After seven seasons on Orange Is the New Black, Danielle Brooks is spending part of her summer doing Shakespeare in the Park, primarily because she never thought she’d get asked to do it. “I had an offer to do a movie I was excited about, but then I got this offer, a direct offer, to play Beatrice,” Brooks said, discussing her role as one of the two sparring lovers in the Public Theater’s forthcoming production of Much Ado About Nothing. “I started thinking, What do I want? What would I be proud of on my résumé? and for me Beatrice was that.” Beatrice has more often been played by thin white women (Emma Thompson on film, Lily Rabe recently in the park), and Brooks would be the first black Beatrice she had ever seen onstage, as well as the first black Beatrice to play the Delacorte Theater. “To me, getting to play this part is opening doors to young black women that look like me or even relate to me,” Brooks said, “so that was a no-brainer.”
Brooks trained at Juilliard and had a few smaller roles in Shakespeare productions there, but this is her first professional Shakespeare. She’s joined by an all-black cast, including fellow Juilliard grad Grantham Coleman as Benedict, and led by director Kenny Leon. Vulture caught up with Brooks to talk about this production’s contemporary take on the material, how she’s preparing to master Beatrice’s dialogue, and what other roles she’d like to play soon.
I know that this is a version of Much Ado About Nothing set roughly in the present with an all-black cast. Tell me about how you’re all approaching the material.
It is an all-black cast, but I didn’t know that coming into it! I was just excited to play Beatrice. [Laughs.] It’s a modern version; it is set in 2020. It is set in Atlanta, Georgia. There’s a possibility that we can have a huge sign in front of our lot that says Stacey Abrams.
That vibe really aligns in a way, because this play is about wit, and being from the South, people from the South are really witty and they know how to throw shade. These characters know how to do that with their language. There are bits or war and bits of religion, and all of those things are in the fabric that makes up the South. There is going to be dancing, and singing, and just a beautiful array of what makes us us, what makes black people beautiful beings. Let’s not forget that this country was built on the backs of slaves, of black people. I think that we found a creative way of celebrating that this is our country when we’re in the Trump era. When we’re in an era where people don’t want to us be.
Even though Much Ado About Nothing is a comedy, it takes place with all the men coming back from war. There’s a lot of darkness to it, which tracks with that setting.
I think it’s a dramedy. Beatrice says, “Kill Claudio.” There is war, and it talks about war. It is definitely a dramedy to me.
Grantham Coleman, your Benedict, was also at Juilliard. Did you know each other then?
We definitely knew each other in college. He was one year underneath me. I was in group 40 and he was in group 49. There’s another young guy, Jeremie Harris, who was in Grantham’s class. He is playing Claudio, the other male lead. It is just a big reunion, and it is really awesome working with Grantham. I think he is a phenomenal actor, he brings such a freshness to this character, and he works hard. I just think it is really cool to work with people who already speak a similar language.
This is your first time doing Shakespeare professionally, what’s it like to go into that?
I think Shakespeare — if people took some time and got out of this boring-ass, like 1600s, Elizabethan bullshit and modernized it, it’s so relatable. It’s exciting to get to take this language and embody it the way Danielle sees it, of course under the leadership of Kenny. To me, when I remember being in school, and we would do scenes, I remember there was one character where I would have to cross-dress because, you know, Shakespeare loves to cross-dress. I remember taking a new spin on it. I made my character a pimp-daddy type, like cross-dressing woman, and it was just so much fun to have a new version of what I have always been seeing, or people always tend to turn to.
Did you get to do much Shakespeare in school besides that?
I remember being in school, too, and not getting the opportunity to get the lead; I didn’t get the opportunity. I was in Lady Macbeth, and I played Witch No. 1, and then we did Merchant of Venice, and I don’t even remember the character I played in that. I like had two lines in that. It wasn’t because I wasn’t capable; I think it was just a matter of, “Where does she fit in this world we’re trying to create.” With Kenny and the Delacorte giving me this opportunity to show what I can do with being who I am, I am so grateful. I hope that people gravitate toward this new way of looking at the language and still see how heightened it can be. We are definitely adding a lot of color to it [laughs] and not just black.
