Happy Sunday, UpRising fam! As we proceed to give you what you need, we present a curated collection of the relevant short and long reads you’re gonna want to consume as you head into a new week. This batch of stories from around the ‘net covers film, fashion, and music — the perfect mix for watercooler convo (or that two to three minutes of small talk before your morning Zoom meeting commences). Get into it.

• Usher’s Art-Filled Atlanta Home Proves the Most Powerful Design Statements Are Personal [Architectural Digest]

When Usher isn’t rocking stages and serenading concertgoers, he kicks back at his massive home in the A. He opened his doors to Architectural Digest for this new Jewel Wicker-penned cover story. Take a look to see how Ursh is living.

• Meet Elvis Carlos, the 7-Year-Old Who Stole Spider-Man’s Closing Scene [We Are Mitu]

Astute Marvel fans are speculating that the young boy who appears at the end of Spider-Man: Brand New Day is a soft launch of Miles Morales in the live-action MCU. Get to know the first-time actor with a bright future ahead.

• The Online Shopping Trend Where You Buy Nothing [Rest of World]

In South Korea, “dopamine sites” take the concept of window shopping digital. Learn about the internet trend that is updating retail therapy.

• Tyga on Using AI to Create His ’80s-Inspired Album $tarface: “There’s Nothing Wrong” [Vibe]

The debate over acceptable use of artificial intelligence in music rages on. But Tyga is a proud Suno user—and he’s unapologetic about it. “And I know people are going to be mad about me saying this, but it’s where technology is going. It’s no different than when Auto-Tune came out.” Learn more about how he recorded his latest album in this interview with journalist Mikey Fresh.

• He Quit Hollywood to Make Coffee Tables: “I Don’t Know if I Made the Best or Worst Decision” [The Hollywood Reporter]

Aser Santos Jr. used to shoot music videos for Post Malone and Shaboozey. He gave it all up to make custom side tables and credenzas.

• Inside the Keith Lee Effect: How One Food Review Transforms Restaurants [Ebony]

Keith Lee has become one of the restaurant industry’s most important literal tastemakers by visiting, reviewing, and platforming underappreciated restaurants. This story explores what happens after the star of the MACRO-produced docuseries Keith Lee: All in the Familee drops his cosign.

“Ahí,” Karol G Featuring Drake

One of the biggest names in Latin pop teamed up with the self-proclaimed Iceman to make heat. This upbeat duet finds Karol G and Drake singing sweet nothings in Spanish before Drizzy switches to his native tongue. “I want a Latina/I want a Latina/I want a Latina... And I want a waist just like Carolina,” Drake raps, an interpolation of his own song “New Bestie.” In any language, this one is fire.

“Spazz,” Busta Rhymes and J Dilla

Busta Rhymes takes us back to his Dungeon Dragon days with this first listen from his upcoming album Dillagence 2, which is entirely produced by the late beatmaking legend J Dilla. Made up of three stitched-together instrumentals, “Spazz” is a freewheeling rhyme session that finds Bussa Bus’ as animated as ever. “Sharper than ever, I be on my tip toe/Probably thinking shit’s a superpower how my wrist glow.”

“Babygirl,” Ravyn Lanae Featuring Doechii

Ravyn Lanae’s honey-sweet voice glides all over producer Dahi’s percussion-based beat, as she and Doechii reflect on their life journeys.

“Sex in Peace,” Flo Featuring kwn

Flo’s new album may be titled Therapy at the Club, but this collaboration with kwn is sleek, sultry, and sensual. The girls can hardly wait until they get home from the club to get it poppin’: “Take me out of this section, give me sex in peace,” Stella sings before Renée adds, “If I could, I would let you take me down in here.” The beatboxed intro is giving Timbaland.

“Breakfast at Sharkey’s,” Dinner Party Featuring Phoelix

Terrace Martin, Robert Glasper, Kamasi Washington, and 9th Wonder make up Dinner Party, a jazz/hip-hop/neo-soul supergroup that is truly a gift to our earlobes. Their solo and collective track records are already certified across a series of EPs and full-length releases; this record has no lyrics, just funky, feel-good vibes. Eat it up.

“Summer ’26,” Benny the Butcher and Harry Fraud

We’ve officially hit the halfway mark of the summertime, and Benny the Butcher commemorates the season with a hot new single. The Griselda spitter linked up with Harry Fraud, who flips The Lovin’ Spoonful’s classic “Summer in the City” so Benny can vent. “These rappers wanted my spot for years,” he rhymes. “Success they got was mid, deep down, they wanna swap careers.” Tally ’em up, another win for New York.

—John Kennedy

Hollywood’s bright, brilliant, and bold gathered at The Preserve LA on Thursday (July 30) for Summernight, celebrating the Epigraph Creator Fellowship, which provides emerging filmmakers access to resources and cutting-edge AI technology for filmmaking tools.

The event spotlighted the inaugural fellowship, a collaboration between MACRO Foundation and Andreessen Horowitz’s (a16z) Cultural Leadership Fund that gave seven filmmakers mentorship and access to AI tools from OpenAI, ElevenLabs, Gamma, Promise Studios, Descript, Coactive, and Curious Refuge.

