Jimmy Fallon’s got a new game show called That’s My Jam coming to NBC, and in a sneak preview last night, audiences got a glimpse of what’s in store when the show airs beginning next week/year. The show, which is inspired in part by comedy bits from Fallon’s version of The Tonight Show, pairs celebrity teams to compete in musical challenges from the previous show such as “Mixtape Medley Showdown,” “Slay It, Don’t Spray It,” and “Wheel of Musical Impressions.” (Remember Drop The Mic and Lip Sync Battle? Shows like this always have viral promise.)
In the sneak peek, the teams consist of Alessia Cara partnered with Josh Groban and Chance The Rapper paired with Joseph Gordon-Levitt, so the stage is already set for some hilarious shenanigans. Competing in a Musical Genre Challenge after Chance pulls the lever on a massive video screen, he spins the wheel again and ends up with Country Rock as the genre for a remix of hip-hop staple, Nelly’s “Hot In Herre.”
As the band strikes up a suitable instrumental, Chance gets really into character, affecting an Elvis-inspired “country” voice (which he even uses on the ad-libs!) and goes for broke to the delight of the studio audience, his fellow competitors, and of course, the host, who sings along with that signature Jimmy Fallon grin plastered across his face. Watch the hilarious clip above.
Jimmy Fallon has worked with Ariana Grande and Megan Thee Stallion a bunch before. Grande has appeared on The Tonight Show plenty of times, and Meg previously linked up with Fallon to re-work “Hot Girl Summer” into “Hot Girl Fall.” While those collaborations were mostly Tonight Show bits with no life outside of the program, now Fallon has teamed up with those two on an actually commercially released single, “It Was A… (Masked Christmas).”
The track is led by punchy drums and a simple but catchy keyboard melody, and Fallon sings on the hook, “It was a masked Christmas, we stayed in the house / We covered our nose and covered our mouth / But it’s Christmas time / We’ll be in line for a booster.”
The song is Fallon’s first official single since 2014’s “Ew!” with Will.i.am, which managed to peak at No. 26 on the Billboard Hot 100 chart, making it Fallon’s only charting single so far. Meanwhile, his most recent album is 2012’s Blow Your Pants Off, which consists of songs first performed on Late Night With Jimmy Fallon.
Watch the “It Was A… (Masked Christmas)” video above.
Megan Thee Stallion is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Big Sean and Hit-Boy brought their What You Expect EP single “What A Life” to the Tonight Show stage on Thursday with a thrilling, elegant performance. Decked out in matching tailored suits and enjoying a luxurious meal in a stately lounge, the dynamic duo is presented with a mic for Sean and a beat machine atop a grand piano for Hit-Boy. While the performance begins while they’re still seated, they smoothly slide from their well-appointed booth to a makeshift stage in the center of the room, where Sean goes for broke and Hit shows off his finger drumming skills.
The new project, which finds the two frequent collaborators paired up for a full five tracks that demonstrate the breadth and depth of their chemistry, is also the first of Big Sean’s new label venture independent of his past association with Kanye West’s GOOD Music. The timing of its release turned out to be opportune as well, as Ye’s appearance on the Drink Champs podcast just days later found Sean’s onetime mentor throwing him under the bus by saying that signing Sean to GOOD was the “worst thing” he ever did. Sean laughed off his old boss’ digs, although he did point out that Ye still owes him millions from their initial deal.
Instead, Sean and Hit focused on the positive, following up with more videos from the EP, including “The One” and “Chaos,” showing that they’ll both be just fine without help from the mercurial Mr. West.
Watch Big Sean and Hit-Boy’s late-night performance of “What A Life” above.
You’ve probably heard the phrase “from ashy to classy.” Last night on The Tonight Show, emerging pop-R&B superstar Chloe Bailey went “from classy to ass-cheeks” with her performance of the big booty anthem, “Have Mercy.” Backed by a string orchestra, the multitalented singer presented the trap-leaning jam as a classical sonata at first, draped in a flowing white gown with a fuzzy top. But then, she yanked off the gown’s train, showing off the sultry single’s subject, and strutted over to her drum machine, where she rebuilt the signature “Have Mercy” beat from the pre-loaded samples.