Do you have a favorite of Beatrice’s quips, or a line that you’ve had fun figuring out how to deliver?
There are a lot of lines. This girl is almost too witty for me, she is making me stay in my no-fear Shakespeare, and I am on it with this language. But there is one line, and it goes, “I took no more pains for those thanks than you take pains to thank me. If it had been painful, I would not have come.” That’s just all of the language right there. You have to be locked in, you have to listen to what you’re saying, or you’re not going to make any sense. I am sure there will be days like that, but I am just going to ride the wave anyway and enjoy being in the park, with these animals, and with 1,800 people and just enjoy the experience. [Laughs.] I think I’m most nervous about the raccoons!
You finished shooting Orange Is the New Black earlier this year. What was that like wrapping up what was so much of your life over the last seven years?
Basically almost all of my 20s was spent with these women, with this cast, crew, with this character. So we spent more time together than we do in high school or college. It was challenging; I think it wasn’t as bad because I knew it was coming, and I allowed myself to mourn through the character. I think I allowed myself to mourn through the six to seven months that we shot, versus, Okay, it’s the end; this is the last day and now I’m a hot mess. I think I allowed myself that journey.
Now, it’s exciting. I get to put a new language in my mouth and explore new characters and show the world what I’m capable of doing, and what I’ve studied so long to do. To get to build this unique and hopefully phenomenal résumé. That’s what I’m hoping for, and to be remembered as one of the greatest actresses to come in this generation. That’s what I’m hoping for. To get to spread my wings, and to show that is exciting.
Are there other genres or types of characters you want to play next?
I think it’s about what I’m leaving and what I’m creating to further American theater or Hollywood. What am I bringing to it that is what we haven’t seen, what we haven’t experienced? I look forward to being the lead in a rom-com that has a fresh take. I look forward to being in an action film. I look forward to playing royalty. What was that movie that I loved so much this year, it was with Emma Stone? The Favorite! I want to get an opportunity to be in movies like that. Hopefully someone will get inspired after seeing this Shakespeare and write something.
Game of Thrones Recap: It Tolls for Thee
You can’t say Daenerys didn’t warn us that she was going to break the wheel.
We were never going to be happy with the way this show ended. The very nature of narrative doesn’t allow it. A series like this one — and its universe — can only expand for so long, can only broaden its scope and dig new tunnels under its characters’ psyches until it inevitably needs to contract, especially if the ending the show is hurtling toward is to declare one new monarch, one ruler over an entire continent. It has to go small, whittle things down. Because Game of Thrones threw some of our ideas about narrative out the highest window of the Red Keep, we hoped it would somehow be able to bypass the laws of storytelling physics, to resolve all the loose ends without it feeling spick and span, to blow up our idea of what television means without taking too much with it, to let our favorites die but Wait, no, not that one!
With that said, “The Bells” stands out as massively uneven, brilliant in moments (Lena Headey takes all the cake), but often abysmally fan service-y. (See Euron appearing out of the water onto the exact same slot of beach Jaime is on just so the two can duel over a woman only one of them loves.) It dragged down not one but two queens, with my personal GOT lord and savior Cersei dying under the weight of what she thought might protect her, and Daenerys using the weight of what protects her to send other people to their deaths.
In the days to come the battle among viewers will revolve around one big idea: Daenerys the Mad Queen giving in to her worst impulses and torching an entire city and its people to the ground. How can they drag a good woman down? the Twitterverse will wail. Crowds of angry viewers are going to revolt against the fact that this single woman isn’t keeping their feminist fantasies alive, that the showrunners would dare do something so complex as have a woman with rather questionable DNA, a devout belief in her divine rights, a propensity for crucifixion, a long storied history of being talked out of vicious acts by her advisers, and a savior complex the size of Wun Wun actually do the logical thing and go HAM. If you’re wondering how long this has been building, go back and rewatch Daenerys burn Mirri Maz Dur in season one, watch her burn Pyat Pree in season two, watch her burn Astapor in season three, watch her crucify the Masters in season four, watch her burn the slave owners of Meereen in season five, Vaes Dothrak in season six, the loot train and the Tarlys in season seven.
