Meet Jason Kelce, summer student at a grazing farm, and perhaps a future rancher

Nagging postgame injuries, childhood memories, thoughts of retirement, and those fiery “Go Birds” chants: It was all captured in Kelce, a new Prime Video documentary starring Philadelphia Eagle Jason Kelce.

The 102-minute film, which premiered Tuesday, follows the all-pro center before the 2022 NFL season to the months after the Eagles’ historic run to Super Bowl LVII. Outside the grueling demands of the gridiron, and the moments spent with his wife, Kylie Kelce, and their three daughters, the doc shows Kelce exploring a surprising offseason interest.

When his days of hitching the ball to quarterback Jalen Hurts are done (and we hope it’s no time soon), Kelce might put his farmer hat on and spend his free time neutering bulls.

On the first episode of Kelce’s podcast New Heights with brother and fellow NFL star Travis Kelce, he talked about having a particularly “fun” offseason back in 2022. “You asked me what I did this offseason. Have you cut a bull’s nuts off? No, I don’t think you have,” he said.

Near the 24-minute mark of the doc, Kylie Kelce also talks about her husband’s farming endeavors in Missouri. The film then cuts to the six-time pro bowler grabbing a name tag and joining a beginner’s grazing school session led by cattle rancher Greg Judy.

In May 2022, Jason Kelce flew out to Clark, Mo., to meet Judy, who owns and leases 19 farms across the country, for his annual spring grazing school at Green Pastures Farm. Over two days, Kelce learned the fundamentals of sheep and cattle rearing alongside other beginner ranchers.

When he first met Kelce, Judy said his hand disappeared in Kelce’s massive mitts. Despite his physical stature, and growing popularity as a beloved Eagle, Kelce was as “humble” and willing to learn as much as anyone he’ has ever taught, Judy said to The Inquirer.

“Jason really blew me out of the water,” said Judy, a three-time author and popular YouTuber. “He’s just a learner. I think that’s why he’s so successful as far as being a football player. He’s willing to do the work.”

When Judy asked what drew Kelce to regenerative agriculture, which focuses on an eco-friendly, grass-based grazing system, the NFL star told him he wants to enjoy healthier foods and introduce his daughters to farming.

Judy, a die-hard Kansas City Chiefs fan, said it was hard watching his team beat the Eagles last season. “I almost felt like Mama Kelce during the Super Bowl,” he joked.

The connection between Kelce and Judy was made by Ann Demerath, the office manager and secretary at South Poll Grass Cattle Association, which maintains the record and registry of that particular breed of cattle.

As intentional as Kelce is on game day, Demerath said he’s as laser-focused when it comes to regenerative agriculture. And she knew having him meet Judy would set him up for success, and open his and others’ eyes to the possibilities of farming. “[Kelce] doesn’t go into things halfheartedly,” she said. “If he’s going to invest his time, he’s going to give it his all.”

As Kelce continues to learns the ropes of farming, Demerath said his presence can shed more light on the process of regenerative agriculture and clear any misconceptions about the practice.

“Somebody with [Kelce’s] influence to take on regenerative agriculture, and to show people that animal agriculture is here to support and heal the planet, is really important,” she said. “I think it’s super cool that [Kelce] is a part of this, and that he wants good food, he knows where it’s coming from.”

While Kelce is back for another NFL season, Judy looks forward to the day he gets invited to Kelce’s future farm, either in Missouri or near his home in Philadelphia.

“He talked about how he’d like to have me come in to consult on his farm, just to make sure [he’s] got the fencing, the water, and the livestock set up. I’m looking forward to that and seeing how it goes.”

– The Philadelphia Inquirer

Essential Hip-Hop Releases From The 2010s: Ye, Cardi B, Kendrick Lamar & More

Few genres have evolved as remarkably as hip-hop over the past five decades, and the eerily recent, yet, distant 2010s saw the genre at its most progressive. Legendary acts and fresh-faced stars pushed rap’s cultural and musical bounds, opening a pathway for a new class of artists to emerge, and for overlooked regions to gain their deserved recognition. 

With the expansion of hip-hop’s mediasphere, artists that would’ve been confined by their locale crossed the invisible barriers of rap music to establish themselves as mainstream success. Canada-born stars PartyNextDoor, The Weeknd and Drake took over rap the same way the Brits took over rock music in the 1960s, and it was made possible by the boundless nature (and unprecedented sonic access) of today’s rap fan. 

The emergence of SoundCloud elevated lesser-known talents including Playboi Carti, Lil Uzi Vert, 21 Savage, the late Juice Wrld to superstardom at a rapid pace. The era also marked a sonic turn in the industry, which saw artists merge their styles with those of other regions. That’s why artists like Asap Rocky adopted elements of Houston’s chopped-and-screwed sound in his early discography, despite his Harlem origins. 

Legacy acts like Jay-Z, Kanye West, Eminem, and Nicki Minaj continued their reign as rap heavyweights, with record sales and award wins showcasing their influence. The period also saw the emergence of hip-hop’s three horsemen – Drake, J. Cole and Kendrick Lamar – who carved their legacies with chart-topping hits and groundbreaking albums throughout the 2010s. Their contributions, as well as those from Future, Big Sean, Travis Scott, and Chance the Rapper, set the stage for the decade. 

Read on for 10 of the most consequential releases of the 2010s.

Ye - My Beautiful Dark Twisted Fantasy (2010)

Just a year removed from interrupting Taylor Swift on stage during the 2009 MTV Video Music Awards, Kanye West, now known as Ye, produced arguably the best rap album of the decade, My Beautiful Dark Twisted Fantasy. 

It was a career turn that’s more familiar to rap fans in recent years, but the Chicago rapper snapped back with a glossy, epic-level album that was a culmination of his best work to that point — or maybe ever. From "Dark Fantasy" to "So Appalled" and "Gorgeous," West was at the peak of his lyrical powers, with the rapper-producer exchanging sharp-tongued lyrics with wordsmiths like Pusha T, CyHi The Prynce and Raekwon.  

The album also set the stage for one of the best collaborations of the year, with West, Rihanna and Kid Cudi merging their creative powers to create the wondrously rhythmic, GRAMMY-winning hit, "All of The Lights. And Nicki Minaj fans still reference the star’s verse on "Monster," which saw the Jamaica Queens native rise above rap titans Jay-Z and Rick Ross on the smash-mouth track. 

Wiz Khalifa -"Black and Yellow" (2010)

After making his name in the mixtape circuit with classic projects Kush & Orange Juice and Flight School, Wiz Khalifa’s  mainstream breakthrough came in the form of 2010’s "Black and Yellow." The hit song bolstered the Pittsburgh rapper’s profile in time for his debut studio album, Rolling Papers, and put his hometown and Taylor Gang crew on the hip-hop map.

With the Pittsburgh Steelers making it to the Super Bowl in 2011, the Stargate-produced hit became the team’s unofficial anthem and spawned other remixes in the same vein. "Black & Yellow (G-Mix)" featuring Snoop Dogg, Juicy J, and T-Pain, Brooklyn rapper Fabolous honored the New York Yankees with "White and Navy" and Lil Wayne paid homage to the Green Bay Packers with  "Green and Yellow."

The success of "Black and Yellow" opened the doors for Khalifa and his stable of Taylor Gang talent to flourish, namely artists like Ty Dolla $ign, Chevy Woods, and Three 6 Mafia legend Juicy J. The song also placed a brighter spotlight on Rostrum Records and recent signee Mac Miller, who was months removed from releasing his acclaimed K.I.D.S. mixtape and would later become a star before his unexpected death in 2018. 

Chief Keef - "I Don’t Like" (2012)

The city of Chicago was set ablaze with the release of Chief Keef’s "I Don’t Like." The Young Chop-produced track popularized the city’s drill sound, which established a new influx of talent bred from the Windy City and a subgenre later adapted by UK and New York rappers like Fivio Foreign and the late Pop Smoke. 

The impact of the street hit led to its inclusion on the G.O.O.D. Music compilation project, Cruel Summer, featuring artists Pusha T, Kanye West, Big Sean, and Jadakiss. "I Don’t Like" was later placed on Keef’s debut release, Finally Rich, helping further catapult the Chicago artist to mainstream notoriety. The song is still credited as the launching pad for the drill movement, with Keef viewed as the forefather of the subgenre as a whole. 

Kendrick Lamar - Good Kid, M.A.A.D City (2012)

For many hip-hop fans, Kendrick Lamar’s Good Kid, M.A.A.D City reestablished the West Coast’s grip on the rap game, which for years, was singularly held by The Game. 

