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Caitlyn Clark makes her WNBA debut this year, but that’s not all the basketball league is celebrating. SKIMS, the official underwear for the women’s basketball teams, has partnered with the WNBA for its new Fits Everybody campaign, which officially launched Monday (May 13) to align with the 2024 season’s tip-off.
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The new campaign is the first one that spotlights the WNBA, featuring legends and rising stars including Candace Parker, second-overall draft pick Cameron Brink, Dijonai Carrington and All-Stars Kelsey Plum and Skylar Diggins-Smith. Each player models their favorite underwear style in the official campaign video that was posted on Monday via Instagram.
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“As the official underwear partner of the @WNBA, SKIMS is as comfortable as it gets. Just in time for the season tip-off,” the caption says.
Right now you can bundle and save on the WNBA player’s favorite underwear styles and buy three pairs for $36. No promo code is required, the discount will automatically be applied once you add pieces to your cart.
Keep reading to shop the SKIMS x WNBA styles seen on the athletes below.
Fits Everybody Bandeau
$14
$28
50% off
Ditch the wire bra and try this soft bandeau on for size. It’s not only seamless and wire-free for a smoother appearance, it also comes with a little bit of support to keep your chest comfortable whether you’re going for a morning walk or just working at the office.
Fits Everybody Brief
This classic pair of briefs provides comfy coverage using a mid-rise waist and SKIMS’ bestselling soft fabric. It also comes in 16 colors to stock up on (including some limited-edition shades that are quickly selling out).
Everybody Cheeky Brief
These cheeky briefs aim to provide stretch and comfort while forming to your body without digging into your skin. It utilizes the brand’s top-rated fabric that looks to feel like a “second skin” so you can walk around in complete coziness.
Fits Everybody Boy Short
After feeling these boy short’s soft fabric made from the brand’s signature second-skin material, you’ll want to buy one in every color. The design aims to feel as though you’re wearing nothing and uses a fabric that will hold its shape over time.
Fits Everybody Full Brief
With 16 shades to pick from, you can easily stock up on these full briefs if you prefer even more coverage. The style features a “no-cut” finish that aims to prevent any digging in for more comfortable, all-day wear. They’re great for sports too.
SKIMS is no stranger to tapping the shoulders of artists and celebrities as the center of their campaigns. The brand previously used Sabrina Carpenter for a Y2K-themed campaign as well as Usher for their growing men’s collection and Lana Del Rey as the model for its sultry Valentine’s Day campaign.
For Parker, this was the perfect opportunity to continue leaving an everlasting legacy while connecting with new WNBA players.
“I’m thrilled to be included in the first-ever SKIMS WNBA campaign alongside this amazing group of rising stars and all-stars,” she said in a press statement. “As I move onto this next chapter in my life, I hope to leave the game in a better place and continue to be an example of what is possible both on and off the court.”
Whereas for Brink, it was a chance to combine two of her favorite passions.
“My fans know how much I love fashion,” she said in a press release. “SKIMS has been an underwear staple in my wardrobe for years. I’m really grateful to be included in this lineup of players, especially with the greats who I have looked up to for so long. It’s truly a dream come true to be working with a brand that I love so much.”
For more product recommendations, check out our roundups of the best SKIMS dupes, Lululemon dupes and running shorts.
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes. Lululemon has gathered a following of devoted shoppers for its viral Everywhere Bag and flared Nulu pants. Most fans of the […]
Ryan Reynolds knows when not to rock the boat. The IF co-star and Wrexham A.F.C. co-owner popped into The Today Show on Monday morning (May 13) to talk about his role in actor/director John Krasinski’s new animated movie about imaginary friends, as well as to spill some details on one of the most-burning questions in Hollywood: what did he and wife Blake Lively name their fourth child?
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The couple have made a habit of keeping their kids’ faces (and names) out of the public eye, but speaking to Today co-hosts Savannah Guthrie and Hoda Kotb, Reynolds joked that the only person who might know the baby’s name is the world’s biggest pop star. Guthrie practically begged Reynolds to cough up the name, asking him, “Taylor Swift keeps dropping it into lyrics… is the fourth child’s name, the baby’s name, anywhere on the record?”
