to — a point he’s trying to make clear to young people tempted by the hustle and the money. “Everything isn’t as glamorous as it seems,” he said. “It ain’t all glitz. … There’s a lot of pain and heartache associated with the drug game that kids need to know about in order to deter them from taking that route.”

Brandon Putmon

By the time he was 21, Gucci was hustling every day on the corner of a Texaco gas station, which had become a place of trade. He was in college at Georgia State University’s Perimeter College when his formal education came to an end. In April 2001, he was arrested for criminal possession of a controlled substance and sentenced to 90 days in jail. It was the first time Gucci had been charged with a crime — and the experience made him think about pursuing music.

“It forced me to make a choice,” he said. “I didn’t want to get caught up in that corner again, so I had to get creative. It made me go, What else can you do? I wanted to challenge myself to try to make a career of being a rapper.”

More than a year removed from a stint in a federal prison in Terre Haute, Indiana, for possession of a firearm by a convicted felon, Gucci, who started writing the memoir while incarcerated, knows his comeback was never a sure thing. If he could do some things over again, he would. But the trap king’s roots, and his past, remain close to his head and his heart.

Cam Kirk

“I would tell my young self, ‘Hey, Gucci, you got an amazing future ahead of you. You’re a fascinating person. You’re going to be one of the most remarkable people to ever walk the face of the earth,’ ” he said. “So with that being said, you gotta conduct yourself with class, you gotta conduct yourself professionally, because the world is going to watch you and the world is going to imitate you.”

Jay Z — an artist truly made in America — makes his case for an authentic rest of his life From Bun B to Styles P to T.I. — the grown men of rap are having a moment

In May, Jay-Z inked a new $200 million deal with Live Nation. Before this weekend, his last major tour was in 2014 with his wife Beyoncé for their ($100 million-grossing) On The Run excursion. Jay-Z’s return to Made In America, a music festival he founded with Budweiser in 2012, was to be the culmination of a chain of events that started with speculation, leading up to June 30 release of 4:44, about just how much Jay-Z did or didn’t have left in the creative tank.

Rap, historically, has been a young man’s game. Could Jay-Z, at 47, still shift the culture as he’s done countless times before? Could he successfully coexist in a world of Futures and Cardi Bs and Lil Yatchys and Migos — all of whom were either gracing the Made In America stage this year or in years past? Would Jay’s first major solo performance in three years be his next Michael Jordan moment?


Music fans in ponchos attend the 2017 Budweiser Made in America festival, day one on Benjamin Franklin Parkway on Sept. 2 in Philadelphia.

Lisa Lake/Getty Images for Anheuser-Busch

Sunday morning. On Philadelphia’s Chestnut Street. Jay Z’s new “Meet The Parents” blasts from a black Toyota Avalon. People on the sidewalk rap along — the car’s speakers are an impromptu appetizer for what’s to come later. He can’t explain what he saw / Before his picture went blank / The old man didn’t think / He just followed his instincts,” Jay-Z rhymes at the stoplight. Six shots into his kin / Out of the gun / N—a be a father / You’re killing your sons.”

On that day — before the Labor Day holiday and Night 2 of the sixth annual Budweiser Made In America Festival — a group of friends walking down 20th Street playing cuts from 2009’s Blueprint 3 on their mobile phones. Thousands of iterations of Shawn Corey Carter stared back from T-shirts worn by the crowd that swarmed Ben Franklin Parkway.

Then, it happened. An explosion lit up an adjacent stage. Just Blaze on the turntables.

And then there was the young man working at UBIQ, a chic sneakers store on chic Walnut Street. Looking like a student from Penn, he said he planned on taking in Jay-Z’s headlining Sunday set. At least for one day at the end of summer, the City of Brotherly Love bled blue, Jigga’s favorite hue. “It’s a skate park like right across the street,” Penn Guy said as cuts from Jay-Z’s lauded 4:44 play from the store’s speakers. “I’ve never seen him live. I’m excited.”

Jay-Z’s return to rap — there’s been no new solo album since 2013’s middle of the pack Magna Carta Holy Grail — has been a summer-long process. First came the rumors of a new album watermarked by mysterious “4:44” signage that covered everything from city buses to websites all across the country. Then, at the last of June came the album itself, which was met with immediate and widespread love. A slew of “footnotes” — videos, conversations between people such as Chris Rock, Tiffany Haddish, Will Smith, Jerrod Carmichael, Chris Paul and more — followed, which detailed the album’s creation and inspirations.

From there, in mid-August, the most-talked-about music interview of the year showcased Jay-Z alongside Tidal and Rap Radar’s Elliott Wilson and Epic Records and Rap Radar’s Brian “B.Dot” Miller. The podcast left no stone unturned. In a two-part, 120-minute conversation, they peeled back layers of Jay-Z’s thought processes about music, life, love, motivation, depression and, even LaVar Ball.

On the heels of that talk, and through a Saturday of unseasonal chilly downpours, Jay-Z and Beyoncé watched a new generation of stars command muddy crowds. Family from both sides of the Carter-Knowles union cheered Solange on through her Saturday set. Was may well have been a kind of moment Jay-Z envisioned throughout the recording of 4:44. At 47, he had to wonder about his creative mortality, and if he could shift the culture as he’d done so many times before.


Bun B performs onstage at The Fader Fort presented by Converse during SXSW on March 16, 2013, in Austin, Texas.

Roger Kisby/Getty Images

The Los Angeles Lakers’ rookie point guard Lonzo Ball said it: “Y’all outdated, man. Don’t nobody listen to Nas anymore […] Real hip-hop is Migos, Future.”

On one hand, it’s difficult to fault a 19-year-old for backing the music of his youth. Younger generations of artists and fans alike have always bucked back at generations who view their contributions as destructive. Tupac Shakur openly dissed De La Soul on 1996’s seething battle record “Against All Odds:” All you old n– tryna advance/ It’s all over now take it like a man/ N– lookin’ like Larry Holmes, flabby and sick/ Tryna playa hate on my s–, eat a fat d–. And only weeks before he was murdered, The Notorious B.I.G. vowed to never rap past 30. On the other hand though? Right now is a particularly good time for a handful of statesmen who dominated hip-hop before Big Baller Brand was just a twinkle in Lavar Ball’s eye.

How generations before talked about Marvin Gaye, Prince, Whitney Houston and Michael Jackson, he’s hip-hop’s them.

Run The Jewels’ Killer Mike and El-P (and their soundman, Trackstar the DJ) have consistently been one of the decade’s most impactful groups. They tour the world — and, in particular, amassed a melting pot crowd of various races and ages moshing at the Sunday Made In America set. Nas’ 2012 Life Is Good is, in many ways, rap’s interpretation of Marvin Gaye’s Here, My Dear, and one of the great late-career albums from any MC. OutKast’s 2014 tour was weird, but Big Boi of OutKast has quietly been responsible for several stellar albums — 2010’s Sir Lucious Left Foot: The Son of Chico Dusty, 2012’s Vicious Lies and Dangerous Rumors and 2017’s Boomiverse — in this decade alone.