And after this episode, rewatch how easily she burns Varys alive without a trial, without a conversation, without remorse. What once looked like strength has been a trail of bread crumbs leading to narcissism and madness, instead.
What matters isn’t whether Daenerys lives up to some 21st-century ideal of a female conqueress who slays the patriarchy in a feel-good one-two dragon-claw punch. And good God, who would really want that? It’s just as flat and uninspired an idea as the emo boy who’s a secret prince. (Also, repeat after me: This does not mean that Jon Snow becomes king.) What matters is that Daenerys’s snarly hell-raising is in keeping with the character we’ve known since she ate a horse heart to satisfy her warlord husband. Her propensity for blood was always tempered by the advisers who pleaded with her for mercy, who reminded her of what she might become if she gave in to the desire for fire and blood. Now they’re all dead, and King’s Landing, we can safely assume, is no longer strictly habitable
What’s unclear is whether Daenerys sees her dragon joyride as a step too far in the “let it be fear” direction, even though it was also a tactical blunder the likes of which we haven’t seen (and boy oh boy have we seen some commanders fuck up on this show cough cough Stannis cough). The people won’t exactly be lining the streets with celebratory confetti now. They threw feces at Cersei, dear Dragon Queen — anyone would have been better liked than the woman who casually blew up the Sept and the entire religious community just so she didn’t have to appear in court.
Some of the episode’s best moments capitalized on the helplessness of even Game of Thrones’ toughest commanders, like Jon killing his own soldier to stop a war crime, screaming uselessly into the wind that his men should stand down. In between ludicrous, death-defying moments (Arya eluding fire and ten-ton crumbling parapets at every turn, the Hound taking 17 Mountain blows to the head and popping back up like a dog-in-a-box), the sense that we’d wandered into a moral morass kept rearing its head as grandly as that magical piece of equine machinery on which Arya rides off at episode’s end. Some of that is due to the attention paid to the screams and charred skin of the blacksmiths and tavern owners and baker’s boys of King’s Landing (although these new views of the city were incredibly disorienting and absolutely no streets looked familiar, which was jarring). The little girl holding a carved wooden animal — just like Shireen — was this show’s equivalent of Schindler’s List’s little girl in the red coat. A complete innocent wrapped up in the violent ends that follow lords’ and ladies’ violent delights.
The slippery, changing nature of the battle added to that impact. First, it was set like a typical medieval meeting in the field, as the most Teutonic human ever to walk the planet (a.k.a. the head of the Golden Company, a.k.a. shouldn’t that guy play Prince Philip in The Crown one season?) came out to meet the Northern Army. Then it turned into wild street combat, with soldiers slashing their way down twisty alleys. And once Daenerys “I am not here to be Queen of the Ashes” Stormborn continued to torch the city after its surrender, it became moral mayhem, a rather fitting place for a show so indebted to the question of whether one can be both powerful and merciful.
As the grieving moral compass, Tyrion had some of his best scenes of the season: his hand clutching at Varys in sorrow and pain, his back turned just before Drogon sets Varys alight, his utter bewilderment after the bells begin to ring and Daenerys just keeps grilling. He’s failed at his duties as the Hand of the Queen so many times this season that it’s become de rigueur to bust on his skills. But here Tyrion’s plan went remarkably well. The Northern Army won easily, and the Lannister Army surrendered. Which is why his bereft face, fixated on Daenerys as she soars across the sky, left such a deep impact. In springing Jaime free, he was essentially offering up his own life for “the thousands of children” that would die in a dragon siege. To see Dany cruelly and unnecessarily murder said children in the street made it painfully clear to Tyrion that not only had he wrongly dimed out Varys, but that he — a man with no chance to be king — was willing to die for a people whose own queen would put them to death.
