Category: Artist Now Trending

Artist Now Trending, Cultural Events, DANCE, Entertainment, Events, NYC On Broadway

8 Dance Performances to See in N.Y.C. This Weekend

AMERICAN BALLET THEATER’S NEW YORK SUMMER INTENSIVE at Frank Sinatra School of the Arts (July 26, noon and 2:30 p.m.). Curious about the next generation of dancers? Two afternoon performances wrap up Ballet Theater’s 24th annual training program, directed by Kate Lydon, for dancers ages 12 to 20. Students of the five-week intensive, under the instruction of former company members including Cynthia Harvey, Leslie Browne, Lupe Serrano and Cheryl Yeager, will perform selections from “Coppélia,” “Don Quixote,” “Giselle,” “La Bayadère,” “Swan Lake,” “The Sleeping Beauty” and August Bournonville’s “Le Conservatoire.”
212-477-3030, ext. 3416; abt.org

BOY BLUE at Gerald W. Lynch Theater (Aug. 1-3, 7:30 p.m.). This East London hip-hop group, last seen at the 2018 White Light Festival, returns to Lincoln Center for an encore of its acclaimed political and virtuosic “Blak Whyte Gray.” Presented this time by the Mostly Mozart Festival, the company explores themes of oppression, identity and transcendence. Michael Asante (also known as Mikey J) is credited with creative direction and music, while Kenrick Sandy (who goes by H2O) is the piece’s choreographer.
212-721-6500, lincolncenter.org/mostly-mozart-festival

YOSHIKO CHUMA AND THE SCHOOL OF HARD KNOCKS at the Invisible Dog (July 26, 7 p.m.). Chuma, a veteran experimental choreographer and conceptual artist, presents the final presentation of “My Diary: Secret Journey to Tipping Utopia.” In it, musicians, dancers and designers interact, but never directly as fragments of sound, text and action — a metaphor for the cycle of life — fluctuate between states of utopia and war. Chuma has been in residency at the Invisible Dog since July 1.
theinvisibledog.org

COMPAGNIE HERVÉ KOUBI at Prospect Park Bandshell (July 27, 8 p.m.). For the BRIC Celebrate Brooklyn! Festival, this company led by Koubi, a French-Algerian choreographer, presents his evening-length “What the Day Owes to the Night.” With a cast of 12 French-Algerian and African dancers, this vibrant production combines capoeira, martial arts, hip-hop and contemporary dance; it’s Koubi’s signature work and his second collaboration with street dancers from Algeria and Burkina Faso.
718-683-5600, bricartsmedia.org

JACOB’S PILLOW DANCE FESTIVAL in Becket, Mass. (through Aug. 25). This weekend, the festival hosts the Paul Taylor Dance Company in repertory works and the tap choreographer Caleb Teicher with the composer and pianist Conrad Tao for their collaboration “More Forever” (both performances run through Sunday). In the coming week, “The Day,” an anticipated piece by the cellist Maya Beiser, the dancer Wendy Whelan and the choreographer Lucinda Childs, has its premiere; the production, which features music by David Lang, explores memory and resilience (Wednesday through Aug. 4). Also, A.I.M. by Kyle Abraham offers a mixed repertory program, which includes his own works as well as one by Andrea Miller (Wednesday through Aug. 4).
413-243-0745, jacobspillow.org

MADE IN N.Y.C. 2.0: NEXT GENERATION TRADITIONS at Hearst Plaza (July 28, 1 p.m.). As part of its Heritage Sunday series, Lincoln Center Out of Doors presents this free, mixed bill featuring Redobles de Cultura, a collective of three New York City Afro-Puerto Rican bomba practitioners; Sri Lankan Dance Academy of New York, an intergenerational group based in Staten Island; Michael Winograd & the Honorable Mentshn, a Brooklyn klezmer group; and Inkarayku, an Andean band that performs Quechua folk songs and dance music. This presentation highlights the art and culture of first- and second-generation New Yorkers.
212-721-6500, lincolncenter.org

92Y MOBILE DANCE FILM FESTIVAL at the 92nd Street Y (July 27, 4, 5:30 and 7 p.m.). How often have you lost track of time watching dance videos on your smartphone? Here’s an opportunity to see three programs’ worth — 48 films in all — at the 92Y’s second annual festival celebrating works shot on mobile devices. Its international jury considered more than 100 submissions from 14 countries, including Argentina, Cuba, France, Greece and Japan. The selected films include David Fernandez’s “The Clock,” Rebecca Gillespie’s “The French Girl,” and Roma Flowers and Nina Martin’s “Secondary Surfaces Redreamed.”
212-415-5500, 92y.org

