One Phillies superfan’s standing ovation inspires another superfan’s film

Kyle Thrash was destined to be a Phillies fan.

Just hours before he was born, his mother asked nurses to turn on the Phillies vs. Cincinnati Reds game on the delivery room TV. “I don’t think you can become a fan any sooner than me getting born into a game going on,” Thrash, 35, said.

The Lehigh Valley native grew up making the hour-long commute to Phillies home games with his grandfather and learning to weather the heartbreak that comes with being a Phillies fan.

During the 2023 baseball season, the Phillies and newly-signed shortstop Trea Turner desperately needed a midseason spark. The ball club’s 25-32 start and Turner’s lackluster play routinely drew frustration and boos from Citizens Bank Park crowds. Thrash, like other fans, was looking to Turner to live up to the expectations of his $300 million signing. Months of disappointment finally transformed to a surge of fanly reinvigoration after Thrash saw a fan’s video circulating on X.

The video was from Aug. 4, 2023, when, instead of booing Turner, nearly 42,000 fans at Citizens Bank Park gave him a standing ovation during a game against the Kansas City Royals.

The action was a result of efforts by several Phillies fans, including Jack Fritz, a producer at 94.1 WIP, whom Turner later called in to thank. It was also egged on by Phillies superfan Jon McCann, who goes by the Philly Captain on his YouTube channel.

“The fans tried tough love, but I think everyone was thinking something else had to be done,” said Thrash, who also codirected the Palm Springs Film Festival Award-winning documentary, The Sentence Of Michael Thompson. “And [McCann] came up with the idea that had the spark that took off, went viral, and obviously the fans responded.”

The video, which racked up millions of views on social media, reached Thrash on X and made its way into the Phillies locker room. Turner batted .338 over the final 48 games, with the fourth-highest on-base plus slugging in the league during that span. The Phillies finished with 90 wins and reached the National League Championship Series against the Arizona Diamondbacks.

The transformation inspired Thrash to collaborate with two-time Oscar winner Ben Proudfoot on the short documentary, The Turnaround. The film, set to premiere on Netflix today, tells the story of McCann, a devoted Phillies fan who inspired his team and city.

“It’s a human story. [McCann] is from Kensington, and he’s had his struggles. And I think the spark he started was worth telling,” Thrash said. “And I know [the Phillies] didn’t get the ending to the season we wanted, but I’m still proud of what the city did and excited for people to hear [McCann’s] story.”

Thrash and Proudfoot followed McCann as he talked about his hardened upbringing, bipolar disorder, and past suicidal thoughts. The Phillies superfan recognized the power of having support in times of darkness, and wanted to administer a dose of “Philly love” to cure Turner’s uncharacteristic slump.

The film starts with McCann describing the historic crack in the Liberty Bell and reciting a prayer to the 271-year-old Philly landmark: “Dear Liberty Bell, please let the Phillies win the World Series. Amen.”

His hopes, like the historic bell, have been weathered by his experience. But by the end of the 25-minute short, McCann is inspired by a renewed sense of self.

“This is so much more than a sports story,” said Proudfoot, who has previously directed the Oscar-winning short documentaries, The Queen of Basketball and The Last Repair Shop. “This is about someone who’s dealt with mental health and took a moment to give grace to someone who was dealing with their own issues. That’s what this story is about.”

Proudfoot, a Halifax, Nova Scotia, native, who’s been wearing Phillies jerseys throughout film festival season, admits his baseball knowledge is fairly pedestrian. But he and Thrash felt McCann’s story was tailor-made for the screen.

“We could’ve interviewed thousands of other die-hard fans,” Proudfoot said, “but [McCann] did the golden rule — treat others as you want to be treated.”

The documentary closes with McCann being invited to the Phillies’ 2024 season opener. And as the camera zooms out for a wide shot of the team’s South Philly ballpark, he says, in his thick Philly accent, “Come on boys, it’s unfinished business. This is our year. Come on, Trea Turner. This is our season. You’re going to win it for us.”

While the “Fighting Phils” didn’t make it to the World Series, they clinched the National League East title for the first time in 13 years. For Thrash, the story is characteristically Philly — “even when we lose, the city wins.”

“People forget Rocky didn’t win the heavyweight title in the first film,” Thrash said. “You don’t have to win for Philadelphia to rally behind you. You just have to put up a fight, and that’s what this film is about.”

Starting Oct. 18, “The Turnaround” streams on Netflix. The film is also screening at the Philadelphia Film Festival at 7 p.m. on Saturday at the PFS - Bourse Theater 3. filmadelphia.org.

– The Philadelphia Inquirer

A new Christopher Reeve documentary uncovers the actor’s real superpower

Princeton, N.J.-raised actor Christopher Reeve was best known for playing Superman. But his superpower was his fight for advancements in spinal cord injury research and better quality of life for those with paralysis.

It was a cause deeply personal to Reeve, who was paralyzed from the neck down after a near-fatal horse-riding accident in 1995. At 42, he was restricted to a wheelchair and forced to breathe through a ventilator.

At the Kessler Institute for Rehabilitation in Marlton, N.J., Reeve learned to embrace the challenges his new life presented and established a foundation with his wife Dana to improve the lives of others facing the same obstacles.

He remained resolute in his mission until his death in 2004, due to heart failure.

A new documentary by filmmakers Ian Bonhôte and Peter Ettedgui, Super/Man: The Christopher Reeve Story, explores Reeve’s life as a father, husband, film star, and world changer.

Ahead of Friday’s release, The Inquirer spoke to two of Reeve’s children, Alexandra Reeve Givens and Matthew Reeve, about their father’s upbringing in South Jersey, his love of extreme sports, and the intimate moments they shared during his recovery.

This interview has been lightly edited for clarity and length.

he film didn’t really explore your dad’s upbringing much. Did you visit Princeton, N.J., as kids?

Alexandra Reeve Givens: Yes. Our grandmother lived in Princeton until a few years ago, so we grew up visiting there. Dad always felt connected there, and Dana was part of the New Jersey Shakespeare Festival for a long time. We both performed in it, and I think Dana was involved on the board. So that always felt like a deep part of our community and our history.

How was it seeing this film for the first time with all your home videos?

ARG: It was amazing to suddenly see your family’s story told in this beautiful, artistic way. Looking back on our dad and [Dana Reeve’s] life in totality was really powerful. The other thing that’s been amazing is seeing how people are connecting to the film. People are having fun revisiting the Superman adventure, and they’re connecting with it because they’ve suffered loss in their own lives. They’re seeing themselves in this story, and that’s really a beautiful thing.

Matthew Reeve: It triggered memories we might have forgotten, like a certain Halloween, Christmas, or family trip. We were lucky that we had video cameras at home, and even luckier they were used. Dana was certainly the family documentarian when we were younger, and I did a lot of filming later on.

ARG: I loved seeing the footage of him auditioning for Superman when he was still super skinny, with big sweat stains under his arms and shoe polish on his head to make him look the part. And an actress, who’s not Margot Kidder, playing opposite him as [Lois Lane].

How was it looking back at his days at the Kessler Institute for Rehabilitation?

ARG: Kessler is one of the premier rehabilitation centers in the country. We still work with them through the Christopher & Dana Reeve Foundation. We chose it because it was close to home and we had all these family ties to New Jersey.

There’s no sugarcoating it. It was an incredibly difficult time in our lives coming to grips with his new reality. It was difficult learning about the limitations and strategies needed to overcome those limitations. But what was powerful about it was that he was surrounded by people who were doing the same thing.

He started hearing from people who were going through similar circumstances, who rebuilt their lives, were back working, and were being strong for their families. And that was incredibly inspiring for him. He realized his circumstances had changed, but he was indeed the same person, and our family still needed him. It was physical rehabilitation, but it was really mental rehabilitation.

It was nice seeing that footage because dad and Dana were conscious about us feeling comfortable with his accident and feeling physically close to him even though his body worked differently. ... Our dad and the people at Kessler really encouraged that a lot, even in a hospital setting.

The Reeve family has been approached for films before. Why did you agree this time?

MR: It usually didn’t feel like the right people were approaching us. Most of them wanted to explore a narrative version of this story, which could have become a cheesy, tearjerky drama. We weren’t interested in doing that.

We’re excited to get his story to a whole generation of people who may not know who he was, or reintroduce him to people who remember him. And hopefully, they will come away with a deeper understanding of who our dad was and all the things that he could do.

What overarching message are you hoping the film conveys?

MR: I don’t know if I can pinpoint a singular thing. We wanted to show a complete 360 view of who Christopher Reeve was. And for me, I think that included some of the things that he could do before the accident, like flying a plane, playing the piano, scuba diving, and all these other things. And his determination, resilience, and spirit to do more for a wider community.

I think his larger message was that you don’t have to be Superman. The definition of a hero is an ordinary individual who perseveres despite overwhelming obstacles. And I hope people understand that revelation and the meaning of it, which is that everyone can do this.

Super/Man: The Christopher Reeve Story opens in theaters on Friday. The film will be available on Apple TV at a later date.

– The Philadelphia Inquirer

Wallo267 doesn’t want you to count yourself out

Two decades of incarceration and a lifetime of hardship made Wallace Peeples realize his greatest defense was a loaded mind, not a loaded gun.

Peeples, better known as Wallo267 on social media, is a motivational speaker, podcaster, and influencer. Growing up in Nicetown, he bounced in and out of juvenile centers, before being arrested and convicted for a string of armed robberies and served a total of 20 years in the Pennsylvania prison system. But instead of faltering under the strain of imprisonment, Wallo reprogrammed his mind and vowed to change course. If he didn’t, he knew there would be no breaking away from the continuous cycle of incarceration.

While incarcerated, Wallo learned the inner workings of social media from friends and family who made the two-hour commute to visit him in state correctional institutions across the state. He built a following by posting motivational pictures on a contraband phone.

On Feb. 18, 2017, Wallo walked out of the State Correctional Institution of Coal Township with a renewed sense of purpose and over 50,000 Instagram followers.

