A warm place to sleep, basic hygienic products, clean clothes — these are often things we take for granted. But for our neighbors, living without these basic human dignities, something as simple as laundered clothes to wear can make all the difference.
Jodie Dolan knows a little something about clothing making people feel seen. She’s the founder of DOLAN clothing company. And when she set out to help members of the unhoused community, one need came up again and again: People didn’t have a place to do laundry. Springing into action, Dolan created The Laundry Truck LA, a mobile service that provides free laundry service to anyone who asks for it. The action is simple; the impact is massive.
“For us, it’s about changing the stigma,” Dolan says. “We help people be seen, and we help them feel like their best selves.”
Watching Dolan and their clients speak, it’s hard not to be struck by how small gestures can make a huge difference. From job interviews to going into a grocery store, clean clothes change the way people look at you. For many unhoused individuals, it’s a chance to feel validated by others and regain confidence.
We’ve all heard the quote, “be the change you wish to see in the world,” but believing in a mantra and going out and doing something about it can be very different things. Which is why we’re inspired by people like Jodie Dolan — who cross the threshold from “feeling bad” to “showing up.”
Because when you show up to help, lives change. And it can all start with something as simple as a load of laundry.
“Two-thirty baby won’t you meet me by the beach / Too early, maybe later you can show me things.” These pleading lines from Giveon served as his head-turning introduction to the mainstream world. Appearing alongside Drake, “Chicago Freestyle” arrived during a cold Saturday night in February, a timely release for a track that sought warmth from an unrequited love just as much of the world did amid their weekend unwind. Giveon’s baritone voice lays like a soothing blanket to the ears of listeners, perfect for the love ballads he would deliver in the ensuing months. 2020 is the year Giveon planned to open his heart to the world, and despite this very world closing its door for much of the year, the Long Beach singer found a way to succeed in his endeavors.
Giveon introduced himself to a small part of the world as the opening act on Snoh Aalegra’s 2019 tour, ‘Ugh, A Mini Tour Again.’ Here he graced fans with eyebrow-raising performances of songs like “Garden Kisses” and “Like I Want You” and left his newfound supporters to declare him as their “crush” and request he sing at their wedding reception. His run continued on March 27 with the arrival of Take Time, his debut solo project. This 8-track body of work that clocks in at 24 minutes solidified the Long Beach singer’s position in the music world while giving his fans a package of pristine songs to enjoy until he returned. The experience that is Take Time begins with “The Beach,” a heartfelt ode to the city that raised him and the woman in his life who loves the city — despite being an outsider — for making Giveon the man he is. The heavy doses of appreciation are woven in his falsetto runs throughout the song and his love for the woman is delivered with a fiery passion of baritone-confidence on the song’s chorus. Some sing from the heart, but Giveon digs deeper and lets his proclamations of love rise up from his diaphragm, and it arrives with such a force and weight that its impact is undeniable.
The mastery of Giveon’s Take Time continues on “Favorite Mistake.” The emotive ballad presents the singer on the toxic side of the world as he rummages through his collection of persuasive proclamations to capture the thrill of infidelity. A night with his mistress is declared as his “favorite mistake,” and although they “both know it’s wrong,” the immorality of the situation is just a mere obstacle in the way of their mischievous getaway. Take Time also proves all the emotions — both good and bad — that the singer experiences at a given moment are delivered to its fullest and truest experience. ”Like I Want You” and “Heartbreak Anniversary” both capture the waning presence of love to the point where it no longer exists and leaves him in a state of sadness to reflect on what could’ve been.
Take Time resides in the realm of patience; having it, using it, and finding it. In Giveon’s world, young love with a solid dose of maturity reigns supreme, but he still flashes some of the naivety that many have fallen victim to in an attempt at love. That’s what made his debut so enjoyable: it was relatable in so many ways. From its growing presence to its complete erasure, love came and went with the wind for Giveon, just like it did during the heartbreak era of our lives.