YOUNG DANCEMAKERS COMPANY at various locations (July 26, 7 p.m.; July 28 and 31 and Aug. 1, 2 p.m.; July 30, 1 p.m.; through Aug. 3). This dance ensemble, which comprises students from New York City public high schools, continues its 24th annual touring season, taking place at different locations across four boroughs, from the 92nd Street Y in Manhattan on Friday to the Kumble Theater in Brooklyn on Tuesday. Since the end of June, the young dance artists have developed original choreography under the guidance of Alice Teirstein and Jessica Gaynor, as well as the 2019 guest artist John Heginbotham, and now present the end result in these free public showings.
youngdancemakerscompany.org

Artist Now Trending, Music

Missy Elliott: The Legend Returns

The artist, who’s ready to drop long-awaited new music, redefined hip-hop vocally and visually—and lifting up other artists only burnishes her superstar legacy.

This spring, Melissa Arnette Elliott stood before a mass of Berklee College of Music students and faculty in Boston. She requested a moment to gather herself. She closed her eyes and took a deep breath, and tears began to fall freely over her smiling face. She opened her eyes. She began to speak to the graduating class, herself among them, just before being awarded an honorary doctorate.

Dolce & Gabbana orange coat, tweed coat, and plaid pant; Jennifer Fisher earrings; Left hand: David Webb gold leaf ring, Jennifer Fisher gold ring on pinky finger; David Webb rectangular gold-diamond-and-ruby ring (on ring finger), David Webb rectangular gold-diamond-and-ruby ring (on pinky finger); Jennifer Fisher gold cylinder ring and gold tube ring. Iconic Necklace Missy’s Own.

A few days later, I watched Elliott’s speech on YouTube from my living room couch. I scrolled back to when she closed her eyes and counted the seconds until she spoke again. Altogether, there were 20 seconds of what I assumed was silent meditation, perhaps gratitude, in service to a life so successful, it had fashioned itself into this spectacular moment.

Two weeks later, at a recording studio just outside Atlanta, where she’s working on a long-anticipated seventh album, I ask Elliott if she remembers standing there for those 20 seconds. She hadn’t known it had been quite that long. I confirm. I counted to make sure. Her eyelids, painted green and shimmering under the overhead lights, flutter a few times while she thinks about it more.

“I didn’t even realize,” she says. “You know what’s so funny? I wrote a speech and got up there and choked up, and before I knew it, I was like, ‘Oh my God, where’s the paper?’ And it was just crumbled up on the podium.” However, she hadn’t closed her eyes to remember her speech or make a harried backup plan for giving one on the fly. She’s Missy Elliott. She went somewhere else entirely.

“I went to the side of my grandmother’s house where I used to play church. I used to shout and sing all kinds of gospel songs. Ones I had made up, ones that existed in the church…I was at that place.” Elliott considers herself a very spiritual person. For her, “God is real because I went to that place and felt like he had his hands on me from a child.”

READ MORE:https://www.marieclaire.com/celebrity/a28250119/missy-elliott-new-album-2019/?utm_source=pocket-newtab

Artist Now Trending, Cultural Events, DANCE, Editorial, Entertainment, Film Projects, Game Changer