Now, he has millions of social media followers and a hit podcast, Million Dollaz Worth of Game, with his cousin Gillie Da King, where he has hosted cultural figures like 50 Cent, Alicia Keys, and Mike Tyson. And this week, his new memoir, Armed with Good Intentions, hits the shelves.

“When you come from the ghetto, sometimes you find yourself trying to steal the American dream, and it’s a lot you have to go through,” he said. “It’s just a journey trying to make it out of the jungle. Most of the homies and the people I grew up with didn’t make it out. They died as teenagers. For me to be 45 years old and still operating within culture and society, that’s major.”

We talked to the social activist and motivational speaker about his evolution from life in incarceration to being a social change-maker, the nostalgia of hot scrapple and grits in the morning, and the power of vulnerability. His memoir, Armed with Good Intentions (Simon & Schuster), releases Sept. 10.

This interview has been edited for length and clarity.

How does it feel to have your life story on bookshelves?

It feels good to open up to people who have supported me for so many years. I think it’s great to see that I’m just like everybody else. I go through ups and downs in life. I cry, I hurt, and I laugh. Some people would think once success happens that you’re not normal like everybody else. This book is about human connection. It’s bringing people into my world, with all the struggles, ups and downs, and just trying to win coming out of the ghetto.

Why did you write the book now?

I put out a motivational book that was self-published [in 2020], but I felt like there was more. As you start to level up, you have to time-stamp some things. When you’re dealing with big-time publishing houses like Simon & Schuster, it’s not always about when you want it. You have to always think like, “Man, I guess it’s meant to happen when it’s meant to happen.” Some things we just can’t control.

What was it like?

I have a lot of stuff going on in my mind based on my journey and my experiences because I’ve been in these streets since birth. And for me to be operating in a different world now, there’s just so much that people don’t know. It will take a lifetime to tell them though. Sometimes you can show somebody something, but you have to go through it in order to feel it. I try to share what I can, but sometimes it’s not that easy.

Was looking back difficult?

I look at my life differently than most people. From the time I was 11 years old, I was never free for more than a year before getting out of prison at 37. Being out this time is the longest of my life. I spent all that time incarcerated, getting out, and then getting arrested at 17 and spending all that amount of time. I’ve only been out seven years, so I’m living that life.

It was an emotional roller coaster. When you’re reminiscing about these moments, you have to live in them sometimes. Nobody remembers your life how you remember your life. You remember how you were feeling, and the emotions that came with the ups and downs. The wins and the falls. It’s really deep and just wild.

You were labeled a kid who lacked ‘self-confidence, accountability, and discipline’ during one of your stints at a juvenile facility. What inspired you to add it to the book?

So many people are going to look at this book who have been labeled by society, family, coworkers, or whoever. But it’s important to never count yourself out. The majority of the time, it doesn’t matter what someone says about you. But as much as it doesn’t matter, it can paralyze you for life. Somebody can sit there and judge you, and they don’t even operate in your circumstances. They don’t know anything about you.

You start the book by saying quotes like ‘The road to hell is paved with good intentions’ didn’t mean anything to you when you were young. What does it mean now?

I always had a good heart somewhere, but my environment had me on a different mission because I had to be a part of what was going on.

You grew up eating scrapple and grits. Is that still a go-to?

Nah, that was a long time ago when I was a kid. My grandma used to make it and it was unbelievable. But if you look up scrapple, it’s like a bunch of parts from an animal mixed up. Man, it’s like ear, tongue, and feet. When I was young, it was everything. It tasted good back then.

– The Philadelphia Inquirer

After years of decorating parties with balloons, this artist is now making art with them

North Philly artist Brian Ward grew up in the events industry. His family’s kitchen had three refrigerators and he ate Cheerios every morning with drapes, linen cloth, and other party decor hanging from both ends of the dining room table.

His parents, a baker and an event coordinator, brought him into the family business at age 14. He thought about being a part-time magician, party clown, or face painter to earn extra money for school clothes, but none of them stuck. The only one that did was balloon art.

Ward started out making inflatable hats, swords, and balloon animals at kids’ parties. Then he graduated to shaping archways and columns for prom send-offs, birthday bashes, weddings, and other celebrations.

After working as a balloon artist for a decade, Ward, now 26, is pursuing a different kind of art. Instead of contorting balloons into party-ready pieces, he is crafting sculptures and artwork with them. Only this time, they’d all be deflated.

“I wanted to create something that lasted longer with balloons as my medium,” Ward said. “Balloon decor doesn’t have much life expectancy, and I didn’t want to jump to painting or carpentry. People know me as a balloon artist, so I wanted to merge the two.”

With pencils, markers, paint, glue, and deflated balloons, he has made sculptures of basketballs and small dogs. He has also reimagined one of Evelyne Axell’s paintings, whose work inspired Ward to explore vibrant colors.

It’s a tedious process, Ward said. The materials are a small cost, but a typical art piece can take anywhere between 18 hours to three weeks to complete. But he’s found his rhythm and grown more confident in his artistic pursuits.

He went from selling $300 balloon decor packages to $2,000 art pieces bought by a big-name entertainer. And now he’s ready to show his work to a wider audience.

Ward has been a part of hundreds of events, but on Saturday he is putting on his first art show, for nearly 400 attendees at the Bridge Studio in Philly. The self-funded exhibition, titled “Who is Brian Ward?” will be filled with interactive art pieces and installations, including a play pit full of balloon-made balls.

Kamaya Jackson, a friend who has watched Ward evolve as an artist, said he’s always had the ambition to go big, and she’s happy others will get to see his art and know his story.

“I want [Ward] to feel the love the community has for him,” Jackson said. “I hope he can soak up that moment and see how much of an impact he’s made on that community. Just all the good things that can happen, that’s what I want it to be.”

Ward’s first canvas painting will be a highlight of the show.

His father, Brian Ward Sr., gifted him a canvas in July 2023. Ward used it to craft a balloon-filled collage that was inspired by the last painting his grandfather, John Ward Sr., made before his death in 2013.

Ward gifted the canvas back to his dad, who loved it. His father’s reaction gave Ward the confidence to fully pursue his new artistic journey.

“I knew my dad would be proud,” Ward Sr. said. “He was already proud of his grandkids, but he didn’t get a chance to see Brian do the art that he’s doing now. I know he would be proud to see it, and I think that was reassurance for [Ward].”

While the art world is relatively new ground for Ward, he’s establishing himself as an ascending talent. His first and most notable collector is Grammy-nominated artist Smino, who purchased a balloon-made painting of Mickey Mouse during the 2024 Roots Picnic weekend.

The transaction, Ward said, was nothing short of motivational. “[Smino] was like, ‘I’ll Zelle you the money right now. Just ship to L.A.,’ and I’m like, ‘Bro, I’ll carry this jawn on my back and bring it to you.’ I was on my cloud nine after that.”

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His new venture hasn’t been without its detractors. Longtime friend Alissa Smith said Ward has encountered naysayers throughout his artistic journey. But the entrepreneurial spirit his parents embedded in him continues to push him forward.

“People didn’t believe in his vision,” Smith said. “He overcame doubt and slower [business] seasons as a balloon artist. People told him it’s not really a normal job. But I think he took that adversity and used it as motivation. He’s created so many different connections, and I’ve seen him push past people not believing in him or trying to slow him down.”

While Ward is still developing his artistic style, he has never questioned whether he had a story to tell. The Strawberry Mansion resident said his upbringing is one of the pillars of his creativity, and he’s driven to inspire others to create their own art — whatever medium they may choose.

“I always tell people I’m inspired by life,” he said. “Some people may say that’s cliché, but I’m inspired by the possibilities of the things that you can do. And I’m just continuing to write my story.”

– The Philadelphia Inquirer

5 Best Moments From Megan Thee Stallion’s Twerk-Fueled Lollapalooza 2024 Headlining Set

With Lollapalooza 2024 marking the final stop on the Hot Girl Summer tour, Megan Thee Stallion closed out the first day of the festival with an electrifying performance — and a timely message — on Thursday night (Aug. 1). 

After performing at Vice President Kamala Harris’ first presidential campaign rally in Atlanta earlier this week, Megan continued a stellar week by headlining Lollapalooza on Thursday night, three years after her first main stage appearance at the festival and a few weeks after replacing Tyler, The Creator at the top of the Lolla bill. The combination of political statements and twerk-ready hits made sense in the context of her high-wattage show, and went over well with festival-goers, who were equally in awe of her candid stances and catalog of rapid-fire records.

Decked out in a pink sequence jumpsuit and cowboy boots, Meg started her hour-long set with the venomous “Hiss” before transitioning to her more salacious club anthems. The rap star went on to play records like “Thot S**t” and “Megan Piano,” encouraging the crowd to join her as she twerked in the evening drizzle. And with a black towel in hand and a roaring crowd on its feet, she rolled through fan-favorite bangers like “WAP” and “Wanna Be.” “Tonight, I’m not giving y’all my lightest twerk,” she said. “I’m giving y’all my hardest twerk in the motherf–king rain, because I want the hotties to have a good-ass time.” 

Despite the weather and the wrapping-up of her summer tour, Meg made her return to Chicago worth fans’ while. She even brought a special hometown guest to the stage, and played a new viral hit in front of thousands.

Here are five of the best moments from the Meg Thee Stallion’s headlining Lollapalooza performance. 

The ‘Hotties for Harris’ Campaign

Days after her campaign rally appearance, the “Houston Hottie” paused her Lolla show to double down on her support of the presumptive Democratic nominee. “Let me pop my s**t real quick, because [people] were fake mad that I was popping it for Kamala,” Megan said to the crowd at Grant Park’s T-Mobile stage. “I don’t think they heard what she said. Kamala said she wants a ceasefire. Kamala said she supports women’s rights. And she said she’s tired of those high-ass gas prices … It’s ‘Hotties for Harris,’ goddammit!” There were no audible rejections from the audience — the campaign is in full effect. 

The Twerk Encouragement

It isn’t enough for Megan to simply twerk on her own — she’s a masterful hype woman who encourages her backup dancers to shine during brief intermissions in her set. She even had one of her dancers shine with a solo moment while she performed “Gift & A Curse.” The same courtesy was given to the crowd, as fans broke out into twerk circles and hyped each other up from across the park.