That record, of course, is Swift’s mega-selling The Tortured Poets Department, and Reynolds — legendary for his desert-dry wit and dead-pan jokes — quickly responded, “We always wait for Taylor to tell us what the child’s name will be. And we’ll say this: we’re still waiting.”
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Teasing that Swift is clearly a prolific writer, Reynolds channeled mock panic as he said, “what are we doing here?”
Jokes aside, Reynolds has good reason to await Swift’s blessing, as the singer previously unveiled her A-list pals’ other three children’s names in the song “Betty” from 2020’s Grammy-winning Folklore album. That song name-checks the couple’s third child in the title, daughter Betty, four-and-a-half, in addition to older sisters Inez, seven-and-a-half and James, nine.
Last year, at a May stop on her Eras Tour in Philadelphia, Swift shouted out the couple’s first-born trio while performing “All Too Well” at Philly’s Lincoln Financial Field. Lively and Reynolds welcomed their fourth in Feb. 2023, but have not discussed the baby’s name to date.
Check out the Today show clip below.
Ryan Reynolds jokes on TODAY about the name of his and Blake Lively’s fourth child: “We always wait for Taylor (Swift) to tell us what the child’s name will be. And, we’ll say this: we’re still waiting.” pic.twitter.com/CimgAjffOM— TODAY (@TODAYshow) May 13, 2024
Snoop Dogg is diversifying his already sprawling media footprint with yet another high-profile TV gig. The Long Beach legend who is slated to make his Olympic debut this summer when he joins the NBC team for nightly reports from the 2024 games in Paris in July will be back on our screens in the fall […]
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Source: Redsummer TV / Tale of the Tape
HipHopWired got to exclusively chat with the director and producer of Tale Of The Tape, a new documentary detailing the creation and history of mixtapes in Hip-Hop culture.
The mixtape is a vital component of Hip-Hop culture, and as Hip-Hop has recently celebrated its 50th year of existence, the history of how mixtapes originated is getting its time in the spotlight thanks to a new documentary. Tale of The Tape is a new film that shows the rise of mixtapes and their impact, with Royce Da 5″9′ narrating the journey.
The film features appearances by DJ Drama, DJ Clue, the late Combat Jack, Kendrick Lamar and J. Cole along with DJ Envy, who serves as a producer. Tale of The Tape is directed by Malik K. Buie, the CEO of the film’s production company Red Summer TV. The veteran Hip-Hop journalist Kim Osorio is also a producer of the film and Red Summer’s chief content officer. The hour-long film gives viewers a look into these artists’ views on mixtapes and how greatly it affected their careers and perspectives.
Hip0Hop Wired had the chance to speak exclusively with Buie and Osorio about their passion for making the film and the journey it took to finish it and have it be part of the culture’s growing archives.
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HHW: So, to get started, I wanted to ask right off, how did the process begin to put this definitive documentary together?
Malik K. Buie: This began many years ago, over 10 years ago, to be honest. I was producing for Rap City and other platforms. Like any Hip-Hop head, mixtapes were an integral part of my youth. As I did a lot of interviews and traveled and documented things I always found that mixtapes were kind of like the common tissue to DJs, artists, everybody who was able to reach any sort of success. Or to be able to reach any sort of crowd. They all had a story of, “This mixtape inspired me, this mixtape influenced me, etc.”
And it’s funny because I remember thinking, “Well, I really want to do something based on mixtapes.” We posted about it the other day, a designer that I used to work with said to me, I remember, we sketched out the logo on a napkin, at work, for ‘Tale of The Tape.’” Again, well over 10 years ago. So that was a big part of why I wanted to do the film, I wanted to honor the DJ, I wanted to tell the story of—we see all these really large mainstream artists, whether it’s Drake, whether it’s Kendrick, whether it’s Nicki, whether it’s Cole, they all achieved their success based off their mixtape. But nobody really knew the story of how these mixtapes started with Brucie B and those guys. And of course, Hip-Hip aficionado Kim Osorio. She knows a lot about the subject, and it just made sense for us to partner up and do what we do.