Summernight attendees (including Nemesis star Matthew Law) clinked glasses, popped into a pop-up tattoo booth, and hit an Electric Slide between viewing final projects from each of the fellows.

“Where AI and all innovation [are] going, talent, creatives — particularly talent of color — [are] at the epicenter,” said Judene Small, partner on the a16z Cultural Leadership Fund.

“We need to be in every single one of the rooms,” added Stacey Walker King, MACRO’s Chief Brand Officer. “What the foundation has set out to do is to make that a reality — to make sure that we have the education, the access, and the opportunity.

The fellowship launched during Oscar weekend in March, when Bianca Lambert, Chazitear Martin, John Burr, Justice Whitaker, Nick Barili, Sulayman Tahir, and Tedra Wilson were named its inaugural fellows. All seven were on hand to debut their work at Summernight, which marked the program’s conclusion after months of virtual sessions and in-person gatherings.

The rising filmmakers, whose work has previously featured at the Tribeca Film Festival and the American Black Film Festival (ABFF) and on streaming platforms like Netflix, Paramount and Amazon Prime Video, learned to use AI to develop proof-of-concept trailers, pitch decks and other materials for projects they hope to bring to life.

“Al has the potential to fundamentally reshape the entertainment industry by giving independent creators the ability to bring ambitious stories to life without waiting for a traditional Hollywood greenlight,” said Barili, whose Conejito Azul tells a tale of how a courageous boy and his magical bunny lead an uprising against a xenophobic government. “Rather than replacing creativity, these tools can amplify it.”

As for Tedra “TT the Artist” Wilson, her project, The Magic Needle, tells the story of an unfulfilled fashion designer who is pulled into an alternate reality where she embarks on an adventure that has epic stakes.

“The biggest takeaway for me was realizing that AI is most powerful when it is guided by a clear human vision,” said Wilson, an award-winning director and RIAA platinum-certified recording artist. Her work blends music, fashion, and tech. “Emerging technology is here to stay, and I’m especially interested in how Black creators can use it to build opportunities in industries where we have historically been underfunded and underrepresented.”

The Epigraph Creator Fellowship represents MACRO’s broader effort to ensure creators from underrepresented communities help define, shape, and consult on how AI is used across the entertainment industry.

“When you are given access,” Small added at the event, “you also have to break down the barriers to access.”

UpRising: What made the business of Roc-a-Fella Records a subject captivating enough for you to want to write a book about it?

Sowmya Krishnamurthy: I grew up with Roc-a-Fella Records. Jay-Z’s Vol. 2: Hard Knock Life was one of the first CDs I bought with my own money back in 1998. As a kid, I was obsessed with the industry. With Jay-Z, so many people understood Roc-a-Fella was this integral brand that was shouted out as much as he was. We knew he started independently, which he wore with pride. As the brand evolved, it went into lifestyle, whether it’s Rocawear or Armadale or films like Paid in Full. We’re over 20 years since the business officially dissolved, and this company still fascinates, intrigues, and confounds a lot of us.

As somebody who went to business school, I always wondered: What about looking at this company through the same lens that we look at other great entrepreneurs? There have been so many deep dives into Meta and Google. We uphold those founders as visionaries. But it’s not the same in hip-hop. So many of the same tenets — the drive, grit, and resourcefulness that you need to be a great founder — are seen in the Roc-a-Fella story. Why is this the greatest hip-hop label of all time? What can we learn from the founders, their business decisions, their lessons, and the blueprint that they created?

Look at hip-hop now; artists want to be bosses, entrepreneurs. They take pride in having their own companies, whether it’s Kendrick Lamar and pgLang, Drake and OVO, or J. Cole with Dreamville. I believe it’s because, whether consciously or subconsciously, they’ve been following this blueprint of Jay-Z, Dame, and Biggs. So this book truly is a celebration of Roc-a-Fella Records and the individuals who made this such a blue-chip brand. With this year being the 30th anniversary of Reasonable Doubt as well as the 25th anniversary of The Blueprint, it’s really the perfect time.

Jay-Z was known for incorporating his business dealings in his lyrics, which added to his appeal as an entrepreneur and the lore of Roc-a-Fella Records as a creative house and a business unit.

Absolutely. A lot of fans focus on the music, but once you contextualize Jay’s story, it becomes clear that music was a business decision for Jay-Z. It really went into his own risk assessment of whether he wanted to keep doing what he was doing in the streets or come into the world of hip-hop. He said numerous times that it always concerned him that rappers weren’t making the kind of money that he was used to. He’s an excellent rapper, but for him, the decision to start this company is very much a business decision more so than creative.

We all know Jay-Z was rejected by every major label for a variety of reasons. And it makes sense in retrospect because he was coming to the table with a different sense of negotiation. This wasn’t somebody desperate to get a deal and get that advance that was going to help him economically. He was coming in with money. If the deal happened, that would be great for his music career. But that wasn’t paying his bills. That’s a very unique-but-important mindset.

