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In addition to a visionary oeuvre melding jazz, electronica, hip-hop and beyond, Flying Lotus has been quietly building a film/TV career over the last decade. For the 2021 anime Yasuke, he not only scored the series but executive produced, providing plot and character concepts for the series. Prior to that, you may have missed his directorial debut, Kuso, a 2017 body horror flick starring Hannibal Buress; hell, even if you saw it, you might not have known he was involved, as the director was credited simply as “Steve” (his real name is Steven Ellison) on the project.
Now, on his second feature-length film, Ash (out now in theaters and eventually on Shudder), he’s fully aligning his artistic pursuits under his Grammy-winning moniker. Flying Lotus is the director, executive producer and composer of Ash – plus, he acts in the film, alongside stars Eiza González and Aaron Paul, as one of the crew members on a blood-soaked mission to set up life on an alien world in a future where earth has become unlivable (hard to imagine, right?). Melding surreal science fiction, slasher, whodunnit and psychological suspense, Ash is a tightly executed thriller that also grapples with some weighty question: Is there a future for humans on other worlds? What happens when you can’t trust your senses? Is it worth sacrificing the truth just to survive?
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The direction is assured and economical when it needs to be while also evoking Kubrick and Nolan in its more disorienting moments. Speaking to Flying Lotus days ahead of the film’s release, it’s strange to learn that the music, of all things, seems to have given FlyLo the most trouble on Ash. In fact, he wrote an entirely different score for the movie that he decided didn’t work, forcing him to start over in the post-production process.
While we may hear parts of that other score eventually (more on that later), the music that does accompany Ash perfectly suits the action, mining the relentless terror of John Carpenter’s music in some scenes, the majesty of Vangelis in others and even the expressive soundscapes of Jean-Michel Jarre.
From learning his post-production “superpower” to the shot from a famous horror movie he cops to lifting, here’s what Flying Lotus had to say about his new project.
Directing a movie is a huge undertaking and accomplishment, so congrats. How did you come to this project?
The people who I worked with on Kuso — that put it out and helped me get distribution for it, XYZ films — they’ve been kind of repping me ever since. We’ve been trying to find a good project to work on — you know, gently. They would send me material and oftentimes it was just not right for me. When this one came around, after I had just done Yasuke, they were like, “Hey, are you interested in this? We’ve been trying to get this thing going for a while.” And I was like, “Guys, how could you not have sent this my way before? It’s totally up my alley!” It’s got all the things that I’m after, and it’s also one of those things where I would also hate to see someone else do it and not do a great job with it. So I got in the mix and just started coming up with some ideas and drawing pictures and throwing them back and forth. They got into it with me and I’m really grateful.
When you signed on for this, was it just a given you would do the score, too?
It was more so like, “Hey, you’re also thinking of doing that, right?” I’m pretty sure people were thinking that was going to happen.
What was it that attracted you to this story? What about the script made you think you had to do this?
It struck me out the gate. It had all the signs that directors talk about. You couldn’t put the script down; you started coming up with images in your mind; and like I said, you just start seeing someone else direct it and not doing a good job with it, and [that idea] frustrates you to the point where you’re like, “You know what? I got to do this.” I love the genre, and I love the idea of doing a film that was a bit more commercial leaning, but where I still have room to experiment and play. It was the perfect thing for me. It’s so hard to make a movie; I wouldn’t just jump on any gig just because it’s an opportunity.
The script is interesting, because when it starts out, you think you have it figured, but as the movie progresses, so much more is unraveled.
Yeah, man, it was a lot of fun. It also reminded me of some of my favorite survival horror games. I think it’ll resonate with all the gamers, hopefully. That’s where I come from with this for sure — a lot of first person-y things and lot of video game references. A lot of people ask me about cinematic references, but I always lean more on games and play a lot of video games when I’m working on a movie: Resident Evil, playing Silent Hill, the old ones, over and over. A lot of the indie horror games, too. I started borrowing more from that world because it felt like a road less traveled.
So the first film you directed was credited to Steve, but this one is credited to Flying Lotus. Why?
I guess it’s just taking ownership of the name. They even asked if I wanted to call it “a film by Steven Ellison” or whatever. And I was just like, “I gotta ride it. I’m Flying Lotus, I’ve been doing this for 20 years, man.” It’s time to just let it be what it is at this point.
As a composer, when did you start coming up with musical ideas for this. While reading the script?
Absolutely, right out the gate. I had this crazy, cosmic concept for the music. It was something I started chipping away at from the very beginning. I really wanted to get this new sound: I was pitching to the producers, I was playing it to people, sharing it. When we got to the edit room, none of it worked. It was a totally different sound than it needed to be. It was music for another movie, basically, that wasn’t the movie that was being presented to me. I learned a huge lesson there. I think if I would have gone along with that original idea it would have still been interesting but would have been very wrong for the movie. I learned to listen to the movie and let the movie show you what it’s supposed to be, and to remember to take that step away from it. I think some people get this vision and they’ll just stick with it to the end. Sometimes you need to be able to adapt to the work that is on the timeline.
What was that other soundtrack like? What sonic reference point would you compare it to?
I really don’t like to talk about it, because I’d still like to do it at some point, but I’ll just say that, as a reference point, I was going to do something more like [Miles Davis’] Bitches Brew. It’d be a little different, but it just didn’t go.