The Newest Hit

In short time, Megan has established herself as one of the biggest rappers in hip-hop, as her catalog of trap-infused hits, sharp-tongued diss records and femme-powered jams have elevated her to superstardom. The international appeal of the viral hit “Mamushi,” featuring Tokyo’s Yuki Chiba and given a TikTok dance, has broadened her horizons as well, and went off like a firecracker during her Thursday night set. But overall, her Lallapooloza performance was evidence of her ascension and rightful place as a headliner. 

The Special Guest

While GloRilla was sadly absent from Meg’s Lollapalooza performance after a rumored appearance, the Houston-born rapper invited a familiar face for Chicago sports fans to the stage. The special guest was WNBA all-star forward Angel Reese, who danced with Megan as she rapped “Where Them Girls At.” The Chicago Sky star mostly stood toward the back half of the stage, but she and Meg shared several videos and hugs during the must-see moment. 

The Day-One Hotties

After playing songs from her recent album Megan and Traumazine, Megan traveled back in time, and fully morphed into her alter ego Tina Snow, for stomping hits like “Hot Girl” and night club anthems like “Big Ole Freak.” And while her newly initiated hotties were welcomed with open arms, Megan acknowledged the festival-goers who supported her as she ascended the rap music ladder. 

– Billboard

5 Best Moments From Chappell Roan’s Jam-Packed Set at Lollapalooza 2024

Even with the unforgiving heat looming over the crowd during the opening afternoon at Lollapalooza 2024, seemingly every fan in attendance left their pockets of summer shade on Thursday (Aug. 1) for a clear view of Chappell Roan’s entrance. The vertically challenged climbed their partners’ shoulders; others slipped through gaps in the tightly packed parkway in Chicago’s Grant Park. 

As the clock struck 5 p.m., the exploding pop star rose onto the T-Mobile Stage, and was welcomed with cheers that stretched across the southern section of Grant Park. Roan came out to the anthem “Femininomenon” while dressed in a cotton-candy-colored outfit with a luchador-style mask covering her face, but once she dove into dance-pop tunes like “Naked in Manhattan” and “Red Wine Supernova,” she unveiled the face that has quickly become a mainstream fixture, and let her fiery amber hair loose. She swooned the crowd with her theatrical moves and striking vocal runs, as flashing lights and fireworks helped turn Lollapalooza into a 1980s-style music video. 

Roan’s command of an audience as large as Lolla’s shouldn’t be a surprise. The self-proclaimed “Midwest Princess” has sprinkled her musical fairy dust across continental lines on her global tour, and her enchanting stage presence was on full display during the opening day of the festival. Roan transitioned from sultry tunes like “After Midnight” to campy dance jams like “Good Luck, Babe!,” giving license to sequenced fist pumps, dance moves and percussive chants among the crowd. “Thank you for having me Lolla!” she screamed — although on Thursday afternoon, Lolla was no doubt thankful to have the ascendant star on its main stage.

Here are five of the best moments from Roan’s Lollapalooza set. 

The Slower Moments

While the sonic potpourri of Roan’s 2000s-inspired pop records garnered the biggest receptions at Lollapalooza, Roan fell to her knees to deliver tales of past hookups on “Casual” and the emotionally rich heartbreaker “Subway.” These setlist entries brought balance to Roan’s high-powered performance, which prompted shared hugs and kisses among festival-goers. 

The Vocal Shapeshifting

Roan has amassed a sprawling fan base for several reasons, but those not paying close attention may not expect the breadth of her vocal ability. At Lollapalooza, Roan continued to prove she’s a musical acrobat who can seamlessly leap from whimsical pop tunes to roaring ballads on a dime. Her vocal power allows for such versatility — and part of the fun of attending a Chappell Roan show is watching the audience try to match it, howling and bellowing in charming attempts to match her flowing harmonics.  

The Outfit

Roan, whose aesthetic is often influenced by glittery drag style, chose to go with a (relatively) muted outfit choice at Lollapalooza: the artist dressed in a wrestling-inspired short-sleeved bodysuit, with colors bursting in blue and pink highlights, lots of fringe and a silver star belt. Despite the 90-degree heat, she sported a luchador mask — but only for a few minutes. Once she settled on stage, Roan turned to the crowd to let her strawberry-colored hair and silver face paint grace the sun. 

The Welcomed Theatrics

Long before she rose to pop stardom, Roan was a theater kid whose Hollywood dreams first bloomed in her hometown of Springfield, Mo. Her Lollapalooza set was full of flashes of her dramatic training, as she twirled on stage, belted out ballads with Broadway fervor and often grabbed her chest to further emphasize the emotional notes. Then she made a full split halfway through her set, leading to some of the loudest audience roars of the day.

The Global Fandom

While she’s crowned the “Midwest Princess,” Chappell Roan’s fandom stretches far and wide, beyond the confines of Lollapalooza. Festival-goers ventured from around the world to attend Chicago’s annual music festival, and shots of the crowd size started going viral before the set had concluded. Roan’s mountainous vocals and crowd-pleasing tunes forged one of the better performances on day one, and with her global success in full bloom, it’s safe to say Roan has graduated from “Midwest Princess” to international star.

– Billboard

Lisa Ann Walter wants some Philly restaurant recommendations

After decades of acting in theater, film, and TV, Lisa Ann Walter is settling into stardom.

That’s thanks to Melissa Schemmenti, the hilarious and ever-resourceful second grade teacher she plays on the ABC hit Abbott Elementary. Now, with her star on the rise — she’s appearing in the new reboot of Who Wants to be a Millionaire, which launched earlier this month — Walter is recording her comedy show in Philly.

Starting Thursday, Walter will be in Philly for a three-night stint at Helium Comedy Club with a gift in mind. After a decade of headlining live shows, the actor will record her debut comedy special at the Center City venue. Her Abbott Elementary costar and “work-wife” Sheryl Lee Ralph will coproduce and codirect the project with Walter.

“I think anyone who’s been to a Philly sports event knows that Philadelphians don’t hold back,” said Walter, who slipped in and out of Schemmenti’s South Philly accent during a Zoom interview. That passion, she says, makes Philly the ideal spot to record. “[People in the audience] are loud, but they’re not trying to heckle. They love being at the show, they love being enthusiastic, and they’re smart. That is the perfect combination for a great comedy audience, and Philly has really embraced me.”

Ahead of her shows, we talked to Walter about her disco dancing, the weeks she spent studying Bradley Cooper’s Philly accent, and her love of Dalessandro’s Steaks.

This interview has been lightly edited for length and clarity.

Is Philly your favorite city to do comedy?

I did a show last year, and I never felt more at home in a place that wasn’t where I grew up. One person came up to me and said, “You know, we didn’t even want to like you.” They were very conscious of the fact I was coming to the city as a newbie. But they said, “You’re one of us.” People hugged me, kissed me, and gave me food everywhere I went. If you do those things, then I’m home.

You’re from Maryland. How did you master the South Philly accent?

When Bradley Cooper did an Abbott Elementary episode, I told him I studied his videos. When he was first coming up, he went on talk shows and they would make him do the accent — almost like it was a circus trick or something. But he was so good at it that I would find those interviews and study them. I can’t tell you the number of hours, days, and weeks I spent making sure the accent was perfect. I tell people from Philly all the time, “Let me know if I can do it better. Hook a girl up.”

You brought a flask to the 30th SAG Awards. How much more Philly can you get?

My favorite part of that was how they had me hand the flask to Sheryl Lee Ralph, and she didn’t know it was coming. And the look on her face was so pure. Like, “If you don’t put that away … we are in public.” It was so Sheryl, but also [her Abbott Elementary character] Barbara.

The chemistry you and Sheryl Lee Ralph have is incredible. No wonder you’re working on this special together.

We’ve all heard stories about TV actors who played lovers for over 10 years, but it turned out they hated each other. Like, “Oh, he had bad breath or body odor and wooden teeth.” Right? But I think it’s very hard to act the kind of chemistry she and I have.

We fell in love as “workwives” on day one because we had so much in common. We were single moms raising our kids in Los Angeles. All the ways we connected were so pure, and we loved hanging out. We immediately started going shopping together because there were so many events we had to go to. We were outside a Zara dressing room while she threw clothes at me for like three hours. She dressed me for the next five events. We truly are that close. I adore her.

If you ever meet someone like her, you have to keep them in your life. She’s blessed from the moment she gets up in the morning.

What is it about stand-up that keeps you coming back on stage?

I think it’s connecting with people. It gives me immediate gratification, and it’s exactly what I intended to do when I was on stage as an actress in high school and I started doing dinner theater.

In my first professional show at 16, I made the audience laugh and cry. And I said, “I always want to do this.” Then I started doing stand-up and connecting with different audiences. That kind of experience in one room has chemistry. Comics know this, which is why I didn’t want to do the special in a big theater. I want to do it the way I came up in comedy. On a small stage at the level of the front tables, watching as the laughter travels from the front to the back of a room. It’s the closest thing to me knowing why God put me here on Earth.

You were also a disco dance instructor, right?

When I was coming up in D.C. as a kid, disco was huge. In D.C., they invented the hustle, and all my high school friends could dance. One of my best girlfriends was Colombian and she had four sisters, and they all had guys that could dance. I learned how to dance and they would yell at me “gringa,” and I learned how to move my hips. I started competing in disco competitions and I would win them. My mom, a crazy Sicilian, would drive me downtown to these clubs while I did these competitions. And then I got a job at 16 at Arthur Murray teaching old businessmen how to do the hustle, which is really just the salsa. I taught them the cha-cha, the waltz, and all these ballroom dances. And my grandfather, the old Italian, he taught me all those. And then when I turned 17, people wanted me to go to disco competitions in Rio de Janeiro, and my mom was like, “No, you are not.” So I had to quit Arthur Murray.

In the past, you’ve talked about the L.A. dating scene. How’s your dating life now?

