The players’ anthem: when Marvin Gaye sang ‘The Star-Spangled Banner’ at the 1983 All-Star game Kareem Abdul-Jabbar, Pat Riley, Magic, Dr. J and more on the pride and heartbreak of witnessing Gaye’s rendition of the national anthem

Being the head coach of the Lakers, and coaching the All-Star Game at the Great Western Forum that day … it just made it a special, almost spiritual-type moment for me.

— Pat Riley


Marvin Gaye could not have looked more quintessentially Marvin Gaye if he’d tried. It was Feb. 13, 1983: the afternoon of the 33rd annual NBA All-Star Game at The Forum in Inglewood, California. Everyone was packed in, a stone’s throw from Hollywood. Julius “Dr. J” Erving, Earvin “Magic” Johnson, Kareem Abdul-Jabbar, Maurice Cheeks, Larry Bird, Isiah Thomas, Reggie Theus, Moses Malone, Pat Riley, Bill Laimbeer, Andrew Toney, Alex English, Robert Parish, Jamaal Wilkes and more. Even then the synergy of basketball icons and a musical icon made all the sense in the world. And now as the NBA All-Star Game returns to Los Angeles this weekend — the fourth time since the game’s 1951 inception that it’s been held in the L.A. area — the synergy is a given.

Thirty-five years ago, things were of course different. Nowadays, fans have a huge say with regard to who starts in the game. The top two vote-getters draft their own teams. And music is a quintessential part of the NBA All-Star Weekend experience. The NBA named Migos’ “Stir Fry” the weekend’s official anthem, and a slew of the hottest musical artists in the game are expected to host countless parties. The omnipresence of celebrities courtside has made the NBA America’s most culturally significant sport — and it will be turnt up even higher for the All-Star Game.

The Eastern Conference All-Stars of the 1983 All Star Game: the front row (L to R): Maurice Lucas, Isiah Thomas, Middle Row: Bill Laimbeer, Buck Williams, Robert Parish, Moses Malone & Larry Bird. Back Row: Assistant Coach Bill Bertke, Trainer Ray Melchiorre, Sidney Moncrief, Reggie Theus, Marques Johnson, Head Coach Billy Cunningham, Julius Erving, Andrew Toney, Assistant Coach Jack McMahon, Assistant Coach Matt Guokes

NBAE via Getty Images

The 1983 Western Conference All-Stars of the 1983 the front row: Gus Williams, Jim Paxson, Middle Row – Earvin “Magic” Johnson, Jack Sikma, Kareem Abdul-Jabbar, Artis Gilmore & Maurice Lukas. Back Row – Assistant Coach Bill Bertke, Assistant Coach Dave Wohl, Jamaal Wilkes, Alex English, Head Coach Pat Riley, George Gervin, Kiki Vandeweghe, David Thompson & Trainer Jack Curran

NBAE via Getty Images

But back then, Gaye was a feel-good comeback story. Following a stint in Europe where the singer temporarily escaped demons that had nearly devoured him, he was riding high off the success of the smash album Midnight Love, which was, in turn, fueled by the Goliathan influence of its landmark single “Sexual Healing.” Gaye would use the NBA’s center stage to propel him to the Grammys just 10 days later.

Gaye, a linchpin of swagger, walked to center court at The Forum in a deep blue suit — jacket buttoned — wearing dark shades courtesy of an NBA gift package that had been distributed to all media and VIP guests. But there was something wrong with the shades. “[The sunglasses] had ‘L.A. All-Star’ imprinted on the lenses,” said Brian McIntyre, the NBA’s public relations director in 1983. “Trouble was, whoever printed them, printed it backwards.” Gaye either didn’t know, didn’t show, or didn’t care. He also didn’t know he was the second choice — Lionel Richie, sitting on the huge success of his solo debut, had turned the NBA down for the anthem honors.

Players and coaches lined up on opposite free-throw lines. The honor guard of nearby Edwards Air Force Base was behind Gaye with the American and California flags raised. Seventeen thousand people in the arena were on their feet for the national anthem — there was little reason to expect a diversion from the way “The Star-Spangled Banner” had been performed their entire lives.

“We’d only heard the national anthem done one way,” said then-Chicago Bulls guard Theus. Having coached the Sacramento Kings and at New Mexico State, the two-time All-Star is now head coach at Cal State University, Northridge. “We weren’t anticipating anything. We knew he was Marvin Gaye.”

Gaye had intertwined his way into the sports world before. He’d sung the anthem on many occasions — each time in the traditional format. Four years earlier, in 1979, Gaye sang at the second Larry Holmes/Earnie Shavers fight at Caesars Palace in Las Vegas. In 1974, he sang the anthem at Alameda County Coliseum in Oakland, California, before the Raiders’ regular season finale vs. the Dallas Cowboys. And Motown’s crown prince belted out “The Star-Spangled Banner” before Game 4 of the 1968 World Series between the Detroit Tigers and St. Louis Cardinals — the Tigers ended up winning in seven games. Ironically, for Game 5 of that series, young singer José Feliciano performed the anthem with a slower, brooding twist that caused some Tiger Stadium attendees to pepper the blind Puerto Rican musician with boos. The backlash derailed his Grammy-laden career for decades.

“In my mind, ‘What’s Going On’ … had the most impact on me than any record, ever.” — Pat Riley

Gaye was an avid sports fan— he even once tried out for the Detroit Lions. And he floored Motown founder (and his former brother-in-law) Berry Gordy when he told him, at the apex of his prolific singing, songwriting and producing career, that he wanted to pursue boxing. Whether he knew it or not though, as much as Gaye found inspiration in the athletes who stood behind him on The Forum’s court, they found as much if not more in him.


“I’ve gone on the record many times saying that Marvin Gaye was my favorite artist. His music touched me in a deep, special and personal way. Reading Divided Soul: The Life of Marvin Gaye, it’s kind of gut-wrenching. It’s heartfelt in terms of the struggle he had … Just to do what he wanted to do. He really just wanted to be a crooner. He just wanted to sing and share his gift with the world. But pressure came from a lot of different places to be more, do more, and that eventually cost him his life.”

Julius “Dr. J” Erving


Gaye was a tortured spirit whose life oftentimes played out publicly — despite the singer’s natural shyness. “Marvin’s problems can easily be understood by listening to his music,” Gordy said in the 1987 documentary series, Motown on Showtime. I come up hard, come on, get down / There’s only three things that’s for sure / Taxes, death and trouble. ‘Trouble Man’ was a song he did for a soundtrack that was, of course, probably reminiscent of his life.”

Gaye attempted suicide by cocaine overdose in Hawaii in 1980. The years leading up to the All-Star performance were taxing — physically, mentally, emotionally and financially. “About 1975 through about 1983 hasn’t been very good,” he said in a 1983 interview. “The last seven years of my life haven’t been exactly ecstatic … I’ve been happy, and most of the time pretty depressed.”

By the time of the 1983 All-Star Game, Gaye had long since returned from his self-imposed European exile. He spent two years in Ostend, Belgium, ostensibly away from failed relationships, financial woes and drugs. While there, Gaye co-wrote (with Odell Brown and David Ritz) 1982’s sultry “Sexual Healing.” But long before the Europe and “Healing,” Marvin wrote the score to the lives of many NBA All-Stars who surrounded him that February afternoon.

Marvin Gaye performs in the Netherlands.

Rob Verhorst/Redferns

“[Marvin’s music] resonated with me just growing up as a kid in the ’60s and ’70s in Chicago,” said Hall of Famer and 12-time All-Star Isiah Thomas. The two-time NBA champion and Finals MVP point guard laughs at the memory of first meeting Gaye in Hollywood — alongside Johnson — at the famous and infamous The Palladium. Thomas was surprised Gaye knew his name. “His music was our music. He really hit how we were feeling … in poverty, and our desperate cry for just recognition, and understanding.”

Abdul-Jabbar, on a break from the book tour for his Becoming Kareem: On and Off the Court, recalls running into Gaye at studio sessions for his friend Stevie Wonder’s 1976 Songs In The Key of Life. These, said the NBA’s all-time leading scorer, were among the best times ever. “Marvin Gaye was absolutely on the forefront of [artists tackling societal issues]. He was an important guy, artistically, at that time. He talked about issues that resonated in the black community in a very meaningful way.”

“You knew it was history,” Erving said, “but it was also ‘hood.”

Quite possibly the most excited for Gaye’s performance wasn’t a player, but a coach. During The Beatles phenomenon of the ’60s, Riley — much like Quincy Jones, apparently — never truly caught the wave. “I was raised on doo-wop, Frankie Lymon and The Teenagers, Jimmy Smith. Then when Motown really had it course in the early ’60s, that was it for me,” he said, the enthusiasm in his voice rising with each memory. “I was all about The Four Tops and The Temptations. The Supremes.” But as for Gaye himself, “What happened in the late ’60s was a lot of what’s going on in our society today. People just not agreeing what’s happening with our government,” Riley said. “In my mind, ‘What’s Going On’ — for my lifetime — had the most impact on me than any record ever.”


“[After the game,] it was just common knowledge that whenever you talked about the anthem, everybody just pointed to it like, ‘Yeah, that was the best one that was ever done.’ Not because his techniques were good — they were — but because spiritually, in that moment, he really captured the feelings of everyone in The Forum. I’ve never been part of an anthem where everybody’s just in unison and lost control and just started moving. It was a beautiful moment.” — Isiah Thomas


Before Marvin took the floor at the Forum, there was mild panic. Then-NBA commissioner Larry O’Brien was an old school, by-the-book type of guy. O’Brien had told McIntyre during the previous day’s rehearsals, “Make sure we don’t have anything that’s going to cause a scene.”

All during the day, and right before the early afternoon tipoff, Gaye was nowhere to be found. “[Lon Rosen, Lakers’ director of promotions] hadn’t heard from Marvin or his people. They weren’t sure where he was,” McIntyre said. There’s a chuckle in his voice now. But 35 years ago it was anything but a laughing matter. “So they started looking for a backup, I think.”

https://www.youtube.com/watch?v=RZ9WdCunvy8

Arriving only moments before showtime, Gaye made his way to the floor. A longstanding myth says the notoriously recluse singer was intentionally late to avoid tension with Lakers personnel who believed his rendition was too long the day before at rehearsal. While he adjusted the microphone stand, a simple, yet infectious instrumental began playing. Lawrence Tanter, the Lakers’ public address announcer panicked. “Ah s—,” he reflected. “They’ve got the wrong tape. This is ‘Sexual Healing.’ ”

But it wasn’t. It was a simple beat dubbing a drum track done by Gaye’s guitarist and musical director Gordon Banks and a keyboard track Gaye laid down himself. And what happened next would be the only time in history the national anthem closely resembled a rhythm and blues song. There isn’t a blueprint for Gaye’s charisma. Or his showmanship. It was innate. “You could feel the vibe as soon as he walked out there,” Theus said. “He was the epitome of cool, and smooth at the same time.” Gaye’s anthem was patriotic in its own soulful way, but it was simultaneously debonair, too. Each note left his vocal chord with the pizzazz of a street crooner.