From there, she put on a virtuoso display of both vocals and her other — ahem — assets as the strings embellished the thumping drums and New Orleans bounce samples that make up the seductive solo song. As it was network television, Chloe didn’t get too frisky, but the suggestive turns and dips she did were just enough to elicit some enthusiastic responses from the crowd.
G-Eazy’s got a new album, These Things Happen Too, out and to mark the release, the Bay Area star hit the Tonight Show stage with pop singer Demi Lovato to perform the haunting “Breakdown” from the new project. The performance, which takes place on a two-sided stage adorned with mirrors, finds the duo confronting their controversies as images of the various headlines written about them flash on the screens behind them.
However, both stars also have their fair share of good news, as well. G-Eazy recently started a wellness brand, FlowerShop, giving an interview to Uproxx’s Dane Rivera about the new brand, and has strung together an impressive list of features in 2021, including on EST Gee’s “At Will.” Meanwhile, Lovato recently helped to honor queer icon Elton John at the 2021 iHeartRadio Music Awards, so both seem to be doing alright, even despite their respective mishaps.
Watch G-Eazy’s Tonight Show performance of “Breakdown” with Demi Lovato above.
G-Eazy’s got a new album, These Things Happen Too, out and to mark the release, the Bay Area star hit the Tonight Show stage with pop singer Demi Lovato to perform the haunting “Breakdown” from the new project. The performance, which takes place on a two-sided stage adorned with mirrors, finds the duo confronting their controversies as images of the various headlines written about them flash on the screens behind them.
However, both stars also have their fair share of good news, as well. G-Eazy recently started a wellness brand, FlowerShop, giving an interview to Uproxx’s Dane Rivera about the new brand, and has strung together an impressive list of features in 2021, including on EST Gee’s “At Will.” Meanwhile, Lovato recently helped to honor queer icon Elton John at the 2021 iHeartRadio Music Awards, so both seem to be doing alright, even despite their respective mishaps.
Watch G-Eazy’s Tonight Show performance of “Breakdown” with Demi Lovato above.
After decades in the music industry, Snoop Dogg is putting his music knowledge to the test once and for all. As the latest guest on The Tonight Show Starring Jimmy Fallon, Snoop Dogg attempted to guess song titles after hearing a short snippet of a track in a game called One Second Rap Song.
Snoop Dogg was very skeptical about the game at first but unsurprisingly went on to absolutely kill it. When Fallon first explained the game’s premise, Snoop said: “Who thought of this damn show? When you do what I do, one second just may not be enough.” But sure enough, Snoop Dogg was able to successfully guess the title of each hip-hop tune, even when he was played a quarter of a second of a song.
Elsewhere in the segment, Snoop Dogg reveals he has secured a new gig at Def Jam Records: Executive Creative and Strategic Consultant. “I was a fan of Def Jam Records as a kid, and knowing the talent that they have over there and the opportunity that was waiting on me, I wanted to go over there and give a lot of opportunity to the artists over there to get some information, some wisdom and some guidance from me and then also develop some new acts and give some opportunity,” he told Fallon. “So Def Jam was the perfect place for me, considering how much I love it and how much it means to hip-hop and how it really needed somebody like me to change the energy of the building. I’m over there for one reason: to get the music back poppin’ and to make the people feel the way they’re supposed to.”
Watch Snoop Dogg play One Second Rap Song on The Tonight Show above.
There’s a kind of intimacy that comes from hearing someone recount the odyssey of their life. Subtle sways in tone that give away the emotion behind a certain beat in the story. 7 Years (which you can hear on Audible), by Tariq Trotter, aka Black Thought, delivers on that promise as we learn about the hip-hop icon’s childhood, the emergence of The Roots, and his many influences — both in music and life. But it’s not an obvious choice for anyone to be this open and introspective.