After the release of Lamar’s independent album Section.80, his second turn took more of a mainstream approach while chronicling his teenage years in the gang and crime-ridden streets of Compton. He enlisted artists like Drake for the flowy, Janet Jackson-sampling hit, "Poetic Justice," and drew in legends like Dr. Dre for "Compton" and Jay-Z for "Bitch, Don’t Kill My Vibe - Remix." 

The multi-platinum project was produced by Dj Dahi, Sounwave, Hit-Boy, Scoop DeVille, Just Blaze, and others, who delivered atmospheric and tight-bass beats for Lamar’s narrative-driven concept album to flourish. Good Kid, M.A.A.D City earned Lamar four GRAMMY nominations at the 2014 GRAMMY Awards, including Album Of The Year. And while he didn’t take a gramophone home during that night, his major label made him the face of West Coast rap for years to come. 

Future and Drake - What a Time to be Alive (2015)

After cranking out moderate hits like "Tony Montana" and "Never Satisfied," Drake and Future linked up for an Avengers-level collaboration, which culminated into 2015’s What a Time to be Alive. 

The project came together after Drake met with Future in Atlanta for six days. Their first recording was "Digital Dash," and from there, the two artists merged their respective sounds together for a hyper-trap mixtape filled with hits like "Jumpman" and "Big Rings." On the production side, What a Time to be Alive was largely handled by executive producer Metro Boomin, who produced or co-produced eight of the project’s 11 songs, alongside fellow beatmakers Noah "40" Shebib, Allen Ritter, Southside, Boi-1da, and others. 

The 2015 release also foreshadowed Future and Drake’s later collaborations. Future enlisted artists like fellow Atlanta rapper Young Thug for Super Slimey and Lil Uzi Vert for Pluto x Baby Pluto, and Drake linked up with 21 Savage for 2022’s Her Loss.  

Rae Sremmurd - "Black Beatles" (2016)

After scoring hits like "No Flex Zone" and "No Type,"  brothers Swae Lee and Slim Jxmmi literally had the world in suspension with the 2016 hit "Black Beatles" featuring Gucci Mane.  The "SremmLife 2" single sparked the viral mannequin challenge, which saw social media users stand frozen in time as a camera filmed their surroundings with their song playing in the background.  

Internet trends aside, the song was a massive hit that landed the group and Gucci Mane their first No. 1 song on the Billboard Hot 100. The Mike Will-produced track also pushed additional sales of the duo’s second album, which went from selling 30,000 equivalent units in the first week to eclipsing one million sales by November 2017. 

Jay-Z - 4:44 (2017)

With a resume as stacked as Jay-Z’s, his claim as the greatest MC of all time was viable long before the release of 4:44. But the late-career release did more than just add to his illustrious discography; it was one of the most complete and transparent bodies of work Hova has ever produced. 

On tracks like "Kill Jay-Z," the Brooklyn rapper stripped his ego-fueled moniker to give listeners a snapshot of his upbringing and past failures as Shawn Carter the man. He takes a step back to reflect on his mother’s sexuality on "Smile," and the challenges he faced in his marriage to Beyoncé on the title track. 

While many viewed 4:44 as a response to Bey's Lemonade album, the project also touched on the importance of shared success on "Legacy" and the push for generational wealth on "The Story of O.J." 4:44 garnered three nominations at the 60th GRAMMY Awards, including Song Of The Year and Album Of The Year. 

Migos - "Bad and Boujee" (2016)

During the 2017 Golden Globe Awards, rapper and Emmy-winning actor Donald Glover had a confession: Migos’ "Bad and Boujee" was the "best song ever." By then, the 2016 single was already a popular viral hit, with memes surrounding the lyrics "rain drop, drop top" bubbling up online. But Glover’s shoutout helped the G Koop and Metro Boomin-produced hit to reach the top spot on the Billboard Hot 100, a first for the Georgia-born rap group and featured artist Lil Uzi Vert.

"Bad and Boujee" established the Migos as the hottest rap group of the era, and spearheaded each member’s solo projects and business ventures. The multi-platinum single was even nominated for Best Rap Performance at the 2018 GRAMMY Award. 

Drake - "God’s Plan" (2018)

With countless across the 2010s, it’s hard to choose which Drake record made the biggest splash during the era, but 2018’s "God’s Plan" has a case when it comes to global reach. Produced by Cardo, Young Exclusive, Boi-1da, and long-time collaborator Noah "40" Shebib, the GRAMMY-winning single topped the charts in 14 countries while posting record-setting streaming numbers.

Though the pop-trap hit was met with mixed reviews upon its release, "God’s Plan" shattered Apple Music and Spotify first-day streaming numbers with 14 million and 4.3 million, the most of any song that year on both platforms. By the first week, the song climbed to 82.4 million total streams. 

"God’s Plan" was the lead single for Drake’s EP Scary Hours and fifth studio album Scorpion, and notched the Toronto artist Best Rap Song at the 2019 GRAMMYs. The song’s music video, which showed the rapper giving out a million dollars to people in Florida, also made waves online, amassing countless social media memes and over 1.5 billion views on YouTube as of July 2023.

Cardi B - Invasion of Privacy (2018)

The story of Cardi B, who rose from reality TV star to GRAMMY-winning artist, proved there could be more than one Queen ruling over the rap game. And her groundbreaking debut, Invasion of Privacy, inspired a new legion of women artists with dreams of occupying their own respective thrones. 

With street anthems like "Bodak Yellow," "Bartier Cardi," and the reggaeton-inspired "I Like It" featuring J Balvin and Bad Bunny, Cardi showcased her knack for catchy hooks, sharp lyrics, and the colorful personality found beneath the brash, aggressive flow. Producers DJ Mustard, Allen Ritter, Benny Blanco, Boi-1da, and others elevated the project to album of the year consideration. 

Along with winning Rap Album Of The Year at the 2019 GRAMMYs, Invasion of Privacy took the No. 1 spot on the Billboard 200 upon its release, making Cardi only the fifth female rapper to reach the top of the charts at the time. Even in the years after its release, the album continues to make history for the "WAP" artist, who became the first woman to have all of her album’s songs reach platinum status when Invasion of Privacy reached the milestone in 2022, according to Billboard. 

– The Recording Academy/GRAMMY.com

Who is Keke Palmer’s boyfriend, and does he prove that men from Philly are ‘embarrassing’? We investigate.

If you’ve scoured the internet the past few days, you’ve likely seen the drama between Keke Palmer and her boyfriend Darius Jackson.

Jackson made headlines after he slammed the actress on Twitter for wearing a fitted outfit for an Usher concert in Las Vegas, where Palmer was seen being serenaded by the R&B star. Many Palmer fans claimed the comments were motivated by insecurity or jealousy. But a local TikToker has another theory.

On Thursday, Philly native Cierra Williams took to the video-sharing app, claiming Jackson’s “embarrassing” antics are because of his ties to Philly.

“That man is from Philadelphia County, Pennsylvania,” she said in the video, which has amassed nearly 500,000 views and over 90,000 likes.

“It’s nothing we can do but send Ms. Palmer some love, light, and prosperity because if there’s one thing a man from Philly is going to do, it’s be embarrassing. They can’t help it. They don’t got no impulse control.”

(While news outlets have reported that Jackson is from Philadelphia, The Inquirer wasn’t able to confirm that. His family does have close ties to the city and his social media is filled with displays of Phillies and Eagles fandom. The fitness instructor even has a tattoo of the Love sculpture!)Also worth noting: Jackson briefly deleted his instagram but has reinstated it, without pictures of Palmer, leaving their relationship status unclear.

The Inquirer spoke to Williams and asked if men from Philly (Jackson included) are really as bad as she claims. The conversation has been edited for brevity and clarity.

What’s your perspective on the drama between Palmer and her boyfriend Darius Jackson?

It’s just a control thing. If she’s the breadwinner and powerful one in the relationship, then he’s probably thinking, ‘Where does that leave me?’ I feel like that’s something men struggle with a lot times. Instead of bringing it up with her, he decided to tell us on Twitter like it was our business. And that was his first mistake.

But why drag Philly men into this? What makes them embarrassing?

I feel like it’s twofold. On one hand, their brains only have capacity for sports, like “Go Birds,” the Eagles, the Phillies, and the Sixers. That’s one part of it, and the other part is a lot of times they don’t have the space to be themselves. So, it just makes them very strange because they have a different persona than who they are.