Something special was happening. Riley was standing next to Abdul-Jabbar. On the surface, Riley was calm. But his mind raced a mile a minute. “I was thinking to myself, ‘We’re about to see something very unique here,’ ” the three-time Coach of the Year said. “Then the first words came out of his mouth, and he went on. Then he went in a different pitch. It was mesmerizing to me.”

Gaye, the archbishop of swagger. “You knew it was history,” Erving said, “but it was also ‘hood.” For a two-minute stretch, the basketball world revolved around Marvin Gaye and within his gravitational pull were MVPs, world champions, former rookies of the year, future Hall of Famers and 17,505 in the stands. “We were two-stepping, listening to the national anthem,” said Johnson with a laugh. “We were just bouncing left to right. It blew us away. We just got caught into the moment of this man. People just forgot it was the national anthem.”

“We were two-stepping, listening to the national anthem,” said Johnson with a laugh.

Off the rip, the crowd swooned. They shouted and clapped as if the NBA All-Star Game had momentarily swapped places with a gospel choir. “Before you knew it, you were swaying, clapping and were like doing something to the anthem that you’d never done before in your life. Or since,” said Thomas. “It just wasn’t the players. It was the whole arena. Everyone in unison almost caught the Holy Ghost.”

“You kinda paused for a second, listening,” said Oklahoma City Thunder assistant coach Maurice Cheeks, who was making his first, as a Philadelphia 76er, of four All-Star Game appearances in 1983. Cheeks has also been head coach of the Portland Trail Blazers, the Sixers and Detroit Pistons. “You looked around to see if anybody else was appreciating this the way you are … everybody was — especially the crowd.”

A roar had risen by the time And the home of the brave capped off Gaye’s rendition. He’d given the national anthem a makeover. Gaye, later in 1983, offered a self-diagnosis. His depression stemmed from a deep empathy for humanity. All he wanted was for people to listen to him. In less than three minutes on The Forum’s hardwood, he’d done just that. If only for a sliver of time, the anthem wasn’t about the stars, the stripes or whatever its original intentions were. Gaye made it a song about love, inclusion and triumph.

The crowd showered him with a standing ovation. How do we follow THAT? many of the players wondered. The walk back to the bench following the anthem was one of excitement and befuddlement. Players slapped high fives, laughed and recapped. “Everybody was like, ‘Man, he tore the house down!’ ” Johnson said, essentially yelling into the phone. “Going to the bench like, ‘Man! That was unbelievable!’ ”

As Gaye exited the floor, he pulled Erving aside. It was a brief meeting of the sex appeals. The two had met before at shows in New York, Washington, D.C., and in Virginia. “I got something coming out. You gon’ love it,” Gaye told Erving. The “it” he referred to was a then-unreleased song called “Sanctified Lady.” Unfortunately, though, only Erving would be alive to hear the record following its 1985 release.

East All-Star Julius Erving dunks one past the imposing figure of West All-Star Artis Gilmore.

Getty Images

The Eastern Conference, led by Erving’s MVP effort of 25 points, defeated the West, 132-123. But all the talk after the game centered on Gaye. The buzz was still electric. This was of course the pre-internet era. The race was to obtain any sort of recording of the performance. “I remember the conversation being, the game was great,” said Theus. “But that it wasn’t anywhere near as good as Marvin Gaye.”

“It wasn’t even about the game,” said Johnson. “The whole attention was on, ‘Is it on TV? Make sure we get a copy! Find Brian [McIntyre]!’ ”

McIntyre for his part was a bit queasy. He knew the younger generation was enamored with the performance. Lakers owner Jerry Buss, called it, even in the moment, “the greatest anthem of all time.” Yet, in the back of his mind McIntyre was dreading the older generation’s response. Of those possible complaints, O’Brien simply told McIntyre, “You have to answer them all.”

The official CBS after-party was packed. Finger foods and cocktails. David Stern, O’Brien’s eventual successor, and his wife Shelly were in attendance, as was Rick Welts (current Golden State Warriors president), Russ Granik and Gary Bettman. All anyone wanted to hear was Gaye’s anthem. “They were replaying the game [at the party], but every so often someone would say, ‘Let’s hear it again!’ ” said McIntyre. “So they’d switch it back to the anthem and play it all over again. The crowd was just into it.”


“[Marvin] died young and it’s like there was an unfulfilled promise. I’m looking at these rock bands, they’re doing all this crazy stuff, and they’re still touring. They’re still making music! Guys going into their ’60s, ’70s and hitting 80 and they’re still out there. Bill Withers is still out there making a little noise every now and then. So Marvin, what would he have been able to accomplish had he survived the demons?” — Julius “Dr. J” Erving


Much has changed. The NBA looks completely different. Players carry far more leverage than they did in 1983. The style of play has shifted to a more perimeter-based attack. And even the national anthem sounds different — in rankings and context. The biggest story of the year is NFL players kneeling during it in protest of police brutality and the state of the criminal justice system. For those who stood on the floor that day in 1983, they remain connected to Gaye’s rendition. The version sung by Whitney Houston at the 1991 Super Bowl is the only other anthem close to a comparison to Gaye’s rendition, in their eyes.

“This is what made it so special,” said Johnson. “Everybody said, ‘Wow.’ Everybody went absolutely crazy. It was blacks, whites, everybody — saying, what a moment.”

The moment was one so memorable the NBA had Marvin’s daughter, Nona, perform the same anthem “in a special duet” with her father at the 2004 All-Star Game, when it returned to Los Angeles. In a sport littered with previous anthem singers such as The Temptations, Destiny’s Child, Mary J. Blige, John Legend, Brian McKnight and more — Marvin Gaye remains on the NBA’s musical Mount Rushmore.

But how does Gaye’s anthem fit into the current conversation around it? “We have to take everything in context,” said Abdul-Jabbar. Many of the issues Gaye addressed in his music run parallels to Colin Kaepernick’s original message. “I think that people were trying to make an issue of the anthem because they didn’t want to deal with the issue Colin Kaepernick raised, which is the fact that black Americans — unarmed black Americans — should not be getting killed by police officers at the rate that they are. That’s what the issue is.”

For Theus, it’s a simple matter. “Marvin Gaye’s rendition of the national anthem superseded and surpassed any negativity that was in anyone’s mind,” he said. “When you hear something like that, you don’t hear the national anthem that everyone is talking about today. It was another national anthem that we were listening to. You can’t relate the two.”

“So Marvin, what would he have been able to accomplish had he survived the demons?” — Julius “Dr. J” Erving

Ten days after the All-Star Game, for “Sexual Healing,” Gaye was awarded the only two Grammys of his career. “I’ve waited … 20-something years to win an award like this,” he said in his acceptance speech. He thanked God, his children, his mother, and his fans. He did not, however, thank his father. Almost prophetically, he closed the speech saying, “Stay with us, we’re gonna try and give you more.” Gaye embarked on what would be his final tour in the summer of 1983. He traveled with, and kept a preacher in one room. His drugs in another. In a figurative sense, Gaye stood between heaven and hell throughout his Midnight Love tour.

Marvin Gaye holds ones of his Grammys.

Ron Galella/WireImage

“I expose myself because the fans demand it,” he told his ex-wife Jan Gaye. “I offer myself up for slaughter. I am the sacrificial lamb. If their pleasure requires my destruction, so be it.”

By the Detroit stop, Gaye was a zombie. “After the performance, we got back to the dressing room,” Mel Farr recalled of his final meeting with Gaye. (Farr died in 2015.) “He had all those hangers-on giving him this drug and this drug. I said, ‘Wow, man. I don’t think he’s going to make it.’ It was that bad.”

Four-hundred fourteen days following his anthem, on April 1, 1984, Gaye was murdered by his father, Marvin Gay Sr., a day shy of what would have been his Marvin Jr.’s 45th birthday. The house where the killing took place was but seven miles from The Forum. Toward the end of his life, as he battled voices in his head, Gaye still understood the importance of Feb. 13, 1983. “I asked God,” he said, “that when I sang [that anthem] that it would move men’s souls.”

He most certainly moved Riley, who keeps hours upon hours upon hours of Gaye’s and Motown’s greatest hits near him at all times. The Miami Heat president still keeps a framed picture of himself, Abdul-Jabbar and the Western Conference All-Stars lined up watching Gaye. Call it his way of paying homage to an artist he says changed his life and enhanced his perspectives long before the NBA came calling. Thirty-five years later, after the 1983 All-Star Game, from his South Florida office, there’s pride and sorrow in his voice.

“I’m privileged to have been there at that moment when this icon sang that song. The people that were in that arena that day saw something unique, probably changed people to some extent,” Riley said. “The tragic way that Marvin died was something that was very depressing for a lot of people. I know it was for me. But,” he said, “[Marvin will] always be in my heart because I hear his voice all the time. You never forget people like this.”

King’s ‘Letter from Birmingham Jail’ explains the rage over the NFL anthem protests and the persistence of racial injustice Re-reading the famous letter today shows how much still needs to change

On Feb. 11, at 8 p.m., The Undefeated will present Dear Black Athlete, a one-hour special on ESPN featuring conversations with athletes and community leaders about social justice. Inspired by Martin Luther King Jr.’s famous “Letter from Birmingham Jail,” the program will be taped at Birmingham’s Sixth Avenue Baptist Church, where King spoke and led civil rights marches. Below, we examine the meaning of King’s letter in today’s racial climate.


Martin Luther King Jr. penned his Letter from Birmingham Jail in a narrow cell on newspaper margins, scraps of paper and smuggled-in legal pads. He had no notes or reference materials. Yet, King’s eloquent defense of nonviolent protest and searing critique of moderation continues to resonate in a nation still divided by race.

In 1963, the letter spoke truth to white clergymen who called him a troublemaker for coming to Birmingham, Alabama, to confront that city’s harsh segregation and racial violence. In 2018, King’s tract stands as a beacon to a new generation of activists impatient with injustice perpetuated less by flush-faced bigots than by the ostensibly colorblind institutions that structure our society.

King’s letter famously said creating tension was necessary to the work of nonviolent protesters, and that “justice too long delayed is justice denied.” He called out the white church for being an “arch supporter of the status quo,” and castigated its ministers for urging members to comply with desegregation because it is the law, not because it is morally right and “the Negro is your brother.” He also expressed grave disappointment with white moderates, whom he described as “more devoted to order than justice.”

