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Inside Spirit of Life’s Star-Studded 50th Anniversary Gala Honoring Lyor Cohen

Lyor Cohen changed my life,” said rapper and Drink Champs host N.O.R.E., speaking to the packed open-air space at Pacific Design Center in Los Angeles on Wednesday night (Oct. 18). 

He was one of many to express appreciation for Cohen throughout the evening, during which industry titans (such as Lucian Grainge, Sylvia Rhone, Jon Platt, Julie Greenwald and more) mingled with hip-hop royalty (such as Jay-Z, Swizz Beatz, Ludacris, Diddy and others). After all, the genre’s 50th anniversary just to happens to coincide with the 50th anniversary of City of Hope‘s philanthropic partnership with the Music, Film and Entertainment Industry (MFEI) — making Cohen, considering his contributions to and impact on hip-hop, as well as his generous spirit and advocacy for accessible and affordable care for all, an ideal recipient of the City of Hope 2023 Spirit of Life Award. 

And though his honor was revealed back in March, the event itself came at an unexpectedly fitting time, as it seemed the entire music industry was waiting to hear from Cohen (the son of Israeli immigrants) on current events unfolding in Israel and Gaza. It seemed that he, too, had been waiting for this moment and platform to share them. 

“With all that’s going on in the world, Lyor, you powered though,” said Evan Lamberg, City of Hope’s MFEI board president. Lamberg also called Cohen – current global head of music at YouTube and Google – “indomitable,” noting his 93-year-old mother was in attendance, among many other members of Cohen’s family.

But before Cohen himself could speak, there was the business of fundraising. Diddy kicked things off, becoming the first to donate at the entry point of $100,000. Dozens followed, ultimately raising over $4.3 million. (Over the course of its 50-year partnership with City of Hope, the MFEI has raised a total of $150 million to cure and prevent cancer, diabetes, HIV/AIDS and other life-threatening diseases.)

Next up was the long-awaited performance, for which the crowd was spoiled with a never-ending parade of hip-hop and R&B greats as DJ Cassidy brought his Pass the Mic Live! franchise to the stage (much of which Jay-Z, seated at the Sony Music table next to Platt, bobbed along to). After Cassidy dedicated the set to Cohen (“an icon behind the scenes”), what followed was a 30-plus-minute jaw-dropping show during which the mic was passed nearly 20 times to artists and groups including: Slick Rick, Kurtis Blow, Big Daddy Kane, MC Serch, Nice ‘N Smooth, EPMD, Redman, Onyx, Warren G, Domino, Musiq Soulchild, Dru Hill, Ja Rule, T.I. with Swizz Beatz and Public Enemy, who ended with an all-star rendition of “Fight the Power.” 

Just before 9:45 (45 minutes after the event’s scheduled end time), Cohen’s congratulatory video started to play, featuring everyone from Busta Rhymes and Slim to Kevin Liles and Julie Greenwald. Chuck D then returned to the stage to introduce Cohen, delivering a particularly memorable opening line: “[Run-]D.M.C. says hip-hop succeeds where religions and governments fail – and that’s ironic at this particular time right now.”

It’s a sentiment that set the tone for Cohen to deliver his own anticipated speech, which began with the sound of a computer glitching as the lights switched off (“Lights!” exclaimed Chuck, to which Lyor motioned all was well… it was all part of the plan). Cohen opted to open with an excerpt of the famous “final speech” delivered by Charlie Chaplin in the 1940 film The Great Dictator, in which he ultimately calls for unity. 

“We came here to help eradicate cancer, but wouldn’t it be great if we could also eradicate hate?” said Cohen once the lights came back on. He spoke of the Oct. 7 Hamas terrorist attack at a music festival in Israel, saying it will never be forgotten and calling for the immediate return of those who were kidnapped and are still being held hostage. “I’m so sorry to hijack this special event to express my feelings as a human,” he said, “just as I express them when injustices happen to anyone targeted because of their race or religion or sexual identity… My heart goes out to all the Palestinian people in the region that have had to endure unnecessary loss of life. I pray for peace – won’t you join me?”

He proceeded to express gratitude for his family, many of whom were in attendance and many of whom, as he said, couldn’t make it “because they are burying Israeli children.” He then thanked the room for “a lifetime of tolerance and kindness and unwavering belief in the mission,” calling out Greenwald (“for always trying to make everyone better with love”), Liles (“you’re a selfless warrior”), Russell Simmons (“thank you for this wonderful life that I live”) and the “great music and great artists that I’ve had the honor of serving.” 