Kim Osorio: I’m glad that he gave you some context as to when it started because I can’t remember. It’s been such a labor of love and a work in progress. We used to have a column when I worked at The Source called Hip Hop One-on-One. And that was a column where we felt like it was our responsibility to educate as well as you know, entertain. And so I think with this here, what we wanted to do was to make sure—it was a responsibility of ours, right?
Especially with where mixtapes are now, for us to be able to say, “Wait, we love the culture, we love mixtape culture, we want to report on it.” But more importantly, we want to make sure that people understand the history. And we want to document that because these days, you see how quickly everyone is just changing the narrative. So for us there, we were teaming up just as fans really. Mixtapes, because I collected them. I used to think I was a DJ. You know, I’m not gonna talk about my turntables and the mixtapes that I used to make. (Laughs) That was a shameless plug.
To this day, right, one of my favorite things to do is to be a DJ, like build playlists. And if you really know me, a lot of people don’t notice about me. I think I’m a DJ, I had [Technics]1200’s. Everything. If you really know me, you know that I love to sequence music, and I love to build playlists. And I send playlists to people that are close to me. It’s like a love language of mine. Everything with me comes from Hip-Hop, everything. That’s how I was taught how to consume music, through a mixtape. I wanted to pick the songs that I wanted to pick. Even to the point when blend tapes were big, right? We want to take these vocals and put it over this instrumental, we want to hear it the way we want to hear it, in the order that we want to hear it in. That sort of curation of music is something that has always fascinated me. So doing this was a no-brainer because a lot of people, a lot of kids coming up to date even listening to Hip-Hop, they just don’t have the same experience. It’s a whole different game. We have to document ours.
HHW: What were the challenges in making the documentary? I noted how the process was, but what were the challenges that stuck out the most with documenting and telling the story?
Kim Osorio: Trying to be a perfectionist? (Laughs)
Malik: (Laughs) So, one, we’re both perfectionists. Look, this is a Red Summer TV, Buffalo Eight production, we’re pretty much self-funded for a lot of this. And, you know, that’s probably the main challenge. I want to have three cameras, I want to have jibs swinging in when we do these interviews, etc, etc. and the resources said different. We would’ve loved to speak to a few more folk. But sometimes that’s kind of what it is. The plan is, of course, to make this a series moving forward. Me and Kim joke a lot, because there were some things like I will write, she’s like, “Oh, I don’t like that, just throw it in the trash.” And she’d do her version of it. So I have to acquiesce because that’s what it is. But if there’s a certain look, a certain way. I’m gonna be like, “Nah, Kim, this is what I want.“ And so yeah, when starting this out years ago, I honestly thought it would take a year maybe, and we’d be done with it any day. And as the story kept changing for the mixtape DJ, it’s fine. We went right along with it as you can see, with what D’-Nice did with Club Quarantine. It’s a part of mixtape culture and history.
Kim: I think that when I talk about being perfectionists, I feel like anything that we approach, we’re always trying to do our best. But really, the challenge for us becomes just letting it go. Because the execution of producing this, that’s the hard part. We can ideate over it all day. We can talk about the things that we left out in the story, like the interviews that we couldn’t get, that was something even Malik and I went back and forth on for a while. I feel like, for years. We wanted to open up the doc and say, “Okay, let’s get more interviews in” and at a certain point, you just have to say, “No, we’ve got to get it done and get it out.”
So, the creating and putting it together when you know that the story is just so much more than just an hour. Right? You can’t squeeze everything into an hour. So for us, I think it was being able to stop and just say no, like, it’s time to let it go. And we can, you know, do more. Do a part two, and keep going.
HHW: And so, that takes me to my final question. And that is, how do you both feel about being able to have this documentary available as Hip-Hop celebrates 50 years?
Kim: I think we have a duty, now that we’ve reached Hip-Hop 50 to continue to do more of this type of content in these pockets of all of these different facets of Hip-Hop. I jokingly say all the time it’s “Hip-Hop 51” because I don’t want to lose the celebratory feeling that we had last year with everything we did for Hip-Hop 50. We can’t stop telling these stories just because we haven’t reached a milestone number. And I think we saw that with Hip-Hop 50 because we saw how great it was just to be able to celebrate the culture in that way, and to celebrate the history because you don’t get a lot of that. You know, when you said last question, I said, “if he asked about Kendrick and Drake, I’m gonna hang up this phone.” (Laughs) But seriously, when you asked the question about Hip-Hop 50, I felt like that was something that we talked about with Tale of The Tape. We’ve talked about how, “Is this something that we’ve considered as part of Hip-Hop 50 content? And that’s when I say it’s Hip-Hop 51.