The letter was “prophetic,” said Lecia Brooks, outreach director for the Alabama-based Southern Poverty Law Center, which tracks racial extremist groups. “King really calls out systemic racism and, particularly, systemic anti-black racism. And, of course, it persists today.”

Brooks hears echoes of the white clergymen who accused King of inciting violence in the stinging criticism of NFL players who protested racial inequities by taking a knee during the national anthem.

“What they have done is in the tradition of nonviolent protest. It forces people to have a conversation,” she said. “But the pushback has been ugly. It’s like, ‘We’re sick of you, the nerve of the NFL players.’ They are like the outsiders that the clergy mentioned in going after King.”

King’s letter was written nearly a decade after the Supreme Court outlawed school segregation, but Alabama’s largest city operated under its own rules. Black people could not work or try on clothes in downtown stores. They were given used books in separate schools, and made to wait in separate waiting rooms at public hospitals. Those who challenged the established order risked the wrath of the Ku Klux Klan or other terrorists who enforced apartheid so savagely that the town was nicknamed “Bombingham.”

Today, the city is no longer segregated by law, and violent racists no longer run amok. But segregation remains: Many whites fled the city, and its schools are 99 percent black and Hispanic. The city’s poverty rate is more than 30 percent. Then there is the racial wealth gap, income gap, unemployment gap, school achievement gap, incarceration gap and life expectancy gap. It is a story common to many parts of the country.

“The pushback has been ugly. It’s like, ‘We’re sick of you, the nerve of the NFL players.’ “

Birmingham is now led by Mayor Randall Woodfin, 36, a proud Morehouse College graduate who is among the more than 10,000 black elected officials serving across the country.

“It is hard to read King’s letter and not want to re-reread it and re-read it again,” he said, calling it the civil rights leader’s seminal piece. Not only does it lay out the steps, from self-education to negotiation, that should precede protest, Woodfin said, but it also makes a historical case for why black people are impatient for real change.

“We have black leadership now. But some of the things Dr. King was talking about as it relates to poverty and better education and opportunity, they still exist,” Woodfin said. “We need to be bolder in correcting things we know are not working for many people.”

Better education funding, longer school years, seamless coordination between schools, libraries and recreation centers are some of the things that Woodfin thinks could help. “We are not spending enough time with our children,” he said. “We need to do more with workforce development, that entire pipeline from birth until young people cross that stage.”

But winning support for such initiatives is difficult in Birmingham, much like it is in Detroit or Baltimore or East St. Louis, Illinois. The city alone does not have the wealth to pay for those things, and white taxpayers in neighboring communities do not see problems in places like Birmingham’s as theirs. If polls are any indication, almost none of those white suburbanites see themselves as racist. But they are the present-day equivalent of the moderates King wrote about, minimizing the importance of discrimination in the ongoing struggles of places like Birmingham.

Seven in 10 African-Americans surveyed in a 2016 Pew Research Center poll cited discrimination as a reason blacks have a harder time than whites getting ahead, a view shared by just 36 percent of white respondents. A series of independent studies have found that black people still face discrimination from the criminal justice system, from employers, from real estate agents, and from banks and mortgage companies. Yet, when asked about the racial fairness of institutions fundamental to American life — courts, police, the workplace, mortgage companies — white people are much less likely than African-Americans to say black people are treated unfairly. White evangelicals, who are most prominent in the South, were the group least likely to perceive discrimination against blacks, according to a 2017 poll by the Public Religion Research Institute. Only 36 percent of white evangelicals reported perceiving a lot of discrimination against black people.

Growing up white in Birmingham, the Rev. Jim Cooley said segregation was a way of life that as a child he never stopped to examine. “It was a different planet then,” said Cooley, who is now pastor of the city’s First Baptist Church. One of his predecessors, the Rev. Earl Stallings, was among the eight clergymen who signed the statement that prompted King’s famous letter.

“I remember seeing separate bathrooms and separate water fountains as a youngster. I guess it was a tribute to my parents that I did not think of it as this is ‘upper’ and that is ‘lower.’ My impression was that there was some natural reason for this that I did not understand.”

Now he knows better, and he thanks King for helping to transform his city. He says the new Birmingham is evident in his own church’s growing racial diversity and the fact that its black organist causes no one in the congregation to as much as raise an eyebrow. He also sees black and white people coming together in civic groups to address the city’s many problems.

Still, Cooley acknowledged that huge racial disparities remain. Some are no doubt the result of Birmingham’s long history of racism, he says. But he thinks the gaps have as much to do with educational shortcomings and social isolation that he said also hinders many white people.

“If I walk around my neighborhood, there is an English couple. A man across the way is involved in the Sons of the Confederacy. There is an African-American doctor. Next to him, an Indian veterinarian and a Chinese pharmacist,” Cooley said. “There is less friction now, for sure. While everything was so drastically race-driven 50 or 60 years ago, now it is about opportunity and education. And that cuts across all kinds of racial strata.”

Freeman A. Hrabowski III, 67, the longtime president of the University of Maryland, Baltimore County, grew up in middle-class black Birmingham, as did former Secretary of State Condoleezza Rice, activist Angela Davis and Alma Powell, the wife of former Secretary of State Colin Powell. It was a nurturing world of high aspirations tightly controlled by the constant threat of racial violence.

“When we went downtown, we knew we were not part of mainstream Birmingham because there was nobody black in a position of power, not even at a cash register,” he recalled. “No police, firemen, nothing. It is hard to understand if you were not there just how dramatically different the world was then.”

Hrabowski was 12 years old when he was arrested and held for five days for taking part in the “Children’s Crusade,” waves of demonstrations that King launched not long after he was released from the Birmingham jail.

“When we went downtown we knew we were not part of mainstream Birmingham because there was nobody black in a position of power, not even at a cash register.”

Hrabowski brings the lessons he learned then to his work as president of UMBC, a public university just outside Baltimore. During his more than quarter-century at the university’s helm, he has turned the once nondescript commuter school into one of the nation’s top producers of African-American doctorates in science, technology, engineering and math.

That has not happened by accident. Hrabowski had made it his business to mentor and support black students and those from other underrepresented groups. Hrabowski promotes his school with evangelical zeal and brings at-risk students to campus to help them learn the habits of academic success. He promotes his sharpest science nerds as if they were rap stars, and he singles out basketball players with high grades so they can be seen as both athletic and academic role models.

He shed tears of joy in November when a black woman from suburban Maryland, 21-year-old Naomi Mburu, was named UMBC’s first Rhodes scholar. And when the university opened its new basketball arena and events center last weekend, he made sure Mburu strode onto center court, where she was introduced to the crowd at halftime.

It’s his way of battling the pervasive injustice he once endured in Birmingham.

Hrabowski noted that back when King penned his letter only 2 or 3 percent of African-Americans were college graduates, as were roughly 10 percent of whites. Now, according to the Census Bureau, 23 percent of African-American adults are four-year college graduates, as are almost 37 percent of whites.

“We’ve made tremendous progress since Dr. King’s letter, yes we have,” Hrabowski said. “You want to acknowledge that progress. But a lot of people are left behind, and to solve that we have to look at the unjust policies that Dr. King talks about. Just because it is in the structure, doesn’t mean it is just.”

More to Super Bowl: NFL wants to leave lasting legacies in communities through outreach Check out a few highlights that positively impacted the Minneapolis-St. Paul area

Beyond the chilly Minneapolis temperatures, the highly anticipated gridiron showdown, the electrifying halftime performance and the presentation of the Lombardi Trophy, there were a plethora of community service events surrounding Super Bowl LII, as is the case each year.

Sunday’s season-ending celebration closed with a 41-33 win for the Philadelphia Eagles over the New England Patriots. Meanwhile, the Minneapolis-St. Paul area saw 32 activities and community outreach events throughout the city, which was part of the NFL’s plan to leave a lasting legacy.

For example, Special Olympics Minnesota partnered with the Minnesota Super Bowl Host Committee to host a Polar Plunge, a signature winter event centered on participants jumping into a body of icy water and raising funds to support more than 8,200 people with intellectual disabilities across the state.

But there’s more.

Out of the 32 announced events that took place in Minneapolis during Super Bowl LII weekend and the weeks leading up to the big day, here are a few community outreach events of note.


AN INTERFAITH GATHERING

Minnesota Super Bowl Host Committee partnered with the Downtown Congregations to kick off Super Bowl week with an interfaith gathering to celebrate unity and shared purpose. The gathering was held at Westminster Presbyterian Church. The celebration showcased Minnesota’s national leadership in multifaith dialogue and cooperation and will raise money to prevent homelessness. The event is the work of the Twin Cities faith community — rabbis, priests, pastors, imams and other leaders — coming together to send a message about unity in the Twin Cities.

CREATING A CULTURE OF CARE: AN INSIDEOUT INITIATIVE EVENT

The NFL Foundation and Minnesota Super Bowl Host Committee Legacy Fund hosted a special character development event for local Minnesota High School athletic directors and their respective head football coach and female coach of influence at the Mayo Clinic Sports Medicine.

SPECIAL OLYMPICS UNIFIED FLAG FOOTBALL GAME and POLAR PLUNGE

The NFL and Special Olympics Minnesota hosted a Special Olympics Unified Flag Football game.

PRO FOOTBALL HALL OF FAME ARTIFACTS

The Pro Football Hall of Fame showcased more than 130 artifacts during the week. The one-of-a-kind treasures allowed the Hall to convey the NFL’s 98-year history since the league’s birth in Canton, Ohio, in 1920.

SUPER BOWL LIVE CONCERT SERIES

Nicollet Mall in downtown Minneapolis was the site of Super Bowl LIVE, a 10-day fan festival leading up to Super Bowl LII curated by Grammy-winning producers Jimmy Jam and Terry Lewis. The event, free and open to the public, encompassed six blocks on Nicollet Mall and featured food and fun. Highlights included an evening of music honoring Prince.

‘TESTIFY: AMERICANA FROM SLAVERY TO TODAY’ EXHIBIT

Pro Football Hall of Famer and former Minnesota Supreme Court Justice Alan Page, along with Diane Sims Page, executive director of the Page Education Foundation, presented TESTIFY, a preview of their collection of Americana from slavery to today. The wide-ranging exhibit features art and artifacts from pivotal eras in American history while providing a platform for visitors to share their thoughts, feelings and personal experiences.

NFL PLAY 60 CHARACTER CAMP

The NFL hosted NFL PLAY 60 Character Camp, a free event on the field at Super Bowl Experience Driven by Genesis at the Minneapolis Convention Center. The event included 300 predominantly Hispanic youths from the Minnesota area. The noncontact football camp was led by Pro Football Hall of Fame offensive tackle Anthony Munoz.

SALUTE TO SERVICE MILITARY APPRECIATION DAY

As part of Salute to Service, the NFL invited veterans, active-duty servicemen and women and their families to Military Appreciation Day. The NFL is working with its military nonprofit partners, including Wounded Warrior Project, to invite attendees. The event included football-themed activities, meet-and-greets and a special “Thank You” moment for all service members.