Lastly, Cohen addressed “the additional controversy,” saying “I’m so sick and tired of people thinking that celebrity and fame trumps great music and artistry. We’re in a funky monkey moment but don’t get it twisted, quality will always prevail.” 

LL Cool J then closed out the night (alongside DJ Jazzy Jeff and Adam Blackstone) with a medley of hits including “Mama Said Knock You Out.” Before stepping off stage, he addressed Cohen directly:  “We went through a lot… and it all ended up really great.”

And as the crowd started to shuffle out, he shared one final message – and it perfectly underscored the ethos of the entire night: “Erase the Hate.”

Hipgnosis Songs Fund Launches Strategic Review to Calm Investors’ Nerves

Hipgnosis Songs Fund’s board said on Thursday it was launching a strategic review of changes to its current management team and other options that could maximize shareholder value, as the company braces for a critical continuation vote next week.

Hipgnosis Songs Fund’s (HSF) stock price hit an all-time low earlier this week after scrapping its upcoming shareholder dividend because of an accounting error that resulted in a nearly $12-million downward revision of certain expected streaming royalties.

Shares in the company, which owns the rights to songs performed by Rihanna, Fleetwood Mac, The Pretenders and more, fell by more than 10% on the news, and investor confidence appeared shaky this week, as the the five-year-old music royalty fund prepares for a do-or-die continuation vote on Oct. 26.

“This decision follows extensive engagement over recent weeks with shareholders in light of the forthcoming continuation resolution,” the board said in a statement announcing the strategic review. “These meetings highlighted a continued belief in the company’s portfolio and growth prospects … as well as the need for changes by the company in order to deliver value for shareholders.”

The board said it explored terminating its contract with the fund’s investment advisor, Hipgnosis Song Management, run by HSF founder Merck Mercuriadis, but said it concluded it is not in shareholders’ interest, “as it would be an event of default under the revolving credit facility” if the fund fired its investment advisor before finding a new one who was approved by the HSF’s banks.

The board reiterated its recommendation that shareholders vote in favor of continuing the fund, saying it believes “it is in shareholders’ interest to have a strategic review with the widest array of options for the company to consider and to identify changes that will focus on recovering and delivering improved shareholder value.” The board went on to say it asked its investment advisor to remove a clause in its contract that gives the group overseen by Mercuriadis the right to acquire HSF’s portfolio if its advisory contract is terminated, but that request was declined.

The company’s stock rose about 2.33% to 74.70 British pence ($0.90) as of 10:22 in London.

Continuation votes are required for all publicly traded trusts listed on the London Stock Exchange to provide investors of closed-end funds with an exit strategy.

In addition to a thumbs up or down on continuation next week, HSF investors will also be asked to vote on the sale of 29 catalogs from HSF’s portfolio–including the works of Shakira, Barry Manilow and other artists–to its privately held sister fund Hipgnosis Songs Capital, which is backed by Blackstone.

The board reiterated on Thursday its support for the proposed sale, saying it would use the $440 million in proceeds to reduce the company’s debt and buy back up to $180 million worth of its own stock.

The fund’s board chairman Andrew Sutch announced plans to step down last month, and the board said it has hired an executive search firm to look for his replacement.

The boad also said it also has secured new terms with lenders that put the company back in compliance with its fixed charge cover ratio covenant. The company risked breaching compliance with its lenders over the past week after it was forced to cut expectations for revenue from the U.S. Copyright Royalty Board’s Phonorecords III (CRB III) to $9.9 million, from $21.7 million. 

Ronnie Wood Talks New Rolling Stones Album, Paul McCartney Collaboration and Hints at Tour

The Rolling Stones, we’ve learned over the years, is a juggernaut that simply can’t be stopped.

On Friday (Oct. 20), the rock ‘n’ roll legends drop Hackney Diamonds, the British band’s first new studio album or original material in 18 years.

Collaborators include Lady Gaga, Stevie Wonder, Elton John, former bass player Bill Wyman, and, yes, Paul McCartney, creating a “supergroup” — a “dream team” — that unites arguably the two greatest bands of all time, the Beatles and the Stones.

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Ahead of release, guitarist Ronnie Wood stopped by The Tonight Show Starring Jimmy Kimmel on Thursday (Oct. 19) to give the low-down on the new record, the followup to 2005’s A Bigger Bang.