Meek Mill is not a real person pic.twitter.com/UllzQiJ9fO

— Ahmed/The Ears/IG: BigBizTheGod 🇸🇴 (@big_business_) July 4, 2023

Who would you say is the perfect example of an embarrassing Philly man?

I feel like the main thing everyone needs to know is that Meek Mill took a picture with fries on his lap at the pool. I don’t know what else we need to talk about. He also posted a video of him [on Instagram] about to throw up in a toilet, and put the caption, ‘Too much liquor smh...’ with his hands crawling and grasping for life. There’s nothing else we need to discuss.

Why do you think people dragged Jackson’s tweets?

[Palmer] has always had a real positive image. She’s never really been in drama, so it was really weird that he would try to tarnish her image that she’s worked so hard to build. She’s been a child star and now an adult star, so trying to ruin that is insane.

Do you think Jackson tweeted that out to gain attention. Or, was he unsure how to address the situation?

It was that small percentage of the Philly in him that decided, ‘I’m not in a good mood, so you won’t be in a good mood.’ I think that was really it. I don’t think there was even that much of a thought process. I don’t think he’s that vindictive in that sense. I think he just woke up and wanted her to have a bad day because she was having fun with Usher.

What do Philly guys have to say about the theory that they are just embarrassing? One Philly-based male on Twitter put it best when retweeting Williams:

“That’s right Go Birds.”

– The Philadelphia Inquirer

Philly nightlife takes a hit as noise complaints force relocations, unexpected shutdowns

Philly nightlife is an ever-revolving door of happy hour hangs, lavish soirees, laid-back beer gardens, and weekend stay-puts. The city is also home to niche party cultures, intimate music venues, and stylish speakeasies.

Philly DJ David Pianka, better known as Dave P, believes these spaces make the city’s nightlife more vibrant than most. But in recent years, noise complaints have diminished much of its allure.

“Nightlife brings so much to cities, culturally and economically, and it needs to be prioritized more here in Philadelphia,” said Pianka, who founded the electronic music festival Making Time ∞. “So many other cities around the world celebrate and support nightlife and understand its value. Philadelphia needs to do the same.”

Noise complaints, Pianka said, have crippled many of Philly’s outdoor music experiences through the last few years. Fellow DJs and party promoters have been forced to relocate, or even cancel entire events, due to the stockpile of protests brought on by disgruntled residents and nearby establishments.

These complaints often come from neighborhoods with nightclubs and music venues, and newly constructed residential buildings. As, Pianka said, more people and businesses move into these neighborhoods, there is a growing divide between partygoers and residents looking for a quiet place to lay their head.

As new condominiums and high-end apartments are built, more buildings and residents are being squeezed closer together. The city’s growing infrastructure leaves little room for outdoor parties and events to happen without disturbing local residents.

On Memorial Day weekend, DJ Joshua Lang hosted a day party at Cherry Street Pier’s back garden. The event, on Saturday from 3 to 9 p.m., was “before the city’s ‘quiet hours,’ ” Lang said. He hired a sound engineer to monitor the volume, “to make sure it didn’t go over a certain decibel level — which we didn’t.”

The event was a success, Lang says, with over 5,000 people attending. He has hoped it would turn into a series, but in June he posted on Instagram that he would not be returning to the venue “due to neighbor’s complaints about sound.”

A representative from the Cherry Street Pier said they were not aware of any noise complaints, and that while the event was well received, it was only every planned as one-off.

In his Instagram story, Lang added: “it’s frustrating that we already don’t have many options in this city when it comes to venues.”

The city, “is in dire need of an event like this” Lang told the Inquirer. “Philadelphia is an amazing city and what’s happening right now is beautiful between different industries and scenes, but there’s just a ceiling here that seems to keep creatives at a certain level due to city restrictions.”

According to the Philadelphia Department of Public Health, noise complaints are considered a health risk and commercial properties are prohibited from creating sounds that exceed five decibels above the “background level” at a property’s boundary line. The penalty for an initial violation is between $100 and $300, and the fee increases with subsequent violations.

Based on data from the department, there hasn’t been a dramatic rise in amplified music complaints in the past five years. But as of July 27, there were 10 amplified music complaints directed at Philly bars, restaurants, and nightlife spaces in 2023, which matches the total reported in all of 2022.

Pianka said it’s hard to blame a specific group for the noise complaints, but he said new developments are likely the cause of the issue. “The city needs to make culture and community more of a priority over development,” he said. “...[And] there needs to be more communication between nightlife promoters and city officials.”

“We need more venues, nightclubs, and diverse festivals. We need people who understand culture to be in these rooms where they’re making these decisions,” added Lang, who is also the music director for the W Hotel Philadelphia.

Disputes between residents, party promoters, and business owners in the Philly area are not new. Back in 2012, the New Tavern Bar Restaurant, then known as Watusi Pub II, drew complaints from West Philadelphians about the bar’s rowdy patrons and live music performances.

“I hear from people who have had bars in certain areas forever,” said Sara Walker, general manager of the Khyber Pass Pub. “And now that there’s some development next door, all of a sudden people are angry.” Walker, who recently revived Khyber’s live performance space after the longtime music venue was turned into a New Orleans-inspired eatery, believes that “in order for this city to be successful and have people come here to spend money, these [venues] need to be successful.”

She agrees that there are certain “nuisance bars,” but residents often blame establishments for little noise, or even rumblings generated outside their walls.

Public outcry has even forced outdoor restaurant and music venues to shut down operations.

In an Instagram post, Terra Philly announced on July 19 that it would shut down for the season due to increased noise complaints. “We worked both quickly and openly with both city and state officials to update our facility in a way that would allow us to continue operations. However, it seems a compromise could not be reached with our neighbors,” the post stated.

Health Department spokesperson James Garrow said a “warning letter” was issued to the Fishtown garden restaurant and outdoor music space after noise complaints were filed. The letter outlined the city’s noise and vibration law and noted a potential noncompliance fee of $300. But after an inspection was conducted on June 28, no violation was found, Garrow said. “Terra was not given a notice of violation or asked to close. If they have closed for the season, it was not due to Health Department action.”

Terra staff declined to make further statements, but confirmed there will be measurements in place to address the noise complaints ahead of the restaurant’s reopening next year.

Raheem Manning, the city’s first director of nighttime economy, said he doesn’t have economic data to illustrate how noise complaints affect nightlife revenue, and it’s not known if it does. But having met with nightlife mayors and directors in Austin, Pittsburgh, Amsterdam, and Berlin, he’s confident Philadelphia can be an international destination for its nightlife.

For Philly to contend with global nightlife destinations and minimize noise complaints, Manning, who was appointed nightlife mayor by Philadelphia’s Commerce Department in July 2022, said there needs to be a soundproofing fund, like in Berlin, which will shield venues from receiving noise complaints from new neighbors.

“An agent-of-change policy basically makes it so that whoever is new to the block is responsible for mitigating the sound,” Manning said. “If a club has been on the block for 20 years and a developer wants to build an apartment building across the street, it is on the developer to either soundproof the apartment building or they could soundproof the club, because the club was there first, the burden is not on the club.”

– The Philadelphia Inquirer

Philly stylists look back at boldest (and tackiest) suits from the 2003 NBA Draft

A lot has changed in the NBA over the last two decades.

There’s no longer a team in Seattle, despite the outcry from grieving Supersonic fans. A generation of “big men” have morphed into position-less perimeter threats, and the Denver Nuggets are NBA champions for the first time in franchise history. Oh, and there’s a new all-time leading scorer in LeBron James, who passed Kareem Abdul-Jabbar’s record back in February.

In the past 20 years, records have been shattered, new superstars have emerged, and college prospects are landing million-dollar brand deals before stepping into an NBA arena. But the hype around the NBA draft has remained. And on Monday, it will be 20 years since James, Carmelo Anthony, Chris Bosh, and Dwyane Wade’s names were called on draft night.

The 2003 NBA Draft is considered one of the greatest draft classes in league history. Not only were there four future Hall of Famers picked in the first five slots, but All-Star players Chris Kaman, Josh Howard, David West, Kyle Korver, and Mo Williams were also among the crop. But for all its glory, fans are convinced the ‘03 class is the worst-dressed group ever seen on draft night.

From the mountainous shoulder pads, overly buttoned suit jackets, curtain-length pants, and bulky silhouettes, Philly style blogger Sabir Peele said that year’s draft reminds him of Sunday service in the 1990s.

