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Talk shows have functioned differently during the pandemic than they usually do. Hosts have moved their productions from their studios to their homes and put on simplified versions of their shows. All the while, musical guests have been taking similar measures, performing from their living rooms or home studios.

Slowly, though, things are inching back towards normal. Jimmy Fallon recently brought The Tonight Show back to its usual recording space, and musical guests are finding their way out of their bedrooms and into more traditional performance spaces. Perfume Genius was the musical guest on last night’s Tonight Show episode, and Mike Hadreas and his band performed from an empty concert venue.

Instead of being in the studio with Fallon and The Roots, Hadreas and company took the stage at an empty The Lodge Room in Los Angeles to perform “On The Floor.” There usually isn’t a ton of audience noise during late-night TV performances, so from a viewer’s perspective, this rendition of the song doesn’t feel too out of the ordinary. For Hadreas, though, he was performing to an empty room, although that didn’t appear to have a negative impact on his idiosyncratic stage presence.

They also played “Jason” as a web-exclusive video, so watch both performances above.

If Tom Hanks can’t convince you to wear a mask in public, you’re a lost cause. But just in case, maybe actress Anna Camp describing her symptoms after testing positive for COVID-19 will get you (or your uncle who spends too much time on Facebook) to mask up.

“Completely losing my sense of smell and taste without knowing when or even if they will return is extremely disorienting. I’m only smelling about 30 percent of how I used to now,” the Mad Men, True Blood, and Pitch Perfect star wrote on Instagram. “Other persistent symptoms are (a month later) dizziness, extreme fatigue, impacted sinuses, upset stomach, nausea, vomiting, and fever.” Again, that’s after an entire month with the virus, and all because, as Camp confesses, she didn’t wear a mask “one time”:

“I was incredibly safe. I wore a mask. I used hand sanitizer. One time, when the world was starting to open up, I decided to forgo wearing my mask in public. One. Time. And I ended up getting it. I believe it may have been because of that one time. People are saying it’s like having the flu, but I’ve had the flu, and this is absolutely not that. The panic of contracting a virus that is basically untreatable and is so new that no one knows the long term irreparable damage it does to your immune system is unbelievably stressful.”

Camp continued, “Please be safe out there. Let’s all do our part and wear a mask. I don’t want any of you to go through what I did. Even though it’s a little thing, it can have a huge impact, and it’s so incredibly easy to do.” In other words, don’t be a particles guy.

Wear a mask.

(Via Instagram/Anna Camp)

Earlier this week, the deluxe edition of Pop Smoke’s posthumous debut album was released in honor of the late Brooklyn rapper’s birthday. While the original version was a star-studded affair, fans of drill worried that without the genre’s biggest star, its chances of a wider takeover were lost with Pop Smoke. He should have turned 21 years old, yet instead of celebrating that milestone with him, his fans were granted the consolation prize of finally getting the album they should have gotten in the first place — the one where the drill music vanguard rapped alongside other members of the burgeoning underground scene.

Even then, the additional tracks only provided glimpses of the scene’s emerging talents, pairing Pop with frequent collaborator Fivio Foreign and members of his Woo collective: Dafi Woo and Dread Woo. There are no signs of fellow drill flag wavers like 22Gz, Blixky Boyz, Sheff G, or Sleepy Hallow. Their absence represents a missed opportunity to hand the torch from Pop Smoke, clearly the loose collective’s greatest star, to a worthy successor, keeping the spotlight firmly affixed to the purveyors of the gritty, aggressive sound. While there’s still time for one to emerge, we’ve seen this movie play out before. What exactly happens to a bubbling underground scene when its biggest star passes away?

In 2017, it seemed as though South Florida menace XXXTentacion was poised to take over the world as his breakout hit “Look At Me” flooded playlists and young hip-hop fans clamored for new music from the antisocial punk-rap rebel. This was despite the domestic assault charges hovering over him for allegedly beating his then-girlfriend senseless and threatening to sexually assault her with a barbecue fork. Such was his popularity that his associates Matt Zingler and Tariq Cherif were able to launch the Rolling Loud Festival series behind his name — a series that has since massively grown in scale and traveled from Miami to Oakland, Los Angeles, and New York. To this day, the festival remembers its fallen hero, as XXX’s collaborators and friends blast “Look At Me” throughout the weekend, imploring fans to fist pump, mosh, and observe moments of silence in his honor.