How quickly did you figure out the score that ended up in Ash?
It took a while to figure out, but thankfully, I have a lot of reference points from different films. Right out the gate, we had to throw a temp in the movie, so I was able to play with what I thought it needed to sound like for a little while. And while we were in the edit I would sometimes write a queue for something, because I didn’t want to have the temp in that moment. I did the majority of the work when I was in New Zealand finishing post-production on the movie.
Does it feel like different parts of your brain, the composing, directing, editing?
It is now becoming part of my directing process, because I have more confidence in what I can do in the edit while I’m shooting. The editing part of the process, the post, is honestly where I come to life. As someone who sits in front of Ableton all day, it’s real close, editing a film and doing sound design and all that. It’s right there. That’s my superpower zone, the post.
What is it like to act alongside people you’re also directing?
It’s really nerve-racking. But the beauty of this movie was we all ended up doing our scenes on day one together. In a way, we were all nervous; we all had the jitters and were trying to feel each other out. And that was actually what the scene needed — it was a way for us to start building for the greater movie. To put myself in that position, I was able to empathize better with what the actors are feeling, because I know what it’s like to be on the other side of it.
What was it like directing Aaron Paul? Are you a Breaking Bad fan?
I’m just an Aaron Paul fan. He’s a such a great actor and a great human. He was super, super essential in the process. Just his energy on set and how he would lift the crew and the cast. He’s just an incredible human.
Without giving anything away, I will say there was a particular scene where the score really evoked John Carpenter – that relentless, repetitive, terrifying electronic sound.
That makes me happy. Some of those weird dissonant chords, there’s some of that in there for sure. I was thinking of him so much in the process. One of the movies that I did watch over and over right before production was the original Halloween. I even lifted a shot from that movie — if you’ve seen Halloween, you’ll know the shot. I was trying to get in his spirit toward the end, because he did a lot of his soundtracks alone with very minimal equipment and not a lot of time. When I was in New Zealand, I tried to think like him. I even hit him up: we talked a bit, and he was just so cool, man. He gave me some pointers, we were talking sh-t. But yeah, he was super influential. Vangelis was super inspiring. Akira Yamaoka from the Silent Hill series was super inspiring. I listened to the Cliff Martinez soundtrack from [the 2002] Solaris. I listened to a bunch of Berlin techno, really dark techno. And Angelo Badalamenti, there’s some of him in there.
Speaking of Angelo, you worked with David Lynch on “Fire Is Coming” in 2019. Do you take any particular inspiration from his directing style?
One thing I’ve learned is to be more confident in the unknown and the surreal and how a thing feels versus what a thing means. And not having to always explain a thing or why. Giving people some mysteries to chew on for a little while.
What was the hardest scene to direct?
Dude, my worst day on set was the medbot, the extraction medbot scene. I didn’t know if it was going to work. The whole movie depends on that sequence working out. There was a lot of faith that had to be put into the CG element of it, and we had no time. And that was also the day Aaron was done filming, so he was like, “Alright, that’s the last thing I got, right? I’m out of here.” It was that feeling of, “Oh, Aaron, no, don’t go!” [laughs] Then feeling like, “Dude, I don’t know if we got it with this medbot thing.” But now I have a bit more confidence in the post process and the things that that can be achieved.
Well, it’s tough to direct or act in a scene where CGI makes up a big portion of it.
To be honest, because we’re a small movie, I was just worried that our FX team wouldn’t be able to pull it off in a realistic way. Just because I didn’t know! So I was really, really nervous about that. Had a little freak out, but came back, got it done. But there’s some really great FX stuff there. I was just blown away when I saw that. That’s my favorite stuff that they put together.
And of course, it’s a small budget. But the scene absolutely does work.
It was a lot of love and a lot of support from people who had heard of my music and wanted to try a project that would be a little different. It’s nice to go a little crazy.
New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.
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Jay Wheeler, Girasoles (Dynamic Records/Empire)
“I have lived so much and now I understand the true trophy,” Jay Wheeler declares in the nearly two-minute intro of his latest album Girasoles. If his testament is any indication, the Puerto Rican artist opens up about the new era he’s living both personally and professionally. Home to 15 tracks, including collaborations with Omar Courtz, ROBI and Shantty, Girasoles represents his evolution through the phase of a sunflower: challenges in life (represented by planting a seed), his transformation period (growth), and maturity (a full bloom).