Listen, I could always find a fella — and they found me. I’ve always had young guys slide into my DMs. Always. But you don’t want to date people because you’re famous. You want to be with people who are down with you for who you are. Having said that, every relationship is transactional.

My first husband [Sam Braun] is my buddy, and I have a joke on stage about him. He was a lovely Jewish man, but turns out we had too much in common — we both like men. The second husband was a cheater, and while cheating is not technically a religion, he practiced it like it was. But my first husband, I adore. We spend every Sunday night together watching our favorite show, 90 Day Fiancé.

I’ve already had my babies and I’m making money. What dating app am I going on?

Have you had a Philly cheesesteak?

People have sent me to some really good places. In fact, I want to go back to a couple of them. Cheesesteaks and hoagies aren’t the only good things that Philly has to offer. I know you got water ice and everything else, but what else do I need to know? I have a list of a few places.

The last time I asked on [social media], people were being very lovely and helpful at first. But then it took a hard left turn. Someone was like, “If you don’t go to Dalessandro’s, then you’re a dick.” OK, I guess I better go. I went and it was worth the trip. You should have seen my hotel room — it was disgusting. I had half-eaten cheesesteaks and hoagies all over the place.

– The Philadelphia Inquirer

Charlamagne tha God is done with the small talk

For millions of morning radio show listeners, Charlamagne tha God has evolved into one of the leading voices in pop culture.

From his days at Z93 Jamz in Charleston, S.C. to his current post as the host of Power 105.1′s The Breakfast Club, the former morning show host of Philly’s 100.3 the Beat says he has lived by an unspoken oath: to think and speak freely.

His social critiques, polarizing political stances, and unpredictable interview moments have stunned listeners, led to national headlines, and turned hour-long interviews into bite-sized viral clips.

His infamously comedic and often vicious interviews with artists like Lil Mama, Kanye West, and Post Malone have generated millions of YouTube views, and his recent observations of President Donald Trump and President Joe Biden’s electoral campaigns have taken him to The Daily Show

In his third book, Get Honest Or Die Lying: Why Small Talk Sucks, he is asking America to stop lying to itself.

In the book, set to release on May 21, Charlamagne writes from the belief that the world’s imbalances stem from a lack of meaningful conversation among people, be it our neighbors or politicians. This, he says, leads to the oversaturation of “small talk.”

“I’m not talking about the pointless chitchat people try to make when you’re at the airport or randomly standing in line somewhere. I’m talking about the small conversations people have on social media every day,” Charlamagne said. “You know it’s micro because it only lasts 12 hours. This book is a way to open up conversation with people.”

The Inquirer talked to the self-proclaimed “prince of pissing people off” about the dangers of unimaginative conversations, the balance between righteousness and “ratchetness,” and hip-hop’s role in freeing America’s intellectual chains ahead of his book release and tour stop at Green Street Friends School on May 23.

The interview has been lightly edited for length and clarity

This is another big achievement for you. How do you feel?

I feel good. It was an effortless process because what I decided to write about in this book is where my mind has been for the past few years. I just think we’re in a society where everybody likes to focus on the micros instead of the macros. And because we spend so much time talking about the micros, we have so much small talk in the world.

Is this a conclusion you arrived at recently?

I’ve never liked small talk. I’ve always wanted to have big macro conversations and discuss big ideas, even when the conversation starts with individuals. I don’t want to discuss people, I want to discuss the ideas these people are presenting. Even on the radio, you may [hear] a headline about something, but I want to talk about the broader deep dive into what it is. Like the Kendrick Lamar and Drake rap beef, I don’t just want to talk about the beef. Let’s talk about the psychological aspect of all this. Let’s talk about where this will lead people or the culture of hip-hop.

Do you think your voice is big enough to steer these kinds of conversations?

I don’t sit around thinking, ‘Oh, my voice is big.’ I just think we need to start having more macro conversations. We have to start discussing things that benefit us and help us grow as humans. I’ve been like that my whole life. I always say I’m the perfect balance between ‘ratchetness’ and righteousness, or at least that’s what I strive to be. There’s never been a time in my radio career, no matter where I’ve worked, that I didn’t have voices we could learn from on my platform. From spiritual leaders to political leaders, it doesn’t matter. I’ve always had people you could learn from.

What about people who say you’re incapable of leading ‘macro’ conversations?

That’s their opinion, and they’re entitled to their opinion. You see that a lot with the conversations we’ve been having in politics [on The Breakfast Club]. This ain’t new. The first political guest to come on The Breakfast Club was Bakari Sellers in 2014. He was running for lieutenant governor of South Carolina, so he came on to talk about his campaign. From that moment on, the ball was rolling and everyone and their mother was coming on.

When it was 2020, all the Democratic candidates were coming through. Even back then, people said, ‘Charlamagne you went too hard on Kamala Harris,’ and ‘Charlamagne you went too hard on President Biden.’ The flip side of that: ‘Charlamagne you’re too easy on Democrats. Y’all are a bunch of Democratic shills and never ask Democrats the hard questions.’

Fast forward to 2024, when it’s a large Republican field and those candidates decide they want to come up to The Breakfast Club. They’re choosing to come to our platform, and all of a sudden people have a problem with us talking about politics. You’re damned if you do, damned if you don’t. And to be honest, neither one bothers me because it’s all a part of the larger conversation. It’s not going to stop me from having the conversations I want to have.

Moving on to hip-hop, is the genre and culture ready to have these ‘macro’ conversations?

Of course, and that’s why I wrote this book. One aspect of small talk is that we confine ourselves to these small echo chambers for no reason. Hip-hop has always been able to talk about these things. We used to say N.W.A was the CNN of the Hood. So the notion that hip-hop is not mature enough to listen. Says who? I guess that’s why it’s so easy for people to tell us to shut up and do what they say regarding politics. It’s probably so easy simply because maybe some of us aren’t sophisticated enough to know what’s going on politically. But I think that’s a bald-faced lie.

Was there a topic or chapter you second-guessed writing about?

Hell no. This book is about big conversations and focusing on the macros. I want [readers] to have conversations about the things I’m talking about. I’m not saying I’m right or the end all be all. I’m just sharing my experiences with the readers, and I’m hoping they get something from it.

I know your time in Philly was short, but what are some of your fondest memories of the city?

I love Philly because it’s one of the realest places on the planet. Almost everyone you meet will tell you the truth. The brothers and sisters in Philly are very honest, and I think that’s why they appreciated me while I was there. And any time I come back to Philly, it’s always love. I don’t take any of the support for granted.

At last year’s Roots Picnic, you named your top five Philly MCs. Who fills out the ranking?

I have to be objective here, so I won’t give a personal top five. I have to put Black Thought at No. 1 and Beanie Sigel at No. 2. You have to put the Fresh Prince at No. 3 — not Will Smith, the Fresh Prince. Then I’ll put Freeway at No. 4. My No. 5 coming out of Philly all-time, I want to salute the OG Schoolly D, but I feel like I got to put Young Chris at No. 5. He didn’t get his just due but Chris was very nice, and if you’re so nice that you’re influencing people like Jay-Z, that’s big.

– The Philadelphia Inquirer

N.Y. State of Mind: Nas’ ‘Illmatic’ at 30

Few hip-hop albums transcend eras or withstand the disposal of one sound for another. But one body of work that’s weathered the ever-evolving terrain is Nas’ landmark debut, Illmatic.

Opening to the cascading sounds of subway train cars, screeching from one New York City rail line to the next, Illmatic draws listeners into the world of the chipped-tooth, Queens-bred MC. 

Anticipation for Nas’ debut was high. At age 20, he was three years removed from his legendary verse on the Main Source posse-cut “Live at the Barbeque,” which attracted label execs wanting to ink a deal with the promising lyricist. 

Through a connection with former 3rd Bass rapper MC Search, Sony Music’s Columbia Records managed to strike a deal with Nas in 1992. And on April 19, 1994, the poetic rhymer was crowned a prophetic child of hip-hop, one in a position to restore New York’s musical dominance.

With Dr. Dre’s The Chronic and Snoop Dogg’s 1993 classic, Doggystyle, the hip-hop mecca fell to the background for the first time. The G-funk sound was the sound of the era, and alternative acts like Souls of Mischief and the Pharcyde were strengthening the West Coast’s grip. 

New York needed a new legion of artists to spark its reemergence, and Nas’ Illmatic swung the momentum back to the East Coast. It also restored the reputation of Queensbridge, home of the fearsome Juice Crew (featuring such pioneers as MC Shan and Marley Marl), who fell to South Bronx’s KRS-One and Boogie Down Productions during the legendary “Bridge Wars” in the late ‘80s. 

Nas, inspired by the classic battle, was driven to enliven the housing project that shaped him. “I had to represent,” Nas said in a 2019 interview with Drink Champs. “The pressure was on the borough and my project. And just getting into the game, you had to have something to say, so I definitely had to push the pen hard because, if not, it would’ve never [flown].”

The 10-song LP was a memoir that chronicled Nas’ days on hardened street corners, witnessing the perils of drug abuse and street violence from a bird’s eye view. Nas’ vocal command, silk-smooth delivery, and the potency of his poetic rhymes elevated each track. 

The timeless boom-bap soundscape laid the ground for Nas, who unloaded vibrant tales of street life, declarations of lyrical supremacy, and prophecies on “It Ain’t Hard to Tell,” “Represent,” and the nostalgia-fueled “Memory Lane (Sittin’ in da Park).”

“One Love” is a soul-stirring tale of incarceration, and “Life’s a Bitch” is a celebration of life through the growing pains of adolescence. “N.Y. State of Mind” quickly became a Tri-State anthem. Nas said in the 2014 documentary Time Is Illmatic that it was strategically placed near the top of the tracklist to “bring [listeners] to hell and back.” 

The architects behind Illmatic’s sound were legendary producers like DJ Premier, Large Professor, Pete Rock, Q-Tip, and L.E.S. And while their avant-garde jazz templates, reverberating drum patterns, and mesmerizing loops were top of the line, Large Professor said they wouldn’t have the same effect without Nas’ masterful touch.

