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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

– The Philadelphia Inquirer

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

– The Philadelphia Inquirer

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The chipped pieces of Isaiah Zagar’s fallen mosaic are trinkets of Philadelphia’s history

Isaiah Zagar’s famed mosaic, Skin of the Bride, has seen its last days.

For more than 25 years, the 7,000-square-foot mural wrapped around the former Painted Bride Art Center. But on Thursday, Philadelphia’s Magic Gardens’ restoration team finally chiseled away the remaining tiles and gathered usable pieces with hopes of creating a memorial honoring Zagar and the original mosaic.

After hearing that tiles would be available for people to pick up at the mosaic site, Fishtown resident Jenna Countie knew she had to make a trip to Old City.

“As soon as I saw the announcement … my brain immediately was like, ‘Alright, I need to get my hands on some of them,’” she said. “I didn’t know what I was going to do with them; I just wanted to keep them somewhere.”

Countie remembered seeing Zagar’s work along the streets of South Philly in her youth, but it wasn’t until she wrote a research paper on him in college that she fully realized his artistic genius. As the years passed, she continued to marvel at Zagar’s work and dedication to his craft. Once news about Skin of the Bride’s destruction made its rounds, it was a “massive blow” to her. “It symbolizes how the city doesn’t prioritize art,” she said. “It’s really a sad, sad moment.”

Countie intends to turn Zagar’s tiles into a picture frame, but if they’re hard to assemble, she will put them in a shadow box with a picture of the mural. Then she will attach a plaque with Zagar’s name and include a little description of the mosaic so she can see an inkling of Philly history every time she passes by the box, just as she did walking the streets of Old City.

“They’re not just tiles, it’s really a piece of art and history because it’s been here so long,” Countie said. “[Zagar] is 84 years old. He’s probably not going to be making more art like this, so this [is] cool and personal to have — even just a few pieces of it.”

PMG events and marketing manager Allison Boyle said the organization is moved by the support of the greater community and the reverence residents like Countie and others have for Zagar and his work .

“We know Zagar’s work is a part of the fabric of Philadelphia and helps to make this city such a special and unique place to live and visit,” Boyle wrote in a statement. “It’s our hope that all those who have been touched or angered by this story will contact their city representative and ask them to recognize the importance of Zagar’s art to Philadelphia, and join us in fighting to save future murals from destruction.”

Zagar worked 12- to 15-hour days for nine years to create Skin of the Bride, one of the largest public murals of his storied career. Developer and architect Shimi Zakin wanted to preserve the full mural and build apartments above, but neighbors sued to stop the city from granting him the zoning exceptions he said he needed.

Considering the history of the site and her experience getting to know Zagar over the years, Tracy Buchholz said she couldn’t help but grab some tiles to place in her office.

“I met [Zagar] nine years ago, and I watched and photographed him creating mosaics across the city,” said Buchholz, who works for the company that supports PMG’s public relation efforts. “He doesn’t just slap these things against a wall. They come alive piece by piece, resulting in something beautiful.”

Holding onto tiles from the mosaic is important for her “because I understand what went into it. [Zagar had] so much passion and love for the Painted Bride and for the community.”

“His work is meant to be shared, discussed, and appreciated. Walking past any of his work makes me smile on a bad day and get creative on a good day,” she said.

Countie is hopeful the city will rally together to preserve Zagar’s remaining work. His art makes people appreciate Philadelphia’s “imperfections,” she said, and it’s important the fight to protect his work continues.

– The Philadelphia Inquirer

At night, he’s laying down verses. By day, rapper Anthony ‘Dappa’ Samuels runs a day care in West Philly

Electrifying performances, late-night studio sessions, and endless tour stops: The lifestyle is second nature to Philly rapper Anthony “Dappa” Samuels, whose connections and lyrical prowess have landed him on stages with some of the biggest names in the industry.