Jay-Z wasn’t the only artist in the pre-Lonzo Ball era displaying moments of clarity over the last few years either. A handful of hip-hop’s mature and notable names have been creating art and expressing — via conversation and on social media — everything from encounters with their own mortality to the pain and occasional beauty of survivor’s remorse.

Rice University instructor Bernard “Bun B” Freeman (currently working with Beyoncé and Scooter Braun on a telethon to benefit the victims of Hurricane Harvey), one half of the legendary Port Arthur, Texas, rap group UGK, sat down with Queens, New York’s own N.O.R.E. for an installment of the MC’s popular Drink Champs podcast. Per tradition, both parties swap hip-hop war stories and imbibe for the better part of two hours. The most emotional segment centered around memories of Freeman’s partner in rhyme, Pimp C, who died in 2007.

“The illest s— Pimp [C] ever said was ‘I don’t need bodyguards. I just need mighty God.’ Ever since he said that, and I never told him, I move like that,” Freeman said. A single tear streamed down the right side of his face. “If you wasn’t moving with me within God, I’ll just move by myself. That’s the way life should be.” He continued, “If you are who you say you are, and you’re honoring that in a real way, you can move anywhere in this world. Pimp and I are proof of that.”

When it comes to honoring a fallen comrade, T.I. (who was not feeling Lonzo’s comments) understands all too well. In May 2006, T.I’s best friend Philant Johnson was murdered in Cincinnati following a drive-by shooting. Phil, is inspiration behind T.I.’s massive Justin Timberlake-assisted single “Dead & Gone.” Phil had been by T.I.’s side that same evening — holding his mobile while the rapper performed. Hours later, his lifelong friend lay bleeding to death in his arms. “I told him I had him, and it was going to be all right,” T.I. told MTV in 2006. “That was what I said. And he said, ‘All right.’”

The death could be viewed as the trigger that disrupted T.I.’s massive mid-2000s success. His 2007 weapons arrest and subsequent incarceration was seen by many as a response to Johnson’s murder. T.I. contemplated quitting rap. But T.I.’s moved forward. While not at just this minute the Billboard and box office star he split time as a decade ago, the film producer, actor, and two-time Grammy winner born Clifford Harris is still a recognizable figure in rap. Particularly on his very active Instagram account.

Instagram Photo

Last month, Tip (a father to six who is who has experienced his own share of public marital ups and downs with singer-songwriter Tameka “Tiny” Harris) posted the video of him presenting Phil’s daughter with a new car. She’s now a high school senior. In a heartfelt caption, Tip used the moment as a social media therapy session. “Making straight A’s and maintaining a 3.8 GPA, all the way through school, staying away from all the things we were eyeball deep in when we was her age, & doing any & everything that’s EVER been asked since you left,” he wrote. “How can we not make sure she rides cool & in comfort her senior year? We miss you more than we can express…but we fill in for you everyday until it’s all said and done.”

He promised to send her to college. And that she’d never suffer for anything. It was more than an Instagram caption. It was remaining true to a promise to a man who died in his arms 11 years ago. “Our loyalty lives forever!”

Lastly, it’s Styles P — one-third of ’90s Bad Boy trailblazers The LOX. He and his wife, Adjua Styles, visited Power 105’s The Breakfast Club in August. Among other things, the couple discussed the benefits of healthy eating, and Charlottesville, Virginia. They also talked about their daughter’s suicide.

It’s what performances like these are masked for—regular season games for a championship run.

In June 2015, Styles P’s stepdaughter, Tai Hing, took her own life. She was 20. Styles P addressed the tragedy a month later via Instagram, detailing the difficulty he and his family faced, and would face. Hing’s death, her mother believes, could have been the boiling point of depression, issues with her biological father, and perhaps her sexuality.

Fighting back tears, Styles P was emotional about never having been able to take the place of Hing’s biological father. The dynamic bothered him deeply, but was beginning to understand as he, himself, was a product of a similar situation. “If we knew she was depressed she would’ve been home with us,” he said. “ We all deal with depression on some sort of level … You expect your child to bury you, not to bury your child.”

Honesty has always been a prerequisite for hip-hop in its most soul-piercing form. Beyond the flash, the lights and the flossing, at its core, rap was necessary to explain the fears, dreams, joys and pains of a people so often still struggling. And dealing with police brutality, poverty, misogyny, and more. So Styles P’s pain, T.I.’s memories, Bun B’s instructions from Pimp C, and Jay-Z’s vulnerability aren’t new grounds for rap. But their grief, and willingness to shred the cloak of invincibility rap often mirages is living proof of the power behind the quote a wise man said nearly a decade ago. Ain’t no shame in holding onto grief. As long as you make room for other things, too.


Music fans attend the 2017 Budweiser Made in America festival – Day 2 at Benjamin Franklin Parkway on September 3, 2017 in Philadelphia, Pennsylvania.

Lisa Lake/Getty Images for Anheuser-Busch

The weather Sunday proved to be Mr. Hyde to the Saturday’s Dr. Jekyll. The only visible fingerprint from Saturday was the mud that essentially became a graveyard for shoes. Jerseys were popular with the crowd. UNC Michael Jordan and Vince Carter. Cavaliers, Heat and St. Vincent-St. Mary LeBron. Sonics and Warriors Durant. Nuggets Jalen Rose, Sixers Ben Simmons. Lakers Kobe, and Hornets Glen Rice. UCLA Russell Westbrook, and Lonzo Ball. Arizona State James Harden, University of California Marshawn Lynch, Niners Colin Kaepernick, LSU Odell Beckham and Georgetown Allen Iverson. Obscure jerseys such as Aaliyah’s MTV Rock n’ Jock and Ray Finkle’s Dolphins jersey (from the 1994 Jim Carrey-led comedy classic Ace Ventura: Pet Detective) were sprinkled among the sea of thousands.

Afternoon sluggishly careened into evening. 21 Savage, Run The Jewels and The Chainsmokers all commanded large crowds. Felicia “Snoop” Pearson from The Wire dapped up fans. Hometown young guns Markelle Fultz and Joel Embiid of the Philadelphia 76ers walked through the crowd. Festivalgoers camped near the main stage for hours in hopes of landing an ideal viewing spot for Jay-Z’s performance. To pass time, cyphers were had. Weed smoke reclined in the air. Guts from dutches and cigarillos were dumped. All to pass the time.

Months ago, many, especially on Twitter, wanted to act like Jay-Z wasn’t a headliner. No one even saw an album coming. Now here they were minutes from history. That’s what Jay-Z is in 2017. How generations before talked about Marvin Gaye, Prince, Whitney Houston and Michael Jackson — Jay-Z is hip-hop’s them. He’s a throwback to the genre’s yesterday lyricism while embracing the newer generation he still attempts to impart game on and learn from.