But the sense of community between those collaborators’ has fractured since X was shot to death while buying a motorcycle midway through 2018. Not only were XXX’s last few albums received only marginally by critics, but members of the South Florida SoundCloud punk-rap scene have received less and less publicity as the years have passed. Check Google Trends, and you can see that searches for X collaborators like Ski Mask The Slump God and Smokepurpp — arguably the two most recognizable artists of the scene — have dropped tremendously, despite Smokepurpp steadily releasing projects since 2018. Ski Mask’s searches peak in 2018 around the release of his album Stokely, but there are only a handful of reviews, while sales maxed out in the first week with 51,000 units — mostly from streaming.

That’s nothing to shake a stick at, but considering the juggernaut XXXTentacion had been in life, it’s hard not to wonder whether the halo effect of his stardom would have illuminated the careers of his nearest and dearest. Something similar happened with the emo-rap stars that proliferated around the late Lil Peep. While adherents like Brennan Savage, Horse Head, and Lil Aaron have continued trucking along, they certainly receive much less attention than they did when Peep was capturing the public’s imagination. Having a star to focus on generally helps other members of a scene or a movement in music, even if those satellite stars never shine quite as brightly.

After all, throughout the early 2000s, aligning with a well-known rap crew such as Disturbing Tha Peace, Murder Inc., Roc-A-Fella Records, or Ruff Ryders helped launch a number of otherwise unremarked-upon rappers into the national spotlight. Being famous by association helped make minor stars of rappers like Beanie Siegel, Charli Baltimore, Drag-On, Freeway, I-20, Jin, Memphis Bleek, and Shawnna, even if their latter-day careers petered out or their albums undersold major label expectations. However, that isn’t to say that just because the scene itself appears to have died out, that it’s automatically a wrap for those waiting in the wings.

Just look at the precursor to the Brooklyn drill scene in Chicago. In 2012, it seemed Chicago drill was everywhere judging from the breathless coverage of the scene in the wake of Chief Keef’s breakout hit “I Don’t Like.” That coverage brought more attention to fellow drill rappers like G Herbo (then Lil Herb), Katie Got Bandz, Lil Bibby, and Lil Durk, among others. However, as Chief Keef, the most popular of the Chicago subgenre’s champions, began to suffer the negative consequences of the increased scrutiny — namely, a handful of stints in and out of jail as a result of parole violations stemming from one of his interviews — excitement for the scene as a whole dwindled. However, rather than disappearing altogether, many of its members evolved their sounds and became stars in their own right.

Just this year, Herbo released the critically hailed, fan-favorite album PTSD, embracing a wholly different sound from drill — much more melodic and lyrically-focused, with bars that concentrate on the traumatic emotional effects left behind by the violence once bluntly described by drill. Likewise, Lil Durk has begun to flourish after some legal troubles of his own, releasing Just Cause Y’all Waited 2 in May, with a similar bent toward emotive, half-sung lyrics. Both have enough credibility from their eight-year duration in the rap game to have swung some impressive guest stars; Lil Baby and Gunna adorn the tracklist of Durk’s effort, while Herbo’s includes looks from fellow Chicagoan Chance The Rapper, 21 Savage, and Lil Uzi Vert. Meanwhile, their musical evolution is reflected in the new generation of talent from the Windy City, including Polo G, the heir apparent to Chicago’s gritty street sound.

Lil Bibby may be the ultimate example of pivoting after the spotlight fades. In 2017, he signed Juice WRLD to his Grade A Productions and negotiated a lucrative contract at Interscope for the then-teenaged emo rapper. That deal blossomed in the wake of hits like “Lucid Dreams” and “Robbery,” with three hugely successful albums — the most recent of which, the posthumously released Legends Never Die, taking the world by storm and producing the biggest streaming week of 2020 so far. Intriguingly, Juice himself was at the forefront of a more diffuse movement of emo, SoundCloud “mumble rappers” that included participants like Lil Uzi Vert, Lil Skies, and Trippie Redd — all massive stars in their own rights, despite early criticisms from rap purists.