This is someone who saw himself as a businessman from day one. That mindset shifted the paradigm in hip-hop because it’s something you see young artists want to emulate. That comes from Jay-Z, hip-hop’s first billionaire.

How did you go about reporting for The Blueprint? Where did you start, and what was your process?

I have to give a lot of credit and appreciation to the late DJ Clark Kent. For those who don’t know, he brought Jay-Z and Dame Dash together. He tells a great story about their first interaction. Clark had worked with Dame on another business venture prior that’s also discussed in the book. He is such an important pillar in this story. He was able to make some key introductions and get some of the day ones who were part of this story. He passed away shortly after, which is incredibly sad and a huge loss to hip-hop. Having him be a part of this, I’m just incredibly honored.

Outside of that, so much of the Roc-a-Fella discussion is being played in real time. Turn on any hip-hop podcast on any given day, and someone is discussing this. While I was writing this, Memphis Bleek launched his own podcast. So I had a plethora of additional research; I spent a lot of time listening to podcasts, watching interviews, going through the archives of old magazine articles. It’s really just a combination of all of those things while also talking to business school professors and entrepreneurial experts. There’s a very strong hip-hop core, because that’s what I know and love. But there is also a lot of music business foundations about ownership, intellectual property, property rights, and things of that nature.

Does The Blueprint conclude with the ending of Roc-a-Fella in 2004?

The label’s official timeline is 1994 to 2004. But I start the story earlier to go into the biographical origin stories of the three founders, as well as a company called Dash Entertainment, which was the precursor to Roc-a-Fella. The story doesn’t end with the ending of the partnership of the three founders. As I was writing the book, Reasonable Doubt, which is the sole asset of Roc-a-Fella Records Inc., was in contention, with the three founders essentially fighting over its ownership. So I include that story as well. As of when the book was put to bed, that had not been resolved. That one asset was very much the bedrock of the original company. It was fascinating to me how 20 years later, we were still talking about it as something not just culturally important, but also a business asset that was tethering the founders together.

As you learned more about the genesis and dissolution of Roc-a-Fella Records, did your view of Jay-Z and Damon Dash’s shift change?

There’s a lot of conversation now about Jay-Z, Dame Dash, and what they each brought to Jay’s career and Roc-a-Fella. So by doing this book, I was able to really distill what each of the founders’ strengths were. And I truly believe you needed Jay-Z, Dame, and Biggs to create Roc-a-Fella. You have the artist, who was the product. Biggs as the silent partner — everyone knows if you’re starting a company, you need access to capital. And then you have Dame Dash, who is incredibly polarizing, but I’ve always been steadfast in that he is a visionary and a genius. When you read this book, you’ll just see his passion. It was so imperative to make this label great, and it also aligns with other great founders. I did a very intentional job of maintaining a level of fairness. That was very important to me. I spoke to people very close to all three of the founders, both on and off the record.

That makes sense. The 2000 documentary Backstage, which chronicled the historic Hard Knock Life tour, shows just how passionate Damon Dash was about fighting for his artists and his label.

Someone like Dame Dash, when he’s in your corner, there’s nothing like it. You want a Dame Dash to fight for you. Now, when you’re on the other side of the negotiation table, that’s where things get a bit tricky. And to your point about the Hard Knock Life Tour, that was a seminal moment. For those who didn’t watch Backstage, there was a big blowout between Dame Dash and Kevin Liles, an executive at Def Jam. The fight was over Dame not wanting his artists wearing Def Jam jackets. From a fashion perspective, who wouldn’t want a Def Jam jacket? It was an iconic label to wear across your back. But if we now look at that same situation through the lens of branding, it makes complete sense what Dame said, because branding was integral for hip-hop labels. That signified something not just to artists, but to consumers. So imagine that confusion if Roc-a-Fella artists are now wearing Def Jam. So it makes complete sense. But in the moment, there were probably other ways he could have communicated that. I actually interviewed somebody who was right there listening to this happening. It was a pivotal moment in showcasing where there were starting to be fissures within the label and a difference in perspectives of one of the founders versus the others.

We all know these moments as fans, whether it’s the backstage fight over the jackets or Cam’ron becoming vice president of Roc-a-Fella. But what did that mean for this as a company, for the founders, and the employees who worked there? How does that affect morale or chain of command?

Looking at Jay-Z’s business moves in the two decades after The Roc shut down, do you see a distinction between the business of Roc-a-Fella and the business of Jay-Z?

Jay-Z is one of the most successful hip-hop business people of all time. To get to the Jay-Z that we know now — the guy at the top of the Forbes list, the person who founded Roc Nation and forged all of these historic partnerships — Roc-a-Fella was the foundation. Because he had that experience and the mindset and also the lessons of what it meant [for Roc-a-Fella] to partner with Def Jam in a 50/50 deal. He was able to see what it’s like being truly independent and what it’s like being part of the machine. As you read the book, you see Jay-Z evolving, where he starts to take an interest in being an executive, in learning from individuals who are already established in that space.