Wood’s verdict? It rocks.

“I can say it’s about time,” he tells Fallon. “It feels so exciting. Because I’m so excited about every track on it, every track has something to say and a different direction.”

That excitement should spill over to Stones fans, even more so with confirmation that the Stones are preparing for live performances.

“We’ve been doing a little rehearsing to see how these songs translate live,” Wood explains. “And they’re really cooking.”

Hackney Diamonds includes contributions from the band’s late drummer, Charlie Watts, who died August 2021, aged 80, a blow that had many fans wondering if we’d ever see or hear again from the Stones. Wood paused to remember his former bandmate. “Some things are beyond our control,” he recounts. “Losing Charlie was one of those things.”

As previously reported, Gaga and Wonder perform on the song “Sweet Sound of Heaven,” while Elton contributes piano to “Live By the Sword.” The late Watts contributes to two of the songs.

It’s McCartney’s bass work on “Bite My Head Off” that has everyone talking, including the two-time Rock And Roll Hall of Famer.

The song is a ball of energy, reckons Wood, and Paul was “so blown away. He was a bit like a school boy, a kid in a toy shop. He loved it. He said, ‘my dreams, a Beatle gets to play on a Rolling Stones album.’”

Hackney Diamonds is the Rolling Stones’ 24th studio album. “We didn’t want to make just any record and put it out,” frontman Mick Jagger said during a live stream in London last month to present the record. “Before we went in [the studio], we said we had to make a record that we really love ourselves. We must say that we are quite pleased with it. I’m not saying we are big-headed about it, but we’re pleased with it and we hope that you all like it.”

Watch Ronnie Wood’s late night interview below.



‘The Masked Singer’: Royal Hen Is Unmasked on ‘Elton John Night‘

The glitter, feather boas and rainbows came out for “Elton John Night” on Fox‘s The Masked Singer, and for one former sports professional and icon of the LGBTQ community, the end of the line.

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The Rocket Man and his music was everywhere on the night, as Tiki performed Goodbye Yellow Brick Road, Hawk hit “Saturday’s Alright For Fighting,” Husky performed “Bennie and the Jets,” Royal Hen tackled “Philadelphia Freedom,” and, for good measure, judge Robin Thicke performed “Tiny Dancer.”

The two celebrities with the lowest number of votes would enter the knockout. That meant Royal Hen vs. Hawk, on a rendition of “Don’t Go Breaking My Heart” by Elton John and Kiki Dee.

Hawk won the battle of the birds.

Under the Royal Hen mask was Billie Jean King, the tennis legend with 39 Grand Slam titles to her name who is as well remembered for her deeds on the court as those advocacy efforts off it.

King didn’t just perform the song. It’s hers.

Elton and his career-long collaborator Bernie Taupin wrote the song in the early 1970s for King, then a member of the Philadelphia Freedoms professional tennis team.

“You guys are so awesome, thank you so much,” she said after the big reveal.

The experience, on The Masked Singer, yeah “It was great but it was so hot” under that outfit. “I’m sweating bullets”.

King also recounted the moment her friend Elton told her about the song he was writing for her. “If you go to Philadelphia, everyone is still playing it,” she said. “It’s their anthem.”

It was King who, in 1973, lobbied for equal prize money for men and women at the U.S. Open.

Through her work, Flushing Meadows became the first major tournament to offer equal prize money to both sexes. Today, all four Grand Slams offer equal prize money to women and men. King also defeated self-proclaimed chauvinist Bobby Riggs in the so-called “Battle of the Sexes” in 1973, winning in three straight sets.

For her work, King in 2009 received the Presidential Medal of Freedom, the United States’ highest civilian honor, and she’s a recipient of the 1999 Arthur Ashe Courage Award.

King as Royal Hen follow the exit door after Michael Rapaport as Pickle, Tom Sandoval as Diver, Anthony Anderson as Rubber Ducky and Demi Lovato as Anonymouse as season 10’s unmasked celebrities.

Thicke, Nicole Scherzinger, Ken Jeong and Jenny McCarthy return as judges for the latest season, which airs Wednesdays at 8 p.m. on Fox.



TikTok Streaming Service Publicly Launches In Australia, Singapore and Mexico

TikTok has launched TikTok Music, its new premium-only music streaming service, in Australia, Singapore and Mexico. The news arrives just months after the company announced its closed, beta version of the streamer for those three territories in July.