The oversized Balloon Dog by famed sculptor Jeff Koons took the stage: It was time. “I’ve been waiting for this all summer,” one concertgoer said as he wrapped his arms around his girlfriend. “I know one thing, Jay better do the songs I wanna hear!” demanded another young woman.

So he did. Jay-Z’s set lasted nearly an hour and a half. He blended 4:44 cuts with classics from his catalog — the radio-friendly and the graphic street narratives. Jay-Z commanded of the crowd, but critiques did exist.

In his Rap Radar interview, Jay-Z mentioned that he was still toying around with the set list for his upcoming tour (slated to start in October). While it’s not a question to 4:44’s quality, Jay-Z weaving in old classics such as “Where I’m From,” “H to the Izzo,” “N—as In Paris,” “Big Pimpin’,” “Hard Knock Life,” “Run This Town,” “Empire State of Mind” and “Heart of City” captivated the crowd, cuts from his most recent album seemed to dissipate from the energy those helped muster. 4:44, after all, does not have a big radio single.

4:44 is Jay-Z’s most personal album to date. His thirteenth solo effort revolves around the complexities of his marriage, his mother’s sexuality and societal issues that continue to create systematic disadvantages for people of color. Its intimacy can get lost in an outdoor crowd of tens of thousands. For an album of that nature, it’s tough to ask even Jay-Z to plan for such.

Breath control was expected to be off-center in his first major performance in three years — though coaxing the crowd to sing Beyoncé happy birthday was a great diversion. Are these flaws that will doom his upcoming tour? No. He still has three more festivals on deck before setting sail on his own on Oct. 27. It’s what performances like these are made for — regular-season games for a championship run.

“It’s Jay, so he did all the songs I wanted,” a concertgoer told me. “But I’m greedy. I wanted more.”

Jay-Z performs at Budweiser Made in America festival on Sept. 3 in Philadelphia.

Arik McArthur/FilmMagic

Jay-Z’s catalog: a litany of hits he can employ at any time to wrap a crowd around his fingers. People filmed Instagram and Snapchat videos of themselves rapping along. People yelled to him from the back of crowd as if it were a Sunday service. And cyphers between friends sprouted everywhere. Another element Jay-Z kills with is the element of surprise. He concluded the show with a tribute to Coldplay’s Chester Bennington, who committed suicide in July: an inspired performance of his Black Album single “Encore.”

As he left the stage, crowds swarmed to the exit. Some concertgoers voiced their displeasure. Jay-Z did his thing in the 90 minutes he gave Philly. But there was still something missing. “That’s it? He didn’t even do half of the songs I wanted,” said a girl as she walked toward the exit. “It was aight, I guess. It’s Jay, so he did all the songs I wanted,” another concertgoer told me. “But I’m greedy. I wanted more.” Made In America was over.

Then, it happened. An explosion lit up an adjacent stage. Just Blaze on the turntables. Some slipped in the mud trying to get there, ruining their clothes, but those concerns were faint. Hundreds were already on the street heading back to their apartments, AirBnB’s or Ubers when Jay-Z informed Philly that the party wasn’t over yet. This set was only for his “Day Ones.”

Jay pulled his “Pump It Up Freestyle” out his back pocket. This bled into “Best of Me,” “I Know,” “Hola Hovito,” “Money Ain’t A Thing” and more. Hometown kid Meek Mill’s guest appearance gave an already frenetic crowd an HGH-sized boost of adrenaline as the rapper ran through his catalog’s zenith and most intense track, 2012’s “Dreams & Nightmares (Intro).”

As Jay-Z closed the second set with [his favorite track], “Allure,” the mood was ceremoniously serene. Michael Jordan finished with 19 points on 7-of-28 shooting in his first game back in versus Reggie Miller and the Indiana Pacers in 1995. The 21 misses are footnotes in history. It’s a moment everyone remembers for two simple words: “I’m back.” Grown as hell, Jay-Z is too.

2017 VMAs style was all about getting graphic and going bold Red carpet looks took a modern turn at MTV’s fiery music award show

The 2017 MTV Video Music Awards were held in Los Angeles on Sunday, and the most fashionable stars wore bold colors, graphic prints and sheer (very sheer) metallic pieces on the red carpet. Because it’s better to show off incredible physiques, designer underwear and oodles of sparkling jewelry, of course.

Nicki Minaj attends the 2017 MTV Video Music Awards at The Forum on Aug. 27 in Inglewood, California.

Jeff Kravitz/FilmMagic

Nicki Minaj, black America’s very own Recording Star Barbie, wore a bubblegum pink bodysuit by Lusciously Luxe Latex and Djula and Harry Kotlar jewelry. Minaj and this year’s awards show host, Katy Perry, performed “Swish Swish.”

Kendrick Lamar (left) and DJ Khaled with his son, Asahd, attend the 2017 MTV Video Music Awards on Aug. 27 at The Forum in Inglewood, California.

Kevin Mazur/WireImage

Kendrick Lamar, who was up for eight awards, including video and artist of the year, wore a black coat and trousers by Prada, and bright white Nike Cortez sneakers. The DNA and Humble rapper shared a turn on the red carpet with DJ Khaled and his mini-me son, Asahd, whose baby dragon suit won the night.

Tiffany Haddish attends the 2017 MTV Video Music Awards at The Forum on Aug. 27 in Inglewood, California.

John Shearer/Getty Images for MTV

Tiffany Haddish, the breakout star of the summer’s biggest movie, Girls Trip, rocked a sheer silver minidress and sandals.

Young M.A attends the 2017 MTV Video Music Awards at The Forum on Aug. 27 in Inglewood, California.

Steve Granitz/WireImage

Brooklyn, New York, rapper Young M.A kept things extra clean and simple with a white-over-white shirt and jacket.

Jay Versace attends the 2017 MTV Video Music Awards at The Forum on Aug. 27 in Inglewood, California.

Frazer Harrison/Getty Images

Jay Versace, the hilarious social media star (his Instagram page has 2.3 million followers), brought his best prep nerd to the MTV party.

21 Savage (left) and Amber Rose attend the 2017 MTV Video Music Awards at The Forum on Aug. 27 in Inglewood, California.

Frazer Harrison/Getty Images

Glamour puss Amber Rose was nearly unrecognizable in a long brown-and-red wig and sheer Yousef Aljasmi gown. Her latest beau, Atlanta rapper 21 Savage, wore a skinny white suit (sans shirt) and lace-up oxfords.

Lil Uzi Vert attends the 2017 MTV Video Music Awards at The Forum on Aug. 27 in Inglewood, California.

Steve Granitz/WireImage

Love the Vans, Uzi man. Philly-born rapper Lil Uzi Vert won the Song of the Summer award, joined Ed Sheeran onstage to sing his hit, “XO Tour Llif3.”

Katy Perry attends the 2017 MTV Video Music Awards at The Forum on Aug. 27 in Inglewood, California.