After Arya’s little dance with the Night King, viewers were nominating her for everything, especially the role of Cersei’s killer — after all, she was one of the few remaining names on Arya’s kill list (which, by the way, is now complete). But instead Arya’s role in “The Bells” ended up mimicking her disorientation in the first season, when she spent days alone confusedly wandering the streets of King’s Landing after her father’s arrest. Back in the city for the first time since then, Arya retraces her steps, fleeing the Red Keep after she’s warned away by someone who is willing to die so she doesn’t have to, and then turning through the alleyways with every face around her unfriendly and terrifying. It was satisfying and unexpected for Arya, who had slowly devolved into nothing more than a ruthless assassin, to return to a place of tender humanity with the opposite of her surefootedness in the Battle of Winterfell.
I spent the first three-quarters of the episode wondering why Daenerys didn’t simply fly over to the highest tower in the Red Keep and roast Cersei alive. Once she took out the scorpions and turned her eye back toward the city, the moment seemed right. But for a reason Benioff and Weiss probably can’t explain, Daenerys simply skirts Cersei and sends other towers falling.
While I wish Cersei — by far the most dynamic and interesting woman on the show — had been given more to do than moodily stare out a very high window all season, Lena Headey worked magic with what she was given, teaching a master class in staying completely still, saying nothing, and giving a marvelous performance. After all, Cersei didn’t just lose the throne, she capsized the richest and most powerful family in Westeros and let the entire city burn. Her descent, then, from the highest tower to the depths of Maegor’s Holdfast, worked as a fitting metaphor for just how catastrophically she’s fallen, now left among the bones of long-dead dragons.
And while I admittedly hoped for a more eye-bulging ending — like Jaime’s golden hand crushing her windpipe — the collapse of a castle upon her head worked pretty damn great, too. (Rather potent revenge for a woman who blows up buildings.) Was Cersei and Jaime’s love disgusting and wrong? Hell yes, but honestly, it was also pretty true. Jaime’s arc toward redemption wasn’t cut short by his return to Cersei’s side, it was magnified by his refusal to let her die alone, his belief in the inherent value of her person, even if she’d murdered and screwed and backstabbed her way through life.
Jaime died the way he hoped to, with the woman he loved in his arms. As Lena Headey explained, “They came into the world together and now they leave together.” And in the end, Cersei’s breakdown — “Please don’t let me die. I don’t want to die. Not like this.” — revealed that underneath all of her ugly lay the same fear she’d preyed on in everyone around her.
We want fitting conclusions for all our favorite characters — but nothing too neat. Every moment now should have resonance — but shouldn’t merely copy what’s come before. Game of Thrones should end the same way it did its best work — surprising us. Or perhaps surprising us about the way it’s surprising us. It’s a high standard to live up to. Impossible, probably, after a series that helped break open the idea of what you can do on TV. The most we can hope for is that our characters get the fates they deserve, whether that’s in the hot flames of an enraged dragon or the cold steel of the Iron Throne.
From the Ravens
• Varys burns the scroll he’s writing on when Grey Worm shows up to escort him to his death. But it seems as though that scroll is different from the one on which he was spilling Jon’s beans earlier in the episode. So who is that raven for? Which character doesn’t already know about Jon’s true parentage and would have the might to intervene in some way?
• “Here Grey Worm. I’m sure you’ll want something to remember Missandei by. This slave collar is a lovely memento.”
• Was there a good reason that Daenerys and crew had to go all the way back to Dragonstone after Rhaegal was killed? The entire Lannister Army is guarding King’s Landing. Everyone else managed to hang at the campground with their counselor Davos, but Dany had to fly back to her gusty island fortress and poor Jon had to take a separate boat?
