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    • 75 Shares159 Views

      in Music

      The Constant Metamorphosis of Nona Hendryx

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      In a purple catsuit and spiky celestial headpiece, Nona Hendryx beckoned, with a wave. “I’m inside the tree!” she called. “In the forest of the ancestors.”It was not the real Hendryx but her digital avatar, giving a tour of a new virtual reality project. Still, there is little distance between the flesh-and-blood Hendryx — the musician, artist and futurist, who has been forging her own way for over a half-century — and the slinky cyborg on winged feet who was scampering through a turquoise and fuchsia dreamscape on a recent Friday. They both inhabit a world of their own creation, signaling urgently for everyone to catch up.The soundtrack for this V.R. journey was Hendryx’s 1983 electro jam “Transformation” — “Change your mind/Change your skin,” the lyrics go — because, she said, “I’ve constantly evolved and transformed over time.”With each metamorphosis, Hendryx has spun into an even more singular cultural presence. She is not just the throaty alto who had an enduring hit with “Lady Marmalade” as part of the 1970s trio Labelle. She is also a teacher, curator, designer and technologist — a vanguard creator. In fact, she blithely told me, she never wanted to be a singer at all.“It happened, and I’m thankful that I’m pretty good at it,” she said, downplaying a career that took her from ’60s girl groups to the pioneering soul and R&B of the ’70s, then to her solo act in the ’80s, an ahead-of-its-time amalgam of art rock, funk, no wave and electronica that put her in league with technology-forward artists like Talking Heads, Peter Gabriel and Laurie Anderson.Music still drives her. But now, she said, “I’m much more interested in making that, rather than performing and presenting it.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 113 Shares99 Views

      in Theater

      Samm-Art Williams, Playwright, Producer and Actor, Dies at 78

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      He challenged racial barriers in Hollywood, was a producer of “The Fresh Prince of Bel-Air” and earned a Tony nomination for “Home,” a paean to his Southern roots.Samm-Art Williams, who made his mark in several fields — as an executive producer of the sitcom “The Fresh Prince of Bel-Air,” as an actor on both stage and screen and as a Tony-nominated playwright for “Home,” died on Monday in Burgaw, N.C. He was 78.His death was confirmed by his cousin Carol Brown. She did not cite a cause.An imposing 6-foot-8 (a lefty, he once served as a sparring partner to Muhammad Ali), Mr. Williams appeared in films including Brian De Palma’s Hitchcock homage, “Dressed to Kill” (1980), and the Coen brothers’ neo-noir, “Blood Simple” (1984). He had a memorable turn as Jim in the 1986 adaptation of “Adventures of Huckleberry Finn,” part of PBS’s “American Playhouse” series.Mr. Williams as Jim with Patrick Day in the 1986 television version of “Adventures of Huckleberry Finn.”Everett CollectionCommitted to expanding the Black presence in Hollywood, he was both a writer and an executive producer on “Fresh Prince,” the hit 1990s NBC comedy starring Will Smith as a street-smart teenager from West Philadelphia who moves in with his aunt and uncle in the moneyed hills of Los Angeles.He also served as a writer and a producer on the television shows “Martin” and “Frank’s Place.” He was nominated for two Emmy Awards — for his work as a writer on “Motown Returns to the Apollo” in 1985 and a producer of “Frank’s Place” in 1988.Raised in Burgaw, a former railroad town north of Wilmington, N.C., he moved to New York in 1973 to pursue a career in acting. It was his wistfulness for his small Southern hometown that inspired “Home,” a production of the celebrated Negro Ensemble Company that opened at the St. Marks Playhouse in Manhattan six years later before moving to Broadway.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 138 Shares189 Views

