For The Record: How Clipse’s 'Lord Willin'' Established Virginia’s Foothold In Rap

On their 2002 debut album 'Lord Willin',' Clipse’s drug-slinging rhymes and the Neptunes’ pop-centric production established Virginia’s foothold on street rap.

As rap moved into the new millennia, the industry abandoned the antiquities of its past and widened the margins, drawing in musical talents from all corners and elevating them to astronomical heights. Street rap duo Clipse was instrumental in the geographical shift, with 2002’s Lord Willin' establishing Virginia’s foothold on coke rap and a new era of lyrical titans.

By the early 2000s, hip-hop’s maturation was in full swing: Atlanta was building towards its future reign, the boom of Houston’s hip-hop scene was on the horizon, and Virginia’s spotlight grew brighter over the decade as Timbaland, Pharrell Williams and Chad Hugo of the Neptunes crafted the era’s most innovative sounds. 

While Timbo went on to guide the careers of Ginuwine, Aaliyah and Missy Elliot, local legend Teddy Riley brought Pharrell and Hugo under his wing. As the Neptunes, the two produced records for the likes of  Ma$e, N.O.R.E. and R&B groups SWV and Total. Eventually, the duo revisited their relationship with two childhood friends who would later chronicle their hometown’s booming drug trade under the moniker Clipse. 

Virginia-based MCs and brothers Gene "No Malice" and Terrence "Pusha T" Thornton aspired to leave a life of selling drugs in favor of cooking up hit records. With the help of Pharrell, Clipse signed to Elektra Records in 1998, and by the next year, had an album, Exclusive Audio Footage, ready to hit retail stores. 

"That album was nothing more than friends together doing something they love," Pusha explained in a 2002 interview with XXL. "No outside interference, no arguing. It was all happy times."

Despite a record slated for a 1999 release date, the group’s triumph was short-lived. The album’s lead single, "The Funeral," failed to make a mark outside of Virginia radio, and the project was shelved. While the album was heavily bootlegged for years — and mysteriously released on streaming platforms this May — the two brothers were dropped from the label.

"I’m gonna tell you who was disappointed the most," Pusha recounted to XXL. "That was Pharrell. He was like real hyped about working with [established artists] but he’s always been like, ‘Yo, we gotta show them how we do it.’"

Determined to shepherd their career success, Pharrell build up enough cache to establish Star Track Entertainment with Arista Records in 2001. He brought No Malice and Pusha in as the imprint’s first signees and released their debut album, Lord Willin’, on Aug. 20, 2002. 

Boasting guest spots from heavyweights like Jermaine Dupri, Jadakiss, Styles P, Faith Evans, Fabolous and others, Lord Willin is a mesmerizing journey through the Thortons' roots in the Indian Lakes section of Virginia Beach —  an environment that fed their hunger for life’s treasures and fueled their rap careers. 

"It was really about establishing identity, and, like, putting our flag in the ground," Pusha recalled in a 2012 interview with Life +Times. "We basically wanted people to understand and know where we were coming from — no one had ever seen this side of Virginia before. We knew that this music was a bit newer."

The Clipse were outside of what the Neptunes were doing, Pusha continued. "This was at a time when Pharrell was hot, the Neptunes were hot. He was on every hook from Nelly to Mystikal, everybody" and is the first voice on "Grindin'." "The intro…basically set the tone for all of those maneuvers and moves. It was just like, 'This is what we are, we’re different. This is the streets, this is Virginia, this is new, this is risk-taking.' Playas, we ain’t the same. You know."

Led by street anthem "Grindin’" and radio smash "When The Last Time," the album is laced with sooty tales about the duo’s drug-and-gun dealings and the glamorized corruption of their past hustle  ("Virginia"), a lifestyle sown from the pillars of their own family tree. On the LP’s "Intro" No Malice raps, "Scouts honor, started with my grandmama / Who distributed yay she had flown in from the Bahamas."

All 13 tracks are produced by The Neptunes, who were at the peak of their powers and fresh off collaborations with Britney Spears, Jay-Z, Usher and other artists. The Clipse meld their minimalistic and radio-seeking production with the rawness of No Malice and Pusha’s coke-slinging rhymes on "Cot Damn" and "Gangster Lean."

Along with the riches of big-time dealing on "Let’s Talk About It," No Malice offered a sign of empathy on "I’m Not You," rapping, "To feed poison to those who could very well be my kin / But where there’s demand, someone will supply / So I feed them their needs at the same time cry / Yes it pains me to see them need this / All of them lost souls and I’m their Jesus."

The production of Lord Willin’ doesn’t always match the gravity of No Malice and Pusha’s mountainous themes and enthralling anecdotes, with the pop-ish sounds of songs like "Young Boy" muffling the accounts of their upbringing. But by all measures, the Clipse’s debut placed the military town and tourist city on the hip-hop map — a foray that was driven by the duo’s vivid lyrics and the Neptunes’ generally immersive production.

Clipse’s first full-length showing landed at No. 4 on the Billboard 200 and sold 122,000 units in its first week of release. It was certified Gold by the RIAA on Oct. 1, 2002, and sold upwards of 950,000 copies as of December 2009, according to Nielsen Soundscan. In validating its classic status, Rolling Stone also ranked the album No. 12 on its 100 Best Debut Albums of All-Time list. 

Lord Willin’ sparked Clipse’s continued success and popularity. Their 2006 follow-up Hell Hath No Fury is now a classic, while the We Got It 4 Cheap mixtape series with Re-Up Gang members and Philadelphia-based rappers Ab-Liva and Sandman is beloved. But in the years since No Malice and Pusha’s third outing, Til The Casket Drops,in 2009, their musical paths couldn’t have grown more detached.

While Pusha has built a stellar solo career with the same coke raps and command he came to the game with, No Malice found solace in his faith. He distanced himself from the rap industry and altered his former moniker "Malice" on Twitter back in 2012.

"Can you imagine how many people went to jail listening to things that I said? Forget everybody else and other rappers and other groups, think about how many times people got pulled over, went to jail (and) my record playing in the car," No Malice told Vlad TV in 2017. "Think about how many times somebody’s head was blown out, and the theme music is still playing."

The brothers have collaborated sparingly over the years, with the group coming together for Pusha’s "I Pray For You," Kanye’s "Use This Gospel" and on the I Know Nigo! compilation cut "Punch Bowl." Every time the duo reunites, fans clamor for another classic from the group, including King Push, who, admittedly, is just as uncertain as the public. 

"I talked to him this morning and he was like, ‘Yo, I’m hearing what people saying,’ but he’s not committing," the "Diet Coke" rapper told The Breakfast Club in April. "Regardless of whatever perspective he wants to attack it from, me and him are creative enough to definitely make it work. That’s not an issue, it’s just him and what does he want to do."