In this expansive interview, we spoke with Trotter about opening up, his guiding philosophy about control and flexibility, anxiety about joining forces with Jimmy Fallon, his influences, and not forcing music history onto a younger audience.
What’s the motivation behind going deep and telling your story like this? Is it a want to be more deeply understood or is it more about doing a personal excavation?
I think it was initially about being more deeply understood, but as you embark on that sort of project, different layers sort of reveal themselves during the process. So there’s definitely a certain degree of self-discovery that takes place, which is the beautiful part. For someone like me who hasn’t been as accessible as I am in this moment in time… I’ve shared personal stuff about my past and my family in Philadelphia and The Roots early on in our career and stuff like that, but I’ve never gotten too deep into any of it. So there’s something to be said about just sort of getting things off your chest and off your shoulders and just being able to lift some of those weights and to be more transparent. I was able to be vulnerable, on the 7 Years project, in ways that I’ve yet to in my music.
Why do you think you haven’t been as open in the past?
I’m a guarded person by nature, and I’m sure some of it has something to do with the time and place from which I come, but, you know, it’s a habit. I feel like it served me, it served me fine throughout my career to not necessarily be in the forefront, to not necessarily share that much information about my personal life. That’s the way that I’ve moved, so it was a decision that I made earlier on. [But] I feel like, at this point in my career, it’s sort of the final frontier. If you asked someone who’s a long-time fan and who has supported us over the years, what they’d like or what would be ideal for them in a project… which I’ve done, and people tell me, “I would just like to know more about you. About the person.” So, it’s a delicate balance because I am still very private, but yeah, I feel like this is sort of the ideal time to open up in that way.
I subscribe to a lot of what you were saying about the need to be flexible and kind of realizing our smallness against the forces of nature, the wind, as you use as a metaphor or the waves. When did you kind of land on that as sort of a bedrock principle with the need for reinvention every seven years and that need to be flexible?
I don’t even know that I had it when I was coming up, as much as it was something that dawned on me as an adult. I would say, in recent years, it’s something that I came to understand. Before then, it’s something that I always felt but never really could put my finger on why I felt that way. I wasn’t able to make sense of it until more recently, I would say.
We all have this healthy ego and we see ourselves as this indestructible force, but to have that ability to step aside and realize that we’re not and we need to kind of just try to hang on to as much as we can while surviving is really fascinating to me.
I agree. You know, when you think of things like the overview effect, and how that affects astronauts who leave Earth’s atmosphere and go out into space, it can be overwhelming for some. It depends on sort of how you’re prepared for it mentally. It could be overwhelming or it could be… It’s definitely life-changing, from what I understand, but it could be just this huge, more of a revelation when you sort of come to understand… not only the role that we play here on the planet but just how small of a cog the planet Earth is in the machine that is the universe. I feel like there are parallels in just the level of acceptance that you need to exercise in order to sort of come through, come out on the other side of it, without losing your mind. I think it’s comparable to that.
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It seems clear that you guys were looking at the Fallon job as a clear pivot, but when you went into that situation, did you envision that it would be that much of a commitment and this long-term of a thing?
No. I don’t think we had a complete understanding of how much of a commitment we were getting into, or how long of a run it would be. I feel like so much has happened over the past 12 years. Then I also feel like 12 years has sort of gone by in the blink of an eye. I don’t think we had any clue. We also had no idea how we were going to sort of navigate all our other endeavors and sort of balance that stuff out. Would that sort of be the end of one version of The Roots and the beginning of another? Obviously, yes, on some levels. Would we sort of lose ourselves in the process? That sort of remains unknown. You have to sort of watch it unfold in real-time.
It has been a blessing working on The Tonight Show and just working in the capacity of a comedian and just being in front of an audience every day and being on TV every day has only made us better. I think it’s made us sharper, it’s made us a tighter unit as a collective, just a higher level of artistry and brotherhood and everything that sort of goes with it. I feel like it’s definitely the best decision, but we couldn’t have known at that point in time.