Musically, Wheeler steers away from the romantic reggaetón sound that made him a household name and delves into synth-pop and heartfelt rock ballads laced with dramatic futuristic melodies. Lyrically, he’s vulnerable, at peace, and deeply in love with his mom, his wife Zhamira, and his daughter Aiunii —the three ladies whom he dedicates this album to. Notably, the focus single “Abrázame Fuerte” captures his emotions of becoming a first-time dad. “Never settle and keep working on yourself, show love to others, and continue to evolve despite difficulties, just as sunflowers continue to grow toward the light,” Wheeler expresses in a press statement. “People talk about outcomes, but no one talks about the process of getting there.” — JESSICA ROIZ
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Christian Nodal, “El Amigo” (Sony Music México)
Nodal’s melancholy look at the girl who got away and the guy who got her is both evocative and relatable. A slow ballad in a 6/8 beat, it could very well be a slit-your-wrists ranchera ballad except it trades mariachis for electric guitar and discreet strings for a more contemporary sound, and also features a middle section where Nodal chants/sings to bring the song to more modern territory. Still, what really shines here is the songwriting, courtesy of Edgar Barrera and Keytin at their best with a storyline that has us waiting with bated breath for what will happen next. Together with Nodal’s beautiful, pathos-filled vocals, this is a winner. — LEILA COBO
Danny Ocean x Sech, “Priti” (Atlantic Recording)
Danny Ocean and Sech — Venezuelan and Panamian powerhouses, respectively — have come together for a playful track that perfectly celebrates the arrival of spring. “Priti,” a play on words of “pretty,” merges the infectious rhythms of Caribbean merengue with chill Afrobeats. The song is adorned with heartfelt lyrics that capture the exhilarating sensation of love that comes unexpectedly, evoking the sweet and electrifying feelings of infatuation. As the melodies intertwine with lively instrumentation, “Priti” promises to transport listeners to a sun-soaked paradise. — INGRID FAJARDO
Guaynaa, Cumbia y Amor (Guaynaa Records)
“Time will pass, and fashions come and go/ But let there be no end of cumbia to dance to,” Guaynaa proclaims in the intro to his third full-length, Cumbia y Amor — a vibrant love letter to the art form that has defined countless celebrations across Latin America and beyond. The party ignites instantly with “QNPLC” featuring Tropikal Forever, where the Puerto Rican artist explores cumbia’s transcendence through iconic references and lyrical nods to legends like Colombia’s Toto La Momposina, Chile’s Chico Trujillo, Puerto Rico’s Los Chinchillos del Caribe and the queen of tejano music, Selena.
From Colombia’s shores, where cumbia first blossomed as an Afro-Indigenous creation, to the rebellious synthesizer-powered rhythms of Argentina’s cumbia villera, he traces the genre’s evolution with reverence. He celebrates Mexico’s cumbia sonidera, born of DJs and producers spinning lively beats in the clubs, and Peru’s psychedelic chicha, where cumbia takes on a kaleidoscopic flair.
The album showcases an array of collaborations, each representing different facets of this rich musical tradition. Bronco injects its signature grupera style into the sultry “Matame de A Poquito,” while Ximena Sariñana lends her voice to the irresistibly upbeat “Cosita Guapa.” “Sí A Todo” pulses with a villera edge, and Grupo Ráfaga closes the album with “Como Duele,” a horn-blaring anthem that encapsulates the genre’s communal joy and heartbreak.
Throughout the record, Guaynaa honors the greats who paved the way, name-dropping legends like Los Ángeles Azules, Celso Piña, and more. But beyond the references, Cumbia y Amor is steeped in emotional authenticity — serving as both a swaying, hip-shaking delight and a heartfelt tribute to a genre that unites generations and nations. — ISABELA RAYGOZA
Los Ángeles Azules & Kenia Os, “Una Nada Más” (OCESA Seitrack/Virgin Music Latin)
Los Ángeles Azules continue on their captivating collaboration streak, this time teaming up with Mexican pop star Kenia Os on “Una Nada Más,” which loosely translates to “one more and nothing else.” Produced by Juanjo Martín, Yoby Zúñiga, and Rodolfo Lugo, the sensual cumbia sonidera — powered by weeping accordions, trumpets and percussion — spotlights forbidden love with a chemistry so strong that it goes beyond only one night. “Kenia Os gave us incredible energy,” the Mexican cumbia group expresses in a statement. “We hope her fans, like ours, take out their best dance moves to enjoy this song.” — J.R.
Banda Los Sebastianes & Luis Fonsi, “Sabes Qué Hora Es” (Fonovisa/Universal Music Group)
With the characteristic Sinaloan sound of Banda Los Sebastianes and the soft and undeniably romantic voice of Luis Fonsi, a perfect blend of regional Mexican and pop is achieved. From its first chords, “Sabes Qué Hora Es” is an anthem to love and a feast for the ears. With a rhythmic sound featuring the Mazatlán group’s signature instruments accompanying the heartfelt quality that the Puerto Rican star brings to his performance, the song showcases the best of both worlds, making it a joyful listening experience for anyone, regardless of their musical tastes.
“It’s something no one saw coming, that Banda Los Sebastianes and Luis Fonsi got together to sing a super romantic song with so much feeling and love,” Fonsi says in a statement about the tune written by Diego Bolela and Horacio Palencia. “From the moment we received the song, we thought of him to do it, we sent it to him, and he liked it,” the band adds. “For us, it’s an honor that this has been made possible.” — TERE AGUILERA
Los Amigos Invisibles, “Wiki Wiki” (Gozadera Records/140 DB)
Los Amigos Invisibles continue to expand their long list of catchy grooves with “Wiki Wiki,” a song that fuses Afrobeats with Caribbean rhythms and fun lyrics that invite you to dance. “The music is crazy, the atmosphere gets good/ Out of control, until the sun comes up,” sings vocalist Julio Briceño in Spanish before repeating in the chorus: “Making Wiki Wiki we get freaky, making Wiki Wiki.” “Wiki Wiki is whatever you want it to be: Swirling the whiskey with a finger, shaking the boat when you dance, making arepas with rhythm, or making something delicious with style,” the Venezuelan tropical disco funk band explains in a press release. “It’s also a state of mind, a flow, a term used when the party gets good.” It’s a perfect track to warm up the party this spring. — SIGAL RATNER-ARIAS
Check out more Latin recommendations this week below:
Most people would be floored to be in a room filled with celebrities such as Matt Damon, John Mayer and PinkPantheress, but in their loved-up music video for “Just Us,” Jack Harlow and Doja Cat are far too infatuated with each other to even notice the star power in their company. The visual takes place […]
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Source: Erika Goldring / Getty / Vince Staples
Vince Staples as the Blue or Black Ranger? It could happen if the Hip-Hop star/actor has his way.