When Take Time arrived, the world was a real-life ghost town, much different than the society Giveon envisioned on “World We Created.” The coronavirus pandemic had settled in to disrupt the normal life we once knew. Lockdowns were put in place and a work from home status was initiated for the better part of the employed community. However, the quarantine seemed to benefit the Long Beach singer as his growing fan base was granted the opportunity to sit with his music and digest it like it was meant to be. As a result, new fans of Giveon began to uproot from the soil as their time in solitary confinement grew from weeks to months. The stories that made up the project gave listeners a place to escape in the confinements of their quarantine. “The hardest part is writing a song as a story,” Giveon said in an interview with Vice. “A song is so short and there are only so many words that every line has to hit. The words have to flow.” By the looks of it, every line indeed hit.
Giveon’s debut project is just one reason to appreciate him. It’s a well-crafted body of work that highlights his enchanting voice while honing in on his ability as a songwriter. However, an overlooked quality from the singer is his ability to adjust to the times, something he showed on his sophomore EP, When It’s All Said And Done which arrived in October. The 4-track effort presented his heart as the new normal that we all experienced throughout the country and in most corners of the world at its September release: closed and resistant to the new normal that stands before him.
When It’s All Said And Done is a continuation of Take Time with a change in direction. Giveon is no longer the sweet lover we were introduced to on his debut. Instead, the light dose of toxicity that led the way on “Favorite Mistake” is now the palette he takes colors from for the new EP. The love that once was on his debut no longer exists, and while he’s aware of this, his actions prove otherwise. “Still Your Best” is loaded with sheer disgust and discomfort towards a former lover who sought “better” with a new partner. Art is subjective and the attractiveness of another person is as well, but the way Giveon presents it, there’s no doubt his ex failed to step their game up. Jealousy is quickly wiped away by confidence and reassurance that at the end of the day, the singer is the best they’ve ever had, so they’ll know where to find him when they regain their senses.
The toxicity continues on “Last Time” with Snoh Aalegra, where Giveon promises to cease all physical interactions with his former lover, a promise that the Long Beach native knows holds as much weight as a Kleenex, and we as listeners know Giveon’s claims are just smoke and mirrors. Deep down, he wants the sneaky links with his quaran-ting to continue but it’s the shame of falling into his uncommitted love interest’s traps that cause him to deny a future instance of it, that is until the EP’s closer. “Stuck On You” is essentially Giveon’s “it is what it is” realization towards the situation at hand. Is this woman bad for him? Yes. Does he deserve better? Yes. Will he go and find better though? Nope. The singer and his ill sentiments crawl back into bed with this partner simply to forget what his frustrations were in the first place. He recognizes that he may never leave them and the current situation will just have to run its course.
In the realm of love, pride leads the way for Giveon on Take Time and When It’s All Said And Done. It causes him to point fingers in situations he’s also at fault for, hold back from relaying his true feelings, talk down on a former lover, and deny the obvious truths of a situation. Haven’t we all though? Love has never been some fairytale endeavor that transitions from highlight moment to highlight moment. Giveon has his flaws but in creating music that’s damn near flawless, it’s easy to get caught up in the feel of it before its inner workings are examined.
Giveon couldn’t have picked a worse year for his mainstream arrival, but at the same time, he couldn’t have picked a better year. The absolute chaos that we’ve watched unfold over the past nine months was enough for some artists to keep their upcoming releases within the confinements of their hard drive for the next year or so. Others ran into the dust cloud and hoped for the best and that’s what Giveon did. He took the good moments of normalcy with Take Time and the bad moments that came with an internal struggle on When It’s All Said And Done to create a portfolio of music that very much emulated the rise and fall that is 2020. And as the calendar flips to what is hopefully a better year for the world at large, it’s comforting to know that the Long Beach native is here to stay.
Jack Harlow‘s debut album That’s What They All Say is coming out this Friday and to help hype the release, he and Big Sean buy out the bar to celebrate in the raucous video for its latest single “Way Out.” Over the course of their high-speed verses, Jack and Sean detail their relations with their exes and flirt with women from Harlow’s tour bus, while the video plays with freeze-frame shots of the bar while they turn up — a la Mark Wahlberg and Will Ferrell’s The Other Guys.