NFL PLAY 60 KIDS’ DAY AT SUPER BOWL EXPERIENCE

Children from the Minneapolis area participated and learned more about the importance of healthy living at the NFL PLAY 60 Kids’ Day, which gives more than 1,000 local children the opportunity to spend time with NFL players.

SUPER BOWL LII BUSINESS CONNECT CELEBRATION

The NFL and the Minnesota Super Bowl Host Committee hosted the Super Bowl LII Business Connect: Celebrating Opportunities, Teamwork & Success, spotlighting the accomplishments of Super Bowl LII Business Connect suppliers and local businesses that have grown and thrived under the tutelage of the program’s professional development initiatives and, acknowledging NFL event contractors who’ve aggressively used the program, awarding contract opportunities to the vendors in the program. More than 350 Minnesota businesses in 40 vendor categories participated in the 18-month Business Connect program, which identifies Super Bowl LII contracting opportunities and matches those contracts with experienced, local diverse business owners in the program. To qualify for participation in Business Connect, businesses must be 51 percent owned by a minority, woman, veteran, lesbian, gay, bisexual and/or transgender individual. The Business Connect Celebration is a ticketed event for participating business owners.

NFL PLAYER CARE FOUNDATION SCREENINGS

The NFL Player Care Foundation (PCF) and the NFL Alumni Association (NFLA) partnered to conduct their annual Super Bowl Healthy Body and Mind Screening program. This complimentary national program is open to all former NFL players and includes cardiovascular and prostate screenings and mental health resources and education. Comprehensive blood testing will be offered to the wives and significant others who accompany former player screening participants and are being provided by NFLA free of charge.

SUPER BOWL LEGACY GRANT EVENT

The NFL seeks to improve the surrounding communities of the Super Bowl host city with the Super Bowl Legacy Grant Program, made possible each year by a $1 million contribution from the NFL Foundation and matched by the Super Bowl Host Committee. This year, the NFL and Minnesota Super Bowl Host Committee’s grants are focused on improving access and creating healthy behaviors for a lifetime, whether it’s access to physical activity or nutritious food. To build a healthier, more active, life-changing future for all of Minnesota’s children, the Super Bowl Legacy Fund’s strategic areas of giving are fun, fuel and fundamentals.

As a culmination of their 52 Weeks of Giving Campaign, the yearlong effort to award 52 Minnesota communities with grants leading up to the big game, NFL and Minnesota Super Bowl Host Committee executives awarded the 52nd and final Super Bowl Legacy Grant to Anwatin Middle School.

MINNESOTA SUPER BOWL HOST COMMITTEE LEGACY FUND 52 WEEKS OF GIVING CAMPAIGN

Minnesota Super Bowl Host Committee Legacy Fund 52 Weeks of Giving Campaign 52 Weeks of Giving is a yearlong community giving campaign to ensure that hosting the big game will leave a lasting legacy for Minnesota’s children.

Each week, for 52 weeks, the Legacy Fund provides a capital grant to a community organization in Minnesota that is committed to improving the health and wellness of children. The grants help improve access to nutritious food and physical activity and create healthy behaviors in Minnesota’s youths.

23rd ANNUAL REBUILDING TOGETHER KICKOFF TO REBUILD

For the past 23 years, Rebuilding Together has partnered with the NFL to host community revitalization projects in Super Bowl cities across the country. These NFL-sanctioned events provide critical home repairs for people in need and their communities.

Rebuilding Together Twin Cities hosted a community revitalization project to rehabilitate six homes and develop a community garden in the Bryant neighborhood of South Minneapolis. The community garden will give neighbors access to fresh produce, which is extremely limited in the area, and offer residents opportunities to connect with their neighborhood.

Jessica Williams and Phoebe Robinson bring ‘2 Dope Queens’ to HBO The popular podcast is now a four-part comedy special

The first thing you realize while watching the 2 Dope Queens HBO special is that Jessica Williams and Phoebe Robinson, the aforementioned dope queens, would be perfect at hosting the Golden Globes.

In a television adaptation of their popular 4-year-old WNYC podcast, Williams and Robinson display a familiar, wisecracking comedy that made Tina Fey and Amy Poehler so enjoyable for the three years they hosted Hollywood’s annual alcohol-soaked tribute to arbitrary awards. It’s the magnetism that comes from watching two girlfriends hold court and have a good time while wishing you were cool enough to join the party.

Now, under the direction of comic Tig Notaro (a recent guest on the podcast), 2 Dope Queens has been turned into a series of four one-hour comedy specials. The first one airs at 11:30 p.m. on Feb. 2. Each episode is a variety show built around a theme: blerds, New York, hair (because: black) and “hot peen” (because: alive). In each one, Williams and Robinson kick it for a bit, introduce a comic who does a stand-up set, then interview their celebrity guests before closing with another comic.

Robinson’s been performing stand-up comedy for 10 years and also solo-hosts another WNYC interview podcast called Sooo Many White Dudes, in which her guests are mostly anything but. Williams is best known as a former Daily Show correspondent (her old boss, Jon Stewart, makes an appearance on 2 Dope Queens), and lately she’s been throwing herself into acting. She recently released her second film with writer/director Jim Strouse, and the pair are working on a comedy series for Showtime.

Should they get the call (Dear Golden Globes producers, have some sense and enlist these two already), Robinson’s already thought of the celebrities she’d like to participate in their comedy bits. Oprah (“Because she’s amazing and delightful and she’s truly funny and she has a great personality”), former President Barack Obama (“He would be like, ‘Are you asking me to do a bit for the Golden Globes? I’m like, busy.’ ”) and Jack Nicholson (“I know you’re like semi-retired, but would you do something completely nuts with me? I think he would be like, ‘Sure.’ ”).

Robinson, 33, and Williams, 28, weren’t close friends when they originally began hosting the 2 Dope Queens podcast. Listeners witnessed their chemistry develop in real time as they’ve attended Billy Joel concerts and AfroPunk together. The result is a duo who shimmy and yaaaaaaaaasssssss their affirmations to each other and everyone they interview. In the case of the specials, that includes Tituss Burgess (Unbreakable Kimmy Schmidt), Uzo Aduba (Orange Is the New Black), Sarah Jessica Parker (Divorce) and Stewart.

“Minorities and people of color, we’re usually supporting characters in other people’s narratives, and so we try to give people a platform to be the star of their own narrative.”

“We were becoming friends as we were working together,” Robinson said by phone recently. “Like any sort of intimate relationship, we’ve learned what works for us, what doesn’t. It’s a really cool process to balance the friendship with working together.”

Both had some advice for new residents of New York, with Williams sounding like Sex and the City‘s Carrie Bradshaw giving a clinic to singletons.

“You’re not finding the peen-age? Just walk outside and do exactly what it is that you want to do and go explore your interests,” she said by phone. “Like, go to a SZA concert or a pottery class. … Just go do that and I think you’ll run into some hot sausage.”

Robinson, on the other hand, admitted to being more in the camp of the blind leading the blind.

“If I knew [where to find it], I wouldn’t talk about it as much as I do,” Robinson said. “I’m lucky that I have a boyfriend and I’m off the streets, because I was truly a nightmare. I’m not good at flirting. I think it’s good to travel in packs with your lady friends. You need that line of defense.”

Robinson and Williams curated an eclectic collection of guest comedians for their HBO specials, some of whom, like Michelle Buteau and Aparna Nancherla, may be familiar if you watched Wyatt Cenac’s Night Train series for the now-defunct streaming service Seeso. And like Night Train, 2 Dope Queens relies heavily, and deliberately, on minority comics. Other guests include Baron Vaughn, Sheng Wang and Naomi Ekperigin. Amy Aniobi, a writer and producer on Insecure, served as executive producer.

“We always try to make sure we have stand-up, storytellers or celebrity guests that are … a woman or a person of color or a member of the LGBT community,” Williams said. “Oftentimes, minorities and people of color, we’re usually supporting characters in other people’s narratives, and so we try to give people a platform to be the star of their own narrative. It’s inherently built into the show.”

The specials, which were shot in Brooklyn, New York’s, Kings Theatre, are set against the backdrop of a typical New York rooftop, complete with string lights, a grill and crates that double as seating. Both women said that working with Notaro, who recently wrote and starred in the Amazon series One Mississippi, was pivotal to the show’s success.

“Even when women are the stars of their comedy specials, they still have men directing them,” Robinson said. “I really wanted to have a woman directing ours. … I learned so much from her. She’s a great leader. There’s no drama. She comes in, she does the work and she makes it really fun. Every time we had a meeting, my stomach would be hurting because she’d be making me laugh.”

Eagles and Meek Mill: It’s a Philly thing and a story of support The incarcerated rapper has helped fuel the team’s first Super Bowl appearance in 13 seasons, while the team has helped boost his spirits

ST. PAUL, MINNESOTA – As the iconic theme song from Rocky blasted through loudspeakers late Monday night at the Xcel Energy Center here, the NFC champion Philadelphia Eagles took the stage on opening night of Super Bowl week. For this edition of the team, however, rapper Meek Mill’s “Dreams and Nightmares” would have been a more appropriate musical selection.

The incarcerated Philadelphia native – whose situation typifies problems with sentencing guidelines, criminal justice reform advocates say – has helped fuel the Eagles’ first Super Bowl appearance in 13 seasons, providing the team’s unofficial anthem. And in turn, the Eagles have bolstered Mill’s spirits while he serves his sentence for violating probation stemming from a 2008 gun and drug case.

Mill is still confined to a medium-security prison in Chester, Pennsylvania. But he was with the Eagles in spirit, players said.

“With Meek, man, it’s a Philly vibe,” Eagles rookie wide receiver Rashard Davis said. “Philly is his hometown. That’s where his people reside. We’re just bringing that culture, that hype, to our football field.

“Before each game, Meek is getting us riled up for the game. You can’t help but get riled up. You just feel that energy. And our crowd feels that energy. Just play Meek, get the crowd riled up and just go ball out.”

Interesting formula. So far, it has worked spectacularly.

After earning home-field advantage throughout the NFC playoffs, the Eagles defeated the Atlanta Falcons, 15-10, in the divisional round. Then in the championship game, the Eagles dismantled the Minnesota Vikings, 38-7.

During pregame warm-ups each week, Lincoln Financial Field has been transformed briefly into a Meek Mill concert venue. The Eagles bounce to the beat – and they definitely put a beatdown on the Vikings. Postgame, the lyrics from the title track of the rapper’s 2012 album filled the locker room, which pleased wideout Torrey Smith.