• The greatest missed opportunity of the entire episode was the Jets-and-Sharks-style streetfight that almost broke out when Jon and the Northern Army met the Lannister Army in that tiny cross street. They could have sang and danced and stabbed and sliced and all manner of other plot sins would have been forgiven. Game of Thrones never had the musical episode it deserved (and no, Ed Sheeran doesn’t count).
• Was sheer rage powering Drogon to sudden immortality in the face of all those scorpions? Last episode a scorpion ripped a hole in Rhaegal no problem.
• There is one straight boulevard in all of King’s Landing. Why is that? Did Haussmann show up and only grid out one block?
• Jaime has become an expert at sleeping up against wooden poles. This is, what, his 18th time captured?
• Tyrion asks Davos if he can smuggle something incredibly important. Did you assume it was Jaime and then realize that it was just a dinghy and that it would end up on that same stretch of beach that literally every rogue on this show (Bronn, Theon, Davos) has used to sneak in and out of the city? This beach is King’s Landing’s equivalent to the Death Star’s tiny but fundamental flaw in the thermal-exhaust port.
• Poor Marc Rissmann (the actor who played the Golden Company’s commander Harry Strickland) thought he was slipping into a juicy final season role on the biggest show on television, only to fail to bring elephants and then get stabbed in the gut.
• “All the worst things she’s ever done she’s done for her children.” Happy Mother’s Day!
• Why the hell was Davos, who personally means the world to me, out there fighting? He’s reminded us continually since we met him that he’s “no fighter,” and yet they have him on the front line of a major battle?
• The final scene between Jaime and Tyrion — a reversal of Jaime’s rescue of Tyrion when he was on trial for Joffrey’s murder — was one of the series’ best, and the first in a long while to bring me to tears. To Nikolaj Coster-Waldau’s credit, he shed every ounce of Jaime’s pomp and played the scene with sheer heart.
• Sorry I’m not sorry, but Cleganebowl never interested me much. The Hound was far too valuable a character to give away in a family vengeance story that we’ve heard about only in dribs and drabs. And it’s fairly impossible to create any sort of third dimension out of a character who doesn’t speak, and covers his entire Darth Vader head with a mask. Was I happy they tumbled over the edge together and landed in a deadly fiery pit? That’s okay, I guess. Was I pleased that Rory McCann is now gone from the show? Not in the slightest. Did I giggle over the fact that the Mountain ended up wearing an artfully torn shirt that showed off his comically inflated frame? Ohhhhh yeah. Did I appreciate the symmetry with the Mountain gouging out the Hound’s eyes the same way he did to Oberyn? Abso-damn-lutely.
• “Fucking die” is the perfect thing to yell when you’re trying to stab your brother to death, or when a cockroach crawls up your drain.
• I know we’re not supposed to fixate on this in such a moment, but I’ve grown out a pixie cut since the end of last season, so I know it’s possible, and it seems cruel and unusual to send Cersei to her grave looking like she just got her first big-boy toddler cut at the local mall.
• Euron’s dead, I’m grateful, and we should all just pretend that fight scene with Jaime didn’t happen.
• Someone please make me a GIF of Cersei awkwardly tiptoeing down the stairs past the Clegane brothers after the Mountain murders Qyburn.
Cersei Lannister Deserved Better | #GILLYWEB GOSSIP
Cersei Lannister, one of the great TV villains of the modern era, was many things. She was a schemer, a ruthless power monger, a political strategist, a grieving mother, and a sister whose relationships with her brothers were, uh, complicated to say the least. But in her final moments of life in Sunday’s penultimate episode of Game of Thrones, we got to see … none of that.
And now Cersei’s dead. She died in the arms of her brother/lover Jaime as the supposedly sturdy Red Keep collapsed on top of them. Prior to her death she spent most of “The Bells” standing in one place and staring out the window while Daenerys gave live lessons in how to train your dragon to destroy an entire city. Then Qyburn showed up and was like, “Hey, you should probably get outta here since this place is going down faster than Kesha can yell timber,” and Cersei was like, “Nah, I’m good,” but eventually retreated to lower ground just in time for her brother — who really shouldn’t have been able to make it all the way back to her, considering that he was bleeding out from stab wounds — to show up for their untimely incestuous demise. It was an extremely passive death for a woman who has always been extremely aggressive in her approach to, well, everything.