Being more home-based during that time, as opposed to traveling as much — how do you think that’s influenced you? From the albums that you’ve recorded during this time to even this project, because I would guess that you could say that maybe you wouldn’t be as willing to be accessible if you hadn’t had that exposure constantly with Fallon. Is that fair to say?
Yeah. I think that might be fair to say. There’s a certain level of reinvention, reintroduction, like reminder introduction that takes place when you have a long career working in one capacity and then you pivot in the way that we did. I’m constantly trying to sort of … I mean, not that I’m frantic about it, or something that happens on as much on a conscious level as it does on a subconscious level. To a certain extent, I am just trying to balance the identity that people sort of know me as. You know what I mean?
Yes.
There are folks who weren’t familiar with The Roots before we came to NBC, who only know me as Tariq from The Tonight Show. They think I’m funny and they know I’m quick-witted and I can improvise songs on the spot. They don’t really know or understand the journey, or realize that from which The Roots sort of come. Then there are people who were diehard Roots fans from day one, who don’t necessarily know this person. They’ve gotten to know the person that I am or what my identity has become on The Tonight Show. Just like trying to balance that out is something that happens constantly. It’s a continuous thing. So, you just go from one end of the spectrum, and just as soon as you’ve sort of balanced out everything on that end, you need to return to the opposite end to restore balance down there.
Were you worried about that kind of situation when you jumped into this job, the idea of people only knowing you from The Tonight Show, not knowing how deep The Roots music goes? Also, are you surprised at how comfortable you’ve become with the knowledge that “Okay, some people know me for this, some people know me for that”? Where was your headspace then versus now?
I definitely feel it was a concern in the beginning. We had worked very hard, and we had made very many sacrifices, even at that point in our career, which ’07 was when we first met Jimmy. ’07 or early in ’08, something like that. Yeah, we had already made so many sacrifices just to maintain a certain level of integrity and to maintain a certain bar that we set with the brand. Yeah, it was definitely a concern. I was concerned that we were starting from ground zero again in very many regards. So there was that. Over the years, I have sort of been … I’ve surprised myself, just with my evolution… as a storyteller and as a musician and as an actor and as a comedian and TV personality, costar. Being able to sort of step up to the plate in all the different regards. I surprise myself. Sometimes I got to jump back and kiss myself. [Laughs] No, I’m just playing.
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This project also has the benefit of being able to take some of those fans that only know you from The Tonight Show and introduce them to the deeper complexity of your work and The Roots.
Absolutely. I think this project is able to function as the perfect sort of bridge on either side. For people who may have thought, or may have had a certain impression of what it’s like to be on a TV show, or ways in which my life may or may not have changed, I think I sort of paint an accurate picture. You know? And it serves as a bridge.
The situation with Questlove and with DaBaby where DaBaby said he didn’t know who Questlove was when responding to the criticism Questlove laid out there: hearing something like that, how does that make you feel?
I mean, I’m fine with it. You know? I don’t know. I can’t say that he’s not telling the truth. You know what I’m saying? Of course you know who Questlove is. Everyone doesn’t. You know what I mean? Some people work with musicians, producers… There are people who work in folks’ homes who the people whose homes they’re working in don’t know their names. So I can’t just assume because he’s been on The Tonight Show and because Questlove played drums for him that he’s familiar with him. I don’t know if someone knows Questlove or not. It doesn’t really matter to me. I feel like there are bigger fish to fry, especially in the world and in this moment. I mean, it is what it is.
This came to my mind when I was listening to 7 Years. The detail you bring to the conversation about all the artists that influenced you and the really broad coalition of sounds that you exposed yourself to… To me, when someone says that kind of comment, they’re kind of telling on themselves if they say they don’t know who somebody is. Is that a fair assessment?