Once Roc-a-Fella dissolved in ’04, Jay-Z took a position as president of Def Jam shortly thereafter. That was a very high-profile position. It was in many ways monumental to see someone who was an artist now being at the top of the definitive hip-hop record label, sitting right next to all of the C-suite music industry execs. After a few years, he wanted something of his own. And that goes back to that entrepreneurial pull and brings us into Roc Nation, which showcases an expansion of Jay-Z from the Roc-a-Fella era.

No matter what Jay-Z does, he views himself as a boss and a leader. He never really worked for someone, minus that very brief stint at Def Jam. So he doesn’t have the mindset of working for other people. He’ll work with them. We see that with his myriad of partnerships and business deals. I know many of them are in the public discourse; some can be polarizing or controversial. But once you understand his business-focused mentality, that just gives a lot more appreciation and understanding for who he is now.

Kanye West worked closely with Roc-a-Fella artists as a producer during the label’s heyday, but his emergence as an artist came just as Roc-a-Fella was being dissolved. Do you think being signed to the label influenced how he went on to build his own empire?

Roc-a-Fella Records is the only hip-hop label to produce two billionaires: Jay-Z and Kanye. This is the kid who was just sending beats and hanging out at Baseline Studios wanting to be discovered. I believe just being around that entrepreneurial energy propelled Kanye into thinking that way — wanting to be not just a rapper, but somebody who influenced culture as a whole. He was wearing Rocawear, so it doesn’t surprise me that he wants to design and wear his own line years later. Listen to “Big Brother.” He looked up to Jay-Z immensely, wanting his respect, wanting to be like him. That also connects to wanting to be seen as successful, the master of their own domain. Kanye, Jay-Z, Cam’ron, State Property, Amil, these are all individuals whose stories are spotlighted for various reasons in the book.

What do you want readers to take away from The Blueprint?

One thing about me as an author in the hip-hop space is I really want to highlight not just unsung voices, but also narratives that otherwise we may not see. Chronicling that history is very important. My hope truly is that this book gets taught in business school classes, turned into something cinematic for the big screen, and is just really treasured by those fans of hip-hop, the music industry, or entrepreneurialism.

— John Kennedy

—————

The Blueprint: Inside the Business of Roc-a-Fella Records is available for preorder ahead of its December 1 debut. Krishnamurthy is also the author of Fashion Killa: How Hip-Hop Revolutionized High Fashion.

Davido Does It Again [Vibe]

The Atlanta-born, Lagos-bred Afrobeats singer sat down with journalist Ivie Ani to discuss his legacy, regrets, and upcoming album, Oriadé.

Black Panther 3 Isn’t Recasting Chadwick Boseman. It’s Wrestling With His Legacy. [Andscape]

An examination of how actor David Jonsson will step into T’Challa’s suit in Black Panther 3 — and how his coronation will complement his predecessors to the throne.

Meet Nicolás García, The Colombian Designer Who Just Made History at Milan Fashion Week [We Are Mitu]

Last month, Nicolás García presented its Spring/Summer collection, “Latin Dreamers,” on the official Milan Fashion Week calendar of Camera Nazionale della Moda Italiana, becoming the first Colombian fashion brand in history to do so. Get to know the man behind the Garcias brand.

In China, People Are Renting Out Their Faces to AI [Rest of World]

A growing number of online Chinese platforms are paying people anywhere between $15 and $700 to license their likeness for AI-generated content.

How the Durag Beat Both Respectability Politics and Gentrification [Level]

Tuskegee University trended this week after implementing a new dress code for the 2026-2027 academic year that bans bonnets and durags in classrooms, dining facilities, and official university events. This reported narrative traces the history of the beloved headwrap, from shunned to celebrated and back again.

The 10 Best-Dressed WNBA Players Right Now [Complex]

These professional hoopers are dripping before ever stepping foot onto a court. Complex crowns the most stylish woman of all.

Hello MACRO Family,

You’ve been engaging with our lil’ newsletter-that-could more than ever! So we wanted to share some news on how we’re expanding UpRising. As part of our new MACRO Works platform, we’re increasing our UpRising publishing cadence and moving over to Substack where we can talk to you more directly and frequently. There’s no action needed on your part as our content will continue to land in your inbox, but note the delivery email address will change.

Here’s what you can expect from the content moving forward. Along with all of your favourite newsletter sections, UpRising is investing in more premium content for your consumption. More posts, interviews with your favorite creatives and more expansions into videos for your headtop.

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In addition to UpRising, you can expect a range of new content that speaks to your creative journey including:

• Premium Editorial and Video content: Original series, interviews, panels and perspectives you won’t find on the timeline

• UpRising: An expansion of MACRO’s “mixtape for your mind” newsletter that covers the culture and the creatives who create it.

• Exclusive Access: IRL experiences, early screenings and access to MACRO teams to bring you closer to the work

Our north star hasn’t changed. UpRising is still that mixtape for your mind filled with information that’s intellectual and irreverent—no skips. Whether it’s film, music, art, food or the culture full stop, UpRising will serve as the starting point to your deep dives.