It remains to be seen what will become of the remaining Brooklyn drill kids — or even their precursors in the South Florida SoundCloud wave. Public interest is fickle; maybe something new will come along to pull attention into a new direction. If that happens, it shouldn’t spell doom for Pop Smoke’s associates. The Chicago originators of their rowdy, rebellious style have shown that if they can adapt, they can find their way in whatever comes next.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

Foo Fighters leader Dave Grohl has taken to narrative writing over the past few months via his Dave’s True Stories Instagram account, on which he has penned essays about his life and career. Yesterday, though, instead of his Instagram page, Grohl published an essay titled “In Defense of Our Teachers” in The Atlantic. Now, Grohl has shared an audio version of the piece, as read by himself.

He begins, “I hate to break it to you, but I was a terrible student. Each day, I desperately waited for the final bell to ring so that I could be released from the confines of my stuffy, windowless classroom and run home to my guitar. It was no fault of the Fairfax County Public Schools system, mind you; it did the best it could. I was just stubbornly disengaged, impeded by a raging case of ADD, and an insatiable desire to play music.”

Elsewhere in the piece, Grohl discusses the complicated issue of re-opening schools during the pandemic and remote learning, with help from the perspective of his mother, Virginia Grohl, a retired teacher:

“Over the years, I have come to notice that teachers share a special bond, because there aren’t too many people who truly understand their unique challenges — challenges that go far beyond just pen and paper. Today, those challenges could mean life or death for some.

When it comes to the daunting — and ever more politicized — question of reopening schools amid the coronavirus pandemic, the worry for our children’s well-being is paramount. Yet teachers are also confronted with a whole new set of dilemmas that most people would not consider. ‘There’s so much more to be addressed than just opening the doors and sending them back home,’ my mother tells me over the phone. Now 82 and retired, she runs down a list of concerns based on her 35 years of experience: ‘masks and distancing, temperature checks, crowded busing, crowded hallways, sports, air-conditioning systems, lunchrooms, public restrooms, janitorial staff.’ Most schools already struggle from a lack of resources; how could they possibly afford the mountain of safety measures that will need to be in place? And although the average age of a schoolteacher in the United States is in the early 40s, putting them in a lower-risk group, many career teachers, administrators, cafeteria workers, nurses, and janitors are older and at higher risk. Every school’s working faculty is a considerable percentage of its population, and should be safeguarded appropriately. I can only imagine if my mother were now forced to return to a stuffy, windowless classroom. What would we learn from that lesson? When I ask what she would do, my mother replies, ‘Remote learning for the time being.’

Remote learning comes with more than a few of its own complications, especially for working-class and single parents who are dealing with the logistical problem of balancing jobs with children at home. […] Remote learning is an inconvenient and hopefully temporary solution. But as much as Donald Trump’s conductor-less orchestra would love to see the country prematurely open schools in the name of rosy optics (ask a science teacher what they think about White House Press Secretary Kayleigh McEnany’s comment that ‘science should not stand in the way’), it would be foolish to do so at the expense of our children, teachers, and schools.”

Grohl also praised his mom’s abilities and impact as an educator:

“As a single mother of two, she tirelessly devoted her life to the service of others, both at home and at work. From rising before dawn to ensure that my sister and I were bathed, dressed, and fed in time to catch the bus to grading papers well into the night, long after her dinner had gone cold, she rarely had a moment to herself. […] She was one of those teachers who became a mentor to many, and her students remembered her long after they had graduated, often bumping into her at the grocery store and erupting into a full recitation of Shakespeare’s Julius Caesar, like a flash mob in the produce aisle. I can’t tell you how many of her former students I’ve met over the years who offer anecdotes from my mother’s classroom. Every kid should be so lucky to have that favorite teacher, the one who changes your life for the better. She helped generations of children learn how to learn, and, like most other teachers, exhibited a selfless concern for others. Though I was never her student, she will forever be my favorite teacher.”

Listen to the essay above and read it here.