As part of the launch, TikTok Music is adding in new features like Party It (a personalized collaborative listening feature), FYP Tuning (swipable music discovery tool, letting users choose different musical scenes and moods), and Tonik (a music discovery personal assistant that is powered by Open AI’s ChatGPT).

With Tonik, users can search for an artist, track or playlist, ask about concerts and music news, learn about the stories behind the music and more.

The new streaming service has not yet made it to most of the major music markets around the world, including the U.S., but its interest in combining social media savvy with music listening could make it a strong new competitor to the established services like Spotify, Apple and Amazon as it expands worldwide.

Already, TikTok as a social platform has wielded great influence over the incumbent streamers. For example, Spotify announced earlier this year that they would integrate a new vertical, swipe-able discovery feed into their app, sparking comparisons to the short-form video app. Spotify also recently recruited some of TikTok’s most popular music influencers – like Ari Elkins and Dev Lemons – to help popularize its now-defunct live audio app, Spotify Live.

Other new features on the app include:

  • Sync With TikTok: sync your TikTok and TikTok Music accounts to enjoy songs from the social app
  • Play TikTok Hits: Stream the full versions of TikTok viral songs
  • Seamless Music Discovery With TikTok: Record your music discovery journey in TikTok and explore the songs in TikTok Music
  • Discover More Personalized Music: Swipe up and down to explore songs just for you
  • Discover New & Emerging Artists: Find your new favourite artist
  • Find Your Music Community: Express yourself through comments, enjoy behind-the-scenes stories, and connect with like-minded music lovers
  • Sing Along With Real-Time Lyrics: Sing and rap with built-in lyrics that play automatically
    Co-create collaborative Playlists with Friends: Making music better together
  • Import your Music Library: With just one click, import external playlists and play them through TikTok Music
  • Name That Song: identify any song you’re listening to with Song Catch

“We are pleased to publicly launch TikTok Music, a new kind of service that combines the power of music discovery on TikTok with a best-in-class streaming service. TikTok Music will make it easy for people to save, download and share their favourite viral tracks from TikTok,” says Ole Obermann, global head of music business development, TikTok. “We are excited about the opportunities TikTok Music presents for both music fans and artists, and the great potential it has for driving significant value to the music industry.”

YouTube Is Developing an AI Tool to Help Creators Sound Like Famous Musicians

YouTube is planning to roll out a new artificial intelligence tool that will allow creators to make videos using the voices of popular recording artists — but inking deals with record companies to launch the beta version is taking longer than expected, sources tell Billboard.

The new AI tool, which YouTube had hoped to debut at its Made On YouTube event in September, will in beta let a select pool of artists to give permission to a select group of creators to use their voices in videos on the platform. From there, the product could be released broadly to all users with the voices of artists who choose to opt in. YouTube is also looking at those artists to contribute input on that will help steer the company’s AI strategy beyond this, sources say.

The major labels, Universal Music Group, Sony Music Entertainment and Warner Music Group, are still negotiating licensing deals that would cover voice rights for the beta version of the tool, sources say; a wide launch would require separate agreements. As label leaders have made public statements about their commitments to embracing AI in recent months, with UMG CEO Lucian Grainge saying the technology could “amplify human imagination and enrich musical creativity in extraordinary new ways” and WMG CEO Robert Kyncl saying, “You have to embrace the technology, because it’s not like you can put technology in a bottle” — some music executives worry they’ve given up some of their leverage in these initial deals, given that they want to be seen as proponents of progress and not as holding up innovation. Label executives are especially conscious of projecting that image now, having shortsightedly resisted the shift from CDs to downloads two decades ago, which allowed Apple to unbundle the album and sent the music business into years of decline. Some executives say it’s also been challenging to find top artists to participate in the new YouTube tool, with even some of the most forward-thinking acts hesitant to put their voices in the hands of unknown creators who could use them to make statements or sing lyrics they might not like.

The labels, sources say, view the deal as potentially precedent-setting for future AI deals to come — as well as creating a “framework,” as one source put it, for YouTube’s future AI initiatives. The key issues in negotiations are how the AI model is trained and that artists should have the option to opt-in (or out); and how monetization works — are artists paid for the use of their music as an input into the AI model or for the output that’s created using the AI tool? While negotiations are taking time, label sources say YouTube is seen as an important, reliable early partner in this space, based on the platform’s work developing its Content ID system that identifies and monetizes copyrighted materials in user-generated videos.