“Meek is an icon in every NFL locker room,” Smith said. “And he’s definitely an icon to folk like me, who know what it’s like to come from struggle, know what it’s like to grind and just know what it’s like to overcome obstacles. He’s a perfect example of all of that. He’s also a person like me who, while I haven’t committed any crimes myself or fell victim to the [criminal justice] system, I have seen it.

“I’ve seen what can happen. It has affected friends of mine. It has affected my family members. And sentencing like this, what Meek is living with right now, is part of the reason why I was a criminal justice major. Things like this flat-out don’t make sense. It’s a waste of taxpayer money. We’re aware of all of that, what he’s going through is important to us, and we also definitely get energy off of his music.”

Meek Mill derives strength partly from the Eagles’ success.

“It really lifted my spirit to hear the team rally around my songs because that’s why I make music — to inspire others and bring people together,” Mill, 30, said in a statement released to Bleacher Report and NBC Sports Philadelphia.

“The Eagles have also motivated me with the way they’ve overcome tough situations and injuries to succeed this year. I’m so proud of my Eagles for making the Super Bowl and representing the city of Philadelphia. I’m confident my guys are going to beat the [New England] Patriots and bring the Super Bowl trophy to Philly.”

Smith, safety Malcolm Jenkins and defensive end Chris Long have championed criminal justice reform. They’re among many current and former professional athletes – NBA superstar James Harden recently visited Meek Mill in prison – who have spoken out about the rapper, who in November was sentenced to two to four years for a probation violation. This week, Meek Mill matched Colin Kaepernick’s $10,000 donation to Youth Services Inc. of Philadelphia, part of Kaepernick’s Million Dollar Pledge.

“The Meek Mill situation is one that represents the stuff that happens every day when you talk about people being victimized by the criminal justice system,” Jenkins said. “Once you get a record and once you have a rap sheet, it allows the system to really do with you how it sees fit. And oftentimes, that’s a burden that’s carried [disproportionately] by people of color. We’ve seen this repeatedly.

“Because Meek is such a prominent figure, now everybody sees what’s really happening out there. People see this is happening to Americans every day. And unfortunately, he’s still behind bars. But he has a lot of people who are supporting him. His music has been something that this team has rallied around. It’s something that is near and dear to the city of Philadelphia. We’ll continue to support him and ride his music throughout the Super Bowl.”

Have the Eagles moved on from the Rocky theme song for good?

Rocky is always going to be Rocky in Philly. But that’s the older generation,” Davis said. “Meek has brought something new to the table. You always have to pay respect to Rocky. But Meek is important. Especially with what’s going on.”

Grammys: Bruno Mars and Kendrick Lamar win big; Jay-Z and SZA are shut out What is it about hip-hop and rap music and Grammys?

There’s much so much take away from the 60th Annual Grammy Awards. Here are the most obvious elephants in the room.

Kendrick Lamar’s run continues. We said it before, but Lamar’s DAMN. good year has no end in sight. He started Sunday night’s Grammys off via one of the best (Dave Chapelle) intros in recent memory, brought out U2, and left Madison Square Garden last night with five Grammys — including rap album of the year and best rap/sung performance with Rihanna for their “Loyalty.” While it seems DAMN. the album has bumped Lamar up from rap superstar to Lamar the hip-hop pop culture kingpin, he once again lost out in the album of the year category — the third time that’s happened. And with a catalog that includes generation-defining records such as good kid, m.A.A.d city, To Pimp a Butterfly and DAMN., you’re left to wonder what, if anything, Compton, California’s, son has to do to, especially considering the massive goodwill DAMN. has produced. But with a nationwide tour on the horizon and the Black Panther soundtrack, serving as the Black Hippy album we never got, at least the start of 2018 is looking quite massive for hip-hop’s young legend.

Jay-Z and SZA shut out. They entered the night with a total of 13 nominations. And maybe that was a sign of bad luck off the rip. Both Jay-Z and SZA left Madison Square Garden without any hardware. Before the show, Jay again acknowledged his storied and infamous history with music’s biggest night. His groundbreaking 4:44 though wasn’t recognized in any category. Likewise, SZA, the most nominated woman of last night’s festivities, left empty-handed. It was a euphoric year for the first lady of TDE. Fueled by records such as “Love Galore” featuring Travis Scott, and “The Weekend,” her debut project, Ctrl is a commercial and critical success. SZA did, however, give a rousing performance of her standout “Broken Clocks,” seemed to highlight a disappointing night. Remember last year, when Rihanna also failed to receive a Grammy after dropping the best album of that year and of her career thus far? And: Wildly “Despacito,” Khalid and Cardi B were shut out, too. A weird night for music’s biggest night.

Instagram Photo

All hail King Bruno. I said the album would be important well over a year ago. Turns out I was wrong. It was very important. “It’s like you started the wave a long time ago,” said Jeremy Reeves, one-fourth of The Stereotypes, the production creatives who helped write the now Grammy-winning “That’s What I like.” “And for some reason it’s still growing. But that’s the roar and it’s like, ‘Yo, Bruno really took it all the way there from the studio to the world. It’s a crazy feeling.” Simply put, Bruno Mars is a legend in real time — who walked away with six Grammys last night. While names like Lamar and Jay-Z absolutely deserved to win the night’s most coveted honor in album of the year, let’s not front like Bruno Mars didn’t release one of the most important albums of 2017, and did so only using nine songs. From “24K Magic” to the aforementioned “That’s What I Like” to even the updated “Finesse” with Cardi B, his music impacts nearly every corner of the population — and not in a corny way that comes off as if he’s trying too hard. He’ll have a Las Vegas residency in 10 years performing these very songs — and future hits.

Select Grammy winners:

Album of the Year:
“Awaken, My Love!” — Childish Gambino
4:44 — Jay-Z
DAMN. — Kendrick Lamar
MelodramaLorde
24K Magic — Bruno Mars —WINNER

Record of the Year:
“Redbone” — Childish Gambino
“Despacito” — Luis Fonsi & Daddy Yankee featuring Justin Bieber
“The Story Of O.J.” — Jay-Z
“HUMBLE.” — Kendrick Lamar
“24K Magic” — Bruno Mars —WINNER

Song of the Year:
“Despacito” — Ramón Ayala, Justin Bieber, Jason “Poo Bear” Boyd, Erika Ender, Luis Fonsi & Marty James Garton, songwriters (Luis Fonsi & Daddy Yankee Featuring Justin Bieber)
“4:44” — Shawn Carter & Dion Wilson, songwriters (Jay-Z)
“Issues” — Benny Blanco, Mikkel Storleer Eriksen, Tor Erik Hermansen, Julia Michaels & Justin Drew Tranter, songwriters (Julia Michaels)
“1-800-273-8255” — Alessia Caracciolo, Sir Robert Bryson Hall II, Arjun Ivatury & Khalid Robinson, songwriters (Logic Featuring Alessia Cara & Khalid)
“That’s What I Like” — Christopher Brody Brown, James Fauntleroy, Philip Lawrence, Bruno Mars, Ray Charles McCullough II, Jeremy Reeves, Ray Romulus & Jonathan Yip, songwriters (Bruno Mars) — WINNER

Best New Artist:
Alessia Cara — WINNER
Khalid
Lil Uzi Vert
Julia Michaels
SZA

POP FIELD

Best Pop Solo Performance:
“Love So Soft” — Kelly Clarkson
“Praying” — Kesha
“Million Reasons” — Lady Gaga
“What About Us” — P!nk
“Shape Of You” — Ed Sheeran — WINNER

DANCE/ELECTRONIC FIELD

Best Dance Recording:
“Bambro Koyo Ganda” — Bonobo Featuring Innov Gnawa
“Cola” — Camelphat & Elderbrook
“Andromeda” — Gorillaz Featuring DRAM
“Tonite” — LCD Soundsystem — WINNER
“Line Of Sight” — Odesza Featuring Wynne & Mansionair

Best R&B Performance:
“Get You” — Daniel Caesar Featuring Kali Uchis
“Distraction” — Kehlani
“High” — Ledisi
“That’s What I Like” — Bruno Mars —WINNER
“The Weekend” — SZA

Best Traditional R&B Performance:
“Laugh And Move On” — The Baylor Project
“Redbone” — Childish Gambino — WINNER
“What I’m Feelin’ ” — Anthony Hamilton Featuring The Hamiltones|
“All The Way” — Ledisi
“Still” — Mali Music

Best R&B Song:
“First Began” — PJ Morton, songwriter (PJ Morton)
“Location” — Alfredo Gonzalez, Olatunji Ige, Samuel David Jiminez, Christopher McClenney, Khalid Robinson & Joshua Scruggs, songwriters (Khalid)
“Redbone” — Donald Glover & Ludwig Goransson, songwriters (Childish Gambino)
“Supermodel” — Tyran Donaldson, Terrence Henderson, Greg Landfair Jr., Solana Rowe & Pharrell Williams, songwriters (SZA)
“That’s What I Like” — Christopher Brody Brown, James Fauntleroy, Philip Lawrence, Bruno Mars, Ray Charles McCullough II, Jeremy Reeves, Ray Romulus & Jonathan Yip, songwriters (Bruno Mars) —WINNER

Best Urban Contemporary Album:
Free 6LACK — 6LACK
“Awaken, My Love!” — Childish Gambino
American Teen — Khalid
Ctrl — SZA
Starboy — The Weeknd —WINNER

Best R&B Album:
Freudian — Daniel Caesar
Let Love Rule — Ledisi
24K Magic — Bruno Mars — WINNER
Gumbo — PJ Morton
Feel the Real –Musiq Soulchild

Best Rap Performance:
“Bounce Back” — Big Sean
“Bodak Yellow” — Cardi B
“4:44” — Jay-Z
“HUMBLE.” — Kendrick Lamar —WINNER
“Bad And Boujee” — Migos Featuring Lil Uzi Vert

Best Rap/Sung Performance:
“PRBLMS” — 6LACK
“Crew” — Goldlink Featuring Brent Faiyaz & Shy Glizzy
“Family Feud” — Jay-Z Featuring Beyoncé
“LOYALTY.” — Kendrick Lamar featuring Rihanna — WINNER
“Love Galore” — SZA Featuring Travis Scott

Best Rap Song:
“Bodak Yellow” — Dieuson Octave, Klenord Raphael, Shaftizm, Jordan Thorpe, Washpoppin & J White, songwriters (Cardi B)
“Chase Me” — Judah Bauer, Brian Burton, Hector Delgado, Jaime Meline, Antwan Patton, Michael Render, Russell Simins & Jon Spencer, songwriters (Danger Mouse Featuring Run The Jewels & Big Boi)
“HUMBLE.” — Duckworth, Asheton Hogan & M. Williams II, songwriters (Kendrick Lamar) — WINNER
“Sassy” — Gabouer & M. Evans, songwriters (Rapsody)
“The Story Of O.J.” — Shawn Carter & Dion Wilson, songwriters (Jay-Z)