Harlow surprised fans with the release date announcement last week after enjoying a breakout year that saw him reach No. 2 on the Hot 100 with “What’s Poppin,” speak out against police brutality at the 2020 BET Hip-Hop Awards, and make a new friend in the NBA with “Tyler Herro” (one he might need after accidentally putting Lou Williams on blast during the NBA’s bubble season when Williams hit up Magic City in Atlanta for wings). With the year he’s had, there’s little doubt That’s What They All Say will receive a warm reception on Friday.
Watch the “Way Out” video above.
That’s What They All Say is due 12/11 via Atlantic Records. Pre-save it here.
Jack Harlow is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
Fans can expect a documentary about the notoriously private singer Courtney Barnett soon. The Australian singer has secured funding for the project as part of Screen Australia’s $2.5 million endowment.
Titled Anonymous Club, the upcoming film will document Barnett’s life and musical career. It’s written and directed by Danny Cohen, who has previously worked with Barnett on her videos “Need A Little Time” and “Everybody Here Hates You.” The title is pulled from Barnett’s 2013 album How To Carve A Carrot Into A Rose and the 90-minute film will explore “the inner life of the notoriously shy artist amidst her significant rise to fame,” according to a brief synopsis.
Screen Australia’s Head of Documentary Bernadine Lim expressed his excitement for the organization’s newly funded films, including Anonymous Club. “Documentaries offer a unique opportunity to hold a mirror up to ourselves and reflect, understand and question,” he said. “As we come to the end of 2020, a challenging year for so many, it’s clear that these compelling documentaries will shine a light on the important issues facing Australians including mental health, the impact of the devastating bushfires and the environment more broadly.”
The documentary announcement arrives on the tail-end of a quiet year for Barnett. While the singer hasn’t released any new music in 2020, she did briefly tease her next project. The singer told Double J host Zan Rowe that she’s “been working on these songs since the last album came out” and the songs will be “distinctly different” from the rest of her catalog. “A lot of them are these soft, folk songs that are written in hotel rooms,” she said. “You can tell, they’re timid and quiet.”
This holiday season may look different than any other, but Finneas is remembering to stay grateful for all the people in his life. The singer shared his first-ever Christmas song “Another Year” last week and now, he’s bringing the moving piano ballad to a performance on The Tonight Show Starring Jimmy Fallon.
Seated at a piano in an empty warehouse, Finneas fills the dusty room with his heartfelt vocals. “Hurry home, please, I don’t belong without you / Your ice-cold feet, write all my songs about you . I love you more and more each day / Can’t find poetic ways to say ‘I hope it lasts another year,’” he sings.
Speaking about the track in a statement, Finneas said he actually penned the song last December. He says the song has since taken on a new meaning in light of the events that have unfolded in 2020. “I wrote this song last Christmas, with a year of uncertainty ahead of us, had I known, anything I know now about how 2020 would go, I don’t think I would have changed a word,” he said.
The holiday tune is just one of many one-off singles Finneas has released this year. The singer previously shared his anti-Trump anthem “Where The Poison Is” and warned against the pitfalls of the internet with “Can’t Wait To Be Dead.”
Tracking down the best scotch whiskies of 2020 is definitely a fun activity, but it’s sure as hell not a cheap one. Partly because of import costs and tariffs and partly because to taste great — whether single malt or blended — scotch needs quality ingredients and time in the bottle. That level of craft costs money, as it should.
As UPROXX’s drinks coverage expanded this year, I tasted a lot of scotch whiskey in 2020. Now, with the year winding down, it’s time to name the best among them. For the most part, all of the bottles below were released this year. In a few cases, we shouted out the 2020 release of a classic expression. This isn’t a comprehensive list of every single scotch in the world — there are just too many to make that happen — but these bottles hit high marks, are accessible around the U.S., and taste really good (which is the most important metric).
Read on for the best 10 bottles of scotch whisky we drank in 2020.