I think it’s a pretty fair assessment. I mean, you know, the younger generation, just younger people, younger artists, for them, and I might be completely off on this, I can only speak to the way it seems or the way it feels. It doesn’t feel, to me, like paying homage to the foundation and to where the music sort of came from, to the old school, is as important to younger artists or the artists of today, as it has been over the years or as it’s been to me personally or to as important as it is and always has been to people from my graduating class. You know what I mean?
Yes.
I have children in their 20s. And I’m an artist, and I’m their father, and I don’t know that they’re… They’re not up on the legacy, the history, what made me want to do want it is that I do. This person influenced this person who influenced me. I mean, I don’t impress it upon my kids, but I don’t impress it upon them because they’re disinterested. They could care less. I don’t hold that against them. It’s just one of those things. The world has changed. People have changed, and what their concerns are have evolved to something completely different. Sometimes, I try to understand it, but more often than not, I just give up and I just accept that I don’t understand it and won’t. [Laughs]
At the end of the day, all you can do is what you’re doing, which is talking about your influences, putting those names out there, and drawing a map for people to find if they want to go down that path. Right?
Exactly. But it’s a delicate balance. I don’t want it to be preachy. I want it to feel like if you want to go down that path. I don’t want to have you reluctantly taken down that path against your will all the time.
You can download Tariq Trotter’s ‘7 Years’ on Audible by going here.
There’s a kind of intimacy that comes from hearing someone recount the odyssey of their life. Subtle sways in tone that give away the emotion behind a certain beat in the story. 7 Years (which you can hear on Audible), by Tariq Trotter, aka Black Thought, delivers on that promise as we learn about the hip-hop icon’s childhood, the emergence of The Roots, and his many influences — both in music and life. But it’s not an obvious choice for anyone to be this open and introspective.
In this expansive interview, we spoke with Trotter about opening up, his guiding philosophy about control and flexibility, anxiety about joining forces with Jimmy Fallon, his influences, and not forcing music history onto a younger audience.
What’s the motivation behind going deep and telling your story like this? Is it a want to be more deeply understood or is it more about doing a personal excavation?
I think it was initially about being more deeply understood, but as you embark on that sort of project, different layers sort of reveal themselves during the process. So there’s definitely a certain degree of self-discovery that takes place, which is the beautiful part. For someone like me who hasn’t been as accessible as I am in this moment in time… I’ve shared personal stuff about my past and my family in Philadelphia and The Roots early on in our career and stuff like that, but I’ve never gotten too deep into any of it. So there’s something to be said about just sort of getting things off your chest and off your shoulders and just being able to lift some of those weights and to be more transparent. I was able to be vulnerable, on the 7 Years project, in ways that I’ve yet to in my music.
Why do you think you haven’t been as open in the past?
I’m a guarded person by nature, and I’m sure some of it has something to do with the time and place from which I come, but, you know, it’s a habit. I feel like it served me, it served me fine throughout my career to not necessarily be in the forefront, to not necessarily share that much information about my personal life. That’s the way that I’ve moved, so it was a decision that I made earlier on. [But] I feel like, at this point in my career, it’s sort of the final frontier. If you asked someone who’s a long-time fan and who has supported us over the years, what they’d like or what would be ideal for them in a project… which I’ve done, and people tell me, “I would just like to know more about you. About the person.” So, it’s a delicate balance because I am still very private, but yeah, I feel like this is sort of the ideal time to open up in that way.
I subscribe to a lot of what you were saying about the need to be flexible and kind of realizing our smallness against the forces of nature, the wind, as you use as a metaphor or the waves. When did you kind of land on that as sort of a bedrock principle with the need for reinvention every seven years and that need to be flexible?
I don’t even know that I had it when I was coming up, as much as it was something that dawned on me as an adult. I would say, in recent years, it’s something that I came to understand. Before then, it’s something that I always felt but never really could put my finger on why I felt that way. I wasn’t able to make sense of it until more recently, I would say.
We all have this healthy ego and we see ourselves as this indestructible force, but to have that ability to step aside and realize that we’re not and we need to kind of just try to hang on to as much as we can while surviving is really fascinating to me.