It's been two decades since the release of Lord Willin', but the album has only appreciated in the years since No Malice and Pusha first put the city of Virginia Beach on their backs. While the older Thorton has squared his focus on his spirituality, and Pusha has forged a path as the "Martin Scorsese of street rap," their contributions will remain linked and their legacies forever immortalized.

– The Recording Academy/GRAMMY.com

Beyoncé’s Biggest Sonic Pivot Yet Finds Inspiration In The Past

From the moment Beyoncé announced her seventh studio album, Renaissance, in June, the Grammy-dominating artist sent the Beyhive into hysteria as the fandom clung to every sign pointing to the project’s new sonic and artistic directions. With the release of lead single “Break My Soul,” Beyoncé strayed away from her signature surprise-LP motif, opting for a standard rollout for the long-awaited project that included an internet-shattering British Vogue spread, mysterious box sets, and an open letter published to her website that detailed the gravity of the new release.

Renaissance is Beyoncé’s first solo album since the cultural and visual landmark Lemonade in 2016 and follows the 40-track compilation Homecoming: The Live Album and the soundtrack record The Lion King: The Gift in 2019. She revealed that the July 29 arrival of Renaissance came after three years of recording during the pandemic, a moment of stillness that she “found to be the most creative.”

“Creating this album allowed me a place to dream and to find escape during a scary time for the world,” she wrote in the letter, which went live the day of the project’s release. “It allowed me to feel free and adventurous in a time when little else was moving. My intention was to create a safe place, a place without judgment. A place to be free of perfectionism and overthinking. A place to scream, release, feel freedom. It was a beautiful journey of exploration.”

Creating this album allowed me a place to dream and to find escape during a scary time for the world.

Beyoncé dedicated the album to her Uncle Jonny, whom she described as her “godmother” and the person who introduced her to the vibrance of dance music and the transcendent spirit of Black and Latinx queer culture that she captures in Renaissance. She also paid homage to the “pioneers who originate culture… the fallen angels whose contributions have gone unrecognized for far too long.” On “Pure/Honey,” Beyoncé samples the hit songs of New York club icons Kevin Aviance (1996’s “Cunty”) and the late Moi Renee (1992’s “Miss Honey”). She also enlists Nigerian superstar Tems, Jamaica-born rapper Beam, and “Slave to the Rhythm” singer Grace Jones, gifting fans with an electrifying step into dance music that roars with an ultra-femme and self-empowering energy.

While fans and critics praise Beyoncé’s spotlight on legendary dance songs and artists, there’s been controversy surrounding writing credits and samples on Renaissance — a reality when honoring the greats of any musical past by including their work. The singer removed an interpolation of Kelis’s 2003 hit “Milkshake” from “Energy” after Kelis posted a series of Instagram videos and comments saying she was unaware the song would be sampled on Renaissance. Beyonce also changed a line on “Heated” to remove a term that’s considered ableist.

The album — which boasts credits from heavy-hitters like The-Dream, Syd, Honey Dijon, Hit-Boy, and others — is lush with dazzling grooves and a liveliness made for the enchanting dance floors of the clubs, ballrooms, and kiki houses to which Beyoncé pays homage in what is only the first act of a forthcoming trilogy. Little is known about the two future albums, but Variety reported one or both will feature country-leaning tracks, and many fans predict a further descent into dance music or a return to her R&B and pop roots.

The momentum surrounding Renaissance was nearly squandered when the album leaked online two days before last Friday’s release, but the Beyhive remained patient, awaiting its official drop, and have since basked in the project’s house, disco, Afrobeat, electronic, and techno-driven sounds.

Had to re listen to Beyoncé Renaissance…From the Album title i expected a project w/ in-depth story telling though it’s only act i of a trilogy & w/ great assumption she giving a play theme,so act ii should be story/climax & act iii would be the resolution. https://t.co/zRAvUDM2F4

— SaintRoyll⚜️ (@SaintRayon) July 31, 2022

Renaissance is Beyoncé’s first full venture into dance music and arguably the biggest sonic pivot she’s taken in her career. Inspired by the legacies of disco queens Donna Summer, Robin S., and Teena Marie, Beyoncé conjures hip-swinging tracks like “Cozy,” “Virgo’s Groove,” and “Move.” She pierces the sharp riffs and sensual euphony of “Plastic off the Sofa” with ballad-level vocals.

While the creative direction of Renaissance seems novel for Queen Bey, a few songs in her catalog may have hinted at the eventual artistic shift. They aren’t as bold as her recent effort, but “Blow” and “Haunted” from her 2013 eponymous album have inklings of dance and techno tucked in the background. Featuring production and writing credits from Pharrell Williams, Timbaland, J-Roc, James Fauntleroy, and Justin Timberlake, “Blow” is emblazoned with a funk and disco flare later heard on the new album’s “Summer Renaissance” and “Cuff It.” “Blow” even managed to peak at No. 1 on the U.S. Hot Dance Club Songs chart in 2014.

The songwriter behind “Haunted,” New York musician Boots, said the song was partly inspired by the music of Aphex Twin, who’s known for his ambient and techno styles. The song has a largely minimalistic composition, but its more upbeat moments hint at an atmospheric and darkened electronic sound later explored on the pulsating and thudding “Heated.”

There are other parallels to dance music within Bey’s oeuvre before Renaissance, like the techno-inspired “Radio” and “Naughty Girl,” which interpolated Summer’s 1975 classic “Love to Love You Baby.” Those records illuminated what was to come from the artist, and the direction of Renaissance is in line with the 28-time Grammy winner’s desire to explore exciting new creative passages.

With Beyoncé and Lemonade, the Houston-born singer-songwriter inspired other artists to seek new visual bounds and abandon the age-old album rollout for the wonderment of a surprise drop. She centered her music and 2018 performance at Coachella, later dubbed “Beychella” by fans, on the culture of historically Black colleges and universities, incorporating a marching band, J-setting choreography, and a step show.

Before then, Bey and her hubby, Jay-Z, released the collaborative album Everything Is Love in 2018, with the duo clearing out the Louvre in Paris to film the music video for lead single “Apeshit.” Beyoncé later followed that up with The Lion King: The Gift as well as the 2020 musical film and visual album Black Is King, which saw her step into the world of Afrobeats with “Find Your Way Back,” “Already,” and the Saint Jhn, WizKid, and Blue Ivy-assisted “Brown Skin Girl.”