Malik: I’m ecstatic that this project is available to the masses. As Kim said, we have a duty to tell our stories and dictate the correct narrative. I had an OG-slash-mentor tell me years ago about filmmaking. He’s like, “Look, you want to leave a legacy with what you’ve created.” And this is part of it to us. 100 years from now, I would love for a student of Hip-Hop to be able to watch this in whatever format, right? To see my name, see Kim’s name and the people that were a part of it. So they can be able to say, “Okay, this is what I’ve learned.” That’s super, super important. I feel extremely blessed to be able to have this out in the universe, extremely fortunate to be able to have partnered up with Kim to tell his story. And it’s here forever, period. I’m good with that.
Tale of The Tape is available to stream on Amazon Prime Video, and Verizon and Spectrum networks.
Dreams came true for three American Idol contestants on Sunday night (May 12), as the remaining contestants travelled to Walt Disney World for the adventure of a lifetime.
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Disney Night was the theme for the penultimate episode of this 22nd season, as the top 5 visited the theme park with mentor Kane Brown.
When the fun was done, Abi Carter, Will Moseley and Jack Blocker were announced as the three finalists, while Triston Harper and Emmy Russell were eliminated.
For their spot in the final, Carter sang “Part of Your World” from The Little Mermaid and “The Chain” from Guardians of the Galaxy Vol. 2; Blocker performed “Nobody’s Fool” from Cars 2 and “Space Oddity” from Indiana Jones and the Dial of Destiny; and Moseley hit “Born To Be Wild” from D3: The Mighty Ducks and “The Ballad of the Lonesome Cowboy” from Toy Story 4.
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Jenifer Lewis and Terence Blanchard joined in on the action with a performance of “Dig A Little Deeper” from The Princess and the Frog, while Katy Perry, Luke Bryan, and Lionel Richie nailed a rendition of “You’ve Got A Friend In Me” from Toy Story.
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Also on the night, The Walt Disney Company used the platform of Idol to announce that new Walt Disney World Resort attraction, Tiana’s Bayou Adventure, will open in Florida on June 28, and Idina Menzel was presented with an award for “Let It Go” from Frozen becoming certified Diamond by the RIAA.
Carter, Moseley and Blocker move into the three-hour grand final, which will feature Rock And Roll Hall of Famer Jon Bon Jovi as guest mentor, along with special performances from Nick Fradiani, New Kids On The Block, Jason Mraz, Hootie And The Blowfish, Cece Winans, James Bay, Wyonna Judd, Seal, Bishop Briggs and Cody Johnson.
American Idol airs live coast-to-coast next Sunday (May 19) at 8:00pm ET/5:00pm PT on ABC, and the next day on Hulu.
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Source: Bernard Smalls / @PhotosByBeanz
Kendrick Lamar’s verbal war with Drake is boosting his streaming catalog numbers and whittling his rival’s own down.
According to reports, the heated battle between Kendrick Lamar and Drake is carrying over to streaming as the former’s catalog is outpacing the other. The battle between Kendrick Lamar and Drake saw Lamar issue four tracks beginning with “Euphoria” which entered the Billboard Hot 100 charts at number 11 and garnered 27.6 million audio demand streams from May 3 to May 6 according to Luminate. “Not Like Us”, the infectious and scathing diss track that’s now become a club anthem, had 21.1 million streams since its debut on May 4, with the incisive “Meet The Grahams” earning 8.8 million streams so far. “6:16 in L.A.”, the second of the tracks, hasn’t hit streaming platforms yet. This also includes Kendrick Lamar taking the number one streaming status in Drake’s home country of Canada, standing at number one on Apple Music’s Top 100 chart as well as Spotify’s Daily Top Songs Canada chart.