Frazer Harrison/Getty Images

Katy Perry wore a fitted Stephane Rolland gown and spherical gold earrings before opening the show wearing a space suit.

Yara Shahidi attends the 2017 MTV Video Music Awards at The Forum on Aug. 27 in Inglewood, California.

Alberto E. Rodriguez/Getty Images

black-ish star Yara Shahidi wore a bronze one-shoulder gown by Zimmerman, Giuseppe Zanotti shoes and earrings by Porcelain Chyna.

Khalid attends the 2017 MTV Video Music Awards at The Forum on Aug. 27 in Inglewood, California.

Jon Kopaloff/FilmMagic

A high-fashion enthusiast and best new artist nominee (for his album American Teen), rapper Khalid kept it casual in an orange sweater and black pants.

Kyle attends the 2017 MTV Video Music Awards at The Forum on Aug. 27 in Inglewood, California.

Steve Granitz/WireImage

Twenty four-year-old Ventura, California, rapper Kyle brought out a slick gold suit for his first turn at the VMAs.

Cardi B attends the 2017 MTV Video Music Awards at The Forum on Aug. 27 in Inglewood, California.

Rich Fury/Getty Images

The Bronx, New York-born Love & Hip Hop star-turned-pop star Cardi B wore a white silk pantsuit with a train — and a bodice reminiscent of Madonna’s iconic Blonde Ambition pink cone bra — for the red carpet after performing her hit song, “Bodak Yellow,” during the pre-show. Cardi B, whose bold song has stolen the summer, voiced support for former San Francisco 49ers quarterback Colin Kaepernick, who is currently unemployed after protesting the national anthem during the 2016-17 season.

Daily Dose: 7/26/17 Kendrick Lamar leads MTV VMA nominations

In the past year or so, I’ve met two genuinely supertalented young men who took my advice and started a podcast in their living room. They’re headed to the National Association of Black Journalists convention soon and their latest episode is about the do’s and don’ts at the event.

The end of summer can be sad. But, there’s also something refreshing about looking back on all the things that you had fun with and having something to mark that moment. It’s why Labor Day weekend is tremendous. But, before that, there’s the unofficial end of summer: the MTV Video Music Awards. This year, they’re in Inglewood, California, on Aug. 27, which means that you know Kendrick Lamar is going to absolutely set the place on fire. Here’s a full list of the nominees for the event.

Donald Trump is going to ban transgender people from serving in the military. How he plans to make this work, I have no idea, considering there are thousands already there. But after his stunt at the Boy Scouts of America Jamboree and his latest string of rather inexplicably cruel maneuvers, this might be out of left field, but is hardly a surprise. Who knows what’s fueled this, but when you throw in the words “in any capacity,” you put yourself at a real disadvantage from a rhetorical standpoint.

Look, I’m not some massive numerology guy. But, let’s take a look at the timeline of Jay-Z’s latest album, 4:44. Remember when Solange attacked him in an elevator a couple of years back? It was deduced that this was all over an affair Jay had, that eventually fueled Lemonade and had the world in suspense about what was really going on in their lives. Then, Jay dropped his latest from a more mature standpoint of life. Come to find out the address of the space where that incident went down is 444 W. 13th St. BRRUUUUUUHHHHHHH.

They say that every time you watch a baseball game, you’ll see something new. As someone who watches a ton of hardball, this is partly true, but sometimes, it’s uncanny how absolutely correct it can be. Such was the case last night, when Todd Frazier took to the plate for the Yankees in his first appearance at home, and managed to ground into a triple play, while also sort of knocking in a run. Seriously, watch this play. It’s one of the craziest things I’ve ever seen on the diamond.

Free Food

Coffee Break: It’s been a busy couple of weeks for Tyler, the Creator. First, he found himself explaining lyrics that many thought meant he was coming out of the closet. Then, he delivered an incredible interview and performance of “911” on The Late Show with Stephen Colbert. Then, he decided to start selling cassettes and they look really fun.

Snack Time: You probably don’t watch a whole lot of MasterChef Junior, but you might want to know that Georgia’s Jasmine Stewart won that bad boy last week. She’s in the sixth grade. Can’t wait to see what she does next.

Dessert: I can’t stop staring at these new Cookies & Cream flyknits.

Timbaland on Missy Elliott’s ‘Supa Dupa Fly’ and how hip-hop got its groove back The Grammy-winning producer reflects on the songs that made Missy’s debut a classic

“I made hits with Total, Madonna and so many more,” says Tim “Timbaland” Mosley. “But far as chemistry? That just don’t come. Me and Jay[-Z] got it. Justin [Timberlake] too. Of course, Missy. When you think about it, it’s not a lot of people.”

The Grammy-winning Timbo is busy being an “architect” on the ABC competition show, Boy Band, but there’s always, always time to talk about the music. Especially when it involves his longtime friend and musical soulmate Missy “Misdemeanor” Elliott. Collaboration creates hits. But chemistry? That’s the ingredient from which classics are built.

Mention Missy’s genre-bending debut Supa Dupa Fly turning 20 this week — Rolling Stone named it one of the 100 best albums of the ’90s — and you can just about feel the twinkle in Timbo’s eyes over the phone. “We did our job. We impacted the world,” he says proudly. He goes silent for a second. It’s long enough, though, to get that he realizes the magnitude of the achievement. “We made history.” He won’t go as far to say they shifted the culture. “But we came in and shifted the tempo, and the bounce.”

“We made history … we came in and shifted the tempo, and the bounce.” — Timbaland

Missy and Tim are but one in a line of Siamese twin-like creative musical partnerships: Snoop Dogg and Dr. Dre, Nas and DJ Premier, Big Boi and Andre 3000 of OutKast and Organized Noise, and, in more recent years, Drake and Noah “40” Shebib. Missy and Tim are bound by creativity and trains of thought best described as “outside the box.” And by ZIP codes as well. Missy, a Portsmouth native, and Tim, from Norfolk, hail from the Seven Cities region of Virginia — an area Teddy Riley helped put on the map, and one Missy and Timbaland (along with The Neptunes) stamped as a songful hotbed between the musical metropolises of New York City and Atlanta.

Timbaland, Supa’s sole producer, and Missy, the visionary who wrote just about everything save a song or two from Timbaland mainstay Magoo, weren’t looking to change the game. They wanted to do what they’d always done with music: have fun. And fun is what rap desperately needed in 1997. The officially unsolved murders of Tupac Shakur and The Notorious B.I.G. in 1996 and 1997, respectively, hovered over the scene. Shakur and Biggie’s music still dominated airwaves, and their videos were on constant circulation on MTV and the now-defunct The Box. Missy attended the Vibe after-party after which Biggie was murdered. “We were young,” says Timbaland. But Missy remained steadfastly focused on her songwriting even in the midst of an industrywide depression. “Her whole thing,” said Timbaland, “was, ‘I gotta do this and make it fun.’ ”


Supa Dupa Fly almost never got off the ground. Famously shy, Missy Elliott was content behind the scenes. She’d already crafted a name for herself with composer credits on works from artists like Jodeci, Gina Thompson, New Edition, 702, Ginuwine and more. She and Timbaland were the chief architects of Aaliyah’s 1996 double-platinum masterpiece, One In A Million.