In all its glory, Renaissance stands on its own as an alluringly fresh artistic dive for the legendary pop star, and its projected (and unsurprising) success is a testament to how well she’s maneuvered creatively. The album is expected to take the No. 1 Billboard spot in its first week. The new dance-forward release has further cemented Beyoncé’s place as an international fixture and luminary artist, and with two other installments reportedly in the works, there may be more achievements to come.

– MTV News

A Requiem For Hip-Hop’s “Clout Era”

Think back to 2017, a time when rap’s hyper-punk and vibrantly rugged sound emerged from the deep pantheons of SoundCloud and YouTube’s outer rim. Artists like Lil Pump, Playboi Carti, Lil Yachty, and others arose from the cracks and introduced a new pyro-trap and emo-rap wave that set the internet ablaze.

The endless sorrow of XXXTentacion’s “SAD!” and the zaniness of Lil Pump’s “Gucci Gang” helped popularize a sound once perched in rap’s subterrane, which paved the way for other purple-haired and tattoo-faced stars like Juice WRLD, Lil Xan, Tekashi69, and Trippie Redd to enter the genre’s newest musical locus. With their arrival, a new legion of artists rolled in with microwaveable hits that fed Internet drifters and school-aged Gen-Z’ers in search of an artist that emanates today’s rebellion. They found it in the mumbled lyrics, off-key melodics, and piercing chants of the era’s rappers and trap crooners, who floated over pulsating beats and lo-fi mixes. The music was undeniably of the now, and the artists’ celebrity grew as their sound and antics on social media became more outlandish.

By the time this music found a mainstream profile under the banner of “SoundCloud rap,” we were nearing the end of what podcasters DJ Akademiks and Adam22 recently defined as the “clout era,” a period that saw artists with limited musical talent, maybe one or two mild SoundCloud hits, and a flair for virality thrust into the industry spotlight. As they dove deeper into drug-induced stunts, dubious pranks, and the highest acts of troll-ery, these artists landed high-profile record deals and gained millions of fans and social media followers by drawing onlookers into their wild lives outside of music. But as declared on the Off The Record podcast last month, the clout era died just as quickly as it was born, leaving many artists in musical purgatory and the dens of Internet culture’s past.

What distinguished this era from rap’s fleeting successes and one-hit wonders of the past was its emphasis on outrageous online behavior. Although there were some genuine innovators among the bunch, this was a time defined by minimal musical talents whose drug-induced rants, contentious interview moments, and brainless claims (yes, Kid Buu still thinks he’s a clone) fueled their celebrity and budding rap careers. While the lives of street artists like YoungBoy Never Broke Again, Kodak Black, and others were the subject of countless YouTube videos and mooted Twitter threads, the quality of their music was the catalyst of their success. But for many artists of the clout era, their talents simply paled in comparison, forcing them to depend on their wild escapades. And although TikTok has introduced the world to artists like the Boyboy West Coast, iLOVEFRiDAY and even two-time Grammy winner Lil Nas X via the mega-hit “Old Town Road,” much of their early success and virality came from the millions of TikTok users and fans who used clips of their songs for their own videos. As those vids blew up online, more people were drawn to the artists’ music and personas, a process that differs vastly from what young artists were doing in the mid-to-late 2010s.

At the height of the clout era, an artist’s lifeline was dependent on their next viral moment. When their music fell on deaf ears, they leaned on videos of them getting kicked out of hotels, calling out their supposed “opps,” and detailing their life’s wildest moments on Vlad TV interviews. For a time, that landed them at the top of blog feeds and in the minds of hip-hop fans. But after Tekashi69 – the industry’s top clout-baiter at the time – landed in jail in November 2018, DJ Akademiks says the era as we knew it was finished: “I’ve never seen an era just be like — it’s not even a ushering out period, that shit is just corny. You can’t imagine anybody doing what [Lil Pump] was doing and what all these guys that got super-viral were doing back then … that shit is a dub.”

The influence of the clout era began to wane after the passing of XXXTentacion, Lil Peep, and Juice WRLD, genuine innovators who were rising cultural figures at the time of their passing. Losing many of the scene’s biggest stars stripped the era of much of its allure and exposed the dangerously drug-fueled lifestyles often tied to its music, which ultimately led to Peep and Juice WRLD’s fall. The decline was compounded by the rise of Brooklyn and New York drill, with artists like Pop Smoke, Fivio Foreign, Sheff G, 22Gz, and others flipping the hip-hop soundscape on its axis. Pop Smoke’s “Welcome To The Party” and Fivio Foregin’s “Big Drip” marked the sonic shift toward slower beats and a darker, grittier, more realist aesthetic, a movement that eventually forced clout-era artists out the industry door.

Meanwhile, a new generation of SoundCloud rappers began to emerge, with artists like Ken Car$on, SSGKobe, Yeat, BabySantana, SoFaygo and others adopting a similar aesthetic and rip-roaring rebellious sound, but without the same exploits of the clout era. After seeing how the careers of those artists came and went, the new brigade of underground rappers is steering clear of their stunts and focusing on the music: “One of the main reasons why Lil Pump was so big was because of his antics,” artist Midwxst told Complex in a recent overview of the scene’s new wave. “But sometimes you have to learn, OK, you shouldn’t make your whole persona based around these things.” SSGKobe added, “I definitely feel like there’s less gimmicks now. I feel like a lot more people are genuine in this underground scene. They’re more true to themselves than trying to fit in.”

Where does that leave the original clout-era products? As their initial hits and viral moments came to pass, several of those rappers failed to make major splashes on Billboard or regain the momentum they had at the peak of their powers. With their fading celebrity, many have stopped making music completely or have done so inconsistently over the last few years. While artists like Lil Xan fell to the background due to concerns with his physical and mental health, others like Ugly God stopped releasing music for reasons still unknown to fans. The “Water” artist, known for his salacious lyrics and brash attitude, hasn’t released another project since 2019’s Bumps & Bruises. In response to the YouTube clip from the Off The Record podcast, which had Ugly God and six other artists on the video’s thumbnail, the Indiana-born artist made a tweet out to Akademiks and asked him to stop grouping him with the other artists of the clout era.

While artists Lil Pump and Smokepurrp have maintained their activity, their profiles have dwindled consistently throughout the years. Between the two artists, Purrp recently went viral for performing in front of a nearly empty crowd in Pontiac, Michigan for his We Outside Tour. The Florida rapper dismissed the video, writing in an Instagram tour recap, “Tour been lit DONT BELIEVE THE HYPE, I love what I do and ima give my fans a show regardless, I bet they won’t post this tho.. WE OUTSIDE!¡”

Along with the encouragement of drug use, the era was built on viral-chasing raiders like Tekashi69 who brought the tactics of online sensationalism to the streets. He blended the two worlds, but after countless videos of the “STOOPID” artist goading his enemies and taunting authorities on social media, his antics finally caught up with him and he landed in jail for firearms and racketeering charges in 2018. But even after his release in April 2020, despite Billboard. 6ix9ine’s last project, TattleTales, fell massively short of expectations. The 2020 album was projected to sell over 100,000 equivalent album units in its first week, but it only earned roughly half that. He’s barely been heard from since, though he’s apparently still got enough juice to get recent single “Giné” into the lower reaches of the Hot 100.