“The beats were cool,” the producer told HipHopDX in 2014. “They were good backdrops, but just the lyrics and the experience that he was putting down over those beats is why that album is heralded the way it is today.”

Following the release of Illmatic, Nas was championed as the second coming of Rakim, and the album received sweeping praise from fans and critics. The project scored a five-mic review from The Source, which was dubbed the “Bible of Hip-Hop” in the early ‘90s.

Former Hot 97 radio personality Minya Oh, who worked at The Source as an intern, was the one who penned the review under the moniker “Shortie.” In a 2014 interview with NPR, Oh talked about how the album’s vivid stories and production inspired her to award Illmatic with the rare distinction.

“Everything that I tried to analyze, I just couldn’t get away from the fact that I couldn’t find anything wrong, and that I also didn’t think it was ever gonna go away,” Oh said. “Or that I was never gonna not want to listen to this.”

The praises didn’t immediately translate to album sales. Illmatic reportedly debuted at No. 12 on the Billboard 200, only selling around 60,000 in its first week. The LP’s iconic singles also failed to scratch the charts. 

The underwhelming numbers were partly due to the album’s pre-Internet bootleg leak, which led to the album’s premature circulation. “Columbia was tripping,” Nas told Clash. “It was everywhere, months even before it was released.” 

But 30 years after its release, the album has finally earned its due. According to the Recording Industry Association fo America, Ilmmatic has sold more than two million copies, and it’s still heralded as one of the best albums of all time, regardless of genre. (Rolling Stone ranked Illmatic no. 44 on its list of The 500 Greatest Albums of All Time in 2020.) “I think it’s a perfect record,” Nas told Fuse in 2012. “I couldn’t say that before, but there’s so many different dynamics to it.”

Nas’ debut propelled the Grammy-winning artist to a spot he’s comfortably occupied for decades—atop the pantheon of all-time great MCs. It also helped reignite East Coast rap and set the stage for other New York artists to rise to stardom. And with each passing anniversary, Nas proves that time is truly Illmatic. 

While Nas told Billboard he no longer listens to his debut, the continued support and admiration for his work proves the immortality of classic records, no matter how much time elapses. “It means hip-hop is here to stay,” he said. “I said hip-hop was dead, and of course, the shit died, but the core of it was never touched. You can’t erase what happened.”

– SPIN Magazine

Inside The Metro-Verse: How Metro Boomin Went From Behind-The-Scenes Mastermind To Rap's Most In-Demand Producer

Metro Boomin isn’t your ordinary hero. Instead of scaling walls and flying over cityscapes, he possesses the rare ability to generate hits across a myriad of genres while remaining true to form. Like heroes in the Marvel and DC universes, the often withdrawn producer has played a not-so-quiet role in hip-hop for a decade.

For his superpowers, Metro has become one of the most in-demand sonic architects in the game. His collaborations with Future, Travis Scott, 21 Savage, Big Sean, and other big-name artists defied convention, turning Southern trap into high-performance art. Despite his reserved demeanor, Metro Boomin has been behind the board of more than 100 Billboard Hot 100 songs, including top 10 hits like the Migos’ "Bad and Boujee" and 21 Savage’s "Mr. Right Now" with Drake. 

Metro spread his heroics even further last year. He produced standout tracks on Young Thug’s Business is Business ("Oh U Went), Lil Durk’s Almost Healed (War Bout It") and other major releases, while cranking out his own viral hits – "Am I Dreaming" featuring A$AP Rocky and Roisee and "Superhero" with Chris Brown and Future. His contributions led to his nomination for Producer of the Year, Non-Classical at the 2024 GRAMMYs, and showcased his versatility as an artist. 

Thanks to Metro, and his unmistakable calling card — "If young Metro don’t trust you, I’m gon’ shoot you" — trap's appeal has grown outside of the rap community, influencing pop and R&B. And his string of hits with the likes of The Weeknd, James Blake and Solange further proves Metro's musical wizardry. 

But on his second album, Heroes & Villains, which is nominated for Best Rap Album at the 66th GRAMMY Awards, the St. Louis native proves that he's as strong a solo act as he is an engineer of others' hits. Driven by lead single "Creepin’" featuring  21 Savage and The Weeknd, the 2022 album topped  the Billboard 200 charts and became Metro’s third project to land at No. 1 

It’s the second installment of an ongoing album trilogy, which follows 2018’s Not All Heroes Wear Capes. 

Boasting features from John Legend, Future, Chris Brown, Travis Scott, Don Toliver, and Young Thug, Heroes & Villains is the second installment of an ongoing album trilogy, which follows 2018’s Not All Heroes Wear Capes.  

According to Luminate, Heroes & Villains netted Metro his biggest opening week to date, with an estimated 185,000 equivalent albums sold in the U.S. "I didn’t see that coming," Metro told DJ Drama in January 2023. "A lot of times my stuff will grow slowly because I’ll put my time into it and people will realize, Oh, this is dope. I thought it was going to be one of those usual things … But it definitely caught me off guard." 

In a recent renaissance of soundtrack projects, the multi-platinum producer also created the soundtrack to the animated blockbuster Spider-Man: Across the Spider-Verse. Metro flexed his versatility on the 13-song project, which combined sonorous trap beats, reggaeton and Afrobeat-inspired jams, and lush pop ballads. 

Metro's success and recent GRAMMY nominations have been the result of years of Herculean feats.  Never content to follow a single sonic thread, Metro has continually expanded his reach to other genres and mediums. He’s dabbled in film and TV, producing songs for the short-lived and The Weeknd-starring HBO series "The Idol," and embraced live orchestration both in song and performance. On songs like "On Time" with John Legend, the producer amplified the grandiose record with stringed instruments, then performed the song with a live orchestra at the Dolby Theater for the Red Bull Symphonic back in November 2023.

Despite his vast production credits, Metro says he’s been unfairly labeled a "trap producer." He’s conjured pop and R&B hits, too. "I love R&B music, I love making this, love making that," he told GQ in 2022. "Why would I wanna do something that I did?" Along with producing The Weeknd’s No. 1 song "Heartless," Metro laid his hands to tracks on James Blake’s Assume Form and Solange’s When I Get Home, then later produced Coldplay’s "Let Somebody Go" featuring Selena Gomez in 2019.

Metro’s venture into solo stardom shouldn’t be a surprise either; the 30-year-old producer told Billboard he wanted to be a rapper as a teenager. "In order to do that, I needed some beats, so I started to make my own beats." At age 13, Metro took notice of artists like Soulja Boy, who also made his own beats. "It was like … it’s possible." 

Now, after years of playing the background, the man behind the blistering trap beats and rattling hi-hats is finally unmasked and fully embracing his solo artistry. There were flashes of his genre-bending genius on Not All Heroes Wear Capes, with the Offset, WizKid, and J Balvin-assisted "Only You" melding trap, Afrobeats, and reggaeton in euphoric form, but Across the Spider-Verse fully showcases Metro's musical dexterity both behind the board and in front of the mic. 

On the film’s soundtrack, the roaring orchestral sounds of "Am I Dreaming" form a transcendent exchange between A$AP Rocky and eclectic vocalist Roisee. Songs like "Hummingbird" see Metro return to his trap roots, but James Blake’s harmonious croons breathe mists of pop magic into the track. 

The hip-swaying "Silk & Cologne" and "Link Up" fuse reggaeton and Afrobeats, but "Nas Morales" is a complete step in unfamiliar territory for Metro. The unlikely collaboration between him and Nas closes out the 13-song project — Metro’s most experimental to date. 

The album Heroes & Villains is more in line with Metro’s roots, with songs like "Superhero (Heroes & Villains)" and "Niagra Falls" highlighting the producer’s darker, more mystifying trap wizardry. He also, for the first time, conjured a rollout for the project. 

Before the album’s release, Metro dropped a short film that featured cameos from Gunna, Young Thug, and actors LaKeith Stanfield and Morgan Freeman. The video, directed by Gibson Hazard, shows TV journalists (Gunna and Thug) reporting on a firetruck driver (Stanfield) setting flames to a city’s streets. Metro, overlooking the destruction alongside Morgan Freeman, decides to take action and stop the arsonist. 

Last year was a big one for Metro, but the producer isn't driven by accolades.  He wants fans to know that no amount of fame or hardware can take him away from his calling. "More than any accolades, sales, and everything, I just want people to know at the end that I cared the whole time. Every ounce of effort that I possibly could put into the art, I did," Metro told Complex.  

With a new year in full swing, Metro has already hinted at a possible hat trick in 2024. While interacting with a fan on X, formerly known as Twitter, Metro wrote, "2023 was great but just watch what I do 2024!!!!!." The fan then asked how many albums to expect, with Metro responding, "3 at the very least." 

– GRAMMY.com

Benny The Butcher Is Ready To Rise On 'Everybody Can’t Go'

Benny The Butcher is prepared to spar with the biggest names in rap music to prove he’s one of the most prolific MCs in the industry. 

"My confidence comes from my talent, and my talent comes from my preparation," Benny tells GRAMMY.com. 

For the uninitiated, the East Buffalo rapper's brash delivery and unshakeable confidence could be perceived as arrogance. But for Benny and long-time fans of the Montana Avenue vet, he’s more than earned the distinction. 

"If you see these dudes, they’re not confident because they’re not prepared to talk that talk. We stand behind this music, man," he continues. "I’m only on this interview with you because I rap good. I’m not on this interview with you because I’m dating an R&B chick, or because I have a Rihanna feature.”

Benny The Butcher is just days ahead of releasing Everybody Can’t Go, his debut album with Def Jam Recordings. Out Jan. 26, Everybody is Benny's major label launch but it's far from his first foray.

Off the heels of his critically acclaimed album Tana Talk 4 in 2022 — which boasted the viral hit "Johnny P’s Caddy" featuring J. Cole — Benny has kept a steady hand on the pulse of the rap game. Since then, he’s been heard on DJ Drama’s "Forever," G Herbo’s "Real Rap" and memorialized a Buffalo legend on the BSF project Long Live DJ Shay.  