Best Rap Album:
4:44 — Jay-Z
DAMN. — Kendrick Lamar — WINNER
Culture — Migos
Laila’s Wisdom — Rapsody
Flower Boy — Tyler, The Creator

Best Improvised Jazz Solo:
“Can’t Remember Why” — Sara Caswell, soloist
“Dance Of Shiva” — Billy Childs, soloist
“Whisper Not” — Fred Hersch, soloist
“Miles Beyond” — John McLaughlin, soloist — WINNER
“Ilimba” — Chris Potter, soloist

Best Jazz Vocal Album:
The Journey — The Baylor Project
A Social Call — Jazzmeia Horn
Bad Ass and Blind — Raul Midón
Porter Plays Porter — Randy Porter Trio With Nancy King
Dreams and Daggers — Cécile McLorin Salvant — WINNER

Best Jazz Instrumental Album:
Uptown, Downtown — Bill Charlap Trio
Rebirth — Billy Childs — WINNER
Project Freedom –Joey DeFrancesco & The People
Open Book — Fred Hersch
The Dreamer Is the Dream — Chris Potter

Best Large Jazz Ensemble Album:
MONK’estra Vol. 2 — John Beasley
Jigsaw — Alan Ferber Big Band
Bringin’ It — Christian McBride Big Band — WINNER
Homecoming — Vince Mendoza & WDR Big Band Cologne
Whispers on the Wind — Chuck Owen and The Jazz Surge

Best Latin Jazz Album:
Hybrido – From Rio To Wayne Shorter — Antonio Adolfo
Oddara — Jane Bunnett & Maqueque
Outra Coisa – The Music Of Moacir Santos — Anat Cohen & Marcello Gonçalves
Típico — Miguel Zenón
Jazz Tango — Pablo Ziegler Trio — WINNER

Best Gospel Performance/Song:
“Too Hard Not To” — Tina Campbell
“You Deserve It” — JJ Hairston & Youthful Praise Featuring Bishop Cortez Vaughn
“Better Days” — Le’Andria
“My Life” — The Walls Group
“Never Have To Be Alone” — CeCe Winans — WINNER

Best Gospel Album:
Crossover: Live From Music City — Travis Greene
Bigger Than Me — Le’Andria
Close — Marvin Sapp
Sunday Song — Anita Wilson
Let Them Fall in Love — CeCe Winans — WINNER

Best Latin Pop Album:
Lo Único Constante — Alex Cuba
Mis Planes Son Amarte — Juanes
Amar Y Vivir En Vivo Desde La Ciudad De México, 2017 — La Santa Cecilia
Musas (Un Homenaje Al Folclore Latinoamericano En Manos De Los Macorinos) — Natalia Lafourcade
El Dorado — Shakira — WINNER

Best Latin Rock, Urban or Alternative Album:
Ayo — Bomba Estéreo
Pa’ Fuera — C4 Trío & Desorden Público
Salvavidas De Hielo — Jorge Drexler
El Paradise — Los Amigos Invisibles
Residente — Residente — WINNER

Best Regional Mexican Music Album:
Ni Diablo Ni Santo — Julión Álvarez Y Su Norteño Banda
Ayer Y Hoy — Banda El Recodo De Cruz Lizárraga
Momentos — Alex Campos
Arriero Somos Versiones Acústicas — Aida Cuevas — WINNER
Zapateando En El Norte — Humberto Novoa, producer (Various Artists)

Best Tropical Latin Album:
Albita — Albita
Art of the Arrangement — Doug Beavers
Salsa Big Band — Rubén Blades Con Roberto Delgado & Orquesta — WINNER
Gente Valiente — Silvestre Dangond
Indestructible — Diego El Cigala

Best American Roots Performance:
“Killer Diller Blues” — Alabama Shakes —WINNER
“Let My Mother Live” — Blind Boys of Alabama
“Arkansas Farmboy” — Glen Campbell
“Steer Your Way” — Leonard Cohen
“I Never Cared For You” — Alison Krauss

Best Reggae Album:
Chronology — Chronixx
Lost In Paradise — Common Kings
Wash House Ting — J Boog
Stony Hill — Damian “Jr. Gong” Marley — WINNER
Avrakedabra — Morgan Heritage

Best World Music Album:
Memoria de los Sentidos — Vicente Amigo
Para Mi — Buika
Rosa Dos Ventos — Anat Cohen & Trio Brasileiro
Shaka Zulu Revisited: 30th Anniversary Celebration — Ladysmith Black Mambazo — WINNER
Elwan — Tinariwen

Best Comedy Album:
The Age Of Spin & Deep In The Heart Of Texas — Dave Chappelle — WINNER
Cinco — Jim Gaffigan
Jerry Before Seinfeld — Jerry Seinfeld
A Speck Of Dust — Sarah Silverman
What Now? — Kevin Hart

Best Album Notes:
Arthur Q. Smith: The Trouble With The Truth — Wayne Bledsoe & Bradley Reeves, album notes writers (Various Artists)
Big Bend Killing: The Appalachian Ballad Tradition — Ted Olson, album notes writer (Various Artists)
The Complete Piano Works Of Scott Joplin — Bryan S. Wright, album notes writer (Richard Dowling)
Edouard-Léon Scott De Martinville, Inventor of Sound Recording: A Bicentennial Tribute — David Giovannoni, album notes writer (Various Artists)
Live At The Whisky A Go Go: The Complete Recordings — Lynell George, album notes writer (Otis Redding) — WINNER
Washington Phillips And His Manzarene Dreams — Michael Corcoran, album notes writer (Washington Phillips)

Best Remixed Recording:
“Can’t Let You Go (Louie Vega Roots Mix)” — Louie Vega, remixer (Loleatta Holloway)
“Funk O’ De Funk (SMLE Remix)” — SMLE, remixers (Bobby Rush)
“Undercover (Adventure Club Remix)” — Leighton James & Christian Srigley, remixers (Kehlani)
“A Violent Noise (Four Tet Remix)” — Four Tet, remixer (The xx)
“You Move (Latroit Remix)” — Dennis White, remixer (Depeche Mode) — WINNER

Best Music Video:
“Up All Night” — Beck
“Makeba” — Jain
“The Story Of O.J.” — Jay-Z
“Humble.” — Kendrick Lamar — WINNER
“1-800-273-8255” — Logic Featuring Alessia Cara & Khalid

Best Music Film:
One More Time With Feeling — Nick Cave & The Bad Seeds
Long Strange Trip — (The Grateful Dead)
The Defiant Ones — (Various Artists) — WINNER
Soundbreaking — (Various Artists)
Two Trains Runnin’ — (Various Artists)

Migos don their ‘CRWN’ in exclusive, intimate interview As Grammy weekend heats up, the rap supergroup basks in success — while respecting the grind

“We the young kings of hip-hop right now,” said Quavo. He was laughing, and playful. Yet serious.

Their new album, Culture II, had hit all streaming services less than 24 hours before. The 24-track double album boasts verses and production from Drake, 2 Chainz, 21 Savage, Big Sean, Metro Boomin, Mike Dean, Kanye West and more. The group is up for two Grammys Sunday night: best rap album, 2017’s Culture, and best rap performance by a duo or group for the monster hit “Bad and Boujee.” But it made a weird kind of sense that the first time Migos (whose “Stir Fry” is the official song of NBA All-Star Weekend) spoke on Culture II, it would be in an intimate setting.

Elliott Wilson, Tidal’s editorial director of hip-hop content, revived his famed CRWN interview series Friday night with Quavo, Offset and Takeoff before an energetic crowd of just 100 people. The nearly hourlong sit-down, which included impromptu questions from the audience, spanned an array of topics: Quavo and Offset’s decisions to do separate projects (and Takeoff’s impending solo efforts), management company Quality Control’s influence on their glow-up, their “connection” to Joe Budden (“I never looked up to Joe Budden,” Quavo said, sarcastically), reuniting with Drake for the first time since “Versace,” and how the trio got both the iconic Nicki Minaj and Offset’s superstar fiancée Cardi B (who is also nominated for two “Bodak Yellow” Grammys) on “Motorsport.” “The girl power,” said Quavo, “was just so strong.”

“Yessir!” Offset followed up, drawing applause and laughter from the audience — and Offset and Cardi’s relationship of course quickly became a provocative topic. “We just stay focused on our craft. I always tell her, You gotta stay on they a—,” Set said. “To keep giving it to ’em … Cardi is a star.”

Migos is a rare superstar conglomerate in an era where groups — as opposed to solo artists — aren’t trained to thrive. They said a number of times that loyalty is what keeps them together. “And don’t get [us] wrapped up in that mumble rap bulls—-,” said Quavo. Defiantly, he followed up: “We really do this.”

Drake’s strategic silence and the task of a triumphant return The Toronto superstar appears to have recused himself from Grammys — but he’s still at Grammys

A Toronto to New York flight usually takes less than an hour. But don’t expect Drake to stand in line at customs to be in New York this weekend as the Grammys return to Manhattan for the first time in 15 years. For the first time since 2008 — the year before his genre-bending third mixtape, So Far Gone, altered hip-hop’s sound, structure and release pattern — Drake will not be an official part of Grammy festivities. In recent times, music’s biggest night and one of music’s biggest names haven’t exactly seen eye to eye.

Drake’s 2017 More Life was not submitted for 2018 Grammy consideration. According to Billboard’s anonymous source “close to the nomination process,” the decision was Drake’s.

The 35-time nominee has won (only) three times. Drake captured the last two for the huge sales/radio/video/streaming smash “Hotline Bling” and later took to his OVO Sound show on Apple’s Beats 1 to voice frustration. “Even though ‘Hotline Bling’ is not a rap song, the only category they can manage to fit me in is a rap category. Maybe because I’ve rapped in the past, or because I’m black, I can’t figure out why,” he said. “I won two awards last night, but I don’t even want them. … It feels weird for some reason.”

There’s a possibility that he’s still in his feelings a year later. He kind of made his statement with the recent Scary Hours, a duo of songs. The bouncy, anthemic and A-side-ish “God’s Plan” is soon to be a No. 1 pop hit. It and “Diplomatic Immunity” — patented, introspective, sans hook — end Drake’s self-imposed musical sabbatical.

“Even though ‘Hotline Bling’ is not a rap song, the only category they can manage to fit me in is a rap category. Maybe because I’ve rapped in the past, or because I’m black.”

In the nearly a year since “getting back to his regular life,” hip-hop continued to be music’s trendsetter. Kendrick Lamar and Jay-Z were the authors of the year’s most analyzed and celebrated projects — records that dealt with self-atonement and generational and emotional dispositions. Migos and Cardi B dominated airwaves with monster records. Tyler, the Creator dropped a career-defining number. Bruno Mars cemented himself as pop culture’s king. And Toronto’s newest wunderkind, Daniel Caesar, emancipated another layer of The 6’s musical identity with Freudian. The timing of Hours’ release, a week to the day that Grammys weekend kicked off, wasn’t random. Nothing Drake does ever is.