We’re hoping this adjustment will make this more of a two-way conversation. So tell us what you love and loathe in the comments. And forward to a friend who wants to be in the know through whimsical banter.

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We all wear a mask at some point, especially when we’re first meeting somebody. We’re very guarded about who we are. The same thing in this movie. Zuri is masking some trauma that occurred with her and her family. And Layla is obviously wearing a mask, because she’s experienced trauma as well. Then there are folks in the house who are masking because they’re hiding something. You wear a mask to hide, whether it’s grief, pain, or something sinister.

When it came to figuring out Zuri’s mask, we looked at a lot of different kinds of masks from the Continent to see the symbolism of those particular masks. The white face. The large lips. We wanted to make sure the eyes were hollow, and you couldn’t see the mouth articulate underneath. It made it that much more mysterious and creepy.

—As told to John Kennedy

[TAKEN OUT OF CONTEXT]

I saw this production design person turning the chairs over and throwing clothes on the floor… I asked what was going on and he said, ‘I’m making the ghetto.’

This film and television legend has seen it all—including Hollywood’s bad ol’ days of microaggressions and racial tropes. Take a look to see who it is, and then get into this revealing New York Times interview, where he opens up about his early career and resurgence on a sunsetting hit Hulu series.

Let’s Link

• How Olivia Rodrigo Is Getting Back at the Trump Administration [The Hollywood Reporter]

• Don Cheadle on Creativity, Legacy, and His Broadway Debut in Proof [Vibe]

• How Go-Go Is Reaching a Generation That Didn’t Grow Up With It [Capital B]

• Meet Kandy G. Lopez, the Dominican Turning Yarn Into Larger-Than-Life Portraits [Remezcla]

• How a Brooklyn Fan Turned a Jay-Z Pitch Deck Into a Yankee Stadium Collection [Andscape]

[OUTRO]

Take This Audio Doggie Bag With You

“The Bridge,” Kelela Feat. PinkPantheress

Kelela has called this peppy duet with UK singer PinkPantheress “the ultimate makeout song.” You’ll likely agree. The vocals are sultry and layered, as the DMV native sings, “It’s bliss when we cross the line.” It’s just one standout from her intoxicating new album, New Avatar.

Listen Now →

UpRising: Tell me about how Haunted Heist came about.

Lil Rel Howery: I did a movie on Hulu a couple of years ago called The Mill, and a couple of the producers from there—Sean King O'Grady and Josh Feldman—had the idea for Haunted Heist. They hit me up out of the blue one day, like, “Have you thought about directing?” I was like, “Yeah, just waiting on the shot.” They pitched me Haunted Heist; it was still being fleshed out. They found a writer, Carl Reid, to start writing it. That's how it happened. Based on what they saw me doing with The Mill, they could tell I have a director's mind.

If it were just horror, I don’t know if I would’ve done it. But comedy horror enticed me. I wanted to cast stand-up comics who act. A lot of movies only cast comedic actors—there’s a big difference.

What is the difference between comedic actors and stand-up comics?

A stand-up comic is traveling every weekend, or performing all week long in front of people. They have an [understanding of] what people are laughing at. It's not just depending on what somebody put on a page. They're gonna be able to naturally bring what people are reacting to. That was really important.

Did you always want to direct? And why did this feel like the right time to do so?

The director's bug came when I was doing a sketch series with the Lucas Brothers and Jermaine Fowler called Friends of the People. Bobcat Goldthwait was one of our directors. I wrote a sketch, and he was like, “How do you wanna shoot this?” And I'm like, “I don't know, man, you the director.” But he was like, “Nah, you wrote it—how do you see this being shot?” Once we were done shooting, he was like, “Yeah, this is your thing.”

It's interesting, as a Black entertainer or just in general, we don't really know all the different jobs that you can do. Most of the time, we’re only looking at the acting. I don't know why, even though we had Spike Lee and John Singleton, it felt like an exclusive club. And because I didn't really understand it, maybe I didn't even think that was possible [for me] until Bobcat told me I could do it.

Did anyone give you advice or guidance as you got into the process?

I contacted my mentors, Ava DuVernay and Sean Levy. Ava was on the phone with me for a couple of hours. She said to make sure base camp is really comfortable for your actors so they don't have an attitude. She was adamant about that, about having the right [director of photography], finding somebody to work with who you have that chemistry with, and knowing my vision.

Sean is so organized; that’s what made me call him. When we did Free Guy, I was looking at how his storyboards were set up. So organized. It was so much happening, but he would never be flustered, because he was way ahead of it. I loved that. He sent me a Stranger Things shot list. I had to be like, “Hey man, I don’t wanna see this before the last season came out!” But I appreciate him letting me know what that looks like, because that helped me create my own shot list. I had to be the luckiest dude in the world to talk to those two major directors. I'm so appreciative of them.

We're almost 10 years out from your breakout role in Jordan Peele’s Get Out. When that dropped, were you surprised at the way it took off and catapulted you?

