Tyler Perry ended 2019 on an epic high note with the opening of his grand movie studio is Atlanta, which has been heralded as the pinnacle of Black excellence, but his latest film landed him on the receiving end of endless jokes.
“So, I don’t know if you know this, but all shows on television have a writers room,” Perry said. “Most of the time, there are 10 people or 12 or whatever that write on these television shows.Well, I have no writers room. Nobody writes any of my work. I write it all. Why am I telling you this? I wrote all of these scripts by myself in 2019. Work ethic!”
Last week before the film’s debut, Perry attempted to clear up the remarks during an interview with Levelstating that he had attempted to use other writers previously but was unhappy with the quality of work he received.
”At the time, I had a bunch of writers who were nonunion, and I was unhappy with every single script they wrote. They were not speaking to the voice. They just didn’t get it,” he said. “There was a Black woman lawyer I was negotiating with to get WGA [Writers Guild of America] writers on my show. I told her, ‘I can’t afford to pay those rates that every other studio pays. I need to structure differently.’ It looked like the deal was going to go through so I fired the four writers and prepared to hire new writers through the WGA. Now we’re a WGA show and I’m paying WGA rates. Scripts they’re turning in? Ratings are going down. So now I have to go in and give notes on how to rewrite them. And these are Black people.”
Although he personally refuses to utilize writers, he did reveal that he learned the importance of surrounding himself with creatives and decided to hire show runners with their own writers as a solution.
“We have four shows coming up with showrunners who will have their own writers and their own writers room,” he said. “There will always be opportunities at Tyler Perry Studios for writers. Always. But for these particular shows, my audience wants my voice.”
Despite the issues going on behind the scenes, it was the on camera appearance that left Tyler Perry being clowned via Black Twitter and after the cast revealed that the movie was shot in five days—Twitter let the roasts fly.
Things you can find in most Tyler Perry movies that I expect in #AFallFromGrace:
1. An aerial shot of Atlanta 2. A fine man in a bad wig 3. Cicely Tyson 4. A gospel choir 5. A dark skinned villain 6. A black woman suffering
This can also be a drinking game for viewers 21+ lol
While no one is discrediting Tyler Perry and his contributions to cinematic culture of keeping Black thespians employed, it goes without saying that it may be time for Perry to level up invest in a professional team of stylists.
Check out some of the most hilarious reactions below
Every single mother in the world wants to dote on their children.
It is natural.
But one of R&B’s most favorite moms, Tina Knowles has recently taken to Instagram to shout out her oldest daughter, Beyoncé for growing her hair long. As a former hairdresser, Knowles knows a thing about hair… styling it… dyeing it… bleach, braid and beveling it… But most of all, she knows a little something about hangtime. So when her daughter decided to let her hair grow, she could not wait to hop on the ‘gram and share with fans.
It is cute.
What mother doesn’t love to talk about how pretty their daughter is, or celebrate a big accomplishment. Especially since, King Bey always wears wigs in her performances. Many believe this was a quick stunt on everyone talking mess about her child. #LongHairDontCare
There is certain to be some push back. Many will lift colorism and hair bias as a way to tear down this sweet post. In an era where being light-skinned and long hair means so much to so many (in a positive way as well as negative), posting this is a bold statement about being not just proud of her daughter, but also proud of her lineage. Talk about Becky with the good hair!
The truth is that the Beyincé heritage is linked in a proud culture of mixed race people. Having light skin and long wavy hair is just what it is… its a tattoo of America’s complicated history and neither woman has any control over that. And acknowledging what is simply obvious to the eye is
In the post she says, “INCHES!!!! So happy my baby’s hair grew back !! She is going to get me ”
New Orleans, Louisiana veteran MC Curren$y is an underground sensation who has made a name for himself by staying out of the way, and in his lane. The laid-back lyricist most associated with classic cars and smoking herb seemingly never gets caught in drama. Instead, he has built a booming brand through releasing more music than just about any rapper on his level. His new collaborative effort Fetti—alongside Freddy Gibbs and entirely produced by Alchemist, is a testament to a catalog that has been in constant demand for upwards of a decade. Spitta recently sat down with the Rap Radar Podcast to discuss the album, his loyal following and a desire to maintain his status as an underground king.
While he’s had stints with labels No Limit, Cash Money, Young Money, Blu Roc/Def Jam, and Warner Bros. Records, Curren$y has made his most critical strides as an independent artist on his Jet Life imprint. That approach has served him well.