For those who didn’t know, Disney+ is rebooting Power Rangers. Vince Staples wants in on the Mighty Morphin action in the upcoming live-action series.
The “Blue Suede” rapper took to X, formerly Twitter, to express his interest in a role, simply writing, “Call me, [on the] dead homies” after learning that Percy Jackson and the Olympians showrunners Jonathan E. Steinberg and Dan Shotz are working on the upcoming project for the streamer.
Staples is no stranger to film and television cameras; he’s had minor roles in Dope and White Men Can’t Jump. He also starred in the first season of Netflix’s The Vince Staples Show, which was renewed for a second season, and he had guest appearances on Abbott Elementary and Insecure, so he would be very comfortable if given the role.
Fans Say He Would Be A Perfect “Cuh” or Black Ranger
Fans have reacted to the idea of Staples possibly becoming a Power Ranger. One person warned him about the “Power Ranger curse” writing in a post on X, “Vince you gon struck with the Power Rangers curse stay far away bro.” Staples responded, “I’ll die for what I believe in n***a.”
Another user shared what looks like an AI-generated image of Staples in the Blue Ranger costume.
Listen, we would love to see it.
Disney+ will be teaming up with Hasbro, who acquired the rights to the iconic franchise in 2018, TheWrap reported. According to the website, Disney and Hasbro’s goal is to “reinvent the franchise for a whole new generation of fans while delighting those who already know and love the world of Power Rangers.”
We shall see if Vince Staples gets a call. Until then, you can see more reactions in the gallery below.
Jason Derulo must face a jury trial over allegations that he improperly failed to credit or pay a co-writer of his chart-topping viral TikTok song “Savage Love,” a federal judge says.
Producer Matthew Spatola sued the singer in 2023, claiming he had been unfairly cut out of the credits and royalties after he made important contributions to Derulo’s hit song, which spent a week atop the Hot 100 in 2020.
Derulo had pushed to have the case dismissed, arguing that Spatola wasn’t entitled to a stake in the copyright just because he was present for a few studio sessions. But in a ruling Thursday, Judge Michael W. Fitzgerald said that question would need to be decided by a jury of his peers.
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“While defendants may have established by undisputed evidence that Derulo controlled the sessions, there are genuine disputes of material fact regarding whether [Spatola] is a joint author,” the judge wrote. “It is for the jury to decide how to weigh the factors.”
The ruling was hardly a slam dunk victory for Spatola, who played guitar during two of the nine sessions that led to “Savage Love.” Judge Fitzgerald repeatedly noted that it was Derulo, not Spatola, who was ultimately in charge of the creative choices behind the song.
“The uncontroverted evidence is that plaintiff made certain contributions—perhaps very important contributions—but that ultimately, Derulo accepted them or rejected them as he saw fit, and plaintiff did not have the same standing,” the judge wrote.
But the judge said creative control was only one part of the legal analysis, and that jurors could potentially by swayed by other factors – like screenshots of an Instagram conversation in which Derulo used the “prayer hands emoji” after Spatola posted about his work on the song.
“A reasonable jury could find that in this post, plaintiff publicly held himself out as a producer of Savage Love and that, instead of disputing the characterization publicly or privately, Derulo let the characterization stand,” the judge said. “Of course, a jury may also find that this is not strong evidence.”
An attorney for Derulo did not immediately return a request for comment on the ruling.
Spatola’s case is hardly the first credit controversy over “Savage Love.” Fully entitled “Savage Love (Laxed – Siren Beat),” the song is a remix of an earlier instrumental called “Laxed (Siren Beat)” – a viral sensation on TikTok that was released by a New Zealand teen using the name Jawsh 685.
According to a report by Variety, Derulo initially engaged in talks about partnering with Jawsh, but later “went rogue” and teased his version in May 2020 before fully reaching any kind of agreement. That move sparked public backlash and private threats of legal action from Sony Music, which had by then signed Jawsh to a record deal.
The situation was seemingly resolved by late June 2020, when the song was formally released with the credits reading “Jawsh 685 x Jason Derulo.” It ultimately spent 31 weeks on the Hot 100, and another remix featuring BTS helped push the song to No. 1 in October 2020.
Spatola, a producer and musician who says he’s worked with Drake, DJ Khaled, Juice WRLD and others, filed his lawsuit in 2023 — claiming he had played a key role in creating the song but hadn’t been properly compensated.
“Derulo … unilaterally released ‘Savage Love,’ without providing any credit whatsoever to Spatola for the work they jointly created together,” his lawyers wrote. “This lawsuit is filed to right that wrong.”
Following Thursday’s decision, those accusations will now be decided by a jury. A trial, expected to run roughly 10 days, is tentatively scheduled for May.