Equipped with punchy lyrics and a charisma-fueled appeal, the 30-year-old has performed with the likes of Fabolous, Machine Gun Kelly, Action Bronson, and Ty Dolla $ign. He’s collaborated with Westside Boogie, Stalley, Benny the Butcher, and other notable hip-hop stars.

But that’s only half his story.

Between the late nights in the studio and the days traveling from one tour stop to the next, Samuels happily embraces his role as “Mr. Anthony,” the owner of West Philly’s Young With Options Academic Center.

After quitting a job in accounting back in 2017, Samuels was encouraged by one of his mentors to pursue his love for child care and open the learning center. That year, he began operating out of a rowhouse at 53rd and Market Streets. “My overall vision was to have a creative arts program or creative art school,” he said. “That’s been a passion of mine for a long time, and we’ve been able to incorporate it here.”

The day care’s multicolor marquee hangs outside a powder blue rowhouse adorned with painted clouds. The space is a wonderland for young kids with bright eyes, endless energy, and an insatiable appetite for learning.

As Samuels walks through the day-care doors, kids look up from their cots with smiles as bright as the center’s crayon-colored walls. “Hey, Mr. Anthony,” they yell out in cheer.

Samuels and assistant director Dinnelle Jordan help organize poetry, music, and acting classes in the multi-floor space. Last month, they started a dance studio on the top floor, where they teach majorette, hip-hop, ballet, and other dance and exercise courses.

Most of the children hail from low-income families from West Philly.

Janelle Walls has been bringing her 7-year-old daughter to Young With Options since she was 1. Walls continues to send her child because of Samuels’ influence and willingness to support her family, even when she couldn’t afford the fees.

“One word I use when speaking about [Samuels] is ‘alignment,’” she said. “He isn’t at the school preaching positive behavior to the kids and then going into the studio and pushing a different message. Everything about him and what he does is consistent with the Young With Options brand. To me, it’s a message to kids that you can be yourself and still be successful.”

In the five years she’s worked with Samuels, Jordan said he’s been a consistent light of positivity. While other rappers dive into fast food chains and clothing lines on the side, his venture into child education speaks to his love for the youth, she said. “The fact [that] he helps other families go to work while looking after their children was a brilliant idea,” Jordan said. “It just goes to show how much he cares about his community.”

As a kid growing up in the Strawberry Mansion section of North Philly, Samuels said he seldom saw Black men with legitimate businesses, especially those revolving around childcare. “I love being able to be there and be hands-on,” he said. “I take a lot of pride in that, and it actually helps me with music and in life. I know I have to be that mentor and can’t do anything illegal, snap out, or make bad decisions. I have to stay solid.”

Samuels said being a day-care owner has had an impact on his music. He’s made a conscious effort to veer away from lyrics heavily revolving around street life. He knows his students are listening to his music, and their parents are keeping a watchful eye.

“I’ve seen and been through a lot,” he said. “I’m from the same environment that the kids in my day-care are from. I was one of those little kids, too. That’s what I love about being here. A lot of these kids, especially the little boys here, look like me and act like I did at one point in time.”

Samuels performed at the 2023 Roots Picnic Music Festival and acted alongside Danielle Macdonald in the film Patti Cake$. He was a stand-in for Michael B. Jordan in 2015′s Creed.

Legendary Philly artist Freeway said Samuels’ rap skills alone were enough to connect the two artists. But after hearing about Young With Options and the rapper’s other endeavors, he knew Samuels was cut from a different cloth.

“He’s always trying to go to the next level and push the envelope,” the “What We Do” artist said. “I feel like he’s going to have a long career and branch off into movies and different things outside of music every once in a while.”

Samuels said he wants to continue expanding as an artist and entertainer. But in that pursuit, he plans to open more academic centers so more children have a place to hone their creative arts skills.

“It’s all about me making a difference,” Samuels said. “I’m really big on the people, so I’m working to get bigger and have more day cares in the future.”

– The Philadelphia Inquirer

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