“The suits looked okay, but they had 16 buttons and a regular shirt collar on their jacket,” Peele said. “It was like people were dressing for what their perceived size was or something their grandfather might have worn, but not for their actual body. I don’t know who let them walk out the door thinking this was hot.”

While some fashion choices appeared inexcusable, Peele said, there were other layers worth considering: Hip-hop had a big influence in fashion during that era, and the presence of social media was largely nonexistent at the time. Neither Facebook, Twitter or Instagram existed in 2003, which likely forced the incoming rookies to rely on family members or friends for guidance. The result: “Just some big a** clothes.”

“Some of it has future application, but in terms of the actual design and cyclical-ness of the fashion, I don’t think this is going to come back,” Peele said. “Back then, there was no silhouette or shape.”

In an interview with Bleacher Report, Wade said players like Allen Iverson influenced his decision on draft night. “At the time, hip-hop culture was baggy jeans, Sean John jeans, hats to the side — that was the Allen Iverson culture,” the former Miami Heat star said. “That’s where the NBA was when we first got in.”

Even No. 10 pick Jarvis Hayes, who Peele said was dressed like a Baptist deacon, regretted the size of his draft suit. “It was the baggy suit era,” he told Bleacher Report. “I got (my suit) from a close family friend out in Georgia. I doubt if they’re still in business now if they’re still making suits like that. You wouldn’t catch me dead in a suit that size.”

Philly stylist Wayne Glassman, who owns Wayne Edwards Workshop, said the relaxed tailoring of the early 2000s was vastly different from the stylings of today, which favor more cropped, form-fitting looks with softer, more complementary colors.

“The players were just following the trends at the time,” Glassman said. “They had wide lapels with lower gorges. The pants were high-waisted, which allowed for a lot of drape, and there was fullness throughout the entire silhouette. Compared to today’s silhouettes, the trim is so much nicer.”

Looking back, Glassman said it’s easy to laugh at the suits worn by James and Anthony, but he’s seen younger athletes like Trae Young make similarly head-scratching fashion choices for the draft. “When he got drafted, (Young) wore a suit with cropped pants I’m not sure came down below his knees,” Glassman said. “He had on leather shoes and no socks.”

Glassman said certain athletes dress on the “costumey” side, while others take calculated risks to stand out. Then there are players and ex-hoopers who completely abandon the rules of fashion, he said.

Trae Young and his younger brother, Timothy, sporting their matching suits! #NBADraft pic.twitter.com/t3xt0ccQVJ

— NBA (@NBA) June 21, 2018

“Guys like Reggie Miller are pretty dapper, but if you look at someone like Charles Barkley, apparently others don’t care,” Glassman said. “Even sports broadcasters like Jeff Van Gundy, his suits look terrible. It’s really up to these athletes to put in the effort.”

With the presence of social media, and the popularity of tunnel walk photo ops, Peele said more athletes are leveling up their fashion sense. Instead of hiding their physiques under oversized jackets and lengthy trousers, players are opting for more natural-fitting garments. Some still pull out traditional suits, but the “blazer 2.0″ has become a more popular choice, he said.

“More guys want to be known as the ‘well-dressed athlete,’” Peele said. “Some come out suited, but others don’t want to be buttoned up, so they’re not wearing ties anymore. They’re thinking, ‘How can I flex and show that I’m still put together.’ I feel like that has become the thing.”

Players are trading in classic suit pieces for tailored pants and trucker jackets, and exchanging neckties for flashy necklaces and diamond-studded pendants. And as cyclical as the fashion industry can be, Peele doesn’t see the parachute suit pants or six-button jackets making a return.

– The Philadelphia Inquirer

8 Exciting Sets From The 2023 Roots Picnic: Usher, Lil Uzi Vert, Lauryn Hill & More

For 15 years, The Roots have gathered the music’s brightest and fastest-rising talents to perform in Philadelphia for their annual Roots Picnic, and this year’s lineup was nothing short of star-studded. 

After kicking off the weekend with Dave Chappelle’s comedy show at the Wells Fargo Center on Friday, the action moved to the Mann Center in Fairmont Park where fans witnessed surprise crew reunions, unexpected cameos, and a taste of the Las Vegas strip across three performance stages. 

On Saturday, legendary rap group State Property reunited for the first time in years, Lil Uzi Vert rocked out with the Park Stage crowd for his third picnic appearance. Supported by the Soulquarians, legends the Isley Brothers and Roy Ayers lit up the Park stage. Lauryn Hill closed out day two by commemorating her GRAMMY-winning album, The Miseducation of Lauryn Hill, and bringing out Pras and Wyclef Jean for a Fugees reunion. 

Sunday featured high-powered performances from soulful songstress Ari Lennox, former Ruff Ryders first lady Eve, and the devastating femmes of South Florida, the City Girls. Philly’s own DJ Drama drew out home-grown talents like D-Surdy, Armani White, and Bronx legend Fat Joe on the Presser stage. 

To close out the weekend, Usher brought the magic of his Vegas residency to West Philly for a string of era-defining hits in the twilight of the festival. Read on for some of the most captivating moments and exciting sets from the 2023 Roots Picnic. 

GloRilla Shines In Roots Picnic Debut

Unapologetic rebel GloRilla may have just one EP under her belt, but her growing fandom came alive during her Roots Picnic performance.

The Presser Stage crowd swooned along with femme-empowering smashes like "Phatnall," as well as more provocative songs like "Nut Quick" and "Lick or Sum." Legions of newly single fans  screamed the lyrics to crunk hit "F.N.F. (Let’s Go)." 

Big Glo kept the momentum going at high speed, loosening the relatively stiff crowd. And while Cardi B wasn’t present for her part in "Tomorrow 2," GloRilla brought out an energized and visibly pregnant Chrisean Rock for a twerk-worthy cameo. 

GloRilla truly embraced her rowdy nature and southern charm, which has helped her earn garner recognition from her peers and even notch her first GRAMMY nod for Best Rap Performance. 

Usher Brings Sultry And Sin To The City, With A Few Special Guests

Before Usher had even closed out the festival, radio and podcast personality Charlamagne and comedian Jess Hilarious talked about wrapping up their own event early to snag a close seat to watch the R&B star in action.

Though decades into his musical career, Usher hasn't missed a step. Dressed in leather, the eight-time GRAMMY winner delivered his classic, slow-burning album cuts and glossy radio hits under the glimmering lights of the open air Park stage. 

Usher put on an electrifying performance that covered hits from various eras in his catalog. Songs like "Love in This Club," "U Don’t Have to Call," and "Lil Freak" had Sunday’s crowd staring in awe, even for those looking to get ahead of the departing traffic. He also brought The Roots on stage before Philly natives Jazmine Sullivan, Eve and Black Thought joined the singer to perform "U Got Me." 

Lauryn Hill (And Some Famous Friends) Took The Crowd Way Back 

Lauryn Hill’s reputation precedes her. Some fans joked about her tardiness — or even potential absence — but the legendary vocalist arrived about 30 minutes past her scheduled set time and put on a performance that was met with shockwaves of cheers.

Hill's headlining performance coincides with a big milestone: the 25th anniversary of her groundbreaking album The Miseducation of Lauryn Hill. "Even though it's been 25 years, everything is still everything," she told the enlivened crowd. 

She performed tracks from the masterful GRAMMY-winning album, including "Everything Is Everything" and "When It Hurts So Bad," but perhaps the biggest surprise throughout the weekend was the reunion between her, Pras and Wyclef Jean. The trio came together as the Fugees to perform hits "Ready Or Not" and "Killing Me Softly" for a spirited celebration of the group’s 1996 album The Score. 

"We’re out here doing 25 years of Miseducation. But there’s another 25 years we didn’t do a couple of years ago because of COVID," Hill said of the group’s project. The group closed out with "Fu-Gee-La," with Hill switching from her soothing alto to her "L-Boogie" persona of old, bringing the joyous crowd to its knees. 

City Girls Bring The Twerkers Out To Play

The City Girls brought headliner energy to Sunday’s picnic, with JT and Young Miami inciting a twerkathon with hot summer girl anthems like "Act Up" and "Do It On The Tip" playing out center stage. 

The Miami duo kept the energy high with on-stage twerk moves, pulsating hits like "Twerkulator," and efforts to draw out the crowd’s inner act-bad attitude by screaming: "If you’re a bad bitch, say, ‘Hell, yeah!’" And by the end of the group’s performance, fans were left with a racing heartbeat or sweating from the constant flow of high-powered hits and go-get-him-girl records. 