In a statement to Billboard on Friday, Spatola’s attorneys (Thomas Werge of the Werge & Corbin Law Group and Christopher Frost of Frost LLP) praised the ruling and said they “look forward to vindicating Mr. Spatola’s rights” at the upcoming trial.
“For us it represents a resounding rejection of an attempt, through legal maneuvers, to avoid having to face trial for not providing our client with the credit he deserves,” the lawyers said. “The ruling acknowledges that the evidence supports Mr. Spatola’s claim of joint ownership, which will now be heard by a jury.”
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It’s time to acknowledge what has become painfully obvious: Kanye West’s legacy has imploded.
For years, we have watched his erratic descent play out in real time—his social media meltdowns, his desperate cries for attention, and his shameless alignment with the very people who spit in his mother’s face. But his latest unhinged rants on X, coupled with his long-standing pattern of disrespect toward the Black community, make it clear: this isn’t just an evolution. This is a self-inflicted catastrophe.
The tragic irony is that Kanye’s mother, Dr. Donda West, was a beacon of Black excellence. A scholar, an educator, and a woman who championed the very people her son now tramples over for sport. And yet, here he is, a man who once rapped about systemic oppression and Black empowerment, now reduced to begging for the approval of those who openly despise him. This is beyond a fall from grace—it’s a betrayal.
Kanye’s downward spiral became glaringly obvious in 2018 when he proudly declared his love for Donald Trump, paraded around in a MAGA hat, and told a room full of people at TMZ that slavery was a choice. That moment wasn’t just ignorant—it was dangerous. It was a direct slap in the face to the ancestors who endured unimaginable horrors so he could stand there and spew nonsense. And that was just the beginning.
That same year, he aligned himself with Candace Owens, a woman whose entire brand revolves around attacking the Black community while pandering to white conservatives. His obsession with acceptance from the people who mock him has led him to irrelevance and ridicule. From the “White Lives Matter” shirts to his latest delusional rants, Kanye has proven time and time again that he’s willing to sell out his people for attention.
His latest antics on X only further prove that his desperation knows no bounds. Attacking Black culture while simultaneously trying to weaponize his “Black children” narrative is the epitome of hypocrisy. One moment, he’s disrespecting the community that built him publicly; the next, he’s trying to rally us behind his personal drama. Kanye doesn’t love Black people—he only loves attention. And the sad reality? The world has stopped paying attention.
But perhaps the most unsettling part of this spectacle is not just his behavior but what it represents. Mental health advocate Bassey Ikpi once pointed out that mental illness is not always soft or sympathetic. It can be messy, unlikable, and even impossible to feel compassion for. Kanye is the embodiment of that truth. He is a man whose internal self-loathing has become an inescapable reality, projected outward for millions to witness. And yet, his wealth and fame ensure that no one can truly intervene. He will never hit the rock bottom that forces reflection. There will always be enablers, people willing to stand next to him for proximity to power.
What we are witnessing now is not just another controversial moment, another Kanye meltdown. As Ikpi describes, Kanye is a man orchestrating his own destruction in the most public way possible. He is ensuring that there is no path back, no redemption arc. It is not about whether what he says is right or wrong. It’s about the fact that he has created an environment where his self-hatred is reflected back at him by millions. And that, tragically, may be exactly what he wants.
This does not excuse him. Mental illness, no matter how severe, does not absolve a person of accountability. Kanye has actively harmed the very people who once uplifted him. He has turned his back on his culture, trading dignity for fleeting attention. But it does force us to consider the weight of what we are witnessing. We are not just watching a career implode; we are watching a man sever all ties to redemption, perhaps permanently.
For years, Black culture gave Kanye grace, excusing his missteps under the guise of artistic genius, mental health struggles, or simply misguided rebellion. But enough is enough. His latest spiral has shown us who he truly is—a man so addicted to fame that he willingly torches his community for a few headlines.
So goodbye, Mr. West. Whether by choice or circumstance, the culture doesn’t need you anymore.
Save this storySaveSave this storySaveFiona Apple is one of several featured artists on the Waterboys’ new album, and her contribution to the record is out today. After covering the band’s calling-card anthem, “The Whole of the Moon,” back in 2019, Apple gets her hands on a tailor-made composition by the band’s frontperson, Mike Scott, in “Letter From An Unknown Girlfriend.” Check it out below.The song’s parent album, Life, Death And Dennis Hopper, also features Bruce Springsteen and Steve Earle, among others. As the title suggests, it is a concept album about the late actor, and it arrives April 4. Apple has dipped in and out of the studio since Fetch the Bolt Cutters, her latest releases being an Iron & Wine duet and a cover of Don Heffington’s “Lately.”Read Mark Richardson’s recent Sunday Review of the Waterboys’ 1985 landmark, This Is the Sea.
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Source: Kendrick Sampson / Kendrick Sampson
Many people recognize Kendrick Sampson, 37, as a talented, charismatic TV and film actor—with leading roles in Issa Rae’s cultural phenomenon Insecure, and 2022’s meet-cute romcom, Something from Tiffany’s, among others. But alongside and intertwined with building a prolific career in Hollywood, the multi-hyphenate entertainer is building something else: Black Power.
Source: @LuvByDre / De’Andre Silas
Through his organization BLD PWR, Kendrick Sampson is laying the foundation for a movement that centers joy, art, pleasure, and creativity—all Black birthrights to claim—while also walking through the fire this time.