After Kanye West made a series of concerning statements, first at a “campaign rally” in South Carolina where he also announced a new album, then in a pair of Twitter rants, his wife Kim Kardashian has issued a statement on his behavior via Instagram. Kardashian says she felt she should comment because of the stigmas against people with mental health disorders. While reminding readers that “Kanye has bipolar disorder,” she also pointed out, “Anyone who has this or has a loved one in their life who does knows how incredibly complicated and painful it is to understand.”

“I’ve never spoken publicly about how this has affected us at home because I am very protective of our children and Kanye’s right to privacy when it comes to his health,” she explained. “But today, I feel like I should comment on it because of the stigma and misconceptions about mental health.” She went on to explain that while she understands why Kanye receives scrutiny and backlash for his actions, she wants observers to realize that his “words sometimes do not align with his intentions.” You can read the full statement below.

I understand Kanye is subject to criticism because he is a public figure and his actions at times can cause strong opinions and emotions. He is a brilliant but complicated person who, on top of the pressures of being an artist and a Black man, who experienced the painful loss of his mother and has to deal with the pressure and isolation that is heightened by his bipolar disorder. Those who are close with Kanye know his heart and understand his words sometimes do not align with his intentions.

Living with bipolar disorder does not diminish or invalidate his dreams and his creative ideas, no matter how big or unobtainable they may feel to some. That is part of his genius and as we have all witnessed, many of his big dreams have come true. We as a society talk about giving grace to the issue of mental health as a whole, however we should also give it to the individuals who are living with it in times when they need it the most.

I kindly ask that the media and public give us the compassion and empathy that is needed so that we can get through this. Thank you for those who have expressed concern for Kanye’s well being and for your understanding. With love and gratitude, Kim Kardashian West.

Meanwhile, Kanye was recently visited by Dave Chappelle, prompting fans to resurface a clip of Chappelle sharing similar sentiments about mental health.

With Kanye West currently drawing headlines for his concerning behavior on the campaign trail, another controversial figure in hip-hop is looking to pull a little of that spotlight his own way. Lil Uzi Vert, who is known for his mischievous sense of humor on Twitter, joked that he’s now joining the Presidential race too, tweeting, “Vote For Baby Pluto.”

Of course, it seems the tweets were more of an opportunity for him to get off one of his infamous “fit pics” than a serious declaration. After all, at 25 years old, Uzi is a good decade away from eligibility and the way things are going, there may not even be a President — or much of a United States — by then. The pic, though, is theme-appropriate; in the photo, Uzi sits in a private plane with a stars-and-stripes patterned sweater with a matching backpack on the seat beside him.

Uzi’s got more than enough on his plate as it is. Although he already released two full albums in back-to-back weeks — the long-awaited Eternal Atake and its deluxe edition, co-billed as LUV Vs. The World 2 — Uzi has been teasing new music all summer, as well as appearing on projects from the likes of A Boogie Wit Da Hoodie, Future, and The Weeknd.

Lil Uzi Vert is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

A hostage situation in Ukraine came to a non-violent end on Tuesday after the country’s president publicly endorsed a Joaquin Phoenix film.

An armed man, identified as Maksim Krivosh, held 13 people captive “with an automatic weapon and explosives,” according to the New York Times, and refused to let them go until “Ukraine’s president, Volodymyr Zelensky, urged Ukrainians to watch” the 2005 documentary Earthlings, narrated by the Oscar winner. Here’s the plot synopsis: “Earthlings is about humanity’s use of other animals as pets, food, clothing, entertainment, and for scientific research… Covering pet stores, puppy mills, and animal profession, Earthlings includes footage obtained through the use of hidden cameras to chronicle the day-to-day practices of some of the largest industries in the world, all of which rely on animals. It draws parallels between racism, sexism, and speciesism.”

“Everybody watch the 2005 film Earthlings, Mr. Zelensky said in a terse statement posted on Facebook.

Mr. Zelensky’s endorsement of Earthlings could be seen as complying with a terrorist’s demand. But it also fit into what his office said was a negotiating strategy of trying, above all else, to avoid angering a heavily armed man with hostages.

He deleted the post endorsing the film.