I remember reading the script like, “Brother, if they let you shoot this, I’d love to be a part of it.” Jordan always was excited about it, but I don't think any of us truly knew. I remember the first time I watched it on my laptop before we did reshoots. I was sitting there like, “This is one of the best movies I've watched in a long time. But [do I think] this is good ’cause I'm in it and it’s my first big feature?” I didn't know how to feel. When the trailer came out, and we saw the buzz, it was like, “Is this about to be a thing?”

To be a part of a classic, it just kept blowing my mind. I didn't know what was gonna happen, but something in my spirit was like, “This is gonna be special.” I will forever be indebted to Jordan Peele and forever grateful for being part of such a masterpiece.

Get Out dropped shortly after Donald Trump’s first presidential term began. The political climate made the film feel more resonant and timely.

It's interesting, [Jordan Peele] wrote it during the [Barack] Obama years. The question was, “Are we past all this stuff?” And we got an answer.

Back in 2018, you had your own Fox series, Rel, that ran for a season. What did you learn from that experience?

That's a great question. I learned how to collaborate. The era I grew up in, you're taught to be the boss. I learned that it's more about collaboration—that's what a boss does, not necessarily try to dictate everything. I could have done a better job at that. But at that time, I put a lot on myself that really didn't make any damn sense. I wanted to make the cool Black sitcom. But it kind of ties into Get Out. That time was such a whirlwind. I didn’t get a chance to sit down and take in what was happening. You're never prepared for the catapult.

Issa Rae produced Screen Time, TikTok's most addictive microdrama of the year. Could you see yourself dabbling in the vertical storytelling space, too?

It’s funny, I'm gonna have lunch with Issa soon; I sent her a voice note with an idea. She liked it, so we'll see what happens. But I wanna see more comedies in that vertical space. I think those will work. You watch some of these vertical dramas, like, “This is silly.” Y'all think of it as too serious. I think comedy would thrive on that. R. Kelly's “Trapped in the Closet” would have been perfect.

Circling back to Haunted Heist, you did that film independently. How was that experience?

The great thing about going independent is the freedom. I'm so involved in every single thing. And I love that because I'm learning so much. Even the relationships we built with theater owners. If you’re an independent filmmaker, you should be insanely encouraged right now. It's cool if you create, but you better learn some of this business. Go directly to these theater owners. Build relationships.

Speaking of relationships, do you think there will be a third Vacation Friends movie?

I'm working with that producer on something else. I wonder whether he would be open to me writing [a third Vacation Friends]. Our director had been writing them all, but it might be kinda dope if Lil Rel wrote the third one. I have a very interesting idea. I like when John Cena interacts with the crazy Black families. It's so much funnier, ‘cause they’re insane. Our family was a classy, sophisticated Black family. Something about dropping white people around Black people is just so funny.

What else do you have on the horizon?

I have a movie called God With Us coming out on Black Friday by first-time director Jimmy Jenkins. A beautiful, faith-based story. Great cast. It's gonna be a good one. The third year of my What's Funny Comedy Festival in Chicago takes place Sept. 19 to Sept. 26. It's gonna be even better. I'm teaching a masterclass this year, along with all the amazing comedy shows we have. I'm shooting my next special at the Black Ensemble Theater. There are a lot of very exciting things happening. A lot of collaboration and creating opportunities for people.

—John Kennedy

Film: Fast Break
Year: 1979
Featured player: Bernard King

This sports comedy film features Knicks then-sophomore small forward Bernard King as Leroy “Hustler” Monroe, a quiet, charismatic, and cool streetball player recruited to turn around a fictional Nevada college basketball program.

TV series: Miami Vice
Year: 1986
Featured player: Bernard King
Episode: “The Fix“

By now, King had become a volume scorer for the Knicks — some consider him to be Carmelo Anthony’s predecessor. Here, he plays Matt Ferguson, star player for a fictional Florida basketball team. But the episode really centers on the character’s father, Judge Roger Ferguson, played by basketball legend (and non-Knick) Bill Russell.

TV series: New York Undercover
Years: 1995-1996
Featured players: Anthony Mason, Charles Oakley, Derek Harper, John Starks, and Patrick Ewing
Episodes: “Young, Beautiful, and Dead,” “No Greater Love,” “Going Platinum”

In the mid-’90s, New York Undercover was like Law & Order: Special Victims Unit meets Power — an appointment viewing crime series that regularly featured Black culture’s biggest names. So it was only right that the Knicks hoopers appeared in several episodes alongside stars Malik Yoba and Lauren Vélez.

Film: Eddie
Year: 1996
Featured players: Allan Houston, Anthony Mason, Charles Oakley, John Starks, Larry Johnson, and Patrick Ewing

Once upon a time, this silly storyline — that featured a hoops-obsessed limo driver (played by Whoopi Goldberg) becoming the Knicks’ head coach — seemed more likely than the New York squad actually winning it all. Still, all of the fan favorites pulled up for screen time.