“I’m not sure he’s trying to shake anybody at the Grammys, but I do think what he’s saying is, ‘I’m recharged,’ ” said longtime New York Times pop music critic Jon Caramanica, “Like, ‘That’s cool. Have your party. But I’m coming.’ I assume what he’s saying is ‘The summer is mine.’ ”

In the coming months, rumors of a new Drake album will become reality. He’s been dealing with whether to stay in constant pursuit of immortality, or to fall back and let music figure out how to operate without him. The clues to this tug of war are in his own music, hidden in plain sight.


In his decade-long drive to reach rap’s Mount Olympus, Drake has become the most successful post-808s & Heartbreaks artist. He has best synthesized the DNA of hip-hop and R&B to embody an unfiltered sense of emotion. After So Far Gone’s runaway success, Drake’s mesh of singing and rapping was diagnosed in influential circles as a detriment to rap’s brashness, and/or as a flavor of the moment — nothing sustainable. This made Drake not only an eternal brooder but also (even with his relentless success) an underdog attempting to plant his OVO flag in the center of hip-hop. “[Drake was] driven by feelings,” said Caramanica, “pioneering or popularizing a musical approach that not everybody at that time was on board with.”

Underdog Drake, though, opens the doors for King Drake. From February 2015 to March 2017, Drake released four projects: If You’re Reading This It’s Too Late, What A Time To Be Alive with Future, Views and More Life. He embarked on two marathon tours: Summer Sixteen, with Future, and his international leg, the Boy Meets World Tour. Drake was also involved in rap’s most publicized beef since the days of Jay-Z and Nas. Meek Mill vs. Drake was a battle the More Life rapper won, but its aftereffects haunt him.

Drake has been enjoying a tidal wave of success. His fingerprints are all over the musical spectrum, with a king’s ransom of hits: his first No. 1 as a lead artist in “One Dance”; its spiritual twin, “Controlla”; the Tyra Banks-assisted “Child’s Play”; DJ Khaled’s “For Free”; and Rihanna’s international smash “Work.” Statistically, Drake had no peers with his 2016 behemoth Views — he is the first to crack a billion streams on Apple Music.

By his own admission, life at the top of rap’s food chain is exhausting. Sorry if I’m way less friendly, he noted on “Work,” I got n—as trying to end me. “To be completely honest with you, I was having trouble figuring myself in rap at the time,” he said last year. “I was a very defensive individual just coming off the situations I’d come off of.”

I’m not a one-hit wonder, they know all my stuff/ You let me turn into the n—a that you almost was/ I done see a lot of s— and I done been in things/ And I never started nothin’, I just finish things — Drake on French Montana’s “No Shopping” (2016)

So, whether it’s due to Views’ lukewarm critical and social media reception, the anxieties of fame, the claims of his experimentation with ghostwriting or a potluck of the three, it can seem like Drake never had an opportunity to flourish in his global success — even as he’s all smiles courtside.

“Like, ‘That’s cool. Have your party. But I’m coming.’ I assume what he’s saying is, ‘The summer is mine.’ ”

This bellicose introspection has been noted by those closest to him. His producer/creative partner, Noah “40” Shebib, constantly reminded Drake of this moody, at times even messy persona during Views’ recording sessions. “[40] was like, ‘Man you really sound aggressive and defensive,’ ” Drake recalled. And Drake’s mother saw the change in her otherwise jovial only child. In her message at the end of 2017’s “Can’t Have Everything,” she wondered whether Drake’s new alienated attitude would “hold him back in life.”

Nowhere did his mental merry-go-round present itself in more contradictory terms than on More Life. With nearly 90 million global streams in its first 24 hours on Apple Music and 61.3 million global streams in the same time frame on Spotify, Life was more critically embraced than Views. Drake had seemingly entered a new chapter: applying pressure on rap’s jugular. N—-s see me in person/ First thing they say is, ‘I know you need a break,’ he rhymes on “Sacrifices.” Hell, nah, I feel great/ Ready now, why wait?

Between Jan. 21, 2017, when he recorded “Sacrifices,” and Life’s release on March 18, Drake’s mentality seemed to change. His breaking point arrived on Life’s melancholy “Do Not Disturb.” He reminisced on the Views era: Yeah, ducked a lot of spiteful moves/ I was an angry youth when I was writing Views, he confessed. Saw a side of myself that I just never knew/ I’ll probably self-destruct if I ever lose/ But I never do.

“Disturb” wasn’t just Life’s final song. It was the last song he recorded for the project — a bon voyage to rap, a la Jay-Z’s “Dear Summer.” More importantly, the curtain call held the album’s most important revelation. Take summer off, ’cause they tell me I need recovery/ Maybe gettin’ back to my regular life will humble me/ I’ll be back in 2018 to give you the summary … More Life.

“Everybody who has the throne loses the throne. That’s just the definition of the throne. It’s got nothing to do with Jay [Z], [Kanye West], Drake or any individual,” said Caramanica. “Rather than continue to pump out music and sort of be in perpetual competition, the healthiest thing to do was to step away.”

Drake, in essence, dropped More Life and went on about living his. There were no videos from the project, nor was there a need to rush out singles. As a result, Drake’s 430-week run of at least one song on the Billboard Hot 100 — a run, by context, that spanned all but 124 days of Barack Obama’s tenure as president — was snapped. He let go. Almost as if to say, “I’ve done this at such a high level for such a long time. I’m confident enough to walk away. I need to walk away.”

There was his short-lived fling with Jennifer Lopez, a romance Drake characteristically translated to his music. He paid homage to his Toronto superstar prophyte Vince Carter in a candid sit-down with basketball stars LeBron James and Chris Bosh. He further embedded himself with his hometown Toronto Raptors by co-designing the team’s City Edition jerseys. Drake donated $200,000 to Hurricane Harvey victims, and tragedy struck even closer to home as he served as pallbearer at the funeral of his friend Anthony “Fif” Soares.

Drake’s vow of a 2018 “summary” has interesting timing. He returns at a time when his two most high-profile associates-turned-competitors, Kendrick Lamar and Jay-Z, are celebrated for projects (both of which released after More Life) that largely helped shape the conversation in hip-hop last year. Both DAMN. and 4:44 are nominated for album of the year at the Grammys. “The type of record that Jay made can only be made by someone who is middle-aged and reflective,” Caramanica said, “[whereas] Kendrick’s [project] is political, socially aware, religiously invested. It’s a much more earthy, grounded endeavor. It’s just not what Drake does.”

Maybe. At 31, Drake’s portfolio continues to expand. The most successful rapper 35 and under/ I’m assuming everybody’s 35 and under, he waxed on 2016’s “Weston Road Flows.” That’s when I plan to retire, man, it’s already funded. Whether 35 is a hard date is a question better left for the year 2021. For now, as he said last year, leaving music is off in the distance. “But,” he told The Hollywood Reporter, “I do plan on expanding — to take six months or a year and do some great films.”

Since the turn of the century, Pharrell, Kanye West and Drake represent the holy trinity of songcraft. While the (warranted) debate rages about whether, in fact, Drake has a classic album to his name, there is no debate about his ability to shift conversations and birth new dialogues. Drake’s credibility lives and dies on him being Drake: the emo, wickedly selfish yet fiercely loyal, boastful, successfully paranoid extroverted introvert and modern-day Billy Dee Williams who can’t seem to find love in any of the strip clubs he frequents.

“I think if you look at earlier artists who have some version of the throne, where they may have gone wrong is chasing a younger sound when they were trying to fit in a place where they didn’t naturally fit in,” said Caramanica. “My hope is that Drake will be astute enough to not do that.”

DJ Jazzy Jeff, The Fresh Prince and a Grammy boycott that set the tone for three more decades of rap — and culture ‘Parents Just Don’t Understand’ was the first hip-hop song ever nominated for a Grammy

 

It was 1989. The scene: Los Angeles’ Shrine Auditorium. The host: Billy Crystal, who then was starring in films such as Memories of Me and When Harry Met Sally. The event was the 31st Annual Grammy Awards. George H.W. Bush had recently been sworn in as president of the United States, and the Gulf War would soon be looming. In the last year of the 1980s, pop ruled the Billboard charts but hip-hop continued its rise in sales and its impact on culture. Pioneers such as Public Enemy, Heavy D, 2 Live Crew, The Beastie Boys, Queen Latifah, Big Daddy Kane, De La Soul, Special Ed, 3rd Bass, Boogie Down Productions and more were changing music and the music industry.

That night though: Bobby McFerrin, would-be 10-time Grammy winner, won song of the year and record of the year for “Don’t Worry Be Happy.” The song was McFerrin’s only No. 1 hit and had a layer of controversy attached, as it had been used by the Bush presidential campaign in 1988 without the permission of McFerrin. In protest, McFerrin for years removed the song from his concert set lists. The televised broadcast of the Grammys also featured what would become a legendary performance by Whitney Houston — she sang her “One Moment in Time” against a montage backdrop from Team USA highlights of the ’88 Olympics.

But it’s what didn’t happen during the televised broadcast of the 31st Grammy Awards that made the 1989 event even more memorable. DJ Jazzy Jeff & The Fresh Prince, aka Jeff Townes and Will Smith, who had been nominated for the first-ever best rap performance Grammy for their hit crossover single “Parents Just Don’t Understand,” were not there to pick up their award. When it had been decided that the only rap award would be announced during the nontelevised portion of the show, hip-hop had its own decisions to make. “We chose to boycott,” Smith said at the time. He called the idea of the afternoon award a “slap in the face. … You go to school for 12 years, they give you your diploma and they deny you that walk down the aisle.”

Besides Jeff and Will, the other first rap Grammy nominees were:

All of these songs had been released one, two or, in the case of “Push It,” even three years before. Hip-hop by 1989 was going through a transformation. The anger was no longer mostly underground but rather more out front. Public Enemy would release its critically acclaimed Fear of a Black Planet in 1990, and the cracks in the foundation of revolutionary supergroup N.W.A. were beginning to show.

DJ Jazzy Jeff & The Fresh Prince were in a playful, more mainstream rap lane that included MC Hammer and his diamond 1990 Please Hammer, Don’t Hurt ’Em. “Parents Just Don’t Understand” peaked at No. 12 on Billboard’s pop singles chart, but it was the building momentum that DJ Jazzy Jeff & The Fresh Prince saw on one of their first big tours that cemented for the West Philly duo what everyone else was seeing. “We were on the road, so we had no idea how the record was doing on the radio,” Jazzy Jeff said in Brian Coleman’s Check the Technique: Volume 2: More Liner Notes for Hip-Hop Junkies. “I remember one night … Will did the first verse and then did the first line of the second verse, but told the crowd to finish it. And I thought, Oh, no, this could be the biggest disaster in the world! But … 20,000 people finished the verse.”