If you go to Zelensky’s Letterboxd, however, you’ll see that he gave The Master, arguably featuring Phoenix’s finest performance, only three stars. Very troubling. Krivosh surrendered to authorities following the release of his hostages.

(Via the New York Times)

Netflix’s impressively stacked coffers continued to pour out content last weekend, including Fatal Affair, starring and produced by Nia Long. Before this project, her storied Hollywood career included two movies, 1999’s In Too Deep and 2004’s Alfie, that co-starred Omar Epps. It seemed only fitting that when Long signed onto the Fatal Attraction send-up (as the married Ellie), Epps would be along for the ride. As viewers know, Epps portrays an “old friend,” David, who proves himself to be highly unstable, but not before he tempts Ellie into a passionate encounter. And yes, that means that she cheated on her perfect husband (Stephen Bishop).

Why? Too late to question that one.

Things get melodramatic (and intentionally trashy, like other recent Netflix offerings), and Fatal Affair ended up being the #1 most viewed title on the platform over the weekend. So, one and done? Not quite. No one knows whether David really fell to his watery grave, or if he’ll be back for more homicidal drama. I think he’s still alive? I could be wrong, but I’m not alone in this belief. Fortunately, Nia Long was gracious enough to sit down with us to discuss that ending, along with how this thriller was rewritten with a Black cast, and how Long’s pushing for more representation in the future. Oh, and did we mention that a possible sequel came up?

I shotgunned Fatal Attraction and Fatal Affair back-to-back last week, which was maybe not the smartest move. It’s a little scary to watch them together.

I’ve seen pretty much every thriller ever made, and Fatal Attraction is definitely one of my favorites. I think it’s safe to say that all of these thrillers have a formula that works for them. They’re all very different, and you know, there are comparisons and things that you expect to see and want to see, and that creates the experience. Look, we all need a little bit of escapism now.

At least with a thriller, you’ll feel confident that there’s some sort of definitive ending within a few hours.

Yes, good point. I did not think about it that way, but it’s an excellent point and very true.

Are you aware that there’s a debate out there on social media about whether David is really dead?

You know, it’s funny because I spoke with the studio about that very early on. I was like, “You know, what if he survives? And there’s a Part Two.” They were like, “There’s no way he survives!” But you know, that’s movie magic, anything is possible.

Well, we never saw a body, and you know what that might mean.

It’d be fun to do a second installment, especially because we know that there’s a fan base out there that made the film #1 on Netflix this weekend. I’m so thankful and grateful for that. This business is tough, and actors are not allowed to fail. The expectation is that every time we do something, it has to win, and it has to be perfect. So, there’s a tremendous amount of pressure that I put on myself — it’s self-inflicted for sure — that when you complete something, you put it out there in the world, and you just brace yourself for the judgment. No film is perfect, this film isn’t perfect, but I will tell you that it is definitely entertaining, and it is a fun ride, and people are loving it and supporting it.

I’ve noticed that with a lot of infidelity plots, there’s a comfortable financial situation going on, as with Unfaithful, A Perfect Murder, Tyler Perry’s Temptation, and Anna Karenina. They’re not hurting for money, but do you think that has any reflection upon the characters’ dissatisfaction?

I think everyone seems like they’re doing great because that makes the fall and the payoff bigger? It’s like, “Oh, I’ve got this perfect life, this perfect wife, this perfect husband, and my shit is about to fall apart.” So that’s probably one of those subliminal subplots that helps to build the suspense, so when the characters fall and break, you’re like, “Omigosh! They’re about to lose anything.”

Speaking of a perfect husband, I was surprised about Stephen Bishop’s character being so… patient?

Stephen did a fantastic job of playing a difficult role because, in the end, you still respected him, and that was hard to do, based upon some of the things that happened in the story. So this art is imitating life, and sometimes, life is imitating art, but whatever it is, it’s certainly a ride.

Does that seem realistic to you that Marcus would be super-forgiving of his wife’s infidelity?

I think there are men in the world who are super laid back. This guy’s an architect, he’s artistic, and he’s coming off a really bad accident. So I think there’s a slight disconnect emotionally with the character. I found it to be believable because there are people like that. My man? Wouldn’t respond that way at all. And probably yours wouldn’t either.