Going further, removing the diss tracks only highlights how many listeners are tuning in to hear Kendrick Lamar’s music. During that same four-day period, his discography attained 50.62 million streams, showing a 49% increase from the same period the previous week. In comparison, Drake’s overall catalog streaming numbers took a hit once his response tracks, “Family Matters” and “The Heart Part 6” were removed from the equation – the data shows the streams at 100.7 million from May 3-6 as opposed to 105.9 million from Apr. 26-29. That represents a 4.9% drop.
While Drake can be okay with the fact that his overall streaming numbers still outpace Kendrick Lamar’s with twice as many, the recent hit has reflected a distinct turn against the Toronto superstar. Other streaming numbers that stand out are tied to the rise of “BBL Drizzy,” a song that producer Metro Boomin used for an instrumental to fire back at Drake after the rapper called him out in response to the “Like That” track with Future and Kendrick Lamar that he appeared on. R&B legends Teddy Pendergrass and Al Green also saw an uptick in their streaming numbers as a result of the feud, with the former’s “You’re My Latest, Greatest Inspiration” hit from 1981 saw a boost of 76% in streams from Apr. 26-29 (76,000) to May 3-6 (134,000) due to it being sampled in “Euphoria”. Green’s “What A Wonderful Thing Love Is” from 1972 saw a 283% rise in streams after its usage in “6:16 In L.A.”.
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes. Mary J. Blige’s boot game has always been official, and the Queen of Hip-Hop Soul is finally dropping the boot collaboration […]
For most of her career as a performer, Jinkx Monsoon had to create her own model for success. Whether it was in music, stand-up or especially acting, the acclaimed drag star almost always took a do-it-yourself approach to finding stardom — mostly because opportunities for a transfeminine drag queen were, at best, limited.
“I’ve been screaming it for years: ‘Give drag performers real chances to show what we’re capable of,’” Monsoon tells Billboard over Zoom from her well-appointed New York apartment. “Because for so long, it was just lacking.”
Lately, though, it’s clear that someone was listening to her plea. On Friday (May 10), Monsoon starred in the newest episode of the beloved British sci-fi series Doctor Who. Titled “The Devil’s Chord,” the episode revolves around The Doctor (Ncuti Gatwa) and his companion Ruby Sunday (Millie Gibson) traveling back in time to London 1963, intent on watching The Beatles record their debut album Please Please Me. But when they arrive, something has gone terribly wrong — The Fab Four, along with everyone else in the world, can’t seem to hold a tune.
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Enter Maestro, Monsoon’s malevolent, scene-stealing villain. Described by the performer as existing “somewhere between Greek mythology and Lovecraft,” Maestro introduces themself as an eldritch deity who is the literal embodiment of music itself. Hellbent on hoarding the concept of music for themself to create a symphony out of the ending of the universe, Maestro battles against The Doctor and Sunday using the power of music itself, before being banished by a magic musical chord from younger versions of Paul McCartney and John Lennon.
“This episode is so over the top and so stylized and heightened, that I felt very honored to be invited in — because I did have confidence in my ability to do that,” Monsoon says. “There’s parts of it where it feels like Looney Tunes, which makes a lot of sense to be me because music was such a big part of those cartoons.”
Below, Monsoon chats with Billboard about creating a memorable villain for the show, her starring role as Audrey in the current off-Broadway production of Little Shop of Horrors, and why she hopes her success opens doors for even more trans performers.
Before we get into Doctor Who, I wanted to say congratulations on Little Shop of Horrors! It’s such a great role — what has it been like for you to take on this part?
It’s been strikingly easy! Honestly, I was so anxious about this, and the reason why it’s been easy is because the cast and crew is incredible. They are the best. I was very blessed and lucky to come into a wonderful cast and crew with Chicago, and here I am, again, in another setting where everyone is just happily coming to work to put on a really incredible show. Now that I’ve worked with Corbin [Bleu], I can’t imagine anyone else having been Seymour. James Carpinello and I started our rehearsal process together, so we very much feel like we’re in it together. It’s just been a dream come true.
There was so much anxiety I had about being a transfeminine performer and a drag entertainer coming in to play the female lead and the love interest in a show like this. But no one in the rehearsal process or backstage shared that feeling. Everyone else was so certain that this was going to be a hit, that it was easy to let go of that insecurity. I’ve been in situations where I hide my gender presentation or I don’t enforce my pronouns, because I just don’t want to be that person, I don’t want to be the Norma Rae of everything. But this has been such an affirming experience.