Rap was still considered a fringe force, fighting not only for its place at the Grammy Awards but also for acceptance as a respected musical genre.

MC Hammer’s massive sales numbers, though, were the exception at the time for hip-hop, not the rule. Rap was still considered a fringe force, fighting not only for its place at the Grammy Awards but also for acceptance as a respected musical genre. It was just that fight and the almost constant controversy surrounding hip-hop that fueled its ascent to being the most popular musical genre in the world.


The news started out great. The National Academy of Recording Arts and Sciences (NARAS) had announced that rap would have its own official category. “The excitement was through the roof,” said Jazzy Jeff. “It was validation for the culture.” But when the news quickly turned bittersweet, Russell Simmons and Lyor Cohen of Def Jam Recordings led a boycott of the 1989 Grammys. Joining them were the Fresh Prince and Jazzy Jeff along with Salt-N-Pepa, Public Enemy, Ice-T and others. Def Jam spokesman Bill Adler’s press release said that NARAS was “ghetto-izing” rap. The boycotting group even held a “Boycott the Grammys” party on the night of the broadcast.

The show wasn’t an all-out rap boycott, however. JJ Fad attended, as did Kool Moe Dee, who presented the embattled best rap performance award at the pre-show, saying, “On behalf of all MCs, my co-workers and fellow nominees — Jazzy Jeff, J.J. Fad, Salt-N-Pepa and the boy who’s bad — we personify power and a drug-free mind, and we express ourselves through rhythm and rhyme. So I think it’s time that the whole world knows rap is here to stay.”

The “boy who’s bad” refers to his rival LL Cool J. Years later, Moe Dee told The New York Times that he believed a better strategy than boycotting would have been for all the artists to show up and “make our case in that space where the world was watching.” Except, of course, that world wouldn’t have been watching the nontelevised version of the show.

One person who did agree with the boycott and believed it ultimately helped the duo cement their place in hip-hop was one of the producers of “Parents Just Don’t Understand,” Ruffhouse Records founder Joe “The Butcher” Nicolo. “It was important to make that stand,” said Nicolo. “I actually thought it would help them. They weren’t bowing down to the Grammy gods, and people respect you for that.”

Not even a Grammy slight could take the shine off “Parents Just Don’t Understand.”

Rap duo DJ Jazzy Jeff and the Fresh Prince perform onstage at Nassau Coliseum on August 12, 1988 in Uniondale, New York.

Al Pereira/Michael Ochs Archives/Getty Images

Also supporting the boycott was DJ Jazzy Jeff & The Fresh Prince’s A&R representative at the time, “Tokyo Rose,” aka Ann Carli. “I supported the boycott,” recalled Carli. “Jive Records was always very supportive of artists.”

The stance taken by Smith and Townes in 1989 is difficult to imagine now. At the 58th Grammy Awards in 2016, Kendrick Lamar’s To Pimp A Butterfly was nominated for album of the year. And while the album didn’t win, it was a reminder that rap music is no longer a fringe genre but rather the most important and influential music in the world. But for every Kendrick moment, there is another example where what Smith, Townes and others fought for seems to be all but forgotten — like at the 57th Grammy Awards in 2015, where no rap awards were presented on the televised broadcast for the first time in 25 years.

Looking back on the protest in 2016, Jazzy Jeff (at this point with four Grammy nominations and two wins) said he felt that he and Smith (at this point with eight Grammy nominations and four wins) represented the culture well and ultimately had an impact. “We … were very, very young and thrust into a position with the eyes of the world on us,” he said. “And to see somebody like Kendrick … it just makes you proud.”

Not even a Grammy slight could take the shine off “Parents Just Don’t Understand.” Its success, and how it sparked the duo’s careers and the meteoric rise of Smith as a Hollywood heavyweight, is stunning. Carli recalled shooting the video for the single, which was done in one 18-hour shoot, and then watching the footage with director Scott Kalvert.

“Holy crap, the camera loves [this kid],” Carli remembers saying. “He’s so incredibly expressive, and he’s selling the story. I called my boss and I said … ‘You know, this kid is going to be a movie star. I think he can be as big as Eddie Murphy.’ ” Carli then proceeded to call Simmons, who managed the duo at the time, to share her feelings about the budding star. Famously, Simmons told Carli that he might be as big as Malcolm-Jamal Warner, but not Eddie Murphy.

Except for Lil Yachty as someone who presents a similar youthful, colorful vibe, Carli doesn’t see many who compare to DJ Jazzy Jeff & The Fresh Prince in today’s current rap climate. “They had a real love and understanding of the genre,” said Carli. “These young rappers don’t seem to have a knowledge and appreciation for the history and the shoulders they’re standing on. … Still to this day, Will is where he is because of his self-confidence, talent and, as Quincy Jones would say, his ‘ass power’… he sticks in the chair until it’s done.”

But as the 60th Grammy Awards approach, the best rap performance award features a class of nominees who each represent something special and also build on the foundation of what DJ Jazzy Jeff & The Fresh Prince and their peers did three decades ago:

  • Kendrick Lamar: The collective spirit of the West Coast
  • Jay-Z: A connection to four different decades of rap
  • Migos: The youthful spirit of the genre today
  • Big Sean: The holding of lyrics in high regard
  • Cardi B: A new rap superstar

John Wall: A letter to my dad The Wizards All-Star opens up about living his dreams and honoring his father’s memory

Dear Dad,

We all go through life hoping and wishing for many things. Many of my wishes have mostly come true, with a successful career that has allowed me to take care of my family.

But there’s one wish of mine that will never be granted. That wish would be bringing you back to life so that you could see me play in the NBA.

You never got the chance to see me play basketball at any level. In fact, we never had a chance to play catch like fathers and sons do, and you were barely around when I took my first steps.

That’s what happens when a parent goes to prison. You went there when I was 2, charged with an armed robbery that I didn’t even know about until years later.

You were an inmate for most of my life. But that didn’t matter because you were my father, and to me as a young boy, prison was just a place where you happened to live.

We’d make the two-hour drive every weekend to see you, sometimes rolling two cars deep. Some of the things I got used to in my early years were getting patted down and thoroughly checked by prison guards and walking down long prison corridors with the sounds of those prison gates opening and closing.

Then I’d see you, and the trip was worth it. In the early visits, we’d be separated by a piece of thick glass, and I still remember the excitement I felt when the prison guards escorted you to the seat in front of us.

Later we were allowed to sit at an actual table with you. And I couldn’t wait for those guards to take those shackles off of you so I could jump into your arms and feel your tight embrace.

Those hugs you gave me were amazing.

When I become a father, I’m going to share your story. Not going to sugarcoat anything. I’ll let my kids know that every generation can be better and that I’m living proof.

Our discussions were never about where you came from, but the places you wanted me to go. Looking back, there you were, an inmate locked away with not much of a future. But that didn’t keep you from encouraging me, a young boy, to get an education and to go to college.

Most importantly, you instilled in me the importance of being a real man. You told me to put myself in a position to one day take care of my mother, something you were unable to do while being locked away.

Then one day you were released, and I could sense you were just as excited as I was when we packed up the car for a family getaway to White Lake, a popular North Carolina resort.

We got a cabin there for a few days, and got a chance to spend time with you for the first time with no restrictions. We went to the fair and we ate, had an artist draw a picture of us, and we played in the water.

That true family gathering was the best day of my young life.

And led to the worst day of my life.

The next day, Dad, you got sick, and I was beginning to learn that you were released because you were terminally ill with liver cancer. We had no clue that the time we spent playing in the water would lead to water getting into your wound, causing you to hemorrhage. That horrific smell from all that bleeding still sticks with me.

As you were rushed to the hospital, me and my siblings were rushed home.

It was at home days later when I overheard a phone conversation that my mother was having with her sister. I heard her say that you had died, and I went into shock. I ran right past her, out the door and down the street with no shirt and no socks. I cried so hard, because hearing you had died is more pain than any 9-year-old should experience.

At your funeral, my older brother was emotional, and promised everyone that he’d take care of the family.

But the next year he got locked up.

All those events sent my life into a downward spiral. I would talk back to my teachers, respond to taunts from kids by fighting, and I disappointed my mother each time I got kicked out of school.

Yes, the man in my life might have existed in prison. But now he was gone, and I was acting out.

Even as I got so good in basketball that people thought it could eventually be my ticket to a better life, I rebelled. When coaches tried to discipline me, I’d pout. I’d get furious my teammates wouldn’t pass to me, or the times when I was taken out of games.

How bad did it get? There were times at Garner High School, where I went in the ninth and 10th grades, when the coach wouldn’t play me. And I’d sit on the end of the bench with my legs crossed, eating a lollipop.

A lollipop. Sometimes I’d eat Skittles. Other times Starburst. I’d eat whatever candy my friends in the stands would give me. When my team called timeout, I wouldn’t even get up to go to the huddle. My attitude was if they weren’t going to play me, why bother.

I lived up to my nickname: Crazy J. And, honestly, I couldn’t have coached me.

When I got cut from my next high school — and it wasn’t because of my skills — I was hurt. My mother was devastated.

Yet at some point after that low moment for me in basketball, everything started to click.

I credit some of the men in my life. The coaches who stuck with me, even though I was a handful to deal with. The teachers and school administrators who believed in me. And my stepdad, a man I didn’t embrace at first but is someone who I would do anything for today because of what he did for my family.

With everyone rallying behind me, I became the best high school player in the nation and had a successful college career that led me to be the top pick of the NBA draft.

And, Dad, you were a part of that success and I want to thank you.

We never had the opportunity to really interact the way a father and son should. But we made the best of the time we spent in prison, forming a bond that is truly unforgettable.

I know you’re proud of the man I’ve become. I’m the first in our family to attend college, and although I have not yet completed my degree, it is a goal that I hope to accomplish. My sister followed behind to become the first in our family to graduate from college and went on to get her master’s.

I’ve taken care of my mom, and taken care of the family just like you told me.

It’s the Wall way.

When I become a father, I’m going to share your story. Not going to sugarcoat anything. I’ll let my kids know that every generation can be better and that I’m living proof. Just like you pushed me, I’ll push them to believe that they can become anything in life, like doctors, teachers, nurses or executives.

My wish of having you see me play will never come true. But just know, Dad, that there’s a reason why I have this tattoo over the left part of my chest of you holding me.

You will always be in my heart. Thank you for inspiring me.

This story appears in ESPN The Magazine’s Feb. 5 State of the Black Athlete Issue. Subscribe today!