Noooo, they tend to not be thrilled about that sort of thing.

But I think we have to say as long as the actions or the behavior is justified, you go with it, and I think he did a beautiful job of balancing a very difficult position where he’s like, “Oh, I have to still love my wife in order to make the movie work, but how do I still love my wife and not have the audience feel like they aren’t going to have any compassion or respect for me in the end?” I feel like he accomplished both.

Again, if there’s a sequel… Marcus could completely change his mind.

Oh my god, right? There could be, I’m gonna have to start talking to the writer about that.

Like with Gone Girl, he could forge a new identity, skip town, and go hide for a while plotting revenge. Or pull strings from afar.

You should write the script and send it to me!

Don’t tempt me. On a more serious note, you have been outspoken about how only a few members of the Fatal Affair crew were Black, and you stated that your “next production would be different.” And your The Banker co-star, Anthony Mackie, found the situation on Black Panther to be “racist” because it’s the only Marvel film that’s had a predominantly Black crew. How can this systemic issue finally be resolved?

I think that producers have to take responsibility for how they are hiring their crews. It starts there, with the studios. It should be mandated that crews in film and television sets are diverse, period. It’s a very simple thing to say that our crew has to be diverse. And not just with Black and white. There are plenty of Hispanic people and Asian people behind the camera who are amazing. We need to mix it up. The film industry has a responsibility to diversify the behind-the-scenes crew as well as the cast in front of the camera. And actors can have a voice in that. As a producer, I hope I have more of a voice in that. I have to take baby steps because you have to pick your battles and pick them appropriately, and as you continue to grow and move forward, you need to show success and gain respect, then you can put your foot down on different issues. I think we have a window of opportunity to say, “This no longer works for us. I want to see young, Black talent behind the camera as well.” It’s not that I don’t support anyone else, but give the right person the job, and give someone Black or of another nationality an opportunity.

Netflix seems to be more willing to provide those opportunities than the traditional movie studios.

I think Netflix is extremely responsible when it comes to diversity. Their Strong Black Leads initiative has opened the door to so many Black artists to come in and develop and star in projects. Fatal Affair was written for a white cast, and we had conversations very early on, like, “Should Ellie be married to a white guy? Or a Black guy?” These were all very real conversations, and ultimately, it was Netflix who said, “We want to make the film feel real for you and your core audience and Black people to see a thriller.” They stood behind me in my way, so I said Omar Epps has to be my guy. They’re putting their money where their mouth is, and I appreciate that, and it’s overdue. I hope that other networks and streaming platforms take heed and follow suit because it’s important, and it shouldn’t even be a conversation. It should just be.

You and Omar still have that chemistry going on.

My favorite thing was that Omar was my shotgun rider, and we got to do this together. We are artists from the 1990s who helped to create a culture. And actors want a challenge. We want to do different things. That’s the beauty of slipping into characters.

And it’s kind of crazy that this is your first domestic thriller movie. How does the set experience differ from a comedy/drama/procedural?

I think when you’re shooting a thriller, there’s always a part of you that’s like, “I don’t know if I believe this. Did that work?” Because you’re shooting out of sequence, so there’s not this chain of events happening. There were moments when I questioned my choice as an actor, and I’d say, “Did that feel real?” Because even if a situation seems absurd, you still want to play into the realness of the moment, and that’s what makes other people believe what you’re doing. And that’s the toughest part of a thriller because there are moments when it almost feels like you’re overacting just to put that exclamation point on a scene and build that intensity.

If you’re looking to try other new things, do you have any superhero dreams?

Oh, I’m dying to be in a superhero movie. Maybe I’ll try and play opposite Anthony Mackie in his next superhero series because he’s always seeming to have these superpowers, so that’s my guy, my buddy. As long as I can wear an afro, I’m down!

‘Fatal Affair’ is currently streaming on Netflix.

Yesterday, Burger Records addressed numerous sexual misconduct allegations and laid out big plans to move forward following the controversy. The label said it was going to reorganize its leadership structure and re-brand as BRGR RECS, in an effort “to create a clear delineation between the old and the new Burger Records.” However, there will not be a new Burger Records, as co-founder Sean Bohrman said the label is no more.