Review: New doc shows how Beyoncé changed Coachella, forever

Beyoncé is extremely private, and only lets you know what she wants you to know, when she wants you to know it — typically, in a surprise post be it on her website or Instagram.
But throughout the years, she’s slightly cracked open her door to reveal parts of her life and personality — apart from what she gives through strong singing and extraordinary dance moves — to help remind us that though she is epic and flawless, she is still mortal.
“HOMECOMING: A film by Beyoncé,” which premiered Wednesday on Netflix, captures the human side of the superstar singer with behind-the-scenes, intimate moments of a mother, wife and artist tirelessly working on what’s already become one of most iconic musical performances of all-time: Beyoncé’s headlining show at the 2018 Coachella Valley Music and Arts Festival.
The performance marked the first time a black woman headlined the famed festival and made Beyoncé just the third woman to score the gig, behind Bjork and Lady Gaga. Beyoncé took on the role seriously — as she does all live performances — giving the audience a rousing, terrific and new show highlighted by a full marching band, majorette dancers, steppers and more that is the norm at historically black colleges and universities (HBCUs).
The film takes it a step further to showcase what was happening to get to the historic moment: you see a mother bouncing back from giving birth to twins via an emergency C-section; an African American woman embracing her family’s history and paying tribute to black college culture and honoring black art; and the world’s No. 1 pop star defying the odds yet again and pushing herself to new heights, creating an even wider space between herself and whoever is No. 2.
Simply put, Beyoncé changed Coachella — forever — and performing after her is like trying to out-ace Serena Williams or dunk better than Michael Jordan: You won’t win.
Woven into the film are audio soundbites from popular figures to help narrate the story: Nina Simone speaks about blackness, Maya Angelou talks about truth, and Tessa Thompson and Danai Gurira explain the importance of seeing people who look like you on large screens.
Beyoncé speaks, too, saying that she dreamed of attending an HBCU, though she explains: “My college was Destiny’s Child.”
She also says the importance of her Coachella performance was to bring “our culture to Coachella” and highlight “everyone that had never seen themselves represented.”


So many people were represented during those performances last April — her stage was packed with about 200 performers, from dancers to singers to band and orchestra players. Beyoncé kicked of the performance dressed like an African queen, walking up the stage as the jazzy, soulful big band sound of New Orleans is played. After letting her dancers and backing band shine, she emerges again, this time dressed down — like a studious, eager, hopeful college student.
The musical direction and song selection flows effortlessly and was purposely crafted to tell a story: the first song is 2003’s “Crazy In Love,” a massively successful No. 1 hit and her first apart from Destiny’s Child. It also was Beyoncé’s first of many collaborations with Jay-Z. But then comes “Freedom,” representing the Beyoncé of today, unconcerned with having a radio or streaming hit, but more focused on the art, and the message.
And her message was loud and clear on “HOMECOMING”: Her performance is a homage to the culturally rich homecoming events held annually at HBCUs, but also showcases Beyoncé’s own homecoming — her return to her roots, and how she’s found a new voice by reinterpreting her music through the lens of black history.
Young, gifted and black, indeed.

“HOMECOMING: A film by Beyoncé,” a Netflix release, is rated TV-MA. Running time: 137 minutes. Four stars out of four.

Artist Now Trending, Community Events, Crime, Cultural Events, Entertainment, Game Changer, HipHop/Rap, music icon

At Nipsey Hussle’s Memorial, Los Angeles Comes Together to Mourn

LOS ANGELES — Thousands of mourners are expected to gather in downtown Los Angeles on Thursday to honor the life of Nipsey Hussle, the Grammy-nominated rapper who was fatally shot last month and whose success and commitment to redeveloping South Los Angeles made him a local hero.

The funeral, billed as a “celebration of life,” will be held at the Staples Center. All tickets for the event, which were free, were claimed online within minutes of being made available earlier this week. The arena’s capacity is 21,000.

Tens of thousands of fans are expected to gather around the venue, where a public memorial for Michael Jackson was hosted in 2009. The two-hour service will begin at 10 a.m. local time and will be followed by a procession from the Staples Center through South Los Angeles.

Hussle, born Ermias Joseph Asghedom, channeled his upbringing and adolescence as a gang member into music that spoke powerfully to many who live in Los Angeles’ most vulnerable neighborhoods. As his star rose in recent years, Hussle brought investments and attention back to the area, earning the adoration of his neighbors and fans.

Though he developed a following far beyond Southern California, his death last week struck a particularly painful chord among residents of the Crenshaw District, where he grew up. His clothing store on Slauson Avenue in South Los Angeles, The Marathon Clothing, had become a potent symbol of local success and black entrepreneurship, a theme he addressed regularly in his music. His fans clung to lyrics that melded familiar rap bombast with exaltations about self-discipline and long-term financial planning, a break from a music culture that often emphasizes flashy spending.

The store transformed into a makeshift memorial on March 31 after Hussle was gunned down there over a “personal dispute,” according to the Los Angeles Police Department. The suspect, Eric Holder, was apprehended by authorities two days after the shooting.

For days outside the store, fans prayed, lit candles and left hand-written letters addressed to Hussle. One of the mourners was Candace Cosey, 32, who remembers him as Ermias from their time attending Hamilton High School together in the early 2000s, a magnet school on the West Side of Los Angeles. She recalled how Hussle would sell mix CDs to her and others at school, and how he later started selling music in the neighborhood out of his trunk.