Ardbeg is the peat-monster of peat-monsters from Islay. But their 20th-anniversary release of Ardbeg Blaaack was a stellar scotch for 2020, no “if you like peat” conditions need apply. This year’s juice was aged in Pinot Noir casks from New Zealand, adding a whole new dimension to the whisky.
Tasting Notes:
The nose opens with a matrix of mushroom umami and earthiness, cedar bark, lemon zest, ripe cherries, and a note of red wineberries. The palate of this dram is pure velvet, with plenty of peaty smoke, more of those vinous grapes, and a plummy note of oak.
Adding a little water, a dusting of dark cacao arrives with a mild spice and more of the oak. The end really embraces the berries, spice, umami, and peat as it very slowly fades away.
Bottom Line:
Yes, this is smoky, but it’s not a smoke bomb. There’s so much going on in the glass that you’ll want to give it time and focus. I recommend adding a little water or a rock.
London blendery Compass Box consistently hits their whiskies out of the park with balance and excellence. This year’s release of Hedonism celebrates the shingle’s 20th anniversary with a dialed-in grain whisky blend. The key is in the varied casks used to age the juice. In this case, re-charred American oak, ex-bourbon, and first-fill bourbon casks were married to create the whisky.
Tasting Notes:
You’re greeted with a nice dose of bourbon vanilla that leans towards a creamy pudding, with rich toffee balanced by toasted coconut. The taste really delivers on those notes, with the addition of caramel grains, warm oak, and a hint of red berry. The end lingers in all the right ways, marrying the bitterness, coconut, and buttery toffee.
Bottom Line:
It’s a little spendy for this, but this bottle really works wonders as a highball with nice, fizzy water and good ice. The water helps each note shine its brightest.
This is an interesting dram. The juice was created to conjure up tastes reminiscent of pineapple cake by way of malty whisky. To accomplish this, Hungarian Tokaji casks were used in the aging process. The dessert wine casks bring sweetness while holding onto the integrity of the whisky.
Tasting Notes:
There are a lot of layers here, starting with tropical fruits — not unlike a hazy IPA — with a note of honey sweetness next to malts, nuts, and vanilla, orange oils, and a whisper of dried flowers. The dram then focuses on peaches, vanilla, cakey malts, pear, and a distant hint of mint. The end is medium-length and veers into more nuttiness with a mild dark chocolate bitterness, especially when you add in some water.
Bottom Line:
We really wanted to dismiss this as too sweet or too gimmicky but it’s a damn fine dram and pairs really well with the end of a meal dessert or cheese course. It also works well as a cocktail base, if you have that sort of money.
The Classic Laddie is a unique whisky, almost bottle to bottle. The sweet malt juice is aged in American oak specifically picked to highlights the Scottish barley in the mash. However, you’ll need to look at the “code” on the bottle to figure out exactly which concoction you’re drinking, a nice touch that makes every bottle feel special.
Tasting Notes:
This is going to obviously vary by bottle, but expect tasting notes hovering around the following: Sea brine, orange oils, caramel malts, and a touch of cherry candies on the nose. The taste delves into the sea brine and then usually adds in spicy stewed apples covered in caramel sauce with a counterpoint of berries. The maltiness carries on the slow fading end with more spice, fruit, and sea salt.
Bottom Line:
This is a fun bottle to snag as a gift, given the uniqueness and the “nerd out” aspects. But it’s more than a gimmick — it’s a very easy-drinking whisky that works well as a sipper or mixer.
This much-beloved expression from Johnnie Walker is a “pure malt” blend. That means instead of being blended with single malt and grain whiskies — a la blended scotch whisky — it’s only a blend of malts from different distilleries in the Diageo stable.
In this case, that’s primarily Talisker, Caol Ila, Cragganmore, and Linkwood — all of which are at least 15 years old when they’re married.