I agree. You know, when you think of things like the overview effect, and how that affects astronauts who leave Earth’s atmosphere and go out into space, it can be overwhelming for some. It depends on sort of how you’re prepared for it mentally. It could be overwhelming or it could be… It’s definitely life-changing, from what I understand, but it could be just this huge, more of a revelation when you sort of come to understand… not only the role that we play here on the planet but just how small of a cog the planet Earth is in the machine that is the universe. I feel like there are parallels in just the level of acceptance that you need to exercise in order to sort of come through, come out on the other side of it, without losing your mind. I think it’s comparable to that.
Getty Image
It seems clear that you guys were looking at the Fallon job as a clear pivot, but when you went into that situation, did you envision that it would be that much of a commitment and this long-term of a thing?
No. I don’t think we had a complete understanding of how much of a commitment we were getting into, or how long of a run it would be. I feel like so much has happened over the past 12 years. Then I also feel like 12 years has sort of gone by in the blink of an eye. I don’t think we had any clue. We also had no idea how we were going to sort of navigate all our other endeavors and sort of balance that stuff out. Would that sort of be the end of one version of The Roots and the beginning of another? Obviously, yes, on some levels. Would we sort of lose ourselves in the process? That sort of remains unknown. You have to sort of watch it unfold in real-time.
It has been a blessing working on The Tonight Show and just working in the capacity of a comedian and just being in front of an audience every day and being on TV every day has only made us better. I think it’s made us sharper, it’s made us a tighter unit as a collective, just a higher level of artistry and brotherhood and everything that sort of goes with it. I feel like it’s definitely the best decision, but we couldn’t have known at that point in time.
Being more home-based during that time, as opposed to traveling as much — how do you think that’s influenced you? From the albums that you’ve recorded during this time to even this project, because I would guess that you could say that maybe you wouldn’t be as willing to be accessible if you hadn’t had that exposure constantly with Fallon. Is that fair to say?
Yeah. I think that might be fair to say. There’s a certain level of reinvention, reintroduction, like reminder introduction that takes place when you have a long career working in one capacity and then you pivot in the way that we did. I’m constantly trying to sort of … I mean, not that I’m frantic about it, or something that happens on as much on a conscious level as it does on a subconscious level. To a certain extent, I am just trying to balance the identity that people sort of know me as. You know what I mean?
Yes.
There are folks who weren’t familiar with The Roots before we came to NBC, who only know me as Tariq from The Tonight Show. They think I’m funny and they know I’m quick-witted and I can improvise songs on the spot. They don’t really know or understand the journey, or realize that from which The Roots sort of come. Then there are people who were diehard Roots fans from day one, who don’t necessarily know this person. They’ve gotten to know the person that I am or what my identity has become on The Tonight Show. Just like trying to balance that out is something that happens constantly. It’s a continuous thing. So, you just go from one end of the spectrum, and just as soon as you’ve sort of balanced out everything on that end, you need to return to the opposite end to restore balance down there.
Were you worried about that kind of situation when you jumped into this job, the idea of people only knowing you from The Tonight Show, not knowing how deep The Roots music goes? Also, are you surprised at how comfortable you’ve become with the knowledge that “Okay, some people know me for this, some people know me for that”? Where was your headspace then versus now?
I definitely feel it was a concern in the beginning. We had worked very hard, and we had made very many sacrifices, even at that point in our career, which ’07 was when we first met Jimmy. ’07 or early in ’08, something like that. Yeah, we had already made so many sacrifices just to maintain a certain level of integrity and to maintain a certain bar that we set with the brand. Yeah, it was definitely a concern. I was concerned that we were starting from ground zero again in very many regards. So there was that. Over the years, I have sort of been … I’ve surprised myself, just with my evolution… as a storyteller and as a musician and as an actor and as a comedian and TV personality, costar. Being able to sort of step up to the plate in all the different regards. I surprise myself. Sometimes I got to jump back and kiss myself. [Laughs] No, I’m just playing.