There are other artists who are wedged in a space of complacency, as they either haven’t fallen off musically or haven’t left the minds of hip-hop fans. Names like Lil Yachty come to mind; he semi-successfully rebranded as a Michigan rapper and is still being tapped for interviews and to perform at major festivals like this year’s Rolling Loud. Artists like Doja Cat, Trippie Redd, and Playboi Carti have further ascended from the bounds of the clout era by continuing to pen Billboard-topping hits and maintaining the intrigue they first held as new acts. After declaring her cow status on the forgotten viral hit “MOOO!,” Doja Cat has become one of today’s biggest pop stars, and even nabbed a Grammy this year for the SZA-assisted “Kiss Me More.” While Trippie Redd and Playboi Carti haven’t reached the heights of Doja, the two artists have broadened their fanbases and expanded their catalogs and now sit near the top of a short list of still-relevant clout era alumni.

To continue leveraging their stardom, other artists have redefined themselves or pivoted completely to other career paths. Viral sensation-ista Bhad Bhabie first graced TV screens in 2016 during an appearance on Dr. Phil. The “Gucci Flip Flops” rapper parlayed her “Cash me outside” moment into a music career and signed with Atlantic Records in 2017. But after the music label dropped the then 18-year-old in 2021, Bhad Bhabie shifted to OnlyFans content, and in April posted receipts showing earnings of $52 million on the subscription service. While he still makes waves as an artist, clout-era alumnus Blueface has branched out into the reality TV world with Blue Girls Club TV, with the YouTube series placing the Los Angeles-born artist among the list of most-talked-about artists on social media and blogs like The Shade Room.

The best days of the clout era are long gone. Fans will never have a chance to see how generational talents like XXXTentacion, Juice WRLD, and Lil Peep would have fared in today’s soundscape, or if they would have kept the prior era alive, but their music has inspired other young artists to reach their career heights and to do it their own way. As for those still living, who remain young enough to theoretically recapture the musical and cultural force they once had: Can the likes of Lil Pump, Ugly God, and Lil Xan ever hope to thrive outside the ecosystem that launched them? If not, they can at least look forward to the SoundCloud rap package tours that will surely be popping up 10-15 years from now because nostalgia is the most potent clout of all.

— Stereogum

Charting Drake's Unforgettable Path To 'Honestly, Nevermind'

Just hours after its announcement, Drake released the surprise album Honestly, Nevermind on June 17. The dance and house-inspired record, his seventh studio effort, further proves the pop icon's transcendent abilities and his willingness to extend his artistry to its furthest limits.

On the 14-track project, Drake casts his boisterous rap persona aside and flows over the reverberating sounds and soothing piano keys of South African house and American club music. Collaborators Black Coffee, Noah "40" Shebib and Gordo (formerly Carnage) steer the Toronto rapper and singer on a course of creative free flow, allowing his wistful lyrics and airy vocals to shine on "A Keeper," and "Falling Back."

Despite his stature — and ability to seemingly shift the course of hip-hop and pop at will — Drake has never dedicated an entire project to embark on a new musical pathway. But after being the face of mainstream hip-hop and pop for over a decade, there was no better time to delve into a state of experimentation. Enter, Honestly, Nevermind.

From hip-hop love ballads to strip club anthems and Afro-Caribbean tunes, the four-time GRAMMY winner is responsible for some of the era’s greatest hits. Whether melding melodic bridges and hooks with rap, or dabbling in Afrobeats and British grime, Drake has morphed the pop music soundscape to his liking without compromising his creative intuition — a habit that sprouted the moment he gleamed under the industry spotlight. 

Drake came into the spotlight at an auspicious time, when hip-hop heavyweights like Jay Z, Eminem, Kanye West, Rick Ross and his mentor Lil Wayne sat atop the hip-hop leaderboard and an intense auto-tune phase met its end. Drake's  2009  debut EP, So Far Gone, shook the world by fusing the timbre of slow-grind R&B with the spirit of braggadocious rap.

The EP’s break-out single, "Best I Ever Had," peaked at No. 2 on the Billboard Hot 100 and garnered his first of many GRAMMY nominations — one for Best Rap Song and Best Rap Solo Performance. The "Nice For What" artist had officially created a distinct sound that elevated him to early superstardom.

Drake wasn’t the first artist to sing and rap on his songs, but in an interview with the Jewish Chronicle in 2012, he declared himself the first person to do it at a high level. "There were people who incorporated melody before me, but I would deem myself the first person to successfully rap and sing."

Backed by the Young Money Entertainment hype machine, Drizzy continued his success in 2010 with his first studio album, Thank Me Later. The project boasted concert-ready hits like "Over" and "Fancy," and threaded moments of soul-stirring emotion and honesty on "Fireworks" and "Shut It Down." With its commercial and critical success, the great Canadian hope fulfilled the colossal expectations set upon his shoulders.

Off the heels of his debut project, Drake endeared rap fans with his vulnerability. But this was a pocket he had to carve out for himself and fend against the "soft rapper" label that loomed over his early career. 

"I wish that we lived in a time and a generation where people would stop viewing my honesty as overly emotional," Drake told GQ in 2011 ahead of the release of his second album, Take Care. "People always act like I spend my life crying in a dark room. I don’t, I’m good. I’m a man. I want to be remembered as an artist that gave you a piece of me, as opposed to some surface bulls<em></em>*t. I don’t think people realize that we die, we leave here, and either they forget about you or remember you. And how they remember you is up to you. I just want to be remembered as a poet that was open and honest because I wake up every morning and I’m me." 

But instead of disrupting his accent, the vulnerable Take Care earned Drake his first GRAMMY Award for Best Rap Album and cemented his name among hip-hop’s elite with "Headlines," "Marvins Room" and "The Motto." While Thank Me Later was a respectful debut, Drake felt the latter project offered a firmer grip on his artistry and was a better reflection of the culture of his hometown.

"I came back home and reconnected with my friends… and just realized that we have a true opportunity to again establish ourselves separately from everybody else," Drake said in a sit-down with Elliot Wilson and B.Dot of Rap Radar in 2019. "So, that was when we were truly hellbent on we’re going to have our sound, that sounds like our city, and it’s going to be dark and it’s going to be moody and it’s going to sound like how cold it feels outside."