A frame from Missy Elliot’s “The Rain (Supa Dupa Fly)” video

Courtesy of Atlantic Records

But the occasional times Elliott stepped in front of a mic or camera, the entire music industry took notice. Sean Combs had positioned himself as the hip-hop King Midas, but Missy’s scene-stealing appearances on Thompson’s “The Things You Do (Remix)” (see below) and 702’s “Steelo” proved she was of the same crossover caliber. Her sound and wardrobe were unique, appealing and new. Her hip-hop Michelin Woman look shocked the world.

“Best Friend” was about us coming together as “superfriends” as we called ourselves when we did a record together.

Missy’s dream was to own an imprint and build her own crew of artists. The idea was a brilliant one as far as then-head of Elektra Records, Sylvia Rhone, was concerned. But under one condition: that Missy release a solo album of her own. “People think I did this for the money, but I was comfortable just writing for people,” Missy told SPIN in 1997. “And I mean really comfortable.”

Missy’s debut peaked at No. 3 on the Billboard Top 200 album chart. She immediately became a bona fide star. And 20 years later, it still sounds ahead of its time: a gumbo of hip-hop, R&B, soul and dance. She and Timbaland’s musical, lyrical and stylistic vision was free and futuristic and helped make Missy a clubhouse leader in evolving discussions around feminism.

Missy’s body-positive and sex-positive lyrics thrived alongside the overt sensual raunchiness of Lil Kim. I’m the stewardess of the plane / Feel the turbulence and maintain, she coos on “Friendly Skies.” Please refrain and stay in your seats / Until we reach the gate. She didn’t need a plane to join the “mile-high club.” She was the club.

“It was a girl power thing … She was never a hater. Every girl that came out, she championed.” — Timbaland

In 1997, Entertainment Weekly dubbed Missy and the album “a wickedly innovative singer-rapper who favors expansive song structures and trip-hoppy textures. In the process, she creates an evocative space-age soul all her own.” SPIN said Supa could become “the most influential album since Dr. Dre’s The Chronic” and “everything here has ‘hit’ stamped all over it.” And a year before Lauryn Hill’s Miseducation declared her independence and became a blueprint for the matriarchal fusion of rap and singing, All Music Guide called Missy’s premiere project “the most influential album ever released by a female hip-hop artist” and spoke of its “tremendous impact on hip-hop, and an even bigger one on R&B, as its futuristic, nearly experimental style became the de facto sound of urban radio at the close of the millennium.”

Ahead of the album’s anniversary on Saturday, and Friday’s vinyl re-release, The Undefeated caught up with Timbaland. The legendary producer breaks down Supa Dupa Fly’s standout cuts as well his own memories of how the album Missy originally didn’t want to record changed their lives.


If Missy was going to be “forced” to do her own solo project, best believe she’d bring her friends along with her for the ride.

“Sock It 2 Me” feat. Da Brat

Timbaland: Da Brat is one of her good friends. They’re still best friends to this day. She wanted it to be like an all-girls thing. Like, ‘These are the top girls.’ It was about hooking up with women that were creative like her. She always looked at it that way. She always made friends with other women who were doing it like her. It was a girl power thing. Even when Eve came out, Missy was like, ‘That girl Eve is hot!’ She was never a hater. Every girl that came out, she championed. And she championed hard.


For “Not Tonight,” Missy links up with one of her closest friends in the industry: Lil Kim.

“Hit ’Em Wit Da Hee” feat. Lil Kim & Mocha

Timbaland: Oh, now that was dope! When we did that we [were] in New York. Missy was always cool with Kim. She always wanted to do songs with her friends. Mary J. Blige was her friend. Lil Kim was like the closest. When Missy heard [the beat for] “Hit ’Em With The Hee,” she was like, “I’ma get Lil Kim on this.” It was more like just getting her girls together. Watching her do that and watching her have so much fun, I don’t think the record had any intentions. Missy just wanted to make Missy music and make the world be like, ‘Whoa!’


The record not only changed the sound of hip-hop and R&B in 1997, it changed Missy’s life altogether.

“The Rain (Supa Dupa Fly)”

Timbaland: That one I was going through my keyboard and I had this little loop. Missy was like, ‘What’s that?! That’s dope!!’ And I just kept doing it. Then I just put the bass line in it and she just started going off! ‘This about to be crazy!’ Next thing you know, ‘All right, all right, y’all gotta get out.’ I’m like, ‘Gahhh, damn!’ But we kinda created that one kinda together. Missy knew it was gonna be a hit the moment she heard the beat. We were both hype. After that, she took it to the radio station. I remember it was DJ Al B. Sylk, back in the day. She took it up there to 103 JAMZ [Norfolk’s WOWI-FM 102.9]. She was hype about that record. That was like one of the first records. And then after that, she tapped into a zone.


Timbaland dubs this duet one of the more underrated cuts on Supa Dupa Fly. It’s tough to argue its staying power either, with artists such as Bryson Tiller sampling it for last year’s “Let Me Explain,” and Drake sampled it for 2009’s “Bria’s Interlude” from his landmark mixtape, So Far Gone.

“Friendly Skies” feat. Ginuwine

Timbaland: If you’re from Virginia, man, it was about being in the studio. That may be how kids do it now, but they also do it a little differently. We just had fun. I think when I do the track it made them feel a certain way. Both of them [Missy and Ginuwine] start, they’re laughing, and once again I’m getting kicked out the room (laughs). I come back in and the song is done (laughs). And I’m like, ‘Oh this is dope,’ but I’m like, ‘Change this, change that.’

Timbaland, Supa’s sole producer, and Missy didn’t seek to change the game. They wanted to do what they’d always done with music: have fun. And fun is what rap desperately needed in 1997.

That’s how it usually is, and it’s cool for me that way. It gave me time to go play my PlayStation. And if I’m in the studio [when they’re recording], I’ma critique it. … I put so much time into the music part, making sure that their emotions are there. I gotta walk away. I can’t really pay attention to how they write the song. It’s hard, but it’s kinda good she kicked me out. But also, I’d probably walk out. I want to hear what emotions they came up with versus what I was feeling.


Missy and Aaliyah — so much potential. While not their most famous collaboration, “Best Friend” is Missy and Aaliyah’s most personal duet.

“Best Friend” feat. Aaliyah

Timbaland: How we vibed in the studio, we was family! Missy and Aaliyah had a very close bond. Missy is a person who is fun and jokes around. Aaliyah was the same way. She could make you laugh all the time. So “Best Friend” was about us coming together as “superfriends,” as we called ourselves when we did a record together. Missy just made the title “Best Friend.” When I created music, she’d go in her own space and create lyrics. She don’t talk about it. She kicked me out the room! (laughs)


Music is defined by its eras, but more truly by those who dominated them. It’s why Def Jam, Death Row, Bad Boy, Roc-A-Fella, Cash Money, No Limit and now October’s Very Own and Top Dawg Entertainment have such a fascinating hold on cultural history. The conglomerate of Missy, Timbaland, Magoo, Aaliyah and the late Static Major never had an official name. But their output is on par with the best of the best.