In that time, Benny, born Jeremie Pennick, has fashioned himself as the proprietor of "caviar drug rap," and he’s not afraid to remind you, either. He’s confident the release of Everybody Can’t Go will showcase his evolution as an artist.

"I’m on a higher level than I was. Everybody gets to watch my career elevate and it’s right in front of me," he says. "From the mixtapes, from the freestyles, featuring on Westside Gunn and Conway The Machine’s s–, and people share that journey with me. It’s high-level drug rap."

After switching his moniker from "Benny" to "Benny The Butcher," he veered away from rapping over other artists’ beats and started working with in-house Griselda producers like Daringer to round out his nostalgic, boom-bap sound that’s become synonymous with the Griselda imprint. 

If the album’s lead singles "Bron," "Big Dog," and the title track are any indication, Benny isn’t deviating from the sound that made him. Tales of his past exploits are coated in Hit-Boy and Alchemist beats, with features from Griselda and BSF collaborators Westside Gunn, Conway the Machine, 38 Spesh, Lil Wayne, and others. But the method behind the music, Benny says, was all the same. 

"I didn’t take no new approach, I just wanted to deliver some dope music and make sure I sounded how I felt," the 39-year-old MC says. "I feel like my sound is more refined and I switched my flow up."

To casual connoisseurs, Benny is a burgeoning star who’s aiming for wider success and acclaim. But for fans of the "Trade It All" lyricist, who saw his rise as the younger cousin of Westside Gunn and Conway the Machine on Griselda, he’s earned the right to share his vivid tales and signature brand of mafioso rap on a larger scale. And he’s already made good use of the label’s platform.

He’s rubbed shoulders with artists like J. Cole, connected with legends like Snoop Dogg for his Def Jam signing, and now has his sights on more R&B-oriented records. Benny wants to work with the "Queens of R&B and hip-hop," naming legends including SZA, Teyana Taylor, Coco Jones, Summer Walker, and others at the top of his list.  

With his ascension, Benny is continuing to discover the perils of fame. He admits it’s challenging to deal with trolls and faceless critics on X (formerly known as Twitter). "You have to remind yourself it’s only a fraction of the people. Their voice is so loud on social media that it tricks the artist into thinking that’s the general population that feels like that, but it’s not," Benny says.

He’s also accepted the fact that not everyone is meant to be a part of his journey. The sentiment inspired the new album title and is reflective of his new attitude: Whether friend or family, hindering his growth is too hefty a price tag. As his career continues to take flight, others will be left at the terminal. 

"Everybody Can’t Go is me realizing, Wow, it’s not for everybody even though I got this far to help provide opportunities," he said. "You could make someone the president or an A&R at Def Jam, but that doesn’t mean they’re ready for it. A lot of people don’t want to work, they just want what comes with the work —  the lifestyle, the fame, and the money."

After the project’s release, Benny intends to expand as a legitimate businessman and do more executive production, starting with his roster of BSF talent, which includes Rick Hyde, Heem B$F, ElCamino, LoveBoat Luciano, and other members. 

With Griselda, Benny already has his two cousins as counterparts, but Benny talked about having his daughter by his side during the album’s press run. He was impressed with her vocal ability and is open to exploring her musical side. "This is a family business," he says. "I encourage everybody to get into music because it’s therapeutic, it keeps you out of the way, and it’s lucrative if you do it right."

Of his growth as a solo artist, Benny says, "It feels like I’m on pace to keep doing great things." In the near-future, he's already making plans to dive into the film industry and drop another project to close out yet another big year in music. 

– GRAMMY.com

‘There’s no edge like Philly’: Why the city’s most talented won’t leave their hometown

Philly’s “got major talent,” as entertainment mogul Charles “Charlie Mack” Alston says. “There are some remarkable people and talent that have come out of Philly, and the city has a surplus of it.”

But the demands of the industry often pull artists, musicians, and actors away from their beloved hometown, forcing them to pack their bags and migrate to cities like New York, L.A., Atlanta, and Miami.

But for Mack, who was Will Smith’s long-term bodyguard and personal assistant before becoming a notable Hollywood power broker, there’s only one place he calls home — and that’s Philly. And he is not alone.

Some entertainers born and bred in the region can’t seem to leave the city behind. We asked them why.

Responses have been lightly edited for clarity.

DJ Jazzy Jeff

DJ and hip-hop pioneer; West Philly native

Where do you live?

I’ve lived in Delaware for almost 20 years, but I never had a desire to move far away. It’s what I know. This is home.

Does the Philly area’s affordability play a factor?

It’s true – Philly isn’t as expensive as New York or L.A., and I know the city so I feel more comfortable here. I know how to navigate Philly; I don’t know how to navigate New York or L.A. In Philly, I know my surroundings.

Why do you think some Philly-born entertainers choose to leave the city?

Philly is a tough town. It prepares you to go off into the rest of the world because Philly doesn’t show love to those who don’t deserve it. Nothing comes easy, and it prepares you to go to places like New York and do a good job.

I think the people who move out of Philly never lose the love for Philly.

What does Philly’s future as an entertainment hub look like?

If you look at the history, [the Philly scene was lively] with Kenny Gamble and Leon Huff, then it left. That was the neo-soul movement and [then came] The Roots, it all goes in cycles. I tell a lot of inspiring musicians to just be ready when it comes back because it’s coming back.

Tierra Whack

Rapper; North Philly native

What’s inspired you to stay in Philly?

I love to travel, visit new places, and experience new things but nothing feels better than waking up in my hometown, with people that look and feel just like me.

Did you always see yourself staying in Philly?

I am Philly [and] Philly is me. I love my city and everything it has to offer. I want to put my city on the map. I’m not sure why other people leave, but I’m here to stay.

In a past interview, you talked about pouring back into the city. What does that look like for you?

My goal is to build a creative space here in Philly. Not only where I can go and be creative, but where others can, too. I love what’s happening in our city right now, [and] I want to be a positive light for everyone coming up after me.

Eugene ‘ManMan’ Roberts

Producer and musical director; South Philly native

Why do you think so many popular entertainers from Philly prefer to live in Philly?

A lot of people pull from Philly. Every major album, tour, and every band — someone from Philly is in the mix. And sometimes when we leave home and go to these other places, you’re filling them up with your energy, your presence, and your sound, but they can’t refill that cup. You got to go back home to get that vibe, inspiration, and aesthetic that makes home, home.

What’s stopped you from leaving the city?

We got rich history here. We have amazing producers, songwriters, and artists. We’re really good, and I never wanted to turn my back on the place that made me who I am. I’ll always be that no matter where I go.

Do you see Philly becoming a renewed musical hub?

Philly used to have Philly International, Sigma Sound, and all these other studios, and people came here to cut records. But when the world went digital, it took away needing studios. Until we build up an empire of entertainment with studios and rehearsal facilities, I don’t think any city can [become a musical hub].

L.A. is all that because that’s where all the celebrities live, and there’s good weather but I think the pandemic made it a level playing field for everybody.

Charlie Mack

Entertainment mogul and community leader; Southwest Philly native

Why do you think big-name entertainers from Philly choose to venture elsewhere?

Philadelphia is like a character, and people that used to come here admired it, but admired it from afar. If you don’t feel safe, you can’t relax and let your hair down. Right now, we’re in a place where we’re hemorrhaging and going through a very horrific transition, and I hope and pray that the kids here have an opportunity to experience Philly the same way I did.

I love my city, but the reality is people don’t feel safe. And home is supposed to be just that: a place you feel safe and welcome.

How can Philly go back to being what it used to be?

The natives of Philadelphia are in a space where they don’t love themselves. That’s the harsh reality, and it’s hard for someone to stay put when they’re not received or revered from their own people. Artists need validation and love, it’s a part of their makeup. Philly is real and harsh, it will hit you right in your face. Residents won’t give you fanfare if you’re not tapping into the things that make them move.

How can we better retain the talent that comes out of Philly?

I feel like the men of the city of Philadelphia have to restore safety. Women are stepping up in major ways, but men have to restore everything that is amazing about Philadelphia: the artistry, the streets, the sports, the politics, city government, and everything that it’s about.

Adam Blackstone

Multi-instrumentalist and songwriter; Trenton native

What does being close to Philly mean as an entertainer?

One thing is the culture of Philadelphia. There’s a go-getter and hustler’s spirit. For me, no other city has embraced the arts like Philly.

In Philadelphia, we just want to see each other win and we represent our city from all over the world, no matter where we’re from. That’s always a plus we have that maybe other cities don’t.

Are there certain Philly spots that give you inspiration?

When we go to any sports event, whether it’s the Philadelphia Eagles, Sixers, or Flyers, I feel a sense of oneness and a feeling that we’re all fighting for the same thing.

Don Cannon

DJ and record executive, West Philly native now living in Atlanta

Why does it seem like more Philly artists are staying in the city?

I feel like people just love the culture. I can walk through Society Hill and Parkside, and it just feels different than anywhere else in the world, from Brooklyn to Compton. It’s just a different feel, and I think that’s why people want to stay here. And sometimes you get away from home and think, “Man, it’s not the same,” and go back.

I know you relocated to Atlanta, but do you ever come back to Philly?

I left when I was 18, but I often go back to see what’s happening there, what’s the newest trends, and to get some edge. Sometimes you travel across the world, but there’s no edge like Philadelphia.

– The Philadelphia Inquirer

Review: Travis Scott shakes the rafters at Wells Fargo Center

In a sold-out Wells Fargo Center, rap star Travis Scott “shook the rafters” on Sunday night, declaring the crowd one of the best he’s faced on his “Utopia — Circus Maximus Tour.”

“Not going to lie, y’all coming for the top-three spot tonight, Philly,” he said.

Backed by pulsating lights and stimulating visuals that flashed across the stadium’s LED screen, the Houston artist’s high-flying antics and crowd-stirring anthems brought fans to their feet as they celebrated the return of “La Flame.”

The tour is Scott’s first since 2021′s Astroworld Festival, where 10 people died in a crowd crush. And it’s been four years since he topped the Made In America festival bill in 2019. But even after the hiatus, Scott hasn’t lost his connection with Philly fans or his flair for high-powered performance.