“I started BLD PWR to give radical changemakers a place to belong—building solid, grounded relationships between grassroots movements and the entertainment industry,” Sampson tells CASSIUSLife in an exclusive interview. “We wanted to create a safe space where we could navigate the messiness of community-building, work through our differences, and create new art and pop culture movements that support true freedom and health.”
“BLD PWR is for the misfits like me,” Sampson continues. “The ones who want to change the world and are willing to get our hands dirty, make mistakes, and do the real work needed to create beautiful art that shifts culture toward the healthiest and freest version of our story.”
Yes, there is power in the wells of revolutionary storytelling and radical truth-telling—a people power rooted in Black freedom and liberation. Movement elders often teach us that if we allow the machinations of white supremacy to steal our joy, what beloved poet and ancestor Amiri Baraka calls in Wise I our “oom boom ba boom,” then they’ve already won. If we buy into the narrative that Black bodies, steeped in generations of trauma, only have the right to bleed, not dance, then our enemies have won. If we fall victim to the lie that we can only use our voices to wail in grief, not sing, then our enemies have already won.
As this capitalist system cracks and splinters, fault lines exposing themselves before it all comes tumbling down, it will be the misfits, the time-travelers, who reach into the past to see the future. It will be the artists and teachers, dancers and musicians, healers and apothecaries, poets and storytellers, who will remind us that a new world is not only possible but that it already is and already was.
“Storytelling, like civilization, originated as an Indigenous practice in Africa,” says Sampson. “Story is at the core of community-building—it’s how we build civilization, culture, and belonging. The more control we have over our story, the more control we have over our health.”
“Hollywood has done an effective job convincing us that storytelling and art are ‘just for entertainment,’ but stories shape movements, shift perspectives, and inspire change,” he continues. “That’s why people manipulate and twist narratives—it’s a tool of control. Abusive systems use stories to justify harm and maintain power.”
BLD PWR disrupts that narrative by not only making the connections plain but also by providing insights into the film industry that can shape movement building.
“At BLD PWR, we recognize that everything needed to build a film is the same thing needed to build a healthy community,” Sampson explains. “Think about it—storytelling requires:
• Carpenters
• Medical staff
• Consultants
• Legal teams
• Food & water services
• Educators
• Housing & infrastructure
• Electrical & tech crews
• Transportation
• Performers, artists, and camera operators
• Managers, government support, payroll, and community organizers
“It’s literally community-building.”
Sampson went on to say, “Some films require thousands of people to come together to bring a vision to life. That’s not different from activism. I used to think that acting and organizing were separate, but they’re not—they’re the same thing. Storytelling is activism. For so long, I was told ‘It’s just acting’—but it’s never just acting. Stories are powerful, and those who claim they aren’t are the same people using stories to manipulate, control, and shape minds. They just don’t want you to tell the truth because it messes up their game.”
So, what do we do about it?
“More than ever, we must reclaim our stories—protect them, heal them, and nourish them,” Sampson says fiercely. “Right now, we’re seeing book bans, attacks on Black history, and AI being weaponized to rewrite truth. Social media is controlled by some of the most disconnected, dishonest, and abusive people, making it even more critical to get back to the basics: talking to each other, passing down truth, and keeping our stories alive.”
ONE TIME FOR THE BIRTHDAY BOY
Source: @LuvByDre / De’Andre Silas
If there’s one thing Sampson is going to do—besides pursue justice with a passion—that’s party with a purpose. A favorite son of Houston, Texas, specifically Missouri City, he’s made it his mission to strengthen the bonds of human connection and community by curating spaces where Black folks can be free to find our rhythm in systems that try to bury us.
To that end, each year, he uses his birthday celebration, “Who All Gon’ Be There”—because Black folks have to know before we even think about planning to leave the house—to pour back into the communities that raised him in H-Town, Mo City, and LA. He also makes certain that it’s a guaranteed back-bone twisting, hip-shaking, soul-stirring, line-dancing, solo cup sipping, Black ass good time.
“‘Our joy is resistance’ has become like a slogan—but it’s not a slogan, a talking point, or a self-help tip,” Sampson tells CASSIUS. “We are in a war for our stories, our freedom, and our people’s futures. America has always functioned as an occupying force—a settler-colonial system designed to keep us controlled through false narratives.
“But joy is a war strategy. It’s our North Star—a reminder of what we deserve, what we fight for, and the world we want to create. People get so caught up in what liberation will look like, but you can feel liberation right now through joy. That’s why the systems we fight against try so hard to strip joy away.”
Years before WAGBT grew into a major annual fundraiser for BLD PWR, Sampson envisioned what it could be.
“When I was 18 years old, I moved to LA alone. I prayed for Black mentors in entertainment, and for a long time, I thought I didn’t have them—but I did. Just not in the way I expected,” he says.
“I met Ben Guillory, who co-founded Robey Theatre Company with Danny Glover, Sampson said. “They led me to the legacy of Paul Robeson, one of my greatest inspirations to this day. Through them, I learned about Toussaint L’Ouverture, the resistance leader of the Haitian Revolution, and why Hollywood actively fights to erase figures like him from our stories.