Tasting Notes:
The sip has a softness to it that lends itself to cedar boxes, wineberries, sharp black pepper, vanilla beans, and a note of freshly-cut green grass. The palate holds onto the softness of the cedar and adds in a tropical fruit edge with a wisp of dried roses. The end is very measured and just long enough to savor, with the cedar, fruit, and warming spice leading towards a final note of distant smoke filtered through an atmosphere of sea brine.
Bottom Line:
Okay, this isn’t a “new” 2020 release, but it’s still one of our favorite drams of the year by a pretty big margin. This is also our favorite bottle from Johnnie Walker. It’s very drinkable, works in a cocktail, and really shines in a highball with fizzy water and ice.
5. Cardhu Aged 11 Years — Rare By Nature Collection
Well, the Spanish whisky drinkers onto something. The juice is a blend of single malts from Cardhu that spend eleven years aging in new American oak, refill American oak, and ex-bourbon casks before it’s blended and bottled at cask proof with no fuss.
Tasting Notes:
There’s a subtle butterscotch whiff on the nose with a clear spicy baked apple essence next to a hint of cedar. The Christmas spices kick up as worn leather, bright fruit, creamy vanilla, and a buttery toffee deliver on the palate. The end is shortish, with a creamy buttery nature balanced with fruit, spice, leather, and wood.
Bottom Line:
This release from Diageo’s 2020 Rare By Nature Collection was a revelation. This really is just a damn fine dram of whisky that really blooms in the glass with a little water or a rock. If you’re going to try something new, try this.
Aberlour is one of those distilleries that quietly puts out wonderful whisky after wonderful whisky, year after year. Their current release of the “Double Cask” 18-year-old is a shining example of the craftsmanship at play up in Speyside. The juice is aged in both ex-bourbon and ex-sherry casks for 18 years before they’re blended and brought down to proof.
Tasting Notes:
Ripe stone fruits mingle with butter toffee, butterscotch candies, and a note of orange oils on the nose. The taste really delivers on the peach and adds in cream drizzled with honey that leads towards a jammy body, spiked with mildly spicy oak. The finish spends its time rolling through your senses, as the creaminess leans into vanilla with plenty of fruit, spice, and oak.
Bottom Line:
This is where it gets hard. There’s no real reason this or any of the following scotches aren’t “number one” besides personal preference. This is such a wonderfully satisfying sip of whisky with a splash of water or a rock. It’s a dram you’ll automatically slow down with.
The Balvenie is iconic in two ways. One, the distillery is one of the only ones in the world where everything from growing the grain to making the barrels are all done in house. Two, The Balvenie’s Malt Master, David C. Stewart, is credited with creating the “finishing” barrel process in whisky. With this expression that means the juice is aged in American oak for 17 years before spending six to 12 months finishing in ex-sherry casks.
Tasting Notes:
Green apples next to bourbon vanilla shine alongside a sense of nutty sherry oak and mild honey sweetness. The taste meanders towards a Christmas cake full of spice, dried fruits, candied fruits, and toasted nuts with an oaky depth and vanilla creaminess. Rich toffee, oak, spice, and fruit lead towards a slow-paced finish.
Bottom Line:
This is some refined freaking whisky. It’s such an easy sipper that you might find you’ve downed most of the bottle without noticing. Make sure to add some water or an ice cube to really let it bloom in the glass.
Dewar’s Master Blender and Master of Malt, Stephanie MacLoed, hand-selects casks that are truly exceptional. In this case, this expression spends 17 years in refill American oak before going into first-fill Pauillac wine casks from Bordeaux.
Tasting Notes:
That classic Aberfelfy honeyed nature is lurking beneath a real sense of soft cedarwood with hints of berries, worn leather, tobacco, vanilla, and red grapes. The taste holds onto the cedar and spicy pipe tobacco as the honey and berries balance out those notes with a hint of essential oils. The end is long, deliberate, and full of that wood, tobacco, fruit, and honey.
Bottom Line:
This was a contender for our favorite single malt release this year, overall. It’s just so damn drinkable with a little water to open it up. There are no rough edges at all, just soft whisky goodness all around.