Film: Space Jam
Year: 1996
Featured players: Patrick Ewing and Larry Johnson

Michael Jordan and the Looney Tunes save the day after a troupe of animated aliens siphon NBA all-stars of their skills.

Film: Black & White
Year: 1999
Featured player: Allan Houston

The Knicks sharpshooter plays Dean Carter, a college hooper who’s pulled into a point-shaving storyline in this James Toback film about NYC hip-hop culture.

Film: The Cookout
Year: 2004
Featured player: Jamal Crawford

This ensemble comedy centers on a newly signed NBA player — microwave scorer and ball-handling god Jamal Crawford — who brings his family together for a celebratory BBQ that quickly spirals into chaos.

TV series: Nurse Jackie
Year: 2012
Featured player: Carmelo Anthony
Episodes: “Disneyland Sucks,” “The Wall”

Melo plays Wayne, a washed-up pro athlete dealing with addiction and recovery. He’s got several speaking lines and appears across a couple of consecutive episodes in the series’ fourth season, sharing the screen with Edie Falco’s character.

TV series: Your Friends & Neighbors
Year: 2026
Featured player: OG Anunoby

OG Anunoby is a man of few words. Showing up as himself in a swanky party, Stephanie Kurtzuba calls Anunoby “very attractive,” to which he simply replies, “Thank you.”

Film: The Devil Wears Prada 2
Year: 2026
Featured player: Karl-Anthony Towns

KAT plays himself here, popping up at a Hamptons party hosted by Meryl Streep’s character, Miranda Priestly. In a brief appearance, his character is introduced to Andy Sachs, who is played by noted Knicks fan Anne Hathaway. (Her real-life appearances at Madison Square Garden have jokingly been linked to stellar performances from some players.)

If you’re looking for something else basketball-related, we suggested Winning Time (HBO).

[TAKEN OUT OF CONTEXT]

I was thinking about my past relationships with people I loved, and getting backstabbed, and still loving the person that backstabbed you. It all went into this project.

From going hitting No. 1 on Billboard charts to working with Beyoncé, this guitar hero has had a past few years. But it hasn’t all been sweet. The music star is juggling some complicated feelings on his upcoming release. Take a look here to see who it is, then dive into how he plans on keeping his momentum going.

Let’s Link

• The Actual 30 Best Jay-Z Songs of All Time, Ranked [Okayplayer]

• Hollywood’s Book Adaptation Boom Has a Black Author Problem [Capital B]

• Patina Miller and Mekai Curtis Discuss the Final Season of Power Book III: Raising Kanan [Essence]

• Cats: The Jellicle Ball Brings Queer Joy to Broadway [Hammer & Hope]

• Jhené Aiko Discusses New Jewelry Collection, Upcoming Album, and Her Inspiring Toddler [Vibe]

• Hollywood Workers Are Training AI Models As Job Prospects Grow Slim [The Hollywood Reporter]

• 25 Best No. 1 Latin Summer Songs, Ranked: ‘Despacito,’ ‘DtMF,’ ‘Telepatía,’ ‘Gata Only’ & More [Billboard]

[OUTRO]

Take This Audio Doggie Bag With You

Twenty years after making his big-screen debut in ATL, T.I. blesses us with that new-new. His collaboration with Summer Walker salutes their Atlanta hometown’s skate culture with an anthem that sounds tailor-made for roller rinks — all rapid percussion and smooth synths. Tip’s lyrical focus here is his wife, Tiny, who he serenades on this standout from his newly released Kill the King, reportedly the last album he plans on rolling out before he skates for good.

Listen Now →

UpRising: Your massive new Tubi deal includes creative control, full ownership, and back-end revenue. When you first signed, did you ever think, “What’s the catch here?”

KevOnStage: [Laughs] Listen, man. I think the landscape in Hollywood is changing. With the first season of Safe Space and Bald Brothers, Tubi had already proven that they're willing to f…

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“Janice STFU,” Drake
This Lykke Li-sampling standout from Iceman has likely been stuck in your head since the album dropped last month. Drake boasts (”MRI machine scannin’ my knee / Like how long you been runnin’ the streets”) and jabs at rivals with grade-A bars, but that syrupy hook is what makes this an addictive jam we’ll be singing along to until the leaves begin to change colors.

“Spend Dat,” Yung Miami
This ode to scammers has ridiculous sing-along value—and it’s only growing in popularity. Whether you’re blowing money fast or frugally, you’re sure to hear this one out in the wild all summer long.

“Ever Since U Left Me (I Went Deaf),” French Montana and Max B
If there’s one thing French Montana is gonna do, it’s flip an iconic sample in a whole new way. He and rhyme partner Max B revive KC and the Sunshine Band’s 1975 classic “That’s the Way (I Like It)” for this bona fide hit that already has several remixes: West Coast, Bronx, Egyptian, and a special Knicks edition.

“Shabang,” Drake
Drake is back in his bag with a second summer anthem contender, a song that has already captivated the pop charts and TikTok in equal measure. It’s Drizzy at the hitmaking (and meme-making) peak of his powers.