“I wait my turn,” he insists. “I never was on [Master] P’s bumper like, ‘Listen to this.’ I was there because of the homie. When somebody asked me what I could do, then that’s my turn. I never was on they bumper about [my Rap career or solo interests]. I used to pass out t-shirts.” In the early 2000s, Spitta was part of a 504 Boyz lineup. He joined P, Silkk The Shocker, Magic, Choppa, T-Bo, and Krazy ahead of 2002’s Ballers album, which cracked the Top 50 on the charts.
While earning a significant wage was an objective, Spitta never obsessed over it, because in his mind, it was just meant to be the way that it is. Like No Limit’s later years, that was the case during a fruitless period at Lil Wayne’s Young Money. “Where Da Cash At?” was a successful record, but the anticipated album never following. At 21:44, Spitta talks about “rolling the dice” and having faith in a higher power, which in turn ensures appropriate rewards from the universe. He continues, sharing his first interaction with Jadakiss at (22:02), where the LOX rapper acknowledged his Rap skills, but was more impressed by his determined spirit. “He was like, ‘You can rap and all that sh*t, but you was like, ‘Nah, I’ma do my own thing,’ and then you just did that sh*t!’” Spitta, who was rumored to have turned down an offer to be a Maybach Music Group artist in the early part of this decade, was a front-running example for an artist who does more independently.
To this day, Curren$y has no qualms sharing his music with the faithful masses, knowing his efforts will always come back to him. “I put [music] out, and if they get it for free, they get it for free,” he says. “But when I’m in they town, they can’t bootleg that. You gotta come off that $20 or $30.” Curren$y’s tours and spot dates have led him to a collection of an estimated 35 cars and several N.O. properties. During the Rap Radar interview, Spitta even admits that he bought an early-2000s model Bentley because it was the year that he thought he’d get one. The Rap industry had other plans.
The new father recalls an era when he recorded a string of mixtapes that are, to this day, considered classic material by many. His explanation is vivid, as he describes the 700-square-foot apartment and makeshift booth that helped him create improvisational magic. Among the items he used to record were a mic taped around an overturned chair, a tube sock and a wire hanger for the filter.
“Some people give me the credit I’m supposed to get, but I don’t give a f*ck about that,” he says, describing his impact on culture. As for collaborations, it’s something he’s all but perfected. Take the How Fly project with one Wiz Khalifa for example. “It changed the game. It changed how people smoke. It changed how people dress. It changed music,” he says with unbridled confidence. “That’s why a lot of those young dudes give it up to me.” Alluding to how comfortable he is with his place as an underground legend, Spitta shares another exchange with Talib Kweli where the Brooklyn rapper complimented his “Push Thru” collaborator (a song that also features Kendrick Lamar) about how loyal his fans are.
“You like the best and the worst buddy, because the people who listen to you, don’t want to hear shit else,’” the veteran says. The truth is, Curren$y’s overall trajectory and unwillingness to switch it up for the fetti, is a direct refutation of a verse made famous by one Shawn Carter:
“I dumbed down for my audience to double my dollars / They criticized me for it, yet they all yell ‘holla’ / If skills sold, truth be told, I’d probably be lyrically Talib Kweli / Truthfully I wanna rhyme like Common Sense But I did 5 mill’ – I ain’t been rhyming like Common since.”
#BonusBeat: Today, Spitta released “Flatbed Ferrari”:
New Orleans, Louisiana veteran MC Curren$y is an underground sensation who has made a name for himself by staying out of the way, and in his lane. The laid-back lyricist most associated with classic cars and smoking herb seemingly never gets caught in drama. Instead, he has built a booming brand through releasing more music than just about any rapper on his level. His new collaborative effort Fetti—alongside Freddy Gibbs and entirely produced by Alchemist, is a testament to a catalog that has been in constant demand for upwards of a decade. Spitta recently sat down with the Rap Radar Podcast to discuss the album, his loyal following and a desire to maintain his status as an underground king.
While he’s had stints with labels No Limit, Cash Money, Young Money, Blu Roc/Def Jam, and Warner Bros. Records, Curren$y has made his most critical strides as an independent artist on his Jet Life imprint. That approach has served him well.
“I wait my turn,” he insists. “I never was on [Master] P’s bumper like, ‘Listen to this.’ I was there because of the homie. When somebody asked me what I could do, then that’s my turn. I never was on they bumper about [my Rap career or solo interests]. I used to pass out t-shirts.” In the early 2000s, Spitta was part of a 504 Boyz lineup. He joined P, Silkk The Shocker, Magic, Choppa, T-Bo, and Krazy ahead of 2002’s Ballers album, which cracked the Top 50 on the charts.