Publishing, meanwhile, is even more complicated, given that even with a small sampling of artists to launch the tool at beta there could be hundreds of songwriters with credits across their catalogs — which would be sampled by the model. Because of this, a source suggests that YouTube may prefer paying a lump sum licensing fee rather that publishers will need to figure out how to divide among their writers.

As complicated as the deal terms may be, sources say music rights holders are acting in good faith to get a deal done. That’s because there’s a dominant belief this sort of technology is inevitable and if the music business doesn’t come to the table to create licensing deals now, they’ll get left behind. However, one source familiar with the negotiations says this attitude is also putting music companies at a disadvantage because there is less room to drive a hard bargain.

For months, AI-soundalike tools that synthesize vocals to sound like famous artists have been garnering attention and triggering debate. The issue hit the mainstream in April when an anonymous musician calling himself Ghostwriter released a song to streaming services with soundalike versions of Drake and The Weeknd on it that he said were created with artificial intelligence. The song was quickly taken down due to copyright infringement on the recording, not based on the voices’ likenesses, but in the aftermath a month later Billboard reported that the streaming services seemed amenable to requests from the major labels to remove recordings with AI-generated vocals created to sound like popular artists.

In August, YouTube announced a new initiative with UMG artists and producers it called an “AI Music Incubator” that would “explore, experiment and offer feedback on the AI-related musical tools and products,” according to a blog post by Grainge at the time. “Once these tools are launched, the hope is that more artists who want to participate will benefit from and enjoy this creative suite.” That partnership was separate from the licensing negotiations currently taking place and the beta product in development.

On Wednesday, UMG, Concord Music Group, ABKCO and other music publishers filed a lawsuit against AI platform Anthropic PBC for using copyrighted song lyrics to “train” its software. This marked the first major lawsuit in what is expected to be a key legal battle over the future of AI music, and as one source put it a signal that major labels will litigate with AI companies they see as bad players.

Joe Budden Brushes Off JR Writer Calling Him Out

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Camron in Concert with Special Guests Dipset and Kanye West - January 4, 2005

Joe Budden is no longer pursuing his rapping career but his formidable past as a lyricist still follows him as he continues to rise in the podcasting ranks. Via his eponymously named podcast, Joe Budden drew the ire of JR Writer, who returned sharp barbs in the direction of the retired artist turned broadcaster.

On episode 666 of The Joe Budden Podcast during the show’s ending segment “Sleepers” where the cast plays songs people may have missed or need to know about, QueenzFlip chose JR Writer’s track “Presidential” featuring fellow Dipset alum Hell Rell & 40 Cal. Budden, who didn’t enjoy the song, asked QueenFlip to cut off the track along with some choice words.

Writer caught wind of Budden’s jab and posted then deleted an Instagram Stories entry stating, “Joe Budden has never been a better Rapper than me in his life. His music run wasn’t better. His group run wasn’t better. His freestyle wasn’t better. And I rap better than he has ever rapped RIGHT NOW! Stop speaking on me.”

Taking to X, formerly known as Twitter, Writer continued to fire shots at Budden’s rapping ability in a now-deleted post. Budden answered with, “Now JR……. You don’t even believe what you’re typing to me lol.”

JR Writer is more active on the music front than Joe Budden and continues to use social media to push new music with promises of new tunes — no word yet if anything will be aimed at his latest nemesis.

Photo: Getty

Taylor Swift Unveils Live Version of ‘Cruel Summer’ & New Remix ‘For Old Time’s Sake’

Summer isn’t over just yet. Taylor Swift announced Wednesday night (Oct. 18) that the live version of her resurgent Lover single “Cruel Summer” is here, in the same week that The Eras Tour concert film hit theaters.

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“What a truly mind blowing thing you’ve turned The Eras Tour Concert Film into,” Swift wrote on X. “I’ve been watching videos of you guys in the theaters dancing and prancing and recreating choreography, creating inside jokes, casting spells, getting engaged, and just generally creating the exact type of joyful chaos we’re known for [angel emoji] One of my favorite things you’ve done was when you supported Cruel Summer SO much, I ended up starting The Eras Tour show with it.”

She continued of her show opener, “For old times sake, I’m releasing the live audio from the tour so we can all shriek it in the comfort of our homes and cars PLUS a brand new remix by  @LPGiobbi.”