Lil Uzi Vert Knows What The City Wants

Now in their third appearance since 2016, Philly native Lil Uzi Vert took to the Park stage on Saturday, bringing enough bass and adoring screams that could be heard across Fairmont Park. 

 "I ain’t going to do too much talking. Let’s do it," they said to the roaring crowd. While Lil Uzi’s voice occasionally drowned in a song’s instrumental, their effortless magnetism and signature shoulder roll dance brought excitement to the growing crowd. 

The rumblings of hits like "444+222" and "Sauce It Up" rang in fans’ ears, and songs like "Money Longer," and the Diamond-selling smash "XO Tour Llif3" nearly turned portions of the crowd into mosh pits. Lil Uzi’s performance came to a welcomed halt when fans were invited to the stage to dance to the massively popular "Just Wanna Rock," which has become an unofficial anthem in their hometown. "I’m in the city, this they s—."  Fans pulled out their phones as the rap star capped off the set with the viral hit. 

Lucky Daye Drips In Allure

Only a year removed from his breakthrough album, Candydrip — a genre-drifting and soul-stirring project riddled with pop and R&B hits — Lucky Daye has risen to star status. And with songs like "Real Games" and "Late Night," it’s easy to be drawn to the New Orleans-born artist. 

While initially draped in glimmering red garments, it didn’t take the artist long to strip down (well, shirtless, that is), and render impassioned vocals over the cheers and screams of his admirers. He dove into songs across his various albums and fell to his knees to deliver a burningly passionate rendition of "F—kin’ Sound" before the 37-year-old vocalist exited the Mann’s amphitheater stage.

Ari Lennox Conjures Soul In Comforting Fashion

It’s unclear if Ari Lennox still has plans to step away from the touring circuit for good, but if her Sunday evening performance is any indication,  her presence would be sorely missed. The "Shea Butter Baby" vocalist conjured every fragment of her soulful and poetic artistry, bringing vibes despite having a slight cold.   

The DC-born R&B singer danced to the flowy breeze setting over the stretched-out crowd while singing favored tracks like "New Apartment," as well as "Waste My Time" and "Pressure" from last year’s Age/Sex/Location. Lennox encouraged fans to close their eyes and sway their hips, and many raised drinks as Lennox’s soothing voice and sultry lyrics wrapped around their bodies.

Busta Rhymes And Eve Come To Devastate

Joined by The Roots’ Black Thought, Busta Rhymes and Spliff Star tore down the Park stage, even with distracting audio woes hindering the early part of their set. Shot mic or not, Busta’s lion-like voice could be heard from yards away as he spewed the lyrics to "Put Your Hands Where My Eyes Could See" and A Tribe Called Quest’s "Scenario" to a cheering audience. 

Eve arrived during the latter part of the DJ J. Period curated set. The former First Lady of Ruff Ryder burst onto the stage and held her own alongside the fellow hip-hop heavyweights. As she swayed the crowd with songs like "Tambourine" and her verse on the late DMX’s "Ruff Ryders Anthem (Remix)," it harkened back to her days as a lyrical wild card in the early 2000s before she ventured into acting and hosting gigs. 

– GRAMMY.COM

New Balance Basketball Stars Tyrese Maxey, Zach LaVine, and Dejounte Murray Talk Street Ball Origins

From its inception to today’s game, generations of basketball stars have conjured their hoop dreams on neighborhood blacktops, rec center gym floors, and makeshift home courts. Others made their name in different sports before discovering their on-court talents during gritty pickup games and street ball tournaments.

Those moments on the hardwood or cement floors defined their future play styles. They learned how to flick their wrist on their jump shots; kiss the top of the backboard on reverse layups, dunk over contested hands, and meld their skills and passions together to create their legacy – the same tireless pursuit of perfection that  New Balance has applied to decades in the footwear game.

Since 1906, New Balance has focused on being makers rather than marketers. They’ve  prioritized craftsmanship and impact over hollow accolades and fleeting moments of recognition and engagement. With the quality of its products, materials and partnerships, the brand has established an independent voice in the conversation of sports and culture, while inspiring a growing community of patrons proudly donning the letter “N” on their kicks. 

From the playground to arenas, big-name talents like Tyrese Maxey, Zach LaVine and Dejounte Murray have been drawn to the New Balance brand and its connection to street basketball culture. These hoopers talked to Complex about their early experiences on their hometown courts and how those memories inspired their game and style today. 

Tyrese Maxey

Getty Images

Before Tyrese Maxey became a first-round draft pick, the Dallas native was outplaying hoopers his own age. He was running the baselines as early as 4 years old, and there wasn’t a place in the world with a ball and a hoop he didn’t want to showcase his basketball talents. “My father was a head boys’ basketball coach, and I would go to practice with him and play. If I couldn’t go with him, I would go to the park in my neighborhood and play or force my uncle to play with me,” he says. 

Under his father and uncle’s wing, he began learning the nuances of the game, and the two men shaped Maxey’s fast-paced and creative playmaking style and instilled his confidence off the court. That growing conviction allowed him to embrace the resistance of elevated competition, and it opened his mind to the benefits of street and recreational ball. “Pickup games and structure-free basketball teach you how to improvise and give you a better feel for the game,” Maxey says. “Pickup games bring out a different level of competition; guys are going at you, and they have much to prove.” 

Now, the 22-year-old scorer wants to give aspiring hoopers in Philly the same experience he had in his youth. By pouring into the city’s parks and recreational centers, he feels it will increase community engagement, round out young players’ games and inspire others to capture the grit and relentless attitude he adopted on Dallas’ outdoor courts. “It’s extremely important; it’s the blueprint of basketball; it connects you with the people from all walks of life within the basketball community,” the University of Kentucky product says. “It builds a different layer of toughness. I’ve recently started to connect with some of the public park leagues here in Philadelphia; I’m looking forward to working with them and seeing what I can do to help push and keep the culture moving forward.”

Dejounte Murray

Basketball always came easy to Dejounte Murray. He dropped 35 points in his first rec league game, and did so well, he was convinced the rims were too low. Fortunately, he was wrong, and that day foreshadowed his future career as a professional athlete. 

Like Maxey, the Seattle native’s coronation into the sport was through his uncles, who made a hoop out of laundry baskets to play basketball indoors. Outside the house, Murray says they played on two hoops with missing backboards, and he followed his uncles wherever else they spotted a suitable court and competition. “I played everywhere my uncles played, which was our house, school, churches, and local outside courts,” Murray says. 

By competing in outdoor pickup games and rec leagues, the former University of Washington star found his love for organized ball and street hoops, and recognized the need for both forums. Murray said it toughens the skin of players. “Streetball is so important because it allows you to fall in love with the game of basketball, hooping freely and competing harder than ever, so I definitely believe it’s really important and it produces the best hoopers,” he says.

Between pro ball and streetball, Murray almost prefers the freedom he felt on the playgrounds and rec gyms he played on as a kid. The 26-year-old defensive stopper says he’s excited to see the best streetballers between Seattle and Atlanta, and his plans to return to the blacktop might be in the cards this off-season. “Streetball is the real deal. I prefer that hoop more than anything, and the league is the league; [it] turned my dreams into reality, and [me] proudly representing my family,” he continues. “In the off-season, I’m training and playing with my teammates at our practice facility and even outside too. But sooner rather than later, I want to take my 5 and go play against some of the local best in Seattle and Atlanta.”

Zach LaVine

For player Zach LaVine, his early streetball days didn’t begin on an actual street. In fact, not even above ground. Instead of a nearby park, rec center, church or playground, his professional athlete aspirations first bloomed in the basement of his childhood home. Before the high-flying scorer was in Pre-K, his dad set up a hoop and backboard inside the underground space. 

From an early age, the two-guard was destined for a career in sports. His mom was a softball player in college and his dad played football professionally as a linebacker. But after trying his hand at different sports, basketball quickly rose up the leaderboard, and he traveled wherever his newfound passion took him. “I played everywhere, from local parks and rec centers to high school tournaments,” the two-time All Star says. “On weekends my mom, dad, and sister would drive around looking for different parks that had different nets and rim heights.”

As he traveled around and beyond the suburb of Renton, Washington, LaVine said the experiences sharpened his game and focus, and prepared him for the physicality he would later face in his college and pro career. “Whenever you’re a young athlete, it’s good to learn how to compete in a team sport; It teaches leadership, toughness, and sportsmanship,”“ he says.