While earning a significant wage was an objective, Spitta never obsessed over it, because in his mind, it was just meant to be the way that it is. Like No Limit’s later years, that was the case during a fruitless period at Lil Wayne’s Young Money. “Where Da Cash At?” was a successful record, but the anticipated album never following. At 21:44, Spitta talks about “rolling the dice” and having faith in a higher power, which in turn ensures appropriate rewards from the universe. He continues, sharing his first interaction with Jadakiss at (22:02), where the LOX rapper acknowledged his Rap skills, but was more impressed by his determined spirit. “He was like, ‘You can rap and all that sh*t, but you was like, ‘Nah, I’ma do my own thing,’ and then you just did that sh*t!’” Spitta, who was rumored to have turned down an offer to be a Maybach Music Group artist in the early part of this decade, was a front-running example for an artist who does more independently.
To this day, Curren$y has no qualms sharing his music with the faithful masses, knowing his efforts will always come back to him. “I put [music] out, and if they get it for free, they get it for free,” he says. “But when I’m in they town, they can’t bootleg that. You gotta come off that $20 or $30.” Curren$y’s tours and spot dates have led him to a collection of an estimated 35 cars and several N.O. properties. During the Rap Radar interview, Spitta even admits that he bought an early-2000s model Bentley because it was the year that he thought he’d get one. The Rap industry had other plans.
The new father recalls an era when he recorded a string of mixtapes that are, to this day, considered classic material by many. His explanation is vivid, as he describes the 700-square-foot apartment and makeshift booth that helped him create improvisational magic. Among the items he used to record were a mic taped around an overturned chair, a tube sock and a wire hanger for the filter.
“Some people give me the credit I’m supposed to get, but I don’t give a f*ck about that,” he says, describing his impact on culture. As for collaborations, it’s something he’s all but perfected. Take the How Fly project with one Wiz Khalifa for example. “It changed the game. It changed how people smoke. It changed how people dress. It changed music,” he says with unbridled confidence. “That’s why a lot of those young dudes give it up to me.” Alluding to how comfortable he is with his place as an underground legend, Spitta shares another exchange with Talib Kweli where the Brooklyn rapper complimented his “Push Thru” collaborator (a song that also features Kendrick Lamar) about how loyal his fans are.
“You like the best and the worst buddy, because the people who listen to you, don’t want to hear shit else,’” the veteran says. The truth is, Curren$y’s overall trajectory and unwillingness to switch it up for the fetti, is a direct refutation of a verse made famous by one Shawn Carter:
“I dumbed down for my audience to double my dollars / They criticized me for it, yet they all yell ‘holla’ / If skills sold, truth be told, I’d probably be lyrically Talib Kweli / Truthfully I wanna rhyme like Common Sense But I did 5 mill’ – I ain’t been rhyming like Common since.”
#BonusBeat: Today, Spitta released “Flatbed Ferrari”:
Galt MacDermot has died at the age of 89 today (December 17). It was one day before his 90th birthday. Although family members confirmed the news, according to Rolling Stone, a cause of death has not been made public.
In the early ’60s, MacDermot—who studied at South Africa’s Capetown University, relocated in New York City. He produced Julian “Cannonball” Adderley during this time. Towards the end of the decade, the emerging composer partnered with lyricists Gerome Ragni and James Rado to work on Hair, which debuted off-Broadway in 1967. In the 1970s, Galt lent his talents to Two Gentlemen Of Verona, a modernized William Shakespeare adaptation.
Ahead of his death, Galt MacDermot embraced his extended following through Hip-Hop, Rare Groove, and crate diggers. While Madlib sampled the great, Galt released his Up From The Basement series with some help from Now-Again Records. It included some Hair takes.
Ambrosia For Heads extends condolences to the family, friends, and fans of Galt MacDermot.
Galt MacDermot has died at the age of 89 today (December 17). It was one day before his 90th birthday. Although family members confirmed the news, according to Rolling Stone, a cause of death has not been made public.
In the early ’60s, MacDermot—who studied at South Africa’s Capetown University, relocated in New York City. He produced Julian “Cannonball” Adderley during this time. Towards the end of the decade, the emerging composer partnered with lyricists Gerome Ragni and James Rado to work on Hair, which debuted off-Broadway in 1967. In the 1970s, Galt lent his talents to Two Gentlemen Of Verona, a modernized William Shakespeare adaptation.
Ahead of his death, Galt MacDermot embraced his extended following through Hip-Hop, Rare Groove, and crate diggers. While Madlib sampled the great, Galt released his Up From The Basement series with some help from Now-Again Records. It included some Hair takes.
Ambrosia For Heads extends condolences to the family, friends, and fans of Galt MacDermot.