Sampson added, “I met Richard Lyons, an acting coach who forced me to read The Autobiography of Malcolm X and reenact a scene from Spike Lee’s Malcolm X film. I met Nate Parker, who was developing a short film about Nat Turner at the time. So those became my Black mentors: Paul Robeson, Toussaint L’Ouverture, Nat Turner, and Malcolm X.
“At the same time,” Sampson recalls, “I met Pastor Frank Wilson from Fifth Ward, Texas, who taught me about giving back on birthdays. My first Christmas in LA, he took us to serve at a shelter for unhoused people in the community. I’ll never forget what he said: “How would you like it if someone came to your birthday party and asked for gifts? Well, that’s what people do to Jesus every year—say they’re celebrating his birthday but only asking for things for themselves.”
“That moment transformed my thinking. I left that shelter feeling more whole than ever—rooted, aligned, and connected to something bigger than myself. From that point on, I dedicated my birthday to giving back. What started as small gatherings at shelters grew into an annual tradition—first with foster youth, then assisted living communities, and now full-fledged community fundraisers,” Sampson concludes.
WHO ALL GON’ BE THERE?
Source: @LuvByDre / De’Andre Silas
If you are not familiar with The Session, a monthly R&B jam session in Houston created by the visionary Isaiah Parks, then please rectify that immediately. The live music scene in the city is already second to none, with supernovas like Marium Echo holding court several nights a week in front of mesmerized audiences. What Parks has done, though, is take that intoxicating, vibrant, sexy feeling one gets at the hole-in-the-wall and elevate it into the stratosphere.
By bringing together sangers like Desz, who has a voice that transports listeners to another dimension with its otherworldly power and beauty; Patrice Dominique, whose raspy growl and pitch-perfect tone reaches deep into your heart and your memories with each note; Spud Howard, king of the jukebox, who will one day be mentioned in the same breath as Johnnie Taylor, and Kirk Richmond, whose buttery rich vocals conjure tears and smiles on demand, Parks has created something sacred. The Session is a place of healing, joy, love, laughter, and community. It makes sense, then, that Sampson and Parks have partnered to bring Who All Gon’ Be There (WAGBT) x The Session R&B Jam from the Third Coast to the West Coast.
On March 9, at Axelrad Beer Garden in Houston, Sampson was joined not only by his community, friends, and family but also by his chosen family, including hometown hero and Hip-Hop luminary, Trae the Truth; Issa Rae, who toasted him with her very own Viarae Prosecco; Carl Payne, who was in town directing Je’Caryous Johnson’s Games Women Play; and Amber Riley, who sang a stunning rendition of Lauryn Hill’s “Ex-Factor.”
Source: @LuvByDre / De’Andre Silas
Now, this Sunday, March 23, Who All Gon’ Be There (WAGBT) x The Session R&B Jam touches down in Los Angeles, bringing that sticky, sweet southern heat to the City of Angels.
Lucille Clifton teaches us that we must “celebrate that every day something has tried to kill us and has failed.” Yes, we are living in occupied territory surrounded by people terrified and envious of Black brilliance, power, beauty, ingenuity, creativity, and joy. But they did not create our joy, so it will never be theirs to destroy.
And believing, living, breathing, sharing, and fighting for that truth, collectively and internally? That’s how we build power.
“When we lean into joy, it’s a release, a reminder, and a reunion with our freest selves,” Sampson teaches us. “It’s about building spaces where we can breathe, laugh, and celebrate our power—not just spaces of struggle. That’s what WAGBT is about.”
To support BLD PWR, donate directly at www.bldpwr.com/donate.
This support helps fund:
• Community organizing initiatives
• Programs for Black storytellers and filmmakers
• Grassroots movement-building
• Activism, education, and leadership development
Your contributions fuel real change, ensuring that art, storytelling, and activism remain powerful tools for liberation.
1. Kendrick Sampson BDay Party R&BJams with The Session 4
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 4 birthday,houston,kendrick sampson,bld pwr
2. Kendrick Sampson BDay Party R&BJams with The Session 5
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 5 birthday,houston,kendrick sampson,bld pwr
3. Kendrick Sampson BDay Party R&BJams with The Session 7
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 7 birthday,houston,kendrick sampson,bld pwr
4. Kendrick Sampson BDay Party R&BJams with The Session 8
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 8 birthday,houston,kendrick sampson,bld pwr
5. Kendrick Sampson BDay Party R&BJams with The Session 9
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 9 birthday,houston,kendrick sampson,bld pwr
6. Kendrick Sampson BDay Party R&BJams with The Session 17
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 17 birthday,houston,kendrick sampson,bld pwr
7. Kendrick Sampson BDay Party R&BJams with The Session 16
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 16 birthday,houston,kendrick sampson,bld pwr
8. Kendrick Sampson BDay Party R&BJams with The Session 6
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 6 birthday,houston,kendrick sampson,bld pwr
9. Kendrick Sampson BDay Party R&BJams with The Session 15
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 15 birthday,houston,kendrick sampson,bld pwr