She came close to tears as she pulled out a picture of him from the high school yearbook. “If you grew up here, you either knew him directly or you knew someone who knew him,” she said.

Even as his career took off, Hussle remained approachable and “big hearted,” she said. As he amassed fame and wealth, he continued living modestly while making investments in businesses in the neighborhood. And he could be very generous. When a colleague passed away several years ago, Ms. Cosey approached Hussle’s team to see if he could help with the funeral expenses. He contributed several thousand dollars, she said.

“He was about uplifting us. He hired people from the neighborhood who wouldn’t have had a job otherwise. He took care of so many people, and he invested in what he believed in, here, because he grew up here,” she said. “We have to keep that work going. It’s what he was about.”

[Read more about the community’s reaction to Hussle’s death.]

Hussle’s death has drawn attention far beyond the Crenshaw District. Celebrities and political leaders across the country have offered their condolences to Hussle’s family and friends. In an interview last week, Mayor Eric Garcetti of Los Angeles praised Hussle’s contributions to South Los Angeles, a community that he acknowledged has been historically overlooked by the city’s political establishment.

Mr. Garcetti said Hussle embodied the very idea of black entrepreneurship, a critical component of lifting the community and its residents.

“He represented redemption and hope. He had come from the world of gangs and gotten out,” he said. “This is a devastating shock to the stomach. He was really ambitious — he wanted to get African Americans into tech, on top of his music game, on top of his businesses.”

“Then to be killed in such a clichéd way, by guns, for a beef in South L.A., it feeds into too many stereotypes,” he said.

Velma Sanders, 60, said she did not listen to Hussle’s music but, as a lifelong resident of South Los Angeles, she felt pride watching his career grow in recent years. His presence, she said, was felt by everyone.

“He would be out here. He showed you that he didn’t fear where he grew up. He was proud of it,” she said. “He was building up this community, giving back to this community. He took that money and instead of buying something luxurious, a big home or whatever, he put it back in his community so these would not be vacant buildings. It’s just beautiful.”

[Read an assessment of Hussle’s music and its place in hip-hop.]

Manuel Pastor, a professor of American studies and ethnicity at the University of Southern California who has researched the demographics and culture of South Los Angeles, said Hussle’s killing “felt like a kick in the stomach.” He described Hussle as “a hometown guy lifting up his hometown.” Nothing illustrated this more, he said, than when Hussle and his girlfriend, the actress Lauren London, posed for a photo shoot in GQ in February at locations around South Los Angeles — not Hollywood, not downtown Los Angeles, not New York.

“This really hit hard. This was a hometown guy who stayed home,” said Mr. Pastor.

Mr. Pastor said Hussle had left the gang life but never rejected the culture of the community. Alienation and the search for identity amid violence and poverty often feed into gang culture, something Hussle spoke about openly.

“He did what many people ask of black celebrities, to come back to their community,” said Najee Ali, an activist in South Los Angeles who knew Hussle. He said the community is accustomed to feeling left behind when one of its own makes it big and finds fame.

“They all leave,” he said. “Hussle was the only one to stay in the community. He believed in the slogan, ‘Don’t move, improve.’ That’s what made him special.”

Hasani Leffall, 35, who knew Hussle, once worked for the rapper’s stepfather at a South Los Angeles restaurant called Bayou Grille. To emphasize the depth of feeling over Hussle’s murder within the black community of Los Angeles, he mentioned the murders of Tupac, Biggie Smalls, even Malcolm X and the Rev. Dr. Martin Luther King Jr.

Even with his fame, money and the support of the community, Hussle couldn’t escape the violence of the streets he rapped about.

Mr. Holder, the suspect in the killing, is an aspiring rapper who knew Hussle when he was younger. Mr. Holder, Mr. Leffall said, “represents a dark side about L.A., and a dark side about just men in L.A., in Crip life. There’s always somebody that just doesn’t like you, doesn’t like the fact that people love you.”