From his debut Thank Me Later to Nothing Was The Same, Drake reconfigured the limits of rap. His work continued to expand the genre to the outer banks of R&B — paving the way for other rapper-singers like Tory Lanez, Post Malone and the late Juice WRLD.

But it wasn’t until 2016’s Views that Drake veered from his signature sound and began exploring yet another genre. The seeds of "AfroDrake" were sown on album standouts "Controlla," "Too Good" and "One Dance," (his first No. 1 record), further inspiring other artists to delve into the Afrobeats, reggae and dancehall lane.

Drake’s fascination with Afrobeats and dancehall continued on the sonic mishmash More Life in 2017, where songs like "Blem" and "Madiba Riddim." Perhaps a prelude to the sounds of Honestly, Nevermind, the then 30-year-old artist also ventured into UK drill with "Gyalchester" and the Giggs-assisted "KMT" on the project, and made room for British grime maven Skepta to shine on "Skepta Interlude."

Drake has traversed between varying sounds throughout his discography, flirting with house and dance as early as 2011 with the Rihanna-assisted "Take Care." The artist later delved into synth-soaked house cuts on 2013’s "Hold On, We're Going Home," foreshadowing a shift to 100-BPM electro tunes.

As Drake has ascended to icon status in the past 13 years, he’s continued to experiment with various sounds and musical subcultures, reshaping them to fit his own musical taste. But accusations of cultural appropriation began to swirl with the release of the UK funk and dancehall smash "Once Dance," despite the song featuring Afrobeat artist Wizkid, one of the biggest names in the genre.

Drake dismissed the claims in a 2019 interview with Rap Radar.

"The definition of appropriating a culture is not supporting that culture, doing songs with people who are deeply rooted in that culture, giving opportunity to people who are in that culture, that’s not appropriating," he said. "Any time I embark on one of those journeys, I ensure that I'm not only paying all due respect verbally but like I make a point to give opportunity to people that I respect."

Following the success of More Life, Drake's 2018 effort, Scorpion, was a further declaration of his genre-hopping prowess. Songs like the stadium-filling "God’s Plan," sorrowful "Jaded," and the eerily soothing Michael Jackson collab on "Don’t Matter To Me” evenly split the double-sided album into R&B and rap tracks.

Between the 2020 mixtape Dark Lane Demo Tapes and his 2021 studio album Certified Lover Boy, Drake continued to exercise his range, releasing Atlanta trap anthems, brooding R&B songs, and Afrobeat and UK drill records. He developed a formula that generated massive streaming numbers, as his lyrics and songs like "Toosie Slide" and “Way 2 Sexy” became the subject of TikTok videos and Instagram captions. Still, Drake's sound had grown increasingly redundant and the artist was in need of a creative audible. From that standpoint, Honestly, Nevermind delivered.

The album is by far the biggest sonic leap Drake has taken in his nearly 15-year career. Like Kanye’s Yeezus, Drake’s latest effort adopts a sound untouched by hip-hop acts of his caliber while dividing his allies and skeptics. Honestly, Nevermind's dive into house and dance music — both sonically and in its use of producers — further fueled a sense of confusion among rap fans who are unaware of the queer, Black history and influence of the two genres.

The creative detour has birthed lengthy Twitter debates and memes of the highest virality, with folks giving their take on the success or failure of Drake’s artistic pivot. Since its release, Honestly, Nevermind has largely received mixed reviews, with an assemblage of fans either praising or mocking Drizzy’s genre shift.

Publications have been split on the album, with Pitchfork’s Alphonse Pierre writing, "It’s light and breezy, and the songs flow right into each other like a DJ mix, not unlike 2017’s More Life." While the album should work, Pierre opined that Honestly, Nevermind "feels a little empty for one glaring reason: Drake’s writing lacks its former zest." Other music critics have applauded the massive departure, with Rolling Stone Senior Editor Jeff Ihaza writing that Drake created "a collection of blissful dance tunes constructed for embrace and abandon." Honestly, Nevermind, Ihaza continued, is Drake leaping beyond his peers for a "refreshing sign of what’s to come." 

Drizzy appears unbothered by the criticism that’s come with the new release. "It's all good if you don't get it yet. It's all good. That's what we do. That's what we do," Drake said during the album's release party, per Complex.

Honestly, Nevermind is projected to sell between 210,000-230,000 album-equivalent units based on early projections by HitsDailyDouble. And according to Billboard, the album has broken the record for most first-day streams by a dance album on Apple Music, only taking one hour to achieve the feat.

Whether it alienates his listeners or draws in a new legion of fans, Honestly, Nevermind signifies Drake’s willingness to take creative risks and, like Kanye, allow those artistic pursuits to grow in favor over time and inspire other mainstream hip-hop acts to explore the depths of hip-house.

– The Recording Academy//GRAMMY.com

The Ascent Of Baby Keem From Underground Rapper To Grammy-Winning Artist

Once obscure from the bright lights of mainstream rap, the name and profile of Baby Keem has risen the past year with the release of his debut album, The Melodic Blue, elevating him from an underground treasure to one of the genre’s most promising young stars.

Off the heels of sleeper-hit “Orange Soda” in 2019, the 21-year-old artist has scaled the Billboard charts with songs like “Range Brothers” and “Family Ties,” both assisted by his Pullitzer Prize-winning cousin Kendrick Lamar. His freshman album drew critical praise and some hardware to show for his musical ascension.

The Vegas-raised artist, born Hykeem Jamaal Carter Jr., was named Billboard’s first 2021 R&B/Hip-Hop Rookie of the Year and received three nods for the 64th Grammy Awards, including Best New Artist. He didn’t take home that coveted award — bested by Olivia Rodrigo — but was still able to take the Grammys stage for a win in the Best Rap Performance category.

Keem, the once faceless artist who hid behind palette-styled cover arts early in his career, has stepped firmly into his place as a transcendent musical talent, expanding from his enigmatic underground status to a known product of today’s sound. But even before his freshman debut and his signing to Kendrick Lamar’s pgLang media company, Keem started rapping at age 13, eventually honing his skittish flow and charismatic delivery over a cheap microphone.

“When I really started, I was 13 and I had Apple studio sh*t on my computer,” Keem said in an interview with Lamar for the 40th Anniversary Issue of i-D Magazine. “I had borrowed $300 from my grandma and I got my stuff on Craigslist. I was probably 15. I got a mic for $50. It was sh*t but it worked. So, I just started learning on that. I made it work.”