10. Kendrick Sampson BDay Party R&BJams with The Session 14
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 14 birthday,houston,kendrick sampson,bld pwr
11. Kendrick Sampson BDay Party R&BJams with The Session 11
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 11 birthday,houston,kendrick sampson,bld pwr
12. Kendrick Sampson BDay Party R&BJams with The Session 12
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 12 birthday,houston,kendrick sampson,bld pwr
13. Kendrick Sampson BDay Party R&BJams with The Session 4
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 4 birthday,houston,kendrick sampson,bld pwr
14. Kendrick Sampson BDay Party R&BJams with The Session 22
Source:Semetra Samuel
Kendrick Sampson BDay Party R&BJams with The Session 22 birthday,houston,kendrick sampson,bld pwr
15. Kendrick Sampson BDay Party R&BJams with The Session 29
Source:Semetra Samuel
Kendrick Sampson BDay Party R&BJams with The Session 29 birthday,houston,kendrick sampson,bld pwr
16. Kendrick Sampson BDay Party R&BJams with The Session 23
Source:other
Kendrick Sampson BDay Party R&BJams with The Session 23 birthday,houston,kendrick sampson,bld pwr
17. Kendrick Sampson BDay Party R&BJams with The Session 24
Source:Semetra Samuel
Kendrick Sampson BDay Party R&BJams with The Session 24 birthday,houston,kendrick sampson,bld pwr
18. Kendrick Sampson BDay Party R&BJams with The Session 25
Source:Semetra Samuel
Kendrick Sampson BDay Party R&BJams with The Session 25 birthday,houston,kendrick sampson,bld pwr
19. Kendrick Sampson BDay Party R&BJams with The Session 26
Source:Semetra Samuel
Kendrick Sampson BDay Party R&BJams with The Session 26 birthday,houston,kendrick sampson,bld pwr
20. Kendrick Sampson BDay Party R&BJams with The Session 27
Source:Semetra Samuel
Kendrick Sampson BDay Party R&BJams with The Session 27 birthday,houston,kendrick sampson,bld pwr
21. Kendrick Sampson BDay Party R&BJams with The Session 28
Source:Semetra Samuel
Kendrick Sampson BDay Party R&BJams with The Session 28 birthday,houston,kendrick sampson,bld pwr
22. Kendrick Sampson BDay Party R&BJams with The Session 30
Source:Semetra Samuel
Kendrick Sampson BDay Party R&BJams with The Session 30 birthday,houston,kendrick sampson,bld pwr
23. Kendrick Sampson BDay Party R&BJams with The Session 20
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 20 birthday,houston,kendrick sampson,bld pwr
24. Kendrick Sampson BDay Party R&BJams with The Session 21
Source:Semetra Samuel
Kendrick Sampson BDay Party R&BJams with The Session 21 birthday,houston,kendrick sampson,bld pwr
25. Kendrick Sampson BDay Party R&BJams with The Session 18
Source:De’Andre Silas
Kendrick Sampson BDay Party R&BJams with The Session 18 birthday,houston,kendrick sampson,bld pwr
Balu Brigada’s first song on a Billboard chart is a No. 1, as “So Cold” rises to the top of the March 29-dated Alternative Airplay survey.
“So Cold” debuted on the list in October, marking the New Zealand act’s first appearance on any Billboard ranking.
Balu Brigada is signed to ARRO, an imprint co-founded by Twenty One Pilots’ Tyler Joseph and the Ohio duo’s manager, Chris Woltman, through a joint venture with Atlantic Records. Balu Brigada is currently opening for Twenty One Pilots on tour.
“So Cold” marks the third song to top Alternative Airplay in 2025 by an act scoring a first No. 1 on the chart. It follows Justice and Tame Impala’s “Neverender” (the first ruler for both) earlier in March and Almost Monday’s “Can’t Slow Down” in February. Of those, Justice also led with its first Alternative Airplay entry, like Balu Brigada.
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That said, since Justice had made multiple Billboard lists prior to the success of “Neverender,” Balu Brigada is the first act to hit No. 1 on Alternative Airplay with a first charted song overall since Dexter and the Moonrocks, whose “Sad in Carolina” led for eight weeks beginning in December.
Concurrently, “So Cold” bullets at No. 9, after reaching No. 7, on the all-rock-format, audience-based Rock & Alternative Airplay chart with 3.2 million audience impressions earned in the week ending March 20, according to Luminate.
Trending on Billboard
“So Cold” is currently a stand-alone single. Balu Brigada released another track, “The Question,” earlier this year.
All Billboard charts dated March 29 will update Tuesday, March 25, on Billboard.com.
Save this storySaveSave this storySaveKim Gordon and Kim Deal were on the second episode of John Mulaney’s new Netflix show, Everybody’s Live With John Mulaney, where they performed their 1995 Sonic Youth collaboration “Little Trouble Girl” live for the first time ever. Gordon and Deal also played live versions of their respective solo music: Gordon did “Bye Bye,” from last year’s The Collective, and Deal performed “Nobody Loves You More,” the title track from her debut solo album. Watch the performance—which St. Vincent apparently loved—below.Kim Deal is currently touring behind Nobody Loves You More. Last year, Kim Gordon received her first-ever Grammy nominations when The Collective got a nod for Best Alternative Music Album and “Bye Bye” was nominated in the Best Alternative Music Performance. Both trophies ultimately went to St. Vincent.Everybody’s Live With John Mulaney is an offshoot of the comedian’s 2024 Netflix special Everybody’s in LA. The loose talk show format features Richard Kind as Mulaney’s announcer, celebrity guests, experts on various industries, and musical performances. The program’s most recent episode also featured appearances from Ben Stiller, Nick Kroll, Quinta Brunson, and more.