1. Talisker Aged 8 Years — Rare By Nature Collection
This special release in Diageo’s Rare By Nature Collection is a rare and great whisky. The juice is classic Talisker that’s finished pot still Caribbean rum casks. The result is a marriage of the smoky and briny signatures of Talisker, amped up by the deeply sweet notes of a nice Caribbean rum.
Tasting Notes:
You’re greeted with sea brine, campfire smoke, pears, and a hint of molasses. The taste then marries all of those notes into a sense of standing next to a brisket or whole hog smoker late at night (with the sea not far off) as hints of fatty smoke, caramelizing brown sugars, and plenty of salt combine to make a whole. It sounds heavy, but the end is light in every way, making it very easy to drink as the sip quickly fades with all that smoke, brine, fat, and brown sugar in play.
Bottom Line:
This might be our favorite whisky this year. It transports you straight to the Scottish Islands by way of Charleston or the Hill Country of Texas BBQ joints with serious history. Don’t forget to add a little water to open it up.
Rather than directly calling for a cancelation or pause of the season while the coronavirus pandemic worsens around the country, Coach K instead called on the association to come together and find a solution. Throughout the opening weeks of the college basketball season in both the men’s and women’s game, the sport has been plagued by positive cases, spontaneous outbreaks, and ethical questions.
“I would just like for the safety, the mental and physical health of players and staff to assess where we’re at,” the Duke coach said.
At the same time, Coach K made a point of noting he’s “not sure who leads college basketball” and said any sport run by a complicated committee with various priorities is inherently “not agile,” which made Krzyzewski, whose voice carries powerful weight in the sport, strike a pessimistic tone about anything improving.
Coach K acknowledged the virus is already a scary and dangerous challenge to the sport, even because of something as simple as players being prevented from returning home to visit their families during the holidays. With vaccines looming and expected to cut down transmission and hospital problems across the nation, Coach K alluded to the idea that even waiting until further into the winter could make college basketball a significantly less risky endeavor. He is not the only coach to bring up this point, as Iona’s Rick Pitino shares this sentiment.
Prior to the start of the season, Coach K had partially endorsed a Bubble for the NCAA Tournament (though he questioned the logistics of such a big event), and while it seems the association is forging ahead with plans for some sort of single-site March Madness, there may be increasing pressure for individual conferences to put together Bubbles for conference play, as Villanova coach Jay Wright has called for.
There’s also the fact that Krzyzewski is 73 years old, and after college football coaches like Nick Saban have become infected, it’s become increasingly concerning to see people whom doctors consider health risks during the pandemic coaching games inside while teams find positive cases left and right.
It’s hard to say what may be the impetus behind Coach K coming out vocally against the current situation. Maybe he was just frustrated after playing a home game in front of an eery, empty Cameron Indoor Fieldhouse. Either way, Coach K is clearly correct in his assessment and this could signal momentum behind changes to how this college basketball season operates.
Thanks to her bizarre, slurring testimony during an election hearing in Michigan last week, Rudy Giuliani’s “star witness” Mellissa Carone has become an internet sensation, but for all of the wrong reasons. While Carone’s over-the-top testimony has been a comedy gold mine for Saturday Night Live and Amy Schumer, it’s also shone a light on her personal life, which is starting to answer a whole lot of questions about how she ended up working with Giuliani. According to a new report, Carone used to work as a dancer at the Bada Bing strip club in Lincoln Park, Michigan, and yes, it got its name from The Sopranos. While there’s nothing wrong with being a stripper, like all things Carone, the story quickly takes a turn. Via Daily Mail:
Mellissa Carone, 33, used to dance at the venue in 2010, which has the same name as the infamous strip club featured in HBO’s hit show The Sopranos. The seedy joint even takes after the mobster strip club, having its own history of violence. It finally shuttered following a string of incidents, including an attack in 2010 where four men, including the manager, were arrested and charged with torturing a man in the basement, drilling through his hand with an electric drill.