“We did stuff with feeling,” said Timbaland. “We know how we felt from a small place called Virginia. We knew if it felt overjoyous to us … it would flow to other people … We didn’t know how big it was gonna be, but we knew we had a sound.”

Daily Dose: 7/12/17 The MLB All-Star Game was a major success

In case you missed it, I filled in for Bomani Jones from Minneapolis on Tuesday. Of course, it was MLB All-Star Game day, so we talked quite a bit about the Midsummer Classic. Here’s the show: Hour 1, Hour 2, Hour 3.

Donald Trump Jr. thinks he’s slick. Once it became clear that he sat down with someone who claimed to be with the Kremlin, he decided to get out in front of things and drop the emails of correspondence himself. Meanwhile, the Russians are getting tired of constantly seeing themselves on American television. Junior went on Fox News last night to try to explain himself, and that didn’t exactly go very well. His basic defense was “I’m not very good at collusion, so my bad.” His father, the president, was pleased.

Everyone loses when the family feuds. Those were the words of Jay-Z on his most recent album, but it sometimes applies to black media. Take for example the recent case of Dr. Umar Johnson, who made an appearance on Roland Martin’s TV One show. I guess Martin felt like he needed to bring Johnson — who, by the way, I find extremely harmful and ridiculous — to task, but in the process he embarrassed everyone involved. Here’s a fact-check of all the wild claims that were made during this televised shouting match.

When I think of Halloween, I think of … Michael Jackson? Not quite, but I guess if you want to throw Thriller into that mix, then you’ve got pretty much everything you need. I feel like every Oct. 31, MTV or some other channel runs that video on a loop for the night, which makes complete sense. But outside of that? The King of Pop is not particularly ghoulish. However, CBS has created an animated special that will feature his music and a storyline involving his dance moves. This will probably be pretty popular either way.

The MLB All-Star Game was fantastic. The Home Run Derby was a huge hit. There were all sorts of new players in the game, and because it didn’t “count” for anything for the first time since 2003, players got to have fun. Fox also did a great job with the broadcast, allowing Alex Rodriguez to roam the infield between innings to talk to players, and at one point players were mic’d up talking to the broadcast booth while on the field. But the best moment came when Nelson Cruz straight up took a picture with umpire Joe West before an at-bat. So much fun.

Free Food

Coffee Break: You never want to hear the words “iceberg breaks off in Antarctica.” You also never want to hear that in the same sentence as “size of Delaware.” Adding on “maps need to be redrawn” to that means that something has likely gone very wrong. Something has definitely gone wrong.

Snack Time: Don’t ask me how this is possible, but somehow, the people trying to make a live-action version of Aladdin are having trouble finding actors to play the lead roles. Every. Single. Side eye. In. The. World.

Dessert: Sevyn Streeter knows how to party, folks. Take notes for your summer ragers.

In ‘The Defiant Ones,’ the HBO doc on Dr. Dre and Jimmy Iovine, finds journalist Dee Barnes’ voice Director Allen Hughes kept the revealing interview under wraps for years

Allen Hughes is, perhaps, one of Hollywood’s best secret-keepers.

For years, he’s been quietly working on a documentary about the creative partnership of legendary music producer and label executive Jimmy Iovine and music producer and Rock & Roll Hall of Famer Dr. Dre. At its best, the doc illustrates how two kids — one white Italian kid from Brooklyn, New York, one black kid from Compton, California — rose, joined forces and ultimately inked a multibilliondollar deal with Apple. The work to get there was tremendous. But it’s the little intricacies that sell it.

Hughes — who co-directed with his twin brother, Albert, classics such as Menace II Society, Dead Presidents and The Book of Eli — kept it unusually quiet, away from in-the-know Hollywood trade publications and even from the very people he targeted for revealing sit-down interviews.

Keeping a lid on the production was especially challenging in 2015, when Straight Outta Compton, a hugely successful and well-reviewed feature about the origin story of N.W.A., came under fire because of the film’s omission of Denise “Dee” Barnes. Barnes, a hip-hop journalist, was physically assaulted by Dr. Dre in 1991. At the time of the assault, she was the host of Fox’s popular hip-hop show Pump It Up! The heinous and infamous incident was all over the much-watched MTV News and was in the Los Angeles Times. Dr. Dre eventually pleaded no contest and was sentenced to probation; Barnes settled out of court with him for an undisclosed amount. Dr. Dre issued a statement at the height of the film’s success.

“Dre, Jimmy and I are going into this,” Hughes said via phone from Los Angeles, “we all had to agree what we were going to touch on. And Dre was, that was the first thing he brought up. And this is before Straight Outta Compton got greenlit.”

In Hughes’ documentary, Dee Barnes is a voice of authority and puts the rise of N.W.A. and the departure of Ice Cube into proper context.

The thing is, Dr. Dre had revisited the incident in great detail with Barnes for the four-part documentary, scheduled to debut Sunday. With Allen Hughes leading the discussion, Barnes (who is working on a memoir) and Dr. Dre talked about the moments that led up to the assault, the incident and its aftermath. The statement that Dr. Dre released — “I apologize to the women I’ve hurt. I deeply regret what I did and know that it has forever impacted all of our lives …” — is a moment in the documentary.

Allen Hughes and Dr. Dre.

G L Askew II/courtesy of HBO

“I’m not just going to call it an apology,” said Hughes. “I think it’s more of an atonement than an apology. And then cut to a year later, we were editing the film, we have it, and then this thing breaks out … the Straight Outta Compton controversy.” That section in The Defiant Ones, which premieres its first of four parts at 9 p.m. EST Sunday on HBO, is an important one. Very unlike the Straight Outta Compton feature film, this documentary is a 360-degree look at specifically Dr. Dre and Iovine’s twin rise and features organic-feeling sit-downs with the likes of Bono, Gwen Stefani, Sean (Diddy) Combs, Eminem, Will.i.am, Stevie Nicks, Tom Petty, Snoop Dogg, Ice Cube, MC Ren and more.

Hughes said he filmed Dre and Barnes talking about the physical assault well in advance of the blowback from the feature film. But for many reasons, he kept his work under wraps. He wanted to protect the integrity of his documentary. He also knew that if folks were aware he was working on a documentary about two of the most influential men in popular culture, the price of all of the rich archival music and film footage would go way up. And, more importantly, Hughes didn’t want his interview subjects to get contaminated by gossip about what someone else might be saying. The Dee Barnes situation kept him up at night.

“That caused a depression,” he said. “These are real people. These are human beings. I was raised by a feminist, activist woman. I was more into, as a child, women’s issues than black issues. So this hit home for me.”