“Pop Dat Thang,” Dababy
Controversies may have caused Dababy’s meteoric rise to take a hit around the top of this decade, but he’s back with one of his most undeniable anthems in years, thanks in part to a Miami bass-influenced hook and beat that recalls the days when Ghost Town DJs ruled radio. The remix with GloRilla, Yung Miami, and YKNIECE only makes it that much more potent.

__________

Bonus: “Waiting,” by Durand Bernarr. This one is still warming up, but the Big Sean collaboration is exactly what you’ll wanna hear at a dance party.

[TAKEN OUT OF CONTEXT]

I’m hyperaware of my position, who I am, and what I am to young men… I know what it’s like to struggle as a young man and try to stay on the right track and make f**ked-up decisions and do things that are f**ked-up and pay the price, get arrested.

There’s a masculinity crisis in America, but this Hollywood superstar is doing his part to support his fans through social media interaction. Tap into this long read cover story to see who it is and get a whiff of what’s going on in his life, from acting to a rumored run for public office.

__________

[LET’S LINK]

• Jennifer Lopez on Viral Off Campus Moment and New Rom-Com Office Romance [Remezcla]

• “The Whole of New York Is Stressed Right Now”: How Knicks Finals Fever Reached Rikers Island [The Guardian]

• Raising Kanan Star London Brown Is Treading the Tightrope of Aspiration and Emotion [Vibe]

• “You’d Be Perfect for This!” Inside the Devious Casting Scam Sweeping Hollywood [The Hollywood Reporter]

• All of Drake’s No. 1 Singles, Ranked From Worst to Best [Okayplayer]

• From Pitch to Pavement: How Soccer Sneakers Became a Staple of Black Diaspora Style [Esquire]

• Thirty Years After Olympic Gold, Dominique Dawes Is Still Changing Gymnastics [Capital B]

__________

[OUTRO]

Take This Audio Doggie Bag With You

“Tampa,” The-Dream Feat. Usher

The-Dream’s late 2000’s R&B run was special. He’s tapping back into that energy with his upcoming album, Love/Hate II, a sequel to his 2007 classic debut. For this one, he links with another legend from the A: the one and only Usher. Get into this R&B heater.

Listen Now →

UpRising: You’ve talked about your first festival, FamiLee Day, as something that grew out of your food tours. How did the idea come into focus and fruition?

Keith Lee: We started getting invited to food festivals and concerts, [including] one called Family Style, which is hosted by Complex. Then we got invited to Lovers & Friends festival, where we wer…

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“That was Morgan’s idea. He was touched by the spirit to do that, and he thought I could help him execute it. [Kanye West] is such a mega personality that I have deep, deep empathy for. So that created enough space for me to feel that. I had to get bigger to do that, energetically. But so much of that also comes across because of the directing and the w…

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UpRising: Earlier this year, you launched your own digital sketch comedy series. How has that journey been for you?

Kim Wayans: It’s been amazing. I started my own YouTube channel; the show is called Still Got It. It’s a comedic wellness show for women of a certain age. It features me playing a lot of different characters and imparting wisdom in a very f…

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UpRising: It’s been eight years since you worked together on Sorry to Bother You. You two were both at very different points in your film careers. What felt familiar about collaborating on I Love Boosters and what felt different?

LaKeith Stanfield: Boots is the same person, just more experienced and on the cusp of a new endeavor. So it feels like we’re j…

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UpRising: After spending years building the Power franchise, what felt important to do differently when you started working on Nemesis?

Courtney Kemp: Well, Nemesis is Tani and I together, so it's so diferent in terms of genesis and writing about both marriage and crime. Obviously, Power has something to do with marriage, but it has a lot more to do with…

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Jai’Len Josey

From Atlanta to Broadway and back again, this sultry R&B songbird makes music for the bold and the beautifully complex. The Def Jam signee’s new debut album, Serial Romantic, shows off her range, offering peppy uppers (“New Girl”), mellow ballads (“Truce”), and “Housewife,” an ode to settling down.

Elmiene

If you dig Sampha or Brent Faiyaz, …

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UpRising: You’ve been well respected and tapped in with the artist community for years, but have things changed for you after your Grammy win for Bloom in February?

Durand Bernarr: Having people request that I give them a Durand Bernarr record; or getting phone calls from folks who raised me, folks who I imitate; or being invited to record or perform … I…

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“I really enjoy playing Alamo [Brown]. There’s a maturity to him, which I obviously have inhabited, because it’s 30 years after playing Adebisi. But one of the things about Adebisi is that I was fearless. I was a young actor, and I think it’s some of the better work I’ve done in my career. It’s responsible for many of the roles that I’ve gotten. People …

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[THE MAIN EVENT]

UpRising: Why was Ricky an important story for you to tell?

Rashad Frett: Lin Que and I went to NYU together, grad film school. Lin Que finished her thesis and graduated a year before me.

Lin Que Ayoung: We were supposed to graduate together, and then [the pandemic] happened. That held up his thesis.

Rashad Frett: That was a blessing in di…

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