LaVine said the playground and local rec centers are where the game feels the purist, so it’s no surprise most players cite their hometown courts as the place they found their passion for basketball. Some of his fondest memories were playing alongside his dad in pick up games, who would elevate over YMCA hoopers long before LaVine was posterizing power forwards and centers. Looking back, the former UCLA standout says those experiences are valuable for any young basketball player. There are people of all different sizes and various skills when playing pickup games. Not only did that enhance the versatility of my game, but it taught me always to stay ready,”LaVine says. 

– COMPLEX for New Balance

From South Philly to Broadway to addiction and back again

As early as 6 years old, dance was everything to James T. Lane. He used to break-dance on the sidewalks of his South Philadelphia neighborhood streets, and was so enthralled in his first dance class at Meredith Elementary School, he forgot to take a bathroom break — and ended up needing an extra pair of pants as a result.

“Dance was my first language,” said Lane, who went on to study jazz and ballet. “I could express myself as a little Black gay boy, and I had a talent that kept the bullies away. I knew I could express myself and I can have feelings, be emotional and ride the rhythm of the music. That was very attractive to me, and it was a bright light in a very dark world.”

Those days led Lane to pursue a career in acting, and after seeing Robert Guillaume become the first Black actor to play the title role in The Phantom of the Opera, he knew his dreams of reaching the Broadway stage were possible.

In the nearly 20 years since making his Broadway debut, Lane, 45, has starred in productions such as The Scottsboro Boys, Roundabout’s revival of Kiss Me Kate, King Kong The Musical, and he wrapped up his turn as Billy Flynn in Chicago earlier this month.

Now, instead of being a vessel for others’ stories, Lane said he’s ready to share a deeply personal story of his own and show audiences the failures, tragedies, and triumphs that shaped his identity and, ultimately, saved his life.

In his one-man-show Triple Threat, Lane will chronicle his life growing up in the notorious Southwark housing projects in South Philly, and detail how his love for the stage led to his Broadway stardom, and helped him overcome the darkness and isolation of drug and alcohol addiction.

Lane will play a total of 20 characters in a solo production that draws back to his formative years at Meredith Elementary School and Philadelphia’s Girard Academic Music Program (GAMP).

The actor will embody the spirit of his mother, police officers, teachers, fellow drug addicts, and other loved ones he encountered during that period of his life.

Before starring in three Tony Award-nominated musicals, Lane was a fresh-faced 19-year-old actor who declined full theater scholarships at Carnegie Mellon and Pennsylvania State University to pursue an early career start in the Big Apple.

Upon moving to New York, Lane landed a starring role as Tyrone Jackson in Fame. But after tearing his Achilles tendon, he turned to drugs and alcohol, which led to a four-year battle with substance abuse.

“It was a far fall from grace,” he said, “from a 19-year-old traveling the world and being in Switzerland to not being able to get out of their four-block radius in South Philly because I had a drug and alcohol problem. My world got very, very small.”

Lane moved back to his mother’s home in South Philadelphia with hopes of regaining his footing. At the time, Lane said he was a “garbage head,” dabbling in any drug he could get hands on, including ecstasy and crack cocaine.

The support from his mother, Starletta Smith, ultimately led to his recovery.

“I begged him to change,” Smith said. “I didn’t know the man he had become. When he tore his Achilles, he was sad because it stopped him from performing, and that was him. [Lane] lived for the stage, and when he couldn’t do it, one drug led to the other and it just got out of control.”

After entering a local outpatient center in 2004, Lane vowed to refrain from drugs and to work his way back up the theater ranks. But first, he needed to tighten his frame, regain his confidence, and embrace his past missteps.

“I could always dance and act, but back then, I just couldn’t do it anymore,” Lane said. “I just couldn’t muster up the conviction. I didn’t have any connections, and the talent wasn’t showing up anymore. I couldn’t keep rhythm or keep timing, so I decided to get my act together and started talking about being Black, gay and being an addict. I started to really give voice to that shame, and interestingly enough, I was able to breathe a little easier and walk a little lighter.”

Along with his mother’s guidance, Lane leaned on his faith to blaze a path toward personal and artistic salvation.

Before moving back to New York, Lane took a job at the Walnut Street Theatre and began stringing together local performances. After resharpening his skills in a production of Aida, his name began to circulate again in the theater world. In 2006, he landed his first Broadway role as Richie Walters in the Tony-nominated musical A Chorus Line.

In the years since the production’s run, Lane has become a notable name in New York City theater, and has even transitioned to the silver screen as a recurring character in NBC’s The Amber Ruffin Show.

With Lane’s one-man show just months from its New York debut, Dorina Morrow, his former music teacher at Meredith Elementary, said his story will encourage audiences to conquer any obstacles in their guard.

“He can talk the talk, but he can walk the walk,” she said. “I don’t see him ever stopping, and I think the overcoming of his troubles will be such an inspiration.”

Lane’s “Triple Threat” will make its off-Broadway debut at Theatre Row, 410 W. 42nd St., in New York. There will be a preview for Pride Month on June 17, followed by its official opening on June 23. For more information on the show, visit bfany.org.

– The Philadelphia Inquirer

Who is ‘irregular’? Meet the artist behind the tag showing up all over the city.

On the face of eroded barricades, rotting alleyway dumpsters, dark under-passes and window-sized wood panels, the word “irregular” has become an increasingly regular sight for Philadelphians — and a mark of artist Sean Hassett’s growing presence.

Hassett, who goes by the moniker “Irregular” or “Irregular Sean,” has spray painted and penned his graffiti tag across the outskirts of West Philly to Chinatown, Spring Gardens, Brewerytown to the beating heart of Center City. Yet, his identity and motive are largely cloaked in mystery.

“I have no backing and there’s no system that I’m part of that’s helping generate what I’m putting out,” Irregular said to The Inquirer.

“I’m trying to show people that you don’t have to take the normal route, you can do it on your own.”

While he was drawn to the word “irregular” as a kid growing up in Darby, he didn’t put his talents to the canvas until he was released from George W. Hill Correctional Facility after a one-year stint in 2013.

While incarcerated, Irregular befriended an inmate who used to draw images on the letters he wrote to his loved ones in exchange for soup cans. Before the man was released, he gave Irregular all of the stencils and art tools he used to craft his work. That moment, he said, opened the door for his own artistic pursuits.

“Coming home with that record and no college degree, (it) pushed me to devote myself to my craft,” Irregular said.

Over the years, Irregular started creating acrylic paintings and mosaic-style works made from fragmented mirror pieces.

In 2020, the now-33-year-old artist began spraying his graffiti tag across Philly. He was partly inspired by the protests following George Floyd’s murder and the work of Germantown artist Nomad and Ghuls creator Lami Tolla. and he says his style and approach is influenced by Banksy and Basquiat.

Though he documents his art on Instagram, Irregular does not post pictures of himself on social media. (He did not agree to be photographed by The Inquirer.) He says he usually only leaves home for daily necessities and to sell and make his street art.

“I’m very withdrawn, and I’ve been very solo in what I’ve done over the years,” he said. “I’ve stuck to myself, and I don’t get into politics or institutions of the art scene... I try to contain my energy as much as I can. I think what I’m doing has some power to it, and I’m not trying to withhold it.”

When he peeks his head outside his home studio, he’s usually decked in paint-spotted garments, riding his bike with a spray paint can and white-out pen stashed inside a mid-sized pouch in pursuit of a new location for his work. In a matter of minutes, he coats the nine letters of “irregular,” and ducks off slyly without drawing attention.

“I just move with common traffic,” he said. “I like to say I move with the wind.”

He still sells his work in Rittenhouse Square, but tries to stay in the background and doesn’t approach onlookers until he sees a “magic moment” happen.

“I always wanted to create things that sell themselves on the street,” he said. “I don’t say, ‘Hey, look at this,’ or have a sign telling people to buy my work. I just stand a couple feet away, lean up against a pole and observe.”

Along with graffiti and mirrored artwork, Irregular sells mystery boxes, deep profile canvas and wooden-framed paintings on his website, with pieces ranging between $100 to $2,000.

It’s impossible to know how many tags he’s placed in the city. He stopped counting years ago but still feels a rush of leaving his mark. It’s like psychotherapy, he said, motivating him to satiate his appetite for more artistry and self-expression.

He views his work as a source of reflection, with the mirror pieces and word “irregular” serving as a symbol of self-identity and a magnet that draws a connection between him and the viewer. But rather than being packaged as a “street artist,” he prefers no title at all. “You can’t put a spotlight on a star. I’m just doing the work. Irregular is a statement, (and) the work emits a light of its own.”