“Cruel Summer” was originally featured on Swift’s 2019 album, Lover, and while it was never an official single, it quickly became a fan-favorite and continues to make waves on TikTok even four years after its release.

Earlier this month, “Cruel Summer” became her sole longest-leading No. 1 on Billboard’s Pop Airplay chart, topping the survey (dated Oct. 7) for an eighth week, beating her seven-week reign with “I Knew You Were Trouble.” in 2013. It’s so far peaked at No. 3 on the Billboard Hot 100.

Listen to “Cruel Summer (Live From Taylor Swift | The Eras Tour)” and the LP Giobbi remix below.





Jharrel Jerome Explains Why He’s Releasing Music ‘Packs’: ‘Album Culture Is a Little Dead’

Jharrel Jerome has been making his way into hip-hop, releasing two EPs this year — Rap Pack and Trip Pack — after working on music for the better part of the past decade. The Moonlight actor sat down for the latest episode of Billboard News to talk about why he’s dropping music in this way, the deeper meaning behind his project and what his future in film looks like.

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“I’ve been writing music for a long time, and I want to prove that with what I release — I’m talking maybe six or seven years of me in the studio creating records I never released. The reason I’m releasing it in packs like this is because I believe album culture is a little dead right now,” he explained of his rollout process. “Instead, I want to dish it out in a way that’s digestible and understandable. For me, I want to make sure at the end of it all, I’m not just an actor-turned-rapper, but that I’m an artist. And I want people to not only see that I’ve been doing it for a long time, but to believe that I’ve been doing it for a long time.”

The EPs are part of a greater project that Jerome is working on titled Someone I’m Not. The actor explained that the title has multiple meanings, pertaining to his career on film, as well as how he’s perceived on the outside. “[The title]’s a play on the profession that I do in my career, embodying something that I’m not and transforming into a character that I have to create, but to me the irony is also how it correlated to my real life as well,” he stated. “My life changed dramatically in the last few years of my life. I’m still trying to adjust … I’m not all the way ready to be [a certain person] to somebody, so here he or she is viewing me as somebody I’m not.”

As for Jerome’s acting career, he is very much interested in keeping himself open to starring in more movies, but is choosing to be selective with what he invests his energy in. “I feel like I got spoiled early by being a part of projects that are culturally so impactful. I think when you receive a chance like that you don’t wanna go back,” he said of his past projects, which includes Full Circle, When They See Us and more. “You don’t wanna do anything less. I would never quit acting; I’m very selective and I want the role to challenge me and I want to be 45 and look at my credits and be like ‘Damn, I was patient and I was willing to do the harder things.’”

Watch Jerome’s full Billboard News interview in the video above.

Jharrel Jerome Explains How He’s Telling His Story Through ‘Rap Pack’ & ‘Trip Pack’ EPs | Billboard News

Jharrel Jerome shares how he’s telling his story through his Rap Pack and Trip Pack EPs as well as through the short films he made for them, his biggest music influences growing up, how he picks his roles for acting projects and more!

Tetris Kelly:
You gonna have to give me that beautiful answer again.

Jharrel Jerome:
I got it word for word. I wrote it down.

Tetris Kelly:
He’s like, “I told you I’m an actor right? That was a monologue I memorized.”

Jharrel Jerome:
Hey, what’s up? I’m Jharrel Jerome, and this is a Billboard News.

Tetris Kelly:
It’s Tetris with Billboard News, and I’m hanging out with Jharrel Jerome, a busy man. How’s it going?

Jharrel Jerome:
I’m good. Thank you for having me.

Tetris Kelly:
Let’s talk about this project, “Someone I’m Not.” That’s a hell of a title. So tell me what it means.

Jharrel Jerome:
For me, the title was as multiple things, it’s very layered. First, I’m an actor. So it’s a play on the profession that I do in my career, embodying somebody that I’m not and transforming into a character that I have to create.

But then, to me, the irony is also how it correlates to my real life as well. My life changed dramatically. In the last few years of my life, I’m still trying to adjust, I’m still trying to get used to certain things and used to certain dynamics. When I step out in the street, somebody might, you know, I might be dressed like this all decked out as someone who might be like, “Yo, that’s that guy from that movie. Oh, let’s, let’s take a picture — let’s do that.” But really, maybe I just got an argument with my mother or something. So I’m not all the way ready to be that figure for somebody and so he is viewing me or he or she is viewing me as someone I’m not.

Watch the full interview above!