This was the woman who raised a monster (Joffrey), dispatched a monster (the Mountain) to do her dirty work, and also behaved like a monster capable of doing plenty of dirty work herself. Remember when she destroyed the Sept of Baylor? Cersei never accepted what appeared to be her fate back then, even when it looked like that’s what she was doing. She always had another plan or chess move or massive explosion hidden in some back pocket underneath her ornate robes, which is why it was so surprising — and frankly, disappointing — to see her with no fight left in “The Bells.”
Monday morning Game of Thrones quarterbacking has become the national pastime over the past few weeks. (Sorry, baseball, but for the time being, you don’t hold a candle to complaining about how hard it was to see anythingduring the battle of Winterfell.) I’m not as generally disappointed as others seem to be by the last season of Game of Thrones so far, perhaps because I was never hoping for any particular outcome. My attitude is very “whatever happens, happens” when it comes to the last leg of the Iron Throne Marathon. But it has become increasingly apparent that squeezing the last season into six episodes, albeit longer-than-usual episodes, has forced showrunners David Benioff and D.B. Weiss, who also wrote the last four installments, to sacrifice the kind of character development, motivation, and emotional beats that you want from a saga like this, especially in its final act.
Is it believable that Cersei, realizing she’s finally out of options, would think of nothing else to do but stand there in shock as King’s Landing goes up in dragon-breath flames? Sure, and it’s certainly more believable than the way that Dany’s descent into murderous madness has been portrayed. But it feels like a betrayal to the character and to the audience that we don’t get to see her have one last bout of verbal sparring with someone, like Tyrion (he was just out in the field wandering around, he totally had time for a chat!), or Dany (couldn’t she have done a dragon flyby and confronted Cersei?), or even Arya, who announces ahead of time that she plans to kill Cersei but gets talked out of doing it by the Hound. It’s a good thing Arya doesn’t head to the tower; if she had, she wouldn’t have survived. But the buildup to Arya going all dagger-happy on Cersei made the fact that it didn’t happen — and that Cersei didn’t get to do anything substantive in this episode, or for that matter, this whole season — that much more of a letdown.
In an interview with EW, Lena Headey said she too was initially disappointed with how Cersei’s final moments played out. “I wanted her to have some big piece or fight with somebody,” she said. So did I! Aside from her romp with Euron and her approval of Missandei’s beheading, Cersei had been largely absent from the eighth season, which made me think the storytelling was building to some dramatic moment for the queen in the last couple of episodes. Some of the best moments in Game of Thrones have involved watching Headey with her glower on full display, sipping wine and matching wits with Tyrion or Jaime or good ’ol Olenna “Tell Cersei It Was Me” Tyrell. Even though the actress says she eventually came to appreciate the way Cersei’s story ended, surely she would have liked to rip her teeth into something meaty one final time before she went. (Anyone who thought Headey would finally win an Emmy for her work on Game of Thrones has to be second-guessing that now, since she really didn’t get a chance to fully display her talents this season.)
Cersei’s final moments on the show were certainly sad. “I want our baby to live,” she tells Jaime, and then begs him not to let her die. “Not like this,” she says, over and over. The exchange between the two of them is moving, but it also lands as though it were beamed in from some other show. It’s like Benioff and Weiss wanted to achieve a certain effect — a heartbreaking, romantic good-bye to this dysfunctional couple — and sped past character consistency to get there. Cersei comes across as fragile and weak, which she is not. She also doesn’t seem the least bit concerned about having just been usurped, and maybe it’s just me, but I think Cersei would be pretty angry about that. If she said she wanted their baby to live so the Lannisters would have another shot at the throne someday, I might have bought into the scene a bit more. But Cersei’s first instincts in the moment are to make everything about her child and Jaime. She always put herself first, and I would have expected her to do that until the very end.