“I’m not just going to call it an apology. I think it’s more of an atonement.” — Allen Hughes

Barnes’ voice is an important one to hear in the documentary — more so, even, than the apology Dr. Dre offers her. In Hughes’ documentary, Barnes is a voice of authority and puts the rise of N.W.A. and the departure of Ice Cube into proper context. She also talks about what happened after she filed a civil suit against Dr. Dre for assaulting her: She all but lost her career.

Her story felt oddly familiar to Hughes’ own story. He was assaulted by Tupac Shakur’s crew while filming his classic 1993 debut, Menace II Society.

“I had an intense, great relationship with Tupac,” said Hughes, “and then there was this moment of violence that happened that was really bad. Him against me at one point, with a bunch of people. … It lasted about five minutes. Everyone knows our relationship based off of that one moment.” He said he relates to Barnes because she is not a victim. “She’s an activist. Quite the activist,” he said. “I didn’t know whether she would agree to the interview or not. She goes back to the World Class Wreckin’ Cru days. She was like their little sister.” Hers was a story that people needed to hear.

Dr. Dre

G L Askew II/courtesy of HBO

“She [was] her own artist. A voice in the culture. She was there, and it was great. It was fun, it was glorious, until that moment. And, you know, everyone’s got to do what they’ve got to do to move past that moment or whatever, but … she really inspired me. She taught me. She had moved so far past that s—, and she wasn’t in that place anymore. She just hadn’t been heard.”


There are so many nuggets in this documentary, such as the Iovine-hosted weekly football games. Former Death Row executive Suge Knight and former first son John F. Kennedy Jr. play with and against one another. “Every single thing [I’ve] ever made,” said Hughes, “the protagonist either died or went to jail at the end of the movie. This is the first one where it’s a happy ending.”

Hughes wants people to be inspired. “These are human beings,” he said. “They f—ed up, they f— up just like all of us. They go through the same s— we all go through, and they’re … opening up and revealing how they did it. They said, ‘Here’s how we did it. Here’s what happened.’ You don’t have to be a hyperintellectual or sophisticated to understand it. Here’s how I got past that tragedy. All of it. I think people [will] walk away and go, ‘OK. I’m going to go get my hustle on.’ And have some fun.”

‘4:44’ is a Shawn Carter album. JAY-Z is dead Love, betrayal, shame, survival: JAY-Z hits the ball out of the park with intensely personal new album

These moments don’t happen. Hip-hop is a young man’s game. But for one night, the music universe revolved around JAY-Z, the sport’s finest elder statesman, with the release of his 13th studio album, 4:44.

The 10-track 4:44 is the most emotionally taxing project of JAY’s (he’s back to all caps) career. Ernest “No I.D.” Wilson, who produced JAY’s 2009 “Run This Town” and “Death of Autotune,” as well as 2007’s “Success,” among others, is the album’s lone producer, and he is irreplaceable. No I.D.’s music is more than just “beats,” or instrumentals. Without No I.D.’s soulful backdrops (inspired by the likes of Stevie Wonder, Donny Hathaway, Nina Simone, Kool & The Gang and more), 4:44 might lack the emotional connection it not only thrives on but quite literally survives on. But in the end it is JAY’s inward glimpse of himself — the man he was, the man he’s become, the man he grew to partially hate — that separates this album from his previous bodies of work.

Yet, where 4:44 will land in the rankings of JAY-Z’s catalog is a question better left for time. Off the rip, though, this is the greatest rapper of all time stripping himself down to essentials. It’s the project fans and critics have clamored for, for years: the authentic Jay Z. The desire has been for him to curb the flaunting of luxuries and come with the real on what it’s like to be one of the most successful people in the world — and also one of its most haunted.

But the writing had been on the wall. With his wife, Beyoncé, and his sister-in-law, Solange, using their last albums for their most personal work, it’s no surprise 4:44 unmasks itself as JAY at his emotional and creative zenith.


Fourteen months ago, and 10 days before the release of Beyoncé’s Grammy-nominated opus Lemonade, JAY-Z had a decision to make. On April 13, 2016, the final night of the NBA’s regular season, history was going to happen one way or the other. Would he fly to Oakland, California, for the Golden State Warriors’ record-setting 73rd win? Or sit courtside for Kobe Bryant’s final game with the Los Angeles Lakers? It was, to quote Marlo Stanfield, one of them good problems.

JAY chose to watch Bryant punctuate his first-ballot Hall of Fame career in the most Kobe Bryant way possible: 60 points on 50 shots in a five-point victory over the Utah Jazz, scoring or assisting on the final 19 points. The onslaught was the swan song of one of the culture’s most divisive, polarizing and accomplished spirits — a moment only dreams could create and talent, ambition and maniacal competitiveness could materialize. Neither could have envisioned that night 20 years earlier.

Rap was never given the chance to heal from those wounds — Biggie, Tupac — it helped create. But it spared JAY-Z.

Bryant and JAY, despite nine years separating them, came into the public’s eye together. Reasonable Doubt, the corner-boy manifesto and classic hip-hop debut, arrived on June 25, 1996. A day later, the Charlotte Hornets drafted a 17-year-old Bryant, only to send him to Los Angeles in return for Vlade Divac. Both JAY and Bryant escaped the shadows of their larger-than-life predecessors, The Notorious B.I.G. and Michael Jordan, to carve their own places in history. But on that spring 2016 night in downtown Los Angeles, JAY witnessed a peer, one of the few in America who understands what it’s like to be that famous for that long, walk away from the game he changed in that manner. JAY certainly didn’t need a great album to call it a career on — in the same way Bryant didn’t need a historic game to cement his stature among basketball’s all-time greats. But still, the game had to be inspirational.

“Wow,” was the only word a stunned JAY-Z could mutter as he watched Bryant further ascend toward immortality. Little was he aware the same would happen to him a year later.


Before the release of 4:44, a legit critique of JAY himself was, What could he possibly have to talk about that would be beneficial to rap in 2017? He’s one of the wealthiest men on the planet, with a portfolio that shows no signs of slowing. His business ventures have helped redefine the image of what long-term success looks like in America’s most influential and most critiqued music culture. The album itself bookends a monumental June 2017 for Shawn Carter: Kevin Durant, a flagship client of his Roc Nation Sports agency, captured his first NBA championship, and JAY himself was inducted, with a speech from President Barack Obama, into the Songwriters Hall of Fame — the first rapper to be so honored. He also (with respect to the Obamas), makes up half of one of the most high-profile relationships in America, and he’s one of the few people in the world with direct lines to Jordan, Obama and LeBron James. And now he’s the father of three. And since he started from the bottom, so to speak, another valid concern is: Does JAY-Z even still have it anymore?

Sponsored listening parties for the album littered cities around the country. The one I attended, in Silver Spring, Maryland, was shut down by police for capacity reasons before the first song could be played. Speakers were moved outside the Sprint store where the session was to be held, ostensibly so the people stretching to the next block near a Whole Foods grocery store could hear the album. I went home.