Well, let’s get into your latest role as Maestro in Doctor Who — how did you get involved in this project?
[Showrunner Russell T Davies] came to see this show I did called Together Again, Again, which was written by me and music directed by my music partner Major Scales, where we play ourselves in a dystopian future in our 80’s, and Jinkx has become kind of a monster. Like, full-blown Norma Desmond, but with the brassiness of Rosalind Russell — she’s grand and delusional. Russell came to see that show, and I guess on the walk home he thought, “Jinkx should be Maestro.” Eventually I got the call and he was very forthright, and told me he got the idea from seeing me in that show. That kind of nipped my impostor syndrome in the bud, because my first instinct would have been to say “Oh, my friend is trying to give me a leg up in the business.” But I genuinely felt that Russell trusted me to handle this role.
I know you’ve been a fan of the series for a while — what in particular about the universe of Doctor Who attracted you as a fan?
I have very eclectic taste in television, and I prefer to live in the realm of fantasy. I like things that are over the top, even to the point that I like watching old sitcoms because it’s a very presentational style of acting. But what I love about Doctor Who is that it’s got good writing, good acting, wonderful guest stars, and captivating plotlines that are, of course, larger than life, but that have a purpose and a meaning. This episode, for example, shows us that music — and just artistic expression — is necessary for our survival. Without it, we would go extinct. I love getting to be a part of that message at a time when I hope we’ve realized how essential art is after a pandemic that shut the industry down.
This is a very wild character you’re playing. How would you describe the character of Maestro?
I see Maestro as the embodiment of music, and I see them as a god who would also be interpreted as a demon by many. They are an eternal force that exists in the universe. And when you play a character that is that powerful and has existed for that long, certain things come to mind. First, they create their own rules — we see it in Maestro’s gender expression and pronoun reference. Maestro doesn’t care about human rules and societal standards, because they’re a god. Second, I think characters like that must be really bored. When you’ve been alive for a long, long time, you get bored. So, the genuine excitement of meeting someone like The Doctor who actually gives Maestro run for their money — that’s very, very exciting.
Jinkx Monsoon
Courtesy of BBC Studios
Part of what I loved about your performance was your ability to balance the campy, very arch bits of the character, while also being genuinely scary. What was your approach to finding a balance there?
I like to think about the fact that music can be erratic — Maestro can switch on a dime. And one of the scariest things about a person is when you have no idea what they’re going to do next. And when you have a character like Maestro that’s capable of pretty much anything, but you have no idea what they’re gonna do — that’s terrifying.
When it comes to the campiness, I feel like my whole life has been about studying character actors who make big choices feel natural. I think Bette Midler as Winifred [Sanderson in Hocus Pocus] is a great example — everything’s Shakespearean and over the top, but like, do we get sick of it? No! So, specifically for the acting style for Doctor Who, I brushed up on Michelle Gomez as The Mistress. When she plays a villain, they are nuanced, and I love that she has flipped so many female archetypes on their side. I really wanted to bring that to Maestro.
It’s also refreshing to see a show letting a drag performer have a well-written, interesting role, rather than throwing together a collection of stereotypes to make a character.
Yeah, I was extremely honored to be a part of that. There was some anxiety, though, because I thought, “If I don’t deliver, does that mean there’s not going to be future opportunities?” Luckily, I got welcomed into a beloved, professional, incredible production. I’ve said the words trust and respect over and over, but that’s what it was — they trusted me to play this character, and they respected me enough not to tone me down. They weren’t interested in diluting my performance, all of the direction was to help me refine but not de-queerify things. That was incredible, because trans performers and drag performers before me have made things possible, so that I could take another step forward for the next generation of trans and drag performers to come in behind me. And it feels really exciting to get to pay that forward.
All of this comes amid a string of huge career moments for you — between Doctor Who, Little Shop, your return to Chicago and your upcoming debut solo show at Carnegie Hall. Especially as a drag artist, what does it mean for you to finally be acknowledged and welcomed in these spaces?