Artist Now Trending, Music, Music Review

Everything You Need to Know About Solange’s New Album When I Get Home
Solange: Photo: Black Planet

As if willed into existence by our collective despair, Solange surprise-released her fourth album, When I Get Home, last night right at the intersection of Black History Month ending and Women’s History Month beginning. Her mind! Like her previous, groundbreaking album A Seat at the Table, Home is a rich tableau of collaboration, black history, and references to her Houston upbringing (the homeward destination implied by the collection’s title), but the album takes even more experimental risks with her sound. Among the mix of artists involved are Gucci Mane, Dev Hynes, Earl Sweatshirt, Cassie and … a viral Atlanta public-access sexpert? Let’s plunge right on in to the world of When I Get Home.

Backstory

It’s not entirely clear how soon after A Seat at the Table Solange broke ground on When I Get Home — she took some time off in 2017 to treat an unspecifiedautonomic disorder — but exactly one year ago, she revealed in a Billboard cover story that she’d been working on new music. She mentioned writing in Laurel Canyon, Topanga Canyon, and Jamaica, and said she was “following” Joni Mitchell for inspiration, sometimes unknowingly: “It has been really wild. The house that I was just recording in [in] Jamaica, I stayed there for four days. And then the last day, the owner was like, ‘You know that mural that’s downstairs in the spare bedroom that the engineer booth is in? Joni Mitchell painted that.”

Later in the year, Solange did another interview for the New York Times’ T magazine, where it was reported that her fourth album would “likely arrive into the world fully formed at some mysterious and unexpected moment, like a meteor cratering into the culture” sometime that fall. “But she will not be rushed,” the piece warned. The album would be “still very much in progress until the very end,” and it remained untitled at the time of publication. “I like to be able to tell the story in 13 different ways, then I like to edit,” she said. Though it was unfinished, Solange knew how it would sound, noting that jazz would be at its core — though not exclusively. She said electronic and hip-hop drum and bass elements would also be present with the intention to make it “bang and make your trunk rattle.”

Once again citing Joni as an influence (for “lessons in balancing a career as a musician with the demands of visual creation”), she named other muses: director Busby Berkeley, dancer and choreographer Diane Madden, and Vegas theater, for inspiration for her new live shows; Missy Elliott, for visuals; and Aaliyah, Sun Ra, Rotary Connection, and Stevie Wonder’s Journey Through the Secret Life of Plants, for sonic cues. The Times wrote, “The record will be warm, she says, fluid and more sensual than her last one.”

Release

Like A Seat at the Table, Solange gave us little time to prepare for When I Get Home, mostly because sharing her art makes her antsy; drawing out the process would only make it worse. (“I have this fear living in my body about releasing work,” she told the Times. “I don’t know any artist that doesn’t feel that before they hit the send button.”) Instead, Solange reemerged on — of all places — BlackPlanet, bringing back from the presumed dead one of the original social-media platforms (predating even Myspace) that was created specifically by and for black people. She launched her own page with lyric excerpts and a dossier of new images, both still and moving, that appear to be pieces of a larger visual project.
They — along with the album’s cover, another striking portrait of Solange — were shot by Max Hirschberger and Alex Marks, creative directed by Cary Fagan, and styled by Kyle Luu and Mecca James-Williams. Images included a pole dancer (Instagram’s @neyon_tree) and scenes from a ranch, with horses and dancers styled in modern cowboy looks. Solange had referenced the latter inspiration in an earlier interview as something she’d recently taken an interest in. “Hundreds and hundreds of people every weekend are getting on horses and trail-riding from Texas to Louisiana,” she told Billboard. “It’s a part of black history you don’t hear about.” She later teased what appears to be a music video on her Instagram, instructing fans to dial the number 281-330-8004 for more clues. It’s the exact same number Mike Jones used in his song “Back Then” (“Mike jones 4 life!” she added in the caption.) She then shared the album’s full 19-song track list, with multiple songs named for geographic locales within Houston. Per her mother, Tina Lawson, it’s a map of Solange’s life: “Binz” (the street where she grew up); “Almeda” (the street where she’d get a shrimp po’boy at There’s No Place Like Nola — or Nolas, for short); “Exit on Scott” (the street where she’d eat fried chicken and beans at Frenchy’s); “Beltway” (take it to get seafood at Pappadeaux); and “S McGregor” (for a “trip down memory lane” on the street where Debbie Allen and Phylicia Rashad’s father lived and “we jogged on the bayou”).