Some Philadelphians view his tags as playful breadcrumbs. Some see it at as a link to a thought-provoking series, and others — especially on social media — see it as vandalism. “Artfully committing vandalism is still vandalism,” a Twitter user said.

I take objection to the term “artist”. He’s a criminal. Artfully committing vandalism is still vandalism.

— JohnsCow (@johns_cow) April 10, 2023

I dunno. Ask the “artist” to tag your front door.

— TappahannockName (@Allfortime0503) April 10, 2023

Resident Peter Gambino, however, welcomes this art.

“Philly has such a big and diverse art scene, so we might as well have a few mystery people working in that space,” said Gambino who first spotted Irregular’s tags six months ago. “[His work is] like little easter eggs placed along the infrastructure of our city.”

Other onlookers aren’t too fond of Irregular’s work . “I hate their tags,” says Philly resident Alex Fredericks. “(They’re) too long and aggressively style-less.”

Despite the mixed responses from passers-by, Irregular has become a sought-after talent in Philly’s art scene. He created two projects with Mural Arts Philadelphia. The first was a temporary mural for last year’s Wawa Welcome America; his work Mural Magic is irregular was featured at the 2023 Flower Show.

He was also tapped by Hyatt Centric Center City to be a part of the hotel’s monthly Maker Series back in January. Elizabeth Fricke, director of sales and marketing at HCCC, said Irregular’s approach to street art made him a natural fit for the series that spotlights the work of local artists.

Photo blogger Conrad Benner, who worked with Irregular on the Mural Arts projects, called Hassett an innovator. “He’s at this point in his career where all the doors are open to him, and he’s jumping through them,” he said. “That’s to say, he’s driven and taking advantage of this lane he’s made for himself.”

An “irregular” tag along 11th St. by Spring Garden in Philadelphia.Heather Khalifa / Staff Photographer

As more opportunities come along, Irregular said he will continue to etch his path as an independent artist, and break down barriers that may be in his or other artists’ way.

There’s no set direction in mind, he said. For now, he plans to sell more of his artwork and hopes to expand his brand globally.

“I’m not a starving artist, I’m a hungry artist, and myself and others know there’s much more potential past these walls,” he said. “I’m continually pushing myself, trusting my evolution and allowing everything to come my way. I want to stay on my trajectory and see Irregular grow 10 times bigger.”

– The Philadelphia Inquirer

6lack Feels Good To Be Back In Motion

In the five years since his last album, 6lack has been on a voyage of rediscovery. While hits like “Ex Calling” and “Prblms” established his penchant for moody and atmospheric tales of heartbreak and loss over mid-tempo jams, the East Atlanta artist has taken on a new creative direction.

Veering from his grayscale vocals and mellow-tone raps, his new album, Since I Have a Lover, unlocks a chamber of new inspiration both musically and on his own personal journey.

“Time has been a little bit of a loop,” 6lack tells MTV News over Zoom. “It was a lot to learn. It was a lot to handle in my personal life. It was a lot to mature and grow from. And I think that the weight of having people waiting on you is something that you can't really ignore. It's not like it doesn't exist, so it feels great to have that weight off and to just be back in motion.”

On Since I Have a Lover, the airy vocals of the artist, born Ricardo Valdez Valentine Jr., float over breezy, pop and acoustic-driven instrumentation on “Chasing Feeling” and “Wunna Dem,” and 6lack flirts with dance (“Temporary”) and wallows with Caribbean, beach-front tunes on “Decatur,” allowing his artistry to roam free.

“I think it's been super important to grow in between each project, and not even just musically, but personally,” he said, referencing the “moody” tenor of his 2016 debut, Free 6lack. “It felt like somebody trying to figure their way out of the situation, and East Atlanta Love Letter started to peek at where we could go with it within the realms of R&B. I think this album production-wise allowed me to express every feeling that I feel. Some days I might feel more pop or [alternative], and some days I might feel more traditional R&B or rap. It varies and it kind of plays to how relationships vary — everything isn't just one feeling or one color.”

The 19-track offering is an exercise of 6lack’s versatility. He melds inklings of his Atlanta trap roots with guitar-strumming and flowy tracks, all revolving around themes of self-healing (“Spirited Away”), positivity, and the mystifying powers of love on “Preach” and “SIHAL.”

For 6lack, this new direction was a “gradual blossom.” While there were cookie crumbs on 2020’s 6pc Hot EP that pointed to this more immersive effort, the Baltimore-born artist said the new album’s title, partly inspired by his relationship with R&B singer Quin, helped spark a new flame. It also drove him to create an open letter to his fans, which he hopes answer the questions that have loomed in his musical absence.

“I feel like the title more than anything it’s a response,” 6lack said. “It kind of serves to answer every question. Like, ‘Where have you been? What have you been doing? What's the theme? What's been inspiring you the most? Why haven't you been outside?’ Any question that you could possibly ask me, I think ties back to the title Since I Have a Lover. Having to be accountable for yourself is one thing, but having somebody next to you who can really look at you and see you for what you do right and what you don't do right and tell you just a hundred percent straight up, that helped me really hone in on where I wanted to be in my personal life and where I wanted to be creatively. It was like, ‘OK, I got to get my shit together. And once my shit is together in my personal life, then I know that will help inspire what I make music-wise.’”

But the shift was no easy feat. To embrace his new sound, he had to let go of the sorrow, regret, and heartache he internalized for Free 6lack and his romantic skepticism and stories of failed love quests that bled into his second effort. Once those thoughts were steered, once he focused on the treasures of his newfound relationship, and once he waived his past transgressions and mental blocks, 6lack sank into a new music-making paradigm, and the album poured out and turned into sonic gold. On “Spirited Away,” he says: “You know I got my vices, on the real / No, I ain't always nice, but I’m always real / It’s gonna take me some time to break off my pride / But I’m learning to show up, learning to slow up.”

“The process was only hard when I was resistant to change and to acknowledge that my life is different now,” he said, referencing how he’s stopped letting others’ perception define his personal and artistic growth. “I’m not sulking, I’m not depressed, and I’m not going through what I went through in 2016. If you even try to start a song that way, you might as well stop because that's just not it. And if you continue, that's what we call perpetrating, and I'm not here to portray anything for a specific award or category. I just want to make what's true to me.”

6lack’s sonic transformation was one he felt both he and his fans needed. In a world where negativity draws headlines and tilts the algorithm on its scale, the 30-year-old artist said it’s his responsibility to share notes of positivity. And on Since I Have a Lover, he never falls short of his mission.

On “Preach,” he raps: “Who am I to capitalize without giving back? / We all human but I can’t go a day not feeling Black / I made my money, but to my audience, I’m still attached / It’s like I know the whole world just wants that feeling back.”

“I think that the toxic theme has been populated and I think that it is honestly a lot easier to pull from depression, from heartbreak and breakups. And to me, that's easy,” he said. “It's harder to talk about good things. It's harder to make that translate or resonate with people. It is harder to make that sound cool. The world is only getting crazier, so if I can be at least a portion of the good that's coming out, then that's my job.”

His exploration doesn’t end with SIHAL. Along with feeding his current inspirations, the “Float” artist plans to collaborate with Quin, the very lover that inspired the new album title, and possibly lock in with Spillage Village group-mate JID for an upcoming collab project.

“I'm just going with the process, but I hope it continues to be something different,” he said. “I don't ever want to make the same album twice. I don't want to be in the same bag twice. I'm not telling the same story twice. There will never be a Free 6lack 2 unless I end up in a situation that puts me there, and let’s hope I don’t have to because that’s not what we’re looking forward to at all.”

– MTV News

Breaking barriers and opening doors: Philly artists are finding new spaces to showcase their creations

Few spaces are as essential to Philly arts as the city’s history-rich museums and art galleries. The institutions house some of the most prized artifacts and antiquities in the country, and serve as a domain for unknown artists to become international fixtures.

But for Lauren Fiasconaro and other Philly-based creatives, the barrier to entry is often too steep, forcing many artists to turn to local cafés, restaurants, bars, and other alternative spaces to showcase their artwork.

“This is definitely something that’s been cropping up more and more,” said Fiasconaro, 30, who’s currently displaying her cyanotype photography at Northern Liberties’ Mammoth Coffee. “More than half of my ideas came from seeing artwork in places that I wasn’t expecting, and there’s some amazing work in places and venues you wouldn’t expect.”

Philly sculptor Jonathan Santoro, 39, said local artists have taken matters into their own hands.

“Groups of artists are growing tired of white cube galleries and rejecting the status quo while being intentionally anti-commercial,” he said. “More artists are taking the reins and displaying their artwork how they want.”