Before Scott arrived on stage, fans stood on their feet while some watched the Eagles and Dallas Cowboys on their cell phones. But once the fog machined hissed and the arena lights flickered, the “E-A-G-L-E-S” chants from the crowd turned to roars as Scott leaped onto the stage like a WWE wrestler off the top rope.

He glided across the ends of the stage equipped with floating heads or parasails that rose above the 360-degree platform. Scott’s mystifying howls took the crowd on what felt like a musical voyage to outer Earth without a seat belt.

Scott started with the Utopia opener “Hyaena” and shifted to other records from the Grammy-nominated project, including “Thank God” and the Teezo Touchdown-assisted “Modern Jam.”

The rapper-turned-global-star then played favorites from early projects like 2014′s Days Before Rodeo (“Mamacita”) and Rodeo (”90210″) before bringing Philly’s own Lil Uzi Vert to the stage for their Pink Tape collab “Aye.”

While most of Scott’s performance was like a shockwave of visual and musical stimulation, the audio sounded muffled at distinct spots. It was hard to make out lyrics, and the charged momentum dipped whenever Scott picked fans from the crowd to ride the floating parasails.

While it was certainly a moment to remember for the fans, it didn’t add much to the show or aid Scott’s performance — not that he needed it. He, alone, made the show electric.

After Scott wrapped up headbangers like “3500″ and “A-Team,” things got a lot weirder when he played “Circus Maximus,” with three people dressed in ape costumes walking across the stage as Scott roared from its peak.

The second half of the show started slower than the hyper-speed pace of the first. But once Scott got going with “Meltdown” and “Topia Twins,” the concert kicked back into full gear. Scott went full supernova on “Fe!n,” playing the song five times in a row, as fans demanded one encore after another.

Scott continued to tip the arena’s sonic scales with 2018′s “Sicko Mode,” and wrapped up the hour and 45-minute performance with “Telekinesis” as a camera followed him off the stage.

By this time, Philly had slid into his list of best tour stops. “Y’all definitely in that top three spot,” Scott yelled.

Travis Scott Set List, Wells Fargo Center, Dec. 10, 2023

“Hyaena”

“Thank God”

“Modern Jam” (with Teezo Touchdown)

“Aye” (with Lil Uzi Vert)

“sdp interlude”

“3500″

“A-Team”

“Sirens”

“Praise God” (by Kanye West)

“God’s Country”

“My Eyes”

“Butterfly Effect”

“Highest in the Room”

“Mamacita”

“Circus Maximus”

“Delresto (Echoes)”

“Lose”

“Mafia”

“I Know?”

“90210″

“Meltdown”

“Topia Twins”

“No Bystanders”

“Fe!n”

“Sicko Mode”

“Goosebumps”

“Telekinesis”

– The Philadelphia Inquirer

Philly’s Illharmonic Orchestra is a house party in a concert hall

Like many Black teens in the 1980s, Philadelphia native Jeffrey McNeill was obsessed with hip-hop music and culture. He wrote his first rhyme at 8 years old, and at 12, he mixed the Beastie Boys’ “Paul Revere” and Beethoven’s Fifth Symphony to craft his first beat.

Years later, Coolio’s 1995 hit “Gangsta’s Paradise” gave McNeill artistic purpose. The song, built from Stevie Wonder’s “Pastime Paradise,” landed the late West Coast rapper a Grammy for best rap solo performance and led McNeill to the harmonious blend of hip-hop and orchestral music.

As Coolio, backed by an orchestra, hit the 1996 Grammy stage, McNeill watched in awe. “I pointed to the TV, thinking, ‘That’s it. That’s the idea, and that’s what I want to do,’” he said. “I knew it could work.”

The future MC looked to meld the powers of rap and traditional orchestration and play it in concert halls worldwide. And with the Illharmonic Orchestra, he did just that.

By the late 1990s, McNeill was recording and making music, but he wasn’t performing as regularly as he wanted. That changed when he began dating his wife and musical collaborator, Andrea, in 2000.

On their first date, McNeill took Andrea to see Mary J. Blige in Atlantic City and the two connected through their love of hip-hop, jazz, soul, and classical music. The two music lovers eventually joined hands on stage; She started out as McNeill’s hype woman, then became the group’s lead vocalist soon after.

Going by the stage names “Thee Phantom” and “The Phoenix,” McNeill and his wife perform classic hip-hop records that are woven together by a DJ and rotating ensemble comprised of trumpeters, cellists pianists, violinists, and other instrumentalists — mostly of color.

“It’s like a house party in a concert hall,” McNeill said, with audiences dancing through aisles as the duo play their orchestral renditions of songs like the Notorious B.I.G.’s “Big Poppa,” Eric B and Rakim’s “Don’t Sweat the Technique,” and other beloved hip-hop records.

“Hip-hop is an amalgamation of jazz, soul, breakbeats, and disco,” Andrea said. “But it also has instrumentation, and we’re putting a face to that. You’ve heard it on the radio or wax, but you haven’t necessarily made a connection to that sound in a Rakim song as a standing bass, or the piano in ‘The Bridge Is Over.’ It opens up the mind in another way.”

As many opportunities opened up for the orchestra, there was just as many “nos,” Andrea said.

“A lot of places were afraid of hip-hop,” she said. “Hip-hop is quintessentially Black, and bringing hip-hop into a classical space made people very uncomfortable.”

There was skepticism from the classical and hip-hop community. It was, as Jeffrey McNeill said, “draining” to continue spending their own money to rent venues and produce shows. “It was really tough to get booked on our own,” he said.

The couple was on the verge of disbanding, but in 2015, things began to change. That year, the orchestra was tapped to play at Carnegie Hall. McNeill brought a 25-piece ensemble to play at the famed concert hall, becoming only the third hip-hop artist to headline a show at the New York venue.

After Carnegie Hall, the orchestra continued to perform across the country, and even sold out the Kennedy Center in 2017. To date, the couple have had over 200 musicians take part in their touring orchestra.

Phill Charles, who joined the orchestra as a DJ in 2010, said Illharmonic looks to change the audience’s perception of hip-hop performances. “The orchestra is vast, diverse, and talented,” said Charles, who performs as DJ Philly C. “You can count on them at any time in any city. There are no wild cards because they have performed with us, been vetted, and they fit together like Legos.”

For Kelly Lee, chief cultural officer for the City of Philadelphia, the orchestra is a great representative of Philly, and she’s happy to see the ensemble receive its just recognition. “The Illharmonic Orchestra blends two iconic parts of Philly music culture into one genre-bending art form that makes hip-hop more accessible to orchestra lovers, orchestra music more accessible to hip-hop lovers, and lovers of both,” she said.

Philadelphia writer and DJ John Morrison, currently working on a documentary about the group, said what Illharmonic has done over the years is “mind-blowing.” “Working on this film has been eye-opening,” he said. “I’ve been able to go to a few of the orchestra’s performances, and seeing the reaction from the crowds has been powerful to witness. I didn’t get a full picture before we started the process, but watching the audience respond has opened my mind.”

“It’s not a gimmick for us,” Charles said. “This is not like a thing that we’re just doing because it’s in vogue right now. This is what we’ve always done.” Although other hip-hop orchestras have surfaced in recent years, the Illharmonic ensemble is the first of its kind.

The couple want to extend the Illharmonic legacy in a way that makes a community impact. With the documentary and continued performances, they want to inspire more instrumentalists of color to pursue their musical ambitions.

“Representation means something; it’s important on all levels,” Andrea said. “One of the things that gives me the greatest joy is being in a room full of gifted musicians, and we’ll continue to move with a certain level of intention.”

– The Philadelphia Inquirer

Meet the Philly artist who counts Shaq, Kevin Hart, and Brooke Shields among his fans

Long before the work of Justin Wadlington was placed in world-renowned gallery spaces, and he had Shaquille O’Neal, Brooke Shields, Kevin Hart, and other celebrities on his client list, the Philadelphia-bred artist learned to master another medium: the art of perseverance.

By 2009, Wadlington was worn by the grind of his 9-5 airline job, and it had been five years since he picked up a pencil and sketchpad. But a trip to Cancun reignited his artistic flame. Inside his job’s break room, he began sketching an image of a figure enjoying a beachfront, with a photograph of himself in the Mexican city as a guide.

His coworkers glanced at his work and were in awe of his abilities. That was enough for Wadlington to renew his pursuit of making it as an artist. “I made a promise to myself: get back into this and see what you can do with it. And ever since then, I kept trying to push the limits.”

As a kid, Wadlington submitted sketches of X-men characters to his school’s drawing competition. His high school teachers were some of the first to spot his artistic talents, and they placed his work in the building’s auditorium for a mini art show. “Back then, I knew I could draw, but I didn’t think it was special,” Wadlington said. “I just knew I could draw cartoons, but I never knew it was something beyond a hobby. I didn’t look at it as a passion, but it was.”

Growing up in Southwest Philly, survival was his main focus. His artistic pursuits fell to the background.

At 5, he accidentally ran into a piece of metal sticking out from a wall, and the devastating blow left him blind in his left eye. Wadlington’s mother struggled with mental illness and was later murdered in 2004. His father, a Vietnam War veteran, died by suicide when Wadlington was 2 years old. His grandmother raised him, but when she could no longer care for him, he was in and out of group homes until he was old enough to live on his own.

He enrolled in the Community College of Philadelphia in 2001 but dropped out after one semester. “Nobody was around as successful artists, so I felt like I had to get a job,” he said. “I looked around, but I knew Disney wasn’t going to hire me.” He worked up to two jobs a week to make ends meet, and over time, the desire to become a sought-after painter disappeared.

That moment in the American Airlines break room led him back to his creative path. Wadlington, inspired by England-based hyperrealist artist Kelvin Okafor, began sharing his detailed drawings of hip-hop artists and cultural figures on social media. Soon, he would put down the drawing stencil for a painting brush.

He was “self-conscious” about his left eye for a while, but the 40-year-old artist says it’s become one of his “strengths.”