Collaborators

Though Solange undoubtedly sits at the head of her table, there are others who got a chair. When I Get Home is her most experimental work yet, the result of massive group effort between more than a dozen artists who’ve been in Solange’s orbit for some time. The album features guest verses from Gucci Mane (“My Skin My Logo,” on which Solange also tries her hand at rapping) and Playboi Carti (“Almeda”); Cassie and Abra are the lone featured women, with vocals on “Way to the Show” and “Sound of Rain,” respectively. The rest of the album includes repeat production and vocal contributions from her circle of close friends: Dev Hynes, Tyler the Creator, Earl Sweatshirt, The-Dream, Pharrell, French artist Chassol (with whom she’s toured), Panda Bear (a.k.a. Animal Collective’s Noah Lennox), Sampha, and Jamire Williams.

Atlanta producer Metro Boomin is also brought into the mix, with production on “Stay Flo” and vocals on “Almeda.” Gio Escobar, the de facto leader of the “post-genre” New York group Standing on the Corner and a close collaborator of Earl Sweatshirt, has multiple production and composition credits, lending his group’s freewheeling, sample-heavy sound as the album’s connective tissue. The Internet’s Steve Lacy also contributed production, which Solange hinted at when she previously told the Times that the two had been “jamming” together. “He’s like, ‘OK, I got these chords.’ ‘Hey, papa, let’s go!’” she said.

While A Seat at the Table was narrated by New Orleans legend Master P and Solange’s personal legends, her parents, this new album doesn’t have a narrator in that sense. But it is chopped up by interludes and snippets that involve Houston’s finest, specifically focusing on Solange’s heroes of the Third Ward, where she grew up. Most of them are samples, but even rap titan Scarface makes an original one-line special appearance for the interlude “Not Screwed!”

“S Mcgregor”
This first interlude samples a clip from the 1987 TV movie Superstars & Their Moms, where Houston’s own Phylicia Rashad and Debbie Allen recite a poem called “On Status” written by their mother Vivian Ayers-Allen, accompanied by piano: “And now my heart knows no delight. I boarded a train, kissed all goodbye.” The song’s title is a reference to S MacGregor Way in Houston, where the sisters grew up. READ MORE: https://www.vulture.com/2019/03/solanges-when-i-get-home-explainer.html

21 SAVAGE, Artist Now Trending, ICE, Immigration Issues, Legal Issues, Music

21 Savage Says He Didn’t Mind Barely Being Mentioned at the Grammys While In ICE Detainment

Last weekend, fans felt slighted on 21 Savage’s behalf when the Grammys came and went with barely a mention of the double nominee or his detainment by ICE officials over his immigration status. (Producer Ludwig Göransson was the only person to mention 21 Savage by name, and you might not have even spotted Post Malone’s “Free 21 Savage” shirt, as it was under his jacket.)

Last weekend, fans felt slighted on 21 Savage’s behalf when the Grammys came and went with barely a mention of the double nominee or his detainment by ICE officials over his immigration status. (Producer Ludwig Göransson was the only person to mention 21 Savage by name, and you might not have even spotted Post Malone’s “Free 21 Savage” shirt, as it was under his jacket.) Following his release on bond after nine days in custody, the British-born, Atlanta-raised musician says he honestly wasn’t bothered by the fact most of his peers didn’t offer any verbal support. “Nah, I was stressed about getting out,” he tells the New York Times in a new interview. “The Grammys is the Grammys, but when you in jail, the Grammys is nothing.”

“I don’t care what nobody say — everybody in that building who’s connected to this culture, I was on their mind in some type of way,” 21 Savage continues. “That’s all that mattered. They didn’t have to say it ’cause everybody knew it. It was in the air. All the people that was there, they said the words in other places and that matter just as much. All the big artists was vocal about the situation, so I was appreciative.”

Instead, the rapper, who says he became aware he lacked legal status as a teen, “probably like the age when you start to get your driver’s license,” after overstaying his visa, is focused on staying in the country. “My situation is important ’cause I represent poor black Americans and I represent poor immigrant Americans,” he says. “You gotta think about all the millions of people that ain’t 21 Savage that’s in 21 Savage shoes.” He is currently reportedly waiting for an expedited hearing. Oh, and despite how hard you all went, 21 Savage says he even liked your memes about how British he is. Or, at least, he acknowledges them. “Some of them was funny — I ain’t gonna lie,” he jokes. “I was appreciative of that.

READ MORE: https://www.vulture.com/2019/02/21-savage-didnt-mind-grammys-silence-while-detained-by-ice.html