It’s always a little ridiculous when viewers of a TV series complain that it didn’t do exactly what they wanted it to do. But the lack of a more substantial final arc or farewell for the woman who occupied the Iron Throne, which is what this whole thing is all about in the first place, feels like a significant oversight and missed opportunity. Instead, Cersei is simply crushed, just like the possibility that she would actually get to do something of consequence in this final season.
ZAYTOVEN SAYS GUNNA AND LIL BABY KEEP THE ATLANTA SOUND GOING
Zaytoven’s role in trap music is unquestionable. After bursting onto the scene by producing Gucci Mane’s 2005 breakout single, “Icy,” the 39-year-old beat maker has helped to shape hip-hop’s trap sound, also leaving his fingerprints on R&B and even gospel music. He isn’t slowing down either: Zay is following his Chief Keef collaborative project, GloToven, with his own sophomore album toward the end of spring, right around the June debut of his BET TV show, The Next Big Thing. Zaytoven speaks with XXL about his epic career in music and what keeps him going.
XXL: What’s the defining quality of a Zaytoven beat?
Zaytoven: It’s unorthodox, unpolished. A lot of producers use programs that you don’t even have to beat on the drum machine [or] play the keyboard. Computers kinda make it for you. Me being a producer that’s very hands-on and likes to touch the keys and beat on the drum pad, that’s one of the differences. Plus, I’m a church musician, so I put a lot of church chords [and] runs in my music. Those things influence me when I produce.
What rapper do you make the best music with?
That’s a hard question. The reason I’m in the game is because me and Gucci Mane created the trap sound. [It’s] been mimicked so much, even today. So the chemistry between me and Gucci is like Dr. Dre and Snoop Dogg. The game needed what we brought. My chemistry with Gucci is unmatched—peanut butter and jelly. But when I work with Future, it’s a whole ’nother chemistry. It’s a sound that goes together, like a work of art. The chemistry is equally as good with each artist. Being a church musician allows me to conform to whatever artist I’m working with.
How was working with Chief Keef on GloToven different than working with Gucci Mane?
It’s more so Chief Keef’s approach. He’ll say some shit that Gucci ain’t gon’ say. He’s so young and different. I don’t know what sparks his brain to say what he say on the beat. It blows my mind. That’s what I love about working with guys like Chief Keef. I don’t know what they finna say. It makes me as a producer look good. They keep me fresh and relevant. Every time me and Chief working, it’s so unorthodox. We two totally different people. It’s so creative. He definitely gives my music a different edge.
Lil Baby and Gunna have been leading the way for Atlanta’s new trap sound. Are you a fan?
I listen to Gunna [and] Lil Baby. They carrying on where a Gucci Mane or Future would be—the Atlanta flavor. The Atlanta sauce. The style and lingo that you can’t get from nowhere else. I’m proud of the guys ’cause they keeping the sound going. They keeping Atlanta on fire. It ultimately keeps us relevant. Gunna and Baby are definitely guys that I desire to do more music with.
You’ve done so much in the rap game. What keeps you motivated to record music?
It’s still a passion of mine. I still have something to offer. Me being in the game for a long time, I feel like it’s a position that’s needed. [In] my last two years, I’m just becoming Zaytoven. People are just noticing. All the young kids [are like], “Oh, that’s Zaytoven.”
Check out more from XXL’s Spring 2019 issue including our Dreamville cover story featuring interviews with J. Cole, J.I.D, Bas, Cozz, EarthGang, Lute, Omen and Ari Lennox; Show & Prove interviews with Flipp Dinero and Blueface, a look into how Hot 97’s Ebro Darden went from fish mascot to hip-hop gatekeeper, Maury Povich in Hip-Hop Junkie, our interview with Rich The Kid and more.
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