There were definitely points in my life where I did not believe in my lifetime that we’d see such progress and representation. And now that we have, I’ll fight tooth and nail to keep it there — I will not let our community be pushed back, because this is beyond my wildest dreams. I was very realistic in my early 20s, and I set attainable goals for myself. Now, I gotta set some new goals.
But I also feel like it’s about godd–n time, because queer people have been the backbone of entertainment this whole time. But for so long, we had to hide that part of us to be in front of the camera, because we were not invited. When we started getting invited, it was very homogenized and was very much for straight audiences. And now, we have reached a point where queer people are writing stories with a queer lens and casting queer performers to tell these stories authentically and genuinely. And that is incredible, but I also know the work that we’ve all put in.
Yes, I won season five a decade ago, and I experienced so many wonderful things because of that. But it was a completely different game back then, and I just grew to accept that we were considered a subsect of the entertainment industry. But then I got fed up with that. And then that’s when Ben and I created the Jinkx and DeLa Holiday Show, and that went to places we never imagined. I started to believe that we all do what we do, we just do it in drag. We’re showing the world that just because we do it in drag doesn’t mean we do it less than anyone else.
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And that’s happening despite what certain right-wing lawmakers have to say on the subject.
They’re a dying breed, I gotta say. They might be loud, but popular opinion is not on their side. I honestly think with every swing they take at the queer community, it’s another nail in their coffin. And I didn’t always feel that way. But I do feel that way now. Our consciousness, our perspective shifting, and these people are getting desperate. When you try to you try to gather everyone against a marginalized group of people hoping that their shared bigotry will rally them behind you, that’s despicable. I can’t think of a lower way of trying to lead your people. I can’t think of a bigger bastardization of the job they were hired to do than trying ostracizing and attacking constituents that they swore to protect. It just sickens me, so I will do everything in my power to fight that.
You mentioned needing to set some new goals — with this windfall of success, what have you not yet accomplished that you want to get to in the near future?
You know, I don’t even know how to answer that these days. Because, honestly, like — I am so happy with the things I’ve gotten to do recently that I just want to do a lot more of it. I’m hoping to do a lot more work on stage, I’m hoping to do more work in front of the camera. I just love when I get to do this, and I want to do a lot more of it. So on my bucket list at the moment is a lot more of the same. I don’t feel like I’ve peaked or plateaued, but I’m not in a rush.
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Spring cleaning isn’t over yet. Tyler the Creator’s luxury brand, Golf le Fleur, will be having a sale on Saturday (May 11).
Select items from the brand will be half off, Tyler posted on X on Friday. Golf le Fleur’s Spring Cleaning Sale launches at 9 a.m. PT/12 p.m. ET.
With over a decade of experience as a designer, Tyler, the Creator brings a refreshing style perspective to the fashion world. The Los Angeles native’s brand features a fusion of streetwear and high fashion pieces, including vibrant graphic tees, footwear, luggage, nail polish, perfume and accessories.
While some of the cheaper items such as the Flower Logo T-Shirts ($85) and LeFluer Converse ($120) could be getting a 50% discount, there’s also a chance that you’ll score deals on some of the higher-priced pieces, maybe even the Sunseeker Letterman Jacket ($1,000) released last month, and the Pearl Cardigan ($595).
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Gold le Fluer coats ($1,050), sweaters ($595), sweater vests ($500), collared shirts ($320) and trousers ($450) hats ($130-$225) and scarves could be on sale as well.
In other Tyler, the Creator news, the rapper will headline Lollapalooza in August alongside SZA, Stray Kids, Hozier, The Killers, Future and Metro Boomin, Blink-182, Melanie Martinez and Skrillex. The lineup will also include Sexxy Red, Reneé Rapp, Victoria Monét, Kehlani, Norah Jones, Kesha, Dominic Fike, CAAMP, Tate McRae, Deftones, Faye Webster, Jungle, Two Door Cinema Club, Killer Mike, Vince Staples, Kevin Abstract and Chappell Roan.
Tickets are available at Seat Geek, Vivid Seats, StubHub, Ticketmaster and Lollapalooza.com.
Click below to shop the Golf le Fluer sale on Saturday at 9 a.m. PT/12 p.m. ET.