Rather than wait for spots to open at established art institutions, artist Sue Moerder began hosting small showcases in hair salons, restaurants, bars, and even pet shops under the group philacitywithart. She started the 500-member Facebook page to forge more opportunities for local artists to display and sell their work without having to jump through hoops to get into galleries and museums.

Moerder, who makes sculptures from animal skulls, said the city is flooded with local talent, but the exclusivity of certain spaces has led many artists to seek other ways to sell their work and make ends meet.

“Galleries are great, but they’re very hard to get into,” Moerder, 62, said. “I think one of the harsh realities of being an artist in Philadelphia is that many people can’t survive solely doing their art. Most have to work to support it, which is a shame because there are too many talented artists. And when you’re exhausted and you’re mentally drained, it’s hard to create. It’s frustrating.”

Recognizing the shortage of accessible art spaces, Gleaner’s Cafe owner Stephen Hencheck fills the shop’s walls with the work of local artists as a way to spotlight the city’s talent and build the confidence of newer creatives hesitant to display their designs.

With the cafe’s name partially inspired by Jean-François Millet’s painting The Gleaners, Hencheck said the decision to add these works was an important one. Not only has the move drawn more eyes to local artwork, it’s helped struggling artists fully profit from their creations, rather than fight for higher commission splits in more traditional spaces.

Hencheck allows creatives to fully profit from their work, while more notable galleries have commission splits that teeter between 30% and 50%, he said.

“We just try to keep a starving artist from starving so we can look at their work,” Hencheck, 44, said.

“If your business is your community, you should make it your business to support that community. That doesn’t apply to everyone, and it doesn’t have to. If creativity and culture are what you believe your base is and what makes the neighborhood your business is in, why wouldn’t you try to support that?”

Through partnerships with nearby galleries, the Fitler Club is combining the influence and resources of established spaces to fuel its own alternative venue.

The urban social club has Philly-made pieces throughout its center, a move Visual Arts Director Tricia Maloney said has connected the club’s members to the city’s creative forces, and given more local artists a platform to spread their wings.

“Our hope is that there may be a lower barrier to entry to engage with the art in a place like the Fitler Club,” Maloney, 41, said. “It’s not a gallery — we tried to take that intimidation factor out of the equation, even to the extent that I coordinate the program and I don’t have an arts background. It’s really about relationship building.”

Fitler Club cofounder Michael Forman said the addition of alternative art spaces doesn’t diminish the importance of established art institutions in Philly. It’s an added way to support local creatives and place a brighter spotlight on the work they produce.

Along with the Gleaner’s Cafe and Fitler Club, Fiasconaro said venues and organizations like Persimmon Coffee, Underground Concepts, and Feminist Flea are opening doors for artists in the LGBTQ and Asian American and Pacific Islander communities, as well as others that have been marginalized by their race, ethnicity, sexuality, and identity.

Having these spaces, Fiasconaro said, is key to a more inclusive and well-rounded arts scene.

“Historically, gallery spaces are and can be very inaccessible for a lot of people,” she said. “I have definitely encountered that as well. But I’m seeing more inclusivity in this trend of alternative spaces, which is amazing. It’s been a long time coming.”

Fiasconaro is hopeful more opportunities for artists of all creeds will open up in museums and galleries. And as Philly creatives continue to carve out nontraditional platforms, the artists and businesses receive the support they deserve.

– The Philadelphia Inquirer

Philly comedians find more laughs with an expanding indie stand-up scene

It’s hard to ignore Philly’s influence in the comedy world.

Superstars like Kevin Hart and Quinta Brunson have broken barriers in Hollywood, while Upper Darby native Tina Fey shined for years as a Saturday Night Live cast member and writer. Late comedy legends Bob Saget and David Brenner helped establish the city’s signature raw, cheeky, and unfiltered comedic style. But comics Tyler Wolf and Manny Brown say the city has yet to fulfill its potential.

For years, Wolf said, Philly has had fewer opportunities for comedy compared to cities like Boston, San Francisco, Washington, and Chicago. The Mount Airy native, who started Next in Line Comedy shows with Brown in 2021, said there aren’t enough shows, open-mic events, or paid gigs for many local performers to pursue full-time careers as comics.

“The weekends, which is ideally when shows are taking place, are pretty barren in Philly outside of the comedy clubs, but those other mid-major cities might have five-plus independent shows on any weekend night,” Wolf, 30, said.

Brown said there’s still much to be desired, but the rise of independent shows and small, DIY-style comedy stages are filling the void. Along with established clubs like Helium Comedy Club and Punch Line Philly, the West Chester native said comedians are renting out local restaurants, cafes, breweries, and bookstores for more stage time, consistent pay, and a longer leash of creativity.

“We’re moving toward this larger independent comedy scene,” Brown, 34, said. “That’s a win-win for the comics because they get more stage time and become better comics, and it’s also a way for audience members to see really good comics for not a lot of money.”

Many independent comedy shows in Philadelphia cost between $5 and $20, and expose audiences to observational, deadpan, dark, or slapstick wit.

Part-time performer Kinjal Dave — who has produced shows in the backyard of Bindlestiff Books — said hosting events at venues like Tattooed Mom, Fergie’s Pub, and Second District Brewing also gives more Philly comedians an outlet to sharpen their skills when other comedy shows have full lineups.

“[These spaces] are really important if you want to get diverse voices, perspectives, and life experiences on stage,” Dave, 27, said. “I think in mainstream comedy, a lot of it is about stereotypes, and you have little time to get the audience’s attention. But if you have your own show, you have a chance to have a different conversation or opportunity to express yourself.”

Kristen Scopino, who has organized comedy shows at Stir Lounge, Dahlak Paradise, and other venues in town, said the comedy scene has opened up, and is offering more women-led and LGBTQ-centered events since she first began hosting shows in 2018.

“There were so many lineups with all men, but there’s been a few different LGBTQ showcases around the city in the last few years,” Scopino, 31, said. “A lot more people around the city are more open to putting on different comedy events, some even for the first time, and checking out how it works in their place.”

Comedian Jay Yoder, 39, said the rise of independent shows and small-scale events is a product of the pandemic. Many comedy clubs closed, leaving performers without a creative outlet, and unsatisfied in a genre that relies on a live audience.

When the switch to virtual performances flattened their hopes, Yoder said, he and other comics turned to whatever spaces were willing to host weekly nights of comedy, which continued for three years. The once makeshift stages have become routine comedy stops, and helped Yoder, a part-time teacher in Chester County, jumpstart his comedic career.

“Restaurants were primed for it,” said Yoder, who hosts monthly comedy shows at Tuned Up Brewing. “They had space that needed to be filled and it was just another reason to get people back into the building. It was sort of natural, and it worked out beautifully.”

Since the pandemic, Prateekshit Pandey, a regular performer at ComedySportz Philadelphia and Philly Improv Theater, said some comics have begun producing small shows inside their apartments as a way to cut costs and provide more intimate settings.

“In Philadelphia, especially after the pandemic, people have been doing that a lot because it’s cheaper to get those audiences, set it up, and perform for a smaller audience,” Pandey, 28, said. “You don’t have to pay for the price of renting out a bookstore or a cafe or anything like that.”

Alongside the rise of DIY-comedy shows, long-standing clubs are welcoming changes in the local scene.

Amanda Kyser, who oversees comedy operations for Live Nation, said Punch Line Philly is focused on drawing in different brands of comedy beyond typical stand-up.

“This is a moment where our definition of comedy is changing,” she said. “We’re embracing more types of comics from traditional stand-up comedians to podcasters and YouTube stars which are bringing new voices and new perspectives. It’s exciting.”

While the comedy scene is expanding, Pandey said there’s still a lack of diversity at local improv theaters, and certain comedy clubs are harder to break into than others, especially for comics of color.

“There are spaces and venues in Philly that are hard to get into because the gatekeeping comes into play,” he said. “Some are either geared to who knows who, and sometimes they don’t feel very comfortable going to regularly, at least not enough to be able to become part of the community.”

Dave said independent shows, open mics, and pop-up stages are creating more opportunities for comics of color.

“I want different immigrant communities that are in Philly to be represented in the comedy scene because there’s just a little bit more breathing room and hopefully the communities turn up and show out for these kinds of experiences,” she said.

With more outlets available, Wolf is confident the city will become a more viable spot for comedians to shine.

“This is not a zero-sum game,” he said. “More comedy just breeds better comedy, and there’s a big appetite in this city.”

– The Philadelphia Inquirer