Bohrman told Pitchfork, “We decided to fold the label.” When asked if the label would continue as BRGR RECS, Bohrman replied simply, “Nope.” Then, when asked for further comment, he linked to a video for Porky Pig saying, “That’s all, folks!”

Ahead of that conversation, Bohrman told the publication the label’s releases would be removed from streaming platforms, saying, “I just asked our distro to take everything down, it’s probably not an instant process.” He confirmed, though, that artists would be able to re-upload the albums if they wanted since Burger artists own their music, saying, “I hate dealing with lawyers so we never signed contracts with bands.”

This follows a statement from Jessa Zapor-Gray, who was named the label’s new interim president. However, she has decided to step away from the label because she doesn’t believe she “will be able to achieve my intended goals in assuming the leadership role at Burger in the current climate.”

Read Zapor-Gray’s full statement below.

“In the last year and a half, I have worked with Burger and Burger artists on communications and partnerships on a contract basis.

Over the weekend I was asked to assume the role of the label’s interim president with the hope I could reform the label into something better for the good of all of you, the artists. My plan was to quickly begin assessing and evaluating if anything about the label could perhaps be salvaged and made into something better, then eventually hand off a functioning label to a future administration unrelated to the label’s founders; or if I found that rebuilding was not possible, instead to organize and prepare the label for closure.

When I was asked to take over in this capacity, I expected some blowback for my decision to accept but I believed that the opportunity to have a role in effecting real and lasting positive change within the Burger and indie music scenes was worth the risk.

Upon further review, I have informed Burger Records that I no longer believe I will be able to achieve my intended goals in assuming the leadership role at Burger in the current climate. Therefore, I have decided to step away from the label entirely to focus on my other projects.

Jessa.”

Dave Chappelle and Kanye West have been in each other’s orbit since at least 2004, when the young Chicago rapper, fresh off releasing his game-changing album The College Dropout, appeared on Chappelle’s Show to perform “The Food” with Common.

The pair reunited this week in Wyoming, where West, who recently went on a worrying Twitter rant, is holed up and surrounded by security in a ‘bunker’ on his ranch… while tweeting about visits from people such as comedian Dave Chappelle,” according to Page Six. He wrote, “THANK YOU DAVE FOR HOPPING ON A JET TO COME SEE ME DOING WELL DAVE YOU ARE A GOD SEND AND A TRUE FRIEND ALL LOVE,” while chiding Chappelle to tell a joke (“I’m still on my first cup of coffee”) in an awkward video.

To quote The Daily Show host Trevor Noah, West “doesn’t seem well,” which is why an old video of Chappelle talking about the use of the word “crazy” has gone viral. The clip is taken from a 2006 episode of Inside the Actors Studio, hosted by the late James Lipton, who asks Chappelle about his friend and co-star Martin Lawrence. He replied:

“Martin Lawrence is the guy who showed everybody you can make it from D.C. to Hollywood. And I had a personal stake in his success. Every time he did something it made me feel inspired and really good. And he was always real nice to me. He’d sit me down, ‘What’s going on with you, baby boy.’ We’d talk about comedy, whatever. When we did Blue Streak, we were promoting it, and Martin had a stroke. He almost died. And then after that I saw him I was like, ‘Oh my god, Martin, are you okay?’ And he said, ‘I got the best sleep I ever got in my life.’ That’s how tough he is.

“Let me ask you this. What is happening in Hollywood that a guy that tough would be on the street waving a gun, screaming, ‘They are trying to kill me?’ What’s going on? Why is Dave Chappelle going to Africa? Why does Mariah Carey make a $100 million deal and take her clothes off on TRL? A weak person cannot get to sit here and talk to you. Ain’t no weak people talking to you. So what is happening in Hollywood? Nobody knows. The worst thing to call somebody is ‘crazy.’ It’s dismissive. ‘I don’t understand this person, so they’re crazy.’ It’s bullsh*t… People are not crazy. They’re strong people. Maybe the environment is a little sick.”

The AV Club described Chappelle’s answer as putting “Kanye’s recent troubles in perspective” back in 2016, and people are sharing it all over again in 2020.

(Via the AV Club)