It was for the best, too. As Jay’s confessions run deep, the album is perhaps best experienced solo. For years, I wondered how the trauma of shooting his brother, as he detailed on 1997’s “You Must Love Me,” followed him into rare heights of superstardom. I wondered how selling dope to people he loved may have left him with an inescapable sense of trauma. I wondered how often he reflected on having stabbed Lance “Un” Rivera, and how the incident nearly derailed his career. It’s all on 4:44. On the first track, at that. And more.

There’s an extended rebuttal (wildly and fairly speculated) to Kanye West on “Kill Jay-Z.”

You walkin’ round like you invincible / You dropped outta school, you lost your principles / I know people backstab you, I feel bad too / But this ‘f— everybody’ attitude ain’t natural / But you ain’t the same, this ain’t kumbaYe / But you got hurt because you did cool by ‘Ye / You gave him 20 million without blinking / He gave you 20 minutes on stage, f— was he thinking? ‘F— wrong with everybody?’ is what you saying/ But if everybody’s crazy, you’re the one that’s insane.

On the same song, in the second person, come some truths about what spawned the infamous elevator footage featuring him, his wife and his sister-in-law:

You egged Solange on / Knowing all along, all you had to say was you was wrong / You almost went Eric Benet / Let the baddest girl in the world get away / I don’t even know what else to say / N—-, never go Eric Benet/ I don’t even know what you woulda done/ In the Future, other n—- playin’ football with your son.

And on “Smile” comes the touching reveal of his mother Gloria Carter’s sexuality:

Mama had four kids, but she’s a lesbian / Had to pretend so long that she’s a thespian / Had to hide in the closet, so she medicate / Society shame and the pain was too much to take/ Cried tears of joy when you fell in love / Don’t matter to me if it’s a him or her.

Leaving little room for debate, the crux of the album is his marriage, and the image he sets in place for his three children. JAY’s demons are 4:44’s most enriching and difficult gifts. The emotional weight of his 2017 confessions rest on the timeline of his own words. JAY sat down with MTV for an interview in 1998 — in which, at 29, he discussed his views on love. “I loved the women I was with,” JAY said, “I loved things about them, but I’ve never been in love. They say love is forever. I never felt that forever type of thing. … I’ve never been away from anyone and … I can’t wait to get back to them. I guard myself. I won’t allow myself. But I know that. I’m on my way to recovery.”

Similar sentiments showed up two years later on Dynasty’s “Soon You’ll Understand”: It ain’t like I ain’t tell you from day one I ain’t s— / When it comes to relationships, I don’t have the patience / Now it’s too late, we got a little life together / And in my mind, I really want you to be my wife forever / But in the physical it’s like I’ma be trife forever.

The most important song on the album, by far, is the title track, “4:44.”

When Beyoncé dropped Lemonade last year, it was seen as the most empowering moment of her career. Comfortable in her own skin, she was openly uncomfortable in her own marriage. The Carters, who thrive in a carefully constructed privacy, were now a public case study — cracks in the armor were exposed. Conversely, Lemonade placed JAY in a position he’s rarely been in: not in control. The entire world knew of his apparent infidelity and how much of a toll it took on his marriage. He couldn’t jump in front of the narrative because he was the narrative. Big homie better grow up, Beyoncé warned on “Sorry.” He only want me when I’m not there.

Beyoncé’s ‘Lemonade’: Comfortable in her own skin, she was openly uncomfortable in her own marriage.

Beyoncé’s Lemonade admissions are agony expressed through art. But it’s likely their private conversations stuck with JAY more. Anyone familiar with infidelity can replay the range of emotions and questions. Why would you do this? Do you love him/her? Was it something I did? You promised me trust and then you broke it. You promised me forever, but even forever has a time stamp. How do you explain this to our kids? These are the consequences of selfish decisions. And it’s these consequences that left JAY up at 4:44 a.m., drowning in guilt, writing a record he calls one of the best he’s ever written.

“4:44” is “Song Cry” with the threat of divorce court. Even worse, an illustration of the cycle of flawed fatherhood Jay swore to eradicate in himself. The song is the most personal glimpse into the Carters’ relationship — one he pursued, but admittedly wasn’t ready for — and how his transgressions nearly separated them.

Is JAY-Z’s karma to blame for Beyoncé’s 2013 miscarriage? Probably not, but hearing JAY blame himself for his lack of presence is haunting. It’s JAY fully peeling back layers of vulnerability through tears. And because I fall short of what I say I’m all about / Your eyes leave the soul that your body once housed, he raps. And you stare blankly into space / Thinking of all time you wasted in on all this basic s—. It’s on this song where the truest extent of what JAY has put Beyoncé through boils to the surface.

And of his kids looking at him differently once they inevitably uncover his truth, he raps I’d probably die with all the shame. Courtside seats, chats with Obama and nine-figure business deals mean nothing in the grand scheme to JAY. You did what with who? What good is a ménage à trois when you have a soul mate? What follows next is the question that packs such a punch it nearly stops the album in its tracks: You risked that for Blue?

A marriage is many things. Things happen that leave scars for a lifetime. No matter his bank account or influence, he is the reason that many parts of his life will never be the same. It’s a weight he’s been living with his entire life, since he sold his first brick of dope. Only this time, instead of drugs, it’s broken promises. Even JAY-Z can be his own worst enemy.

This is Shawn Corey Carter’s new life story told through rap.


Both the production and lyrics of 4:44 have a natural partner in his 2001 masterpiece The Blueprint. Only now, he’s accomplished everything he said he would. It sounds foolish to even suggest that JAY-Z, three decades after the release of his first album, could find himself in the running for Album of the Year in 2017, especially when so many, perhaps with merit, questioned if he even still cared about rapping anymore.

But his constancy remains unrivaled. He outlasted DMX and Mase. Looked Eminem in the eye. Thrived during the prolific runs of 50 Cent and Nelly. Raced Diddy to a billion. Came of age with Outkast. Helped introduce Kanye to the world. Broke bread with T.I., Rick Ross and Jeezy. Sized up, but ultimately respected, Lil Wayne. And dubbed Kendrick Lamar, J. Cole and Drake as leaders of new school — although the war of subliminals with the latter rages on to the present day. And he’s done it all with a responsibility no other artist in rap has had to carry.

My boy died, and all I did was inherit his stress, Jay rapped on 1998’s “It’s Alright,” referring to the late Notorious B.I.G. Hip-hop was never given the chance to see Biggie at 30. Or Tupac Shakur with children. JAY-Z achieved both. Rap has not been given the chance to heal from those wounds it helped create.

But it spared JAY-Z. He grew older while they stay forever young. These are the ghosts with whom Jay-Z has boxed for 20 years. He is the survivor of the cautionary tale.

The only thing left to say is what Jay said while watching Kobe drop 60. Wow.