From the point his music developed, he landed a few production credits on Kendrick Lamar’s Black Panther soundtrack and the albums of Top Dawg Entertainment associates Jay Rock and ScHoolBoy Q. Keem gained some traction from his first mixtape The Sound Of Bad Habit in 2018, which set the stage for his stop-and-go flow to shine, rapping “Dare I say it / B*tch, I’m Baby Keem, I don’t have time for trends” on the opener “Wolves.”

His name flashed to the masses with Die For My B*tch a vivacious and stylishly moodish project, with the standout track “Orange Soda” becoming a platinum-certified hit because of the song’s pulsating beat, hilariously cheeky lyrics, and outward brashness. Despite the buzz from Keem’s first two mixtapes, much about him was still a mystery.

Back then, an image or interview with the California-born artist could barely be found. But things changed once rumors about Keem’s affiliation with Lamar began to swirl, and soon, the cloak of invisibility surrounding him would shed as their kinship was revealed. As an artist, Keem didn’t lean on their relationship at first. Instead, he revealed in an interview with The Rap Pack that he worked on his music without the “Alright” artist knowing. That way, he could come into form on his own and leave any thoughts of nepotism to the wayside. “He didn’t even know I made music for a while,” Keem said. “He was on some, ‘What do you want to do?’ And I was like, ‘Man, I just want to go to college, bro. I’m going to figure it out.’ I wasn’t even 100 percent sure I was even good at music.”

Keem later added: “If I wasn’t ready to like do what I’m doing now, then it wouldn’t be happening, you know what I’m saying? Even in the process […] I wouldn’t even ask for anything. I didn’t send him my music until later, later. I just wanted to make sure it was from me personally; I wanted to make sure it was owned.”

That was then, but now, Keem has doubled down on his relationship with Lamar and squared his focus on refining his creative process and broadening his sound. As Keem highlighted in an interview with Ebro Darden in October, everything he does is in service of the music. No matter the occasion, he’s always searching for things that spark inspiration and lead to his evolution as an artist, songwriter, and record producer:

“I don’t really leave that mold. I feel like when I go home, everything I do is for the sake of the music. If I watch a movie, or if a play a video game, I’m studying something. There’s something in there I can use, especially a movie for sure. If I watch Netflix right now, I’m watching the way it’s shot because I want to shoot a music video, or I’m looking at the actors and studying them in their gestures because I might want to mimic or take inspiration from it.

I try to have my moment, but I be bored. Like, people go on vacations and things like that and I’m not there yet. I don’t know how to go on vacation yet.”

From his first project to this year’s Grammy, Keem has carved out a lane all his own, using his frenetic and experimental sound to pierce through the guards of hip-hop circles. Once overlooked, he’s now recognized as one of the industry’s young musical supernovas. On “Trademark USA,” he declares his placement in rap, “I took the torch / I quit being nice.”

His Grammy win only serves as affirmation for his current spot, and the one he’ll be in the future. But for now, he’ll enjoy the ride, and in time, learn to take the proper vacation he deserves.

– UPROXX

Why reboots of classic Black TV shows are succeeding where other nostalgia fare fails

Nostalgia is in the air. Already 2022 is turning out to be the year of revivals of classic TV series — and particularly so for shows considered hallmarks of Black entertainment.

Among the long list of culture-defining sitcoms and animated shows returning this year, the reboots include new looks at The Fresh Prince of Bel-Air and The Proud Family, both of which premiered in February. By revisiting these shows now, Peacock (home of Bel-Air) and Disney+ (The Proud Family: Louder and Prouder) are clearly looking to replicate some of the same TV magic as the originals — but to their credit, they're doing so with a sense of nuance. It's working so far; both shows are critically acclaimed, which is rarely the case for most rebooted franchises.

For those who didn't grow up watching The Jeffersons, Fresh Prince (which ran for six seasons beginning in 1990) was likely the first time they saw an all-Black cast depicted as a wealthy family. The show likewise introduced classic characters and launched the careers of Hollywood legends while interweaving social and racial topics that still hold relevance today. And for younger millennials and older gen Zers (like myself), The Proud Family was the gold standard of representation as one of, if not the only, Black-centered animated shows on Disney in 2001. The series did for Disney animation what Modern Family did for sitcoms; it reshaped the look and feel of the channel, and opened doors for other Black actors and shows to shine on the popular network.

But why reboot them now? Judging by the recent renaissance of Black entertainment, strategic timing certainly plays a part. In the 1990s and early-to-mid 2000s, shows like Martin, Living Single, A Different World, One on One, and All of Us were at the forefront of Black media, with each of them representing a different layer of Black America during that time. But a large majority of these shows slowed in the mid-2000s and early 2010s — that is, until the airing of Black-ish in 2014, which recreated a zeitgeist that once permeated airwaves. Its success paved the way for a steady stream of shows dedicated to Black families and daily life rooted from a place of authenticity; Black-ish inspired spin-offs like Grown-ish, Mixed-ish, and reportedly the filming of Old-ish, and instigated more Black creators being tapped to spearhead TV shows on their own accord, including Courtney A. Kemp's Power, Donald Glover's Atlanta, Lena Waithe's The Chi, and most recently Quinta Brunson's Abbott Elementary.

The resurgence of Black media likewise inspired ABC to reimagine one of its classic shows with a Black family at the center. Last year, The Wonder Years debuted on the network and starred Elisha Williams as Dean Williams, a 12-year-old boy growing up in Montgomery, Alabama, during the late 1960s and early 1970s. The show was inspired by 1988's The Wonder Years, which chronicled the life of Kevin Arnold (played by Fred Savage) in the late 1960s and early 1970s — and, notably, starred an all-white leading cast. The first two episodes of 2021's The Wonder Years, on the other hand, revolve around the assassination of Dr. Martin Luther King and tackle culture-altering events while also bringing a sense of levity found in the original series. 

Other reboots haven't been as lucky. New versions of classic programs like The Odd Couple, Charlie's Angles, MacGyver, and others have been rightfully ripped by critics. But 2021's The Wonder Years — and in turn, the reboots of The Proud Family and Bel-Air, which premieres the season one finale on Thursday — are succeeding where other shows with similar influences aren't because of their willingness to insert new ideas or elements to captivate a new generation of viewers while at the same time honoring fans of the original series. While hinging on viewers' nostalgia can be a show's strength, it can be detrimental when there's no sense of originality, even if the concept is based on a widely popular entity.

Sure, certain elements of the Peacock and Disney+ shows are the same as their predecessors, like the list of main characters and their backstories, and in the case of The Proud Family: Louder and Prouder, a near-identical animation style. But they have both also added to their source materials' mythos, drawing in a younger generation of viewers with new concepts, characters, and direction. For example, diverging from its more comedic and lighthearted origins, Bel-Air has taken on a more dramatic and ultra-realistic turn. The show trades in a live studio audience and multi-cam set-up of the original and focuses on a more introspective look at a young Black man who was plucked from West Philadelphia and is abruptly moved to one of the ritziest enclaves in Los Angeles. 