The Mail reports that people from Carone’s hometown are enjoying her recent fame because her dancing days were the “worst kept secret in our little town.” They’re also enjoying the schadenfreude of Carone’s testimony dredging up her sordid legal history of repeatedly sending sex tapes to her husband’s ex-wife. “She was never easy to get along with, always stuck up and thought she was the hottest thing around,” a source said.
If you are or have been a sneakerhead at any time in the past five years, you’ve undoubtedly had your heart broken by a hot shoe’s release date. Thanks to bots and increased hype, it’s darn near impossible for a regular working stiff to get their hands on the latest Nike collabs. However, the latest was even harder to get ahold of, as J Balvin’sAir Jordan 1 sneakers reportedly sold out in under a minute worldwide, according to the man himself.
Celebrating the success of his collab with the footwear giant, Balvin posted to his Instagram, reporting they were “Sold Out Global” and thanking fans for scooping up the outrageous tie-dyed colorway of the first Michael Jordan signature. “Se fueron en un minuto de lo que yo conté jejej,” he wrote. “Los Amo GRACIAS GRACIAS GRACIAS.” (Translation: “They were gone in a minute, by my count. I love them. Thank you, thank you, thank you.”)
Meanwhile, Billboard reports that although Nike does not share sales information, Balvin did make history by becoming the first Latino artist to collaborate with the Jordan brand. Balvin designed the sneakers with inspiration from his albums Colores and Vibras, ensuring they live up to those titles with a vibrant burst of rainbow colors, pink soles, and interchangeable patches based on his personal branding — smiley faces and lightning bolts.
Although they’ve sold out online, you may be able to grab them in person at select retailers. They’re going for $190. Good luck.
Stefflon Don’s outspoken nature isn’t the only reason why she’s transformed into a global rap star — it’s also her daring sense of style. The Birmingham, UK-born, Netherlands-raised artist has been on the rise since 2017’s breakout “Hurtin’ Me” single and her seductive looks have grown along with her. After collaborating with artists like Mariah Carey, Halsey, and Jeremih (as well as securing her first songwriting credit on Ty Dolla Sign’s new album Featuring Ty Dolla Sign), Stefflon is returning with a new project and called on stylist Toni Blaze to help redefine her style.
Blaze grew up with a grandmother who had her own tailoring company in Nigeria and a mother who “was very creative in terms of the ways she would dress me.” Inspired by fashion greats like the late Alexander McQueen and John Galliano, Blaze attended London College Of Fashion and Central Saint Martins. She then landed a position at London-based style publication Wonderland magazine. “I assisted a stylist called Matthew Josephs when he used to work there for about two years or so,” Blaze tells Uproxx. “When he left, I stayed on and progressed my way up. I went from assistant to the fashion director, then my next title was fashion editor.” Now she’s the editor-in-chief who helped bring covers of Migos, Nicki Minaj, and Emilia Clarke to life over the past two years.
After Stefflon’s manager reached out to Blaze, the pair connected this summer to frame the artist’s new aesthetic. “Move” and “Can’t Let You Go” are Stefflon’s first new music of the year, and the looks that go along with them reflect two sides of her: Bad Jamaican Gyal and Girly Romanticism. Uproxx caught up with Blaze and Stefflon about their collaborations, designer taste, and what’s next for this dynamic duo.
When did you first begin working with Stefflon Don?
Blaze: So we did [the “Move” video] back in July. Anytime you work with someone who loves fashion, it just makes your job so much easier. She’s not afraid to take risks. I can bring her a pair of shoes that she might think is a bit wild, but she’ll go for it. The main aim for her is to look very editorially stylized. Obviously, we all love a big-name brand, but I could put a designer on the mood board that might’ve just graduated or just coming up in London and she’s very open to trying.
Are there any go-to designers that you use with her?
Blaze: The main one is Melissa Simon-Hartman who did a lot of stuff for Beyoncé’s Black Is King. She worked on the “Can’t Let You Go” gold cowrie shell look — it’s just enough to signify that African influence. Steff is of Jamaican origin, and I’m of Nigerian origin. So we wanted to celebrate that, but not in a cliche way. In the scene where she’s got this green leotard, that’s from Lisa Folawiyo. She’s a Nigerian designer who does these amazing prints. We used a lot of people of color and I thought that was quite important, especially during this time.