“When I was younger, sometimes people would make fun of [my eye], and I used to feel some type of way about it,” he said. “But once I got older, started taking life into my own hands, and embracing the negativity, I began to show it more. I no longer hid it behind sunglasses.”

He took on the moniker Blind Eye Artist as a “reminder that I’m embracing something I was once ashamed of.”

As he refined his style on canvas — detailed images of pop culture icons, athletes, and artists against a Renaissance-style backdrop — Wadlington began gifting his work to high-profile entertainers, including Amber Rose, Joe Budden, and others. In 2017, one of his friends said they could get him in touch with Kevin Hart, so the artist worked on a portrait of the comedian for weeks, and was able to send him a large-scale painting.

Struck by the detail of Wadlington’s work, Hart posted the portrait on his Instagram. “Your talent in your craft is ridiculous man. I’m humbled by your gesture. ...This is the true definition of a #DopePic,” his caption read.

The post caught the attention of Shaquille O’Neal, who asked Wadlington to draw a portrait of him. In February 2018, the artist flew out to Los Angeles to hand the 7-foot NBA Hall of Famer the portrait, and another painting that paid tribute to the late Notorious B.I.G. Impressed by Wadlington’s talents, Shaq introduced him to New York-based art investor Glenn Fuhrman.

“I got the sense pretty quickly that he was a pretty special guy and definitely different and also a super talented artist,” Fuhrman said, “and that was really the beginning of a great relationship.” He and Wadlington quickly formed a mentor and mentee relationship.

With Fuhrman’s guidance, Wadlington began showcasing his abstract paintings in New York gallery spaces, schools, and museums, including the New York Academy of Art and the South Hampton Art Center in Long Island. His life and artistic journey soon struck Philly filmmakers Ashwin Chaudhary and Jonathon Korn of Juice Groove Films.

The two filmmakers wanted to make a short film around the Philly-based artist, but, Chaudhary said, the film quickly turned into a full-length feature. “He was larger than life when I first met him,” Chaudhary said. “Off the bat, his journey and how he got to where he is was just so compelling.”

The documentary, titled Blind Eye Artist, was primarily filmed between 2020 and 2022 and captured Wadlington’s roots in Southwest Philly. The film was released on Amazon Prime in October. “To witness the power of his art in transforming his life, it’s a story that will motivate anyone who wants to accomplish anything in a creative medium of any kind,” Korn said.

In the years he’s been in the art world, Fuhrman said many have fallen to their vices and life traumas. Wadlington, he said, could have easily fallen in the same trap. But because of his hard work and dedication to the craft, he’s never let it happen. “He’s got a great combination of talent, passion, and belief in himself that I think the sky’s the limit for him,” Fuhrman said. “I think he can go very, very far on this path that he’s taking.”

While he’s still carving his path, Wadlington said he wants to continue expanding as an artist and push the boundaries on all creative levels.

“I want to do impossible stuff, and I want people to see that they can do impossible stuff, too, regardless of where they come from or if they’re blind in one eye,” he said. “This is bigger than me, and I’d be doing people a disservice if I stopped going.”

– The Philadelphia Inquirer

Nothing To F With: How 'Enter The Wu-Tang' Established One Of The Greatest Rap Groups Of All Time

In the early 1990s, hip-hop was on the verge of being its broadest. 

Hip-hop had grown far beyond its origins in the Bronx, as acts like Public Enemy, A Tribe Called Quest, and De La Soul drew listeners outside New York’s five boroughs. Elsewhere, a legion of MCs from L.A., the Bay, and the South were cementing their legacies. 

Amidst the plethora of sonic riches of hip-hop's golden age, Staten Island’s Wu-Tang Clan stands out. Comprised of lyrical spartans GZA, Method Man, Raekwon, Masta Killah, Ghostface Killah, Inspectah Deck, later Cappadonna, U-God, master producer RZA, and the late, charismatic force Ol’ Dirty Bastard, the group laid the ground for hardcore hip-hop acts to follow. 

Their weapon of choice: 1993’s Enter The Wu-Tang (36 Chambers) — which celebrates 30 years on Nov. 9. Enter The Wu-Tang sparked a new brand of hardcore, gritty street rap that transported listeners with its dark sonic landscape. 

Filled with martial arts and comic book references, loogie-spitting posse cuts, and mystifying street tales, Enter The Wu-Tang drew audiences to the borough of "Shaolin." The album's darkly-brewed beats and mixes had an amateurish charm, but all nine tracks were laced with RZA’s early musical wizardry and ear for ominous, hard-hitting instrumentals. 

For every musical or budgetary limitation, Enter The Wu-Tang boasted some of the best lyrical assaults the genre has ever heard. Now-classic songs like "Da Mystery of Chessboxin’" and "Protect Ya Neck" and conjured visions of the Shaolin streets, and added to New York’s stronghold on the genre. 

Unlike the more socially conscious and jazz-influenced sounds of New York rap at the time, the influential album was marked with soundbites from kung-fu flicks and sped up soul samples with an eerie, grudgeful echoe. Among the gallery of inspiring cuts, "C.R.E.A.M. (Cash Rules Everything Around Me)" features a sample of the Charmels’ 1967 song "As Long As I’ve Got You." 

Despite the group’s size, every member had a stand out moment on the project. And most, with the exception of Masta Killa, have several. Method Man goes full nuclear on his self-titled track, Raekwon and Ghostface show early flashes of their collaborative magic on "Can It All Be So Simple," and the infectious charm of Ol' Dirty Bastard runs wild on "Protect Ya Neck." 

The album was off-kilter in design, but Wu-Tang carved a path for hard-edged acts to follow. The album even inspired New York instrumental soul group El Michels Affair, which released their own version of the album, Enter The 37th Chamber, in 2007 in echo of the legendary beats sampled on Wu-Tang's the classic project. 

Since its release, Enter The Wu-Tang has sold more than 3 million records and landed on countless all-time best album rankings. As of June 2023, the album is at the No. 27 spot on Rolling Stone’s 500 Greatest Of All Time list. For its relatively short length, Wu-Tang Clan's debut has had an outsized impact on hip-hop — both in terms of influence and the trajectory of its members. 

With Enter The Wu-Tang and their subsequent releases, Wu-Tang cornered the rap market in the 1990s. Before Wu-Tang, there were no other notable rap acts from Staten Island. While Brooklyn, Queens, Manhattan and the Bronx held most of the industry’s grip, Wu-Tang helped blaze the path for acts outside of those regions to flourish. 

While groups like Public Enemy, A Tribe Called Quest, N.W.A. and Run-D.M.C. are certainly influential, the star power within Wu-Tang is unique. Between the group’s debut and follow-up album Wu-Tang Forever — which was nominated for Best Rap Album at the 1998 GRAMMYs — GZA, Method Man, Raekwon, Ghostface Killah, Ol' Dirty Bastard, and others released critically acclaimed solo albums.

Method Man even received a Best Rap Performance by a Duo or Group GRAMMY for Tical’s "I'll Be There For You/You're All I Need To Get By" at the 1995 GRAMMYs. Outside the accolades, Raekwon’s Only Built For Cuban Links and Ghostface’s Ironman lit up the New York streets in 1995, and GZA’s Liquid Swords remains one of the more acclaimed outings from the group’s more withdrawn characters.

While some were more commercially successful than others, they all added to the group's influence and arguably proved its distinction for best rap group of all time. 

Method and New Jersey legend Redman brought their comedic chops to the big screen in How High. The pairing was like a hip-hop Cheech and Chong, and the film went on to become a cult weed movie classic. Like Meth, RZA and other members appeared in TV shows and films for decades. 

In 1995, Wu-Tang Clan established the apparel brand Wu Wear, one of the first artist-inspired lines in music history. It opened the doors for hip-hop culture in retail, and inspired a global interest in Wu-Tang's simple, raw style. The group and the apparel line helped usher in the militant street style of the era, complete with baggy jeans, oversized t-shirts, Timberland boots, durags, gold fronts, sports jerseys, and puff jackets. 

As the group grew in popularity, the members joined forces with business partner Oliver "Power" Grant and opened four Wu Wear stores across the country, including one on Victory Boulevard in Staten Island. The line was carried by retail giants such as Macy’s and renamed Wu-Tang Brand in 2008, and Grant discontinued the Wu-Wear line. But after RZA joined hands with Live Nation Merchandise, the brand was relaunched in 2017. 

The cult interest in Wu-Tang's image continued. In 1999, Powers developed a video game centered on the group, called Wu-Tang: Shaolin Style. The 3D fighting game for PlayStation featured characters based on the group members’ stage personas and mirrored the martial arts themes in their music. They also provided voiceover work and music contributions to the four-player game. 

Other artists followed Wu-Tang's blueprint in the decades since the group debuted. Acts like Mobb Deep, Nas, the Notorious B.I.G. and others adopted the hardcore rap style mastered by Wu-Tang — but none harnessed the same manpower or presence as the group over the decades. But the 2010s saw the re-emergence of rap supergroups. 

In Harlem, the Diplomats and ASAP Mob captured the same collaborative and entrepreneurial spirit of Wu-Tang, but with a more varied musical approach. Out West, the Tyler, The Creator-led Odd Future surpassed the 11-member group in scale, but their work and impact haven’t matched that of the Staten Island collective. 

The closest to mirror Wu-Tang was Pro Era, which adopted the classic, boom-bap sound of the '90s. The mega group also pursued an assortment of branding and entertainment ventures, and one of the group’s founders, Joey Bada$$, even played Inspectah Deck in the Hulu biographical series "Wu-Tang: An American Saga." The group’s presence also inspired future Staten Island products like Killarmy, G4 Boyz, and Cleotrapa.

Given the group’s accolades and cultural impact in the decades since their debut, it’s true: "Wu-Tang Clan ain’t nothing to f— with." Its members have redefined longevity in rap by continuing to have a hand on the pulse of popular culture, both in music, film, TV, and entertainment. Few other groups have matched their successes, and as the collective continues to etch its path, there’s no telling how many more barriers they will break.