The Proud Family: Louder and Prouder, meanwhile, broadened its cast of characters with EJ Johnson voicing nongender conforming character Michael Collins and Billy Porter and Zachary Quinto voicing gay couple Randall and Barry Leibowitz-Jenkins. Instead of relying on the same narrative tropes and cultural topics that were prevalent when the original show aired in the early 2000s, the show has leaned into topics like LGBTQ rights, the effects of social media, the different shades of "wokeness" and other subjects that loom over today's society. The show's subject matter has evolved to draw in modern audiences, all while retaining the beloved characters and unmistakable charm that made The Proud Family a classic animated series.

Given the shows' new creative directions and refined scopes, The Proud Family and Bel-Air have a chance to stand on their own as summits of Black entertainment and the larger TV industry — just like the classic series that preceded their arrivals. 

– The Week

Don Toliver closes Rolling Loud's SXSW showcase with thunderous performance

The final hours of Rolling Loud's South by Southwest showcase were very, very Texas. 

After Houston legend Trae the Truth took center stage Saturday, drawing in lovers of syrup-sipping tunes from the city's musical roots, emerging trap-rap and R&B crooner Don Toliver crept under the platform's blistering lights to the horns of "After Party."

Fans jumped over discarded beer cans and water bottles inside the mosh pit, screaming "Donny" over the stage's booming speakers and whiffs of marijuana smoke at Stubb's Waller Creek Amphitheater.

As many fans as there were inside the venue, just as many were stacked inside the divided entrance lines, with many able to catch only the echoing sounds of Toliver's electrifying vocals.

The "What You Need" artist started out with ear-rattling tunes like "Backend," "Cardigan," and "HAD ENOUGH" before switching to his more atmospheric and wavier standouts.

His dark silhouette could be seen under the bright lights and smoke cannons while he zipped from one end of the stage to the other, enchanting fans with his fiery energy and harmonic runs as he transitioned between songs.

The neo-Houston artist couldn't help but confess his love for his hometown and the city of Austin, where many of his day-one fans reside and have watched as he's grown in musical stature.

Collaborations with artists like Kanye West and Kid Cudi on "Moon" and Eminem on "No Regrets" are evidence of his expansion since 2018's "Donny Womack" and a sign of what's to come from the 27-year-old headliner.

As he closed out his set with "Can't Feel My Legs," Donny Womack gave his respect to Austin and Rolling Loud, which stood behind the emerging talent as he's racked up popular songs like "No Idea," "5X" and others from his deepening musical index. 

"Austin, I love y'all," he said as he walked off the Rolling Loud stage to a roaring crowd. 

– Austin 360

From pink polo shirts to weird boots: How Kanye's fashion has evolved

It’s hard to imagine a time when the masses weren’t drawn to artist and fashion designer Kanye West, a man who's spearheaded some of the biggest cultural shifts and era-defining trends since he first stepped into the industry spotlight.

But the Netflix documentary Jeen-yuhs: A Kanye Trilogy chronicles the days when West was a quietly confident producer who was known for his soul-stirring beats but fighting to land a record deal as a solo artist.

The first two episodes of the three-part film, titled “Act I: Vision” and “Act II: Purpose,” are pieced together from 20-year-old footage recorded by now-director Coodie Simmons, who gave viewers a glimpse into the recording sessions of songs that made West a household name. Simmons, who directed the project with fellow filmmaker Chike Ozah, first turned his camera to West with the belief he would ascend to rap superstardom. But even with his remarkable foresight, not even Simmons envisioned what kind of force West would become in the world of fashion.

Nobody knew — except Ye.

“LOUIS VUITTON DON”

The self-proclaimed “Louis Vuitton Don,” a nickname West first christened himself on the song “Last Call” from his debut album The College Dropout, mixed luxury brand pieces like Dior, Gucci and others with streetwear essentials — which blurred the lines of modern couture forever.

From leather kilts, Margiela masks, and Venetian shutter shades, hip-hops fans and high fashion mavens have been drawn to West's influence. And for the 44-year-old rapper, conquering the fashion industry was a goal he set from the time he signed his record deal at Roc-A-Fella Records.

“If West’s rubber BALENCIAGA RAIN BOOTS aren't evident enough, HIS STYLE has always been AGAINST THE GRAIN.”

In “Act II: Promise,” West made his intentions clear during an interview following his car accident in 2002: “I had an accident and almost died and everything, right? But I was sitting up in the hospital for the first seven days, and I’d just be watching TV and I just came to this revelation …. people are like, ‘You almost just died. What came from this?’ And I just sit back, and just decided that I’m going to be the best, the best, dressed rapper in the game because their gear was crazy whack.”

If West’s rubber Balenciaga rain boots aren't evident enough, his style has always been against the grain. On his song “Touch the Sky,” West addressed how his stylistic choices early in his rap career hindered his success: “Back when they thought pink Polos would hurt the Roc/Before Cam got the sh*t to pop/The doors was closed/I felt like Bad Boy’s street team: I couldn’t work the locks.”

In the same way he was viewed as an artist, West’s clothing style didn’t fit the mold of a “rapper,” which better aligned with the gangster rap image that loomed over the genre in the early 2000s. When everyone was wearing XXXL Mitchell & Ness jerseys, jump-rope length chains and baggy jeans in the early 2000s, he was draped in bright rugby shirts, a monogrammed ​​Louis Vuitton backpack and Ralph Lauren sweaters adorned with the "Polo Bear," later inspiring the “Dropout Bear” that was placed on his first three album covers.

Throughout the documentary, West was also spotted in Superhero and movie-themed graphic T-shirts, knit turtleneck sweaters and a retainer that was far from camera shy. While maligned at the time, a lot of the pieces West wore 15-20 years ago are touted in high fashion circles today, which is a true testament to his vision for future trends. Vintage Polo pieces and other brands West donned in his “College Dropout” days are treasured items for hype beasts and online resellers, and some pairings would even hint at future brand collaborations.

During West’s Def Poetry Jam performance of “All Falls Down” called “Self Conscious,” he wore Adidas Superstars, and even sported a Gap shirt throughout the series, foreshadowing the release of his “Yeezy Gap engineered by Balenciaga” collection in late February.

But in time, everyone would begin to rap, produce and dress like West.

RESISTANCE

Before becoming a rap superstar, West maneuvered through the industry on his own accord, using the scraps and resources he had to place his form of artistic expression at the forefront. And much was the same when it came to fashion. Even with a Louis Vuitton footwear collection, West arranged to intern for Fendi in 2009 alongside the late Virgil Abloh, who was the artistic director at Louis Vuitton's menswear collection before he passed in November 2021.