Many people have finally opened their eyes to inequality this year.
Blaze: When I was at St. Martins, I was the only person of color in my 20-person class. So it’s nice to have this full-circle moment where my work has been recognized and I can now have conversations with the British Fashion Council’s diversity committee. My long-term goal is to do brand partnerships where I can bring people from disadvantaged families who want to get into fashion but don’t have that middle-class background where they can intern for free.
Getting back to “Can’t Let You Go,” the pink dress was such a romantic touch that complemented the song’s subtlety.
Don: My boyfriend is Nigerian and sings in Yoruba, so I guess being around his family for the last two years has inspired me. The Yoruba language is very spiritual. I don’t get the same feeling when I sing English. But even though I’m doing something different by mixing that with the Jamaican dialect throughout the song, the root is still Stefflon Don.
Blaze: That dress was from this designer called Selam Fessahaye. But even if you look at her glam, it was very stripped back for her. You’re drawn to her and it just felt very angelic. It was nice to see her in that way.
On the flip side, the “Move” video reminds me of ‘90s Lil Kim as well as Steff’s dancehall sound.
Don: I’m definitely inspired by a lot of the Jamaican dancehall scene, especially women like Lady Saw and Patra. I’ve never seen that look before with the metallic hat and the matching waistband. I think that was dope.
Blaze: That was super fun, too. For the mood board, I was looking at all these really old Beenie Man videos. So I thought about how to bring that to Steff, but in an elevated way. That dancehall scene was just so amazing — even down to the hairstyles. With the metallic look, she was supposed to [represent] this running joke with Caribbean restaurants where you have the woman who’s the boss. I really just wanted it to feel like when I was going to bashments in London growing up. You’ll see these girls dressed to the T with their fishnets and bling, and they’re there until 6 a.m. It’s ghetto fabulous in a great way.
The two-piece blue mesh outfit also represents that bashment style.
Blaze: That was from Auné. She designs these really weird, great prints. I don’t think I even met Stefflon then but I already had it on my mood board. That bandana felt very “Island Gyal” but very expensive at the same time. With the way the camera cuts on that look — because the trousers are so see-through — it gives the illusion of being hyper-sexual.
Even the way that I accessorize the chains, I used Mr. T as a reference. There was a point where she was like “You’re choking me!” when I was adding more chains. [laughs] When it comes to videos, you want to be in that fantasy. It’s about feeling that level of escapism when you see that person’s look.
Are there any other places that you draw inspiration from?
Blaze: My favorite designer is John Galliano. I have this really big book at home, so when I’m stuck on a project, I just go through all the old Dior shows he designed. Whether it’s the way a corset has been layered or a leopard print that clashes with a billowing dress. It shouldn’t work, but then it does. Also, one of my favorite photographers is David LaChapelle.
So I always draw from those references. I think it is because of my university background. We always lived in archives — you can find every single magazine in their library. I like the idea of hyper-realism and things that you wouldn’t expect from certain artists — like a Marie Antoinette-style dress on a rap girl.
Steff, what is the vision you’re taking with your next project?
Don: It’s totally different from what I’ve done before. I’ve learned how to take people more on a journey and have records that cement my sound. I came with a lot of island vibes this time. I feel like as we get older, we change and have different outlooks on life. This project will show my growth and I’m super proud of it.
Seeing you elevate from “Hurtin Me” and being the first British rapper to cover XXL to where you are now, you’re not part of the rap conversation as much. Do you feel the same way?
Don: I agree. When I came up, it was just me and my manager — we had a little bit of label help but there wasn’t really a solid team. To make something globally successful and remain there, you have to have all these different avenues with people really riding for you. If I had the team doing the right things back then, then I guess I would be in the places that you think I should have been in. But it’s not too late. We’ve switched up the team now, learned from the mistakes and we’re going to come harder than ever.
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