Getty Image
This project also has the benefit of being able to take some of those fans that only know you from The Tonight Show and introduce them to the deeper complexity of your work and The Roots.
Absolutely. I think this project is able to function as the perfect sort of bridge on either side. For people who may have thought, or may have had a certain impression of what it’s like to be on a TV show, or ways in which my life may or may not have changed, I think I sort of paint an accurate picture. You know? And it serves as a bridge.
The situation with Questlove and with DaBaby where DaBaby said he didn’t know who Questlove was when responding to the criticism Questlove laid out there: hearing something like that, how does that make you feel?
I mean, I’m fine with it. You know? I don’t know. I can’t say that he’s not telling the truth. You know what I’m saying? Of course you know who Questlove is. Everyone doesn’t. You know what I mean? Some people work with musicians, producers… There are people who work in folks’ homes who the people whose homes they’re working in don’t know their names. So I can’t just assume because he’s been on The Tonight Show and because Questlove played drums for him that he’s familiar with him. I don’t know if someone knows Questlove or not. It doesn’t really matter to me. I feel like there are bigger fish to fry, especially in the world and in this moment. I mean, it is what it is.
This came to my mind when I was listening to 7 Years. The detail you bring to the conversation about all the artists that influenced you and the really broad coalition of sounds that you exposed yourself to… To me, when someone says that kind of comment, they’re kind of telling on themselves if they say they don’t know who somebody is. Is that a fair assessment?
I think it’s a pretty fair assessment. I mean, you know, the younger generation, just younger people, younger artists, for them, and I might be completely off on this, I can only speak to the way it seems or the way it feels. It doesn’t feel, to me, like paying homage to the foundation and to where the music sort of came from, to the old school, is as important to younger artists or the artists of today, as it has been over the years or as it’s been to me personally or to as important as it is and always has been to people from my graduating class. You know what I mean?
Yes.
I have children in their 20s. And I’m an artist, and I’m their father, and I don’t know that they’re… They’re not up on the legacy, the history, what made me want to do want it is that I do. This person influenced this person who influenced me. I mean, I don’t impress it upon my kids, but I don’t impress it upon them because they’re disinterested. They could care less. I don’t hold that against them. It’s just one of those things. The world has changed. People have changed, and what their concerns are have evolved to something completely different. Sometimes, I try to understand it, but more often than not, I just give up and I just accept that I don’t understand it and won’t. [Laughs]
At the end of the day, all you can do is what you’re doing, which is talking about your influences, putting those names out there, and drawing a map for people to find if they want to go down that path. Right?
Exactly. But it’s a delicate balance. I don’t want it to be preachy. I want it to feel like if you want to go down that path. I don’t want to have you reluctantly taken down that path against your will all the time.
You can download Tariq Trotter’s ‘7 Years’ on Audible by going here.
Call me biased, but Vince Staples’ self-titled album is still my pick for the best of the year so far. It’s incisive and vivid, paranoid and nostalgic, witty and world-weary, all at the same time. A perfect microcosm of the album’s worldview is its Fousheé-featuring single “Take Me Home,” which Vince and Fousheé stopped by The Tonight Show to perform Wednesday.
As stripped-down as the album is, the circular stage the two artists share is fittingly bare as they sit back-to-back under blue light, delivering their straight-faced performances directly into the camera. The stage itself rotates to bring each to the foreground for their respective verses/hooks.
Vince’s appearance on The Tonight Show is just one of the examples of his newfound commitment to his artistry, which he says he wanted to highlight on the new album. He recently performed on NPR’s Tiny Desk Concerts — again, with Fousheé, the lone feature on the album, as his special guest — and he plans to hit the road with Tyler The Creator on the Call Me If You Get Lost Tour. He also popped up in a cameo in Tyler’s Converse commercial, increasing his visibility as he enters the next phase of his career.
Watch Vince Staples’ Tonight Show performance of “Take Me Home” featuring Fousheé above.