The New York Times reported that the two men were making $500 a month to run errands and fetch coffees at the famed fashion house. And in a 2013 interview with former BBC Radio 1 host Zane Lowe, West reaffirmed his genius, claiming that he and Abloh introduced the idea of leather jogging pants to Fendi – a trend that would emerge in high-end circles years later.

In 2009, West enlisted industry notables such as Abloh, Don C, Kim Jones, who was Louis Vuitton’s men’s artistic director at the time, and others to establish his first clothing line in 2009: Pastelle. It wasn’t his first dive into the depths of fashion design — that was Mascotte by K West, which was scrapped in 2004, but Pastelle was his first full-fledged attempt at creating his own brand.

But after West’s outburst against Taylor Swift at the 2009 Video Music Awards, Pastelle’s LA office shut down and his plans for the brand’s flagship stores and events soon did as well, according to Complex. His frustrations were made public during an interview on Jimmy Kimmel Live!,”where West talked about the resistance he’s faced at the gates of the fashion world.

“I WANT to make the next RALPH LAUREN.”

“I spent 10,000 hours at this; I dedicated my life to this. And a lot of people say, ‘OK, you know, you have to do music.’ Imma keep doing music, but what if people told me I couldn’t rap. What would have happened? What if people told me I couldn’t perform?’” he said. “I’m only 36 years old, I have other goals and other things, and I’m going to use my platform and every platform to stand up and say, ‘I want to make something. I want to make the next Ralph Lauren.’”

While the interview was nearly a decade ago, it’s reminiscent of the moment in Jeen-yuhs when West played “All Falls Down” to a puzzled music executive, whose colleagues roamed in and out of the room, and he left the Roc-A-Fella office momentarily deflated.

YEEZY EMPIRE

After footwear deals with Louis Vuitton and Nike, West continued to push for his own clothing line and would eventually take the reins of his Yeezy brand in 2015. And in the seven years since its inception, the brand’s apparel and sneaker releases have helped boost West’s estimated $1.8 billion net worth, according to Forbes.

Yes, the numbers are astronomical, but West’s impact has been nearly unmatched because of the stylistic trends he’s set ablaze. He broke ground years ago with collaborations and footwear deals with high fashion brands, inspiring other rappers to level up their drip game and even delve into the business of fashion.

As Yeezy has generated millions of dollars — and quenched the thirst of hype beasts from around the world — he’s opened doors for others to succeed in fashion and has consistently drawn in the industry’s top talent. Designers like Heron Preston and Matthew Williams, who’s now the creative director of Givenchy women’s and men’s collections, have made their marks in fashion after working alongside West and his extended creative team.

So, while many will point to West’s polarizing statements, failed presidential campaign, thickly rubberized rain boots (for now, at least) and his antics on social media, which has half the country calling Pete Davidson “Skete,” his impact in fashion is undeniable and will remain an integral part of his legacy – just as he envisioned.

– Input Mag

'It's been pretty awesome,' Chelsea Handler says of returning to live performances

Chelsea Handler has never shied away from a call for transparency.

Whether her social or political stance has been deemed unconventional, controversial, or, more often than not, self-deprecating, she's owned it — standing firm in her beliefs. 

That mindset was at center when she was developing her new standup tour, Vaccinated and Horny, a title reflective of Handler's brand and material, she says, that will be a return to her comedic roots. 

After kicking off her national tour in Cincinnati this fall, the legendary comedian and six-time bestselling author will take center stage on Nov. 13 in the Palace Theatre. 

Calling in from New York City as she prepared for her show in Rochester, New York, Handler, 46, spoke with The Dispatch recently about the inspiration behind her new comedy tour and the healing power comedy has had during the COVID-19 pandemic. Her comments have been edited for space and clarity.

Question: What inspired the name of your new comedy tour?

Handler: I mean, I was home for a very long time, so there wasn’t a ton of sex happening. There was a lot of sexual repression.

So, as soon as I was vaccinated, I decide that I was going to move forward in this world with those two roles — vaccinated and horny.

Q: Your last special really dove further into the personal things you've endured — your personal therapy journey, confronting your brother's death, and others. Have you taken a similar route with this comedy tour?

Handler: This is more like OG Chelsea. This is me sounding off on all the idiotic behavior we all participated in during (COVID-19), like Windex-ing our takeout food.

My sister invaded my house with her three adult children for four months, which is something that I worked hard in my life to avoid. I never really wanted to have children or have them living in my house, but somehow I ended up in that situation anyway.

So, that put me in a really tricky situation. I probably sold my house as soon as they moved out to avoid that ever happening again. I just bought a new house that has four bedrooms, and I’m converting all four of them into a workout room, podcast studio — anything besides a bedroom, because that’s not happening to me again. I’m making the first time the last time because the entire reason I didn’t have a child is because of the off-chance we might go through a global pandemic and I’d be stuck at home with one.

I also bought (COVID-19) health tests at home for potential penetrators. I’d interview them in the backyard, run the diagnostics on the test — which took about 30 minutes. I’d give each candidate a nasal swab, and then I would talk to them within the 30 minutes it took to run the test, and, if during that time they said anything really annoying or I saw a pinky ring, I would just tell them they had (COVID-19) and were positive.

Q: I know you've been to several cities since kicking off the tour in Cincinnati, so how has that been being in front of more traditional audiences for a full-fledged  stand-up tour? 

Handler: It's been pretty awesome. It’s pretty good timing for people and a great time being a comedian because people are so excited to be out and back together in large crowds. And for many people, this is the first big event that they’re attending and I love being the reason for that.

It’s a great reminder about humanity and togetherness. Laughing together in large groups heals the soul, and I just want everyone leaving with their sides hurting, I want to provoke your thinking and be laughing so hard it hurts.

I want people to have accidents at my shows, I want people to know it's like a party. It’s not like a party where it’s an interactive party with people, you know, in the audience screaming and yelling. I definitely don’t want to encourage that, but I want them feeling like (they) went to a party.

Q: Do you feel this tour and the world of comedy have been needed during this time? From my perspective, comedy is already a sense of healing. And at a time when it's most needed, do you feel it's played its part well?

Handler: Yes, I think it's really needed and there’s a lot of conversations about how people aren't able to be funny in this climate which is (expletive). 

It’s easy to be funny without making fun of brown and Black people. It’s easy to be funny without making fun of trans people. Like there’s plenty of (expletive) to talk about, so everyone can get a little more clever and a little more creative, but start with yourself.

– The Columbus Dispatch