      in Movies

      Black Satire Is Having Its Hollywood Moment, but Something Is Missing

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      Recent releases like “American Fiction” and “The American Society of Magical Negroes” have used absurdist humor to examine race. But they have also depicted narrow views of Blackness.In 2017, Jordan Peele’s “Get Out” was a critical and commercial smash that immediately became one of the defining movies of the Trump Era. The next year, Boots Riley’s masterful “Sorry to Bother You” seemed to herald a new golden age for Black satire films. But as those movies stood out for using surreal plot twists to humorously — and horrifically — unpack complex ideas like racial appropriation and consumer culture, the crop that has followed hasn’t kept pace. The current moment is defined by a central question: What does the “Black” look like in Black satire films today? Too often lately it’s “not Black enough.”By that I mean to say a recent influx of films, including “The American Society of Magical Negroes,” “American Fiction” and “The Blackening,” have failed to represent Blackness with all its due complexity — as sometimes messy, sometimes contradictory. Instead, they flatten and simplify Blackness to serve a more singular, and thus digestible, form of satirical storytelling.The foremost example is “American Fiction,” inspired by Percival Everett’s 2001 novel “Erasure,” which won this year’s Oscar for best screenplay. In the film, a Black author and professor named Monk (played by Jeffrey Wright) finds literary success through “My Pafology,” a novel satirizing books that feed negative Black stereotypes. But Monk’s audience receives his book with earnest praise, forcing him to reconcile his newfound prosperity with his racial ethics.The surface layer of satire is obvious: The white audiences and publishing professionals who celebrate “My Pafology” do so not because of its merits but because the book allows them to fetishize another tragic Black story. It’s a performance of racial acceptance; these fans are literally buying into their own white guilt.Monk’s foil in the film is another Black author, Sintara Golden (Issa Rae), who publishes a popular book of sensationalist Black trauma about life in the ghetto. Profiting on her white audience’s racist assumptions about Blackness, Sintara is this satire’s race traitor — or so it initially seems. Because when, in one scene, Monk questions whether Sintara’s book is any different from “My Pafology,” which she dismisses as pandering, she counters that she is spotlighting an authentic Black experience. Sintara accuses Monk of snobbery, saying that his highfalutin notion of Blackness excludes other Black experiences because he is too ashamed to recognize them.But the fact that it is Sintara who voices the film’s criticism of Monk shows how loath “American Fiction” is to make a value statement on the characters’ actions within the context of their Blackness. Sintara, whom Monk catches reading “White Negroes,” a text about Black cultural appropriation, somehow isn’t winkingly framed as the hypocrite or the inauthentic one pointing out the hypocrisy and inauthenticity of the hero.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 88 Shares109 Views

      in Television

      ‘Black Twitter’: Movements, Memes and Crying Jordan

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      This new Hulu docuseries explores how a social media subculture influenced American culture at large.When Prentice Penny first began work on the forthcoming docuseries “Black Twitter: A People’s History,” the last thing the director wanted to do was explain to anybody just what Black Twitter was. How could he?“Everybody has a different opinion what it is, and a different entry point and path to how they feel about it,” he said.“Black Twitter” is a kind of shorthand descriptor referring loosely to commentary, jokes and other kinds of cultural conversation and activism driven largely by Black users of the social media platform now named X. What Penny wanted to do was capture the pivotal moments that have come to define this organic online community, including the movements (Black Lives Matter; OscarsSoWhite) and defining hashtags (#uknowurblackwhen, #BlackGirlMagic) it has propelled and championed.And he wanted to do all of this while Black Twitter was still around.“So much of Black culture in this country isn’t documented,” Penny said. “When you see books about culture and race being banned, when you see narratives saying, oh, there were good sides to slavery, you realize that Black Twitter could be here today and gone tomorrow.”Prentice Penny, left, Joie Jacoby and Jason Parham at the film’s debut at the South by Southwest film festival in March.Andrew Walker/DisneyIndeed, since Penny started the project, Twitter itself has disappeared — or the name officially has, anyway. “I don’t trust anybody who stopped calling it Twitter,” said Jason Parham, a producer on the show whose 2021 Wired story “A People’s History of Black Twitter” inspired the series.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 150 Shares199 Views

      in Television

      ‘Black Twitter’ Review: Hulu’s Docuseries Doubles as a Snapshot of Recent History

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      Hulu’s docuseries on a social-media subculture doubles as a serious snapshot of recent history.Who created Twitter?On one level, the business level, the Wikipedia level, the answer is simple: Twitter, a social-media service allowing users to post brief messages, was founded in 2006 by Jack Dorsey, Noah Glass, Biz Stone and Evan Williams.But on the level of culture, the people who “create” a social platform — that is, who decide what it’s for, what it can do, how it feels — are the people who use it. “Black Twitter: A People’s History,” which arrives on Hulu on Thursday, argues that it was Black users who, as much or more than anyone, gave Twitter its voice.A couple of caveats are useful here. Though Twitter, now called X, is a global infosystem with worldwide effects, the three-part documentary, based on a Wired oral history by Jason Parham, focuses mainly on Twitter as an American phenomenon. And Black Twitter, the series is careful to point out, isn’t a monolith or formal group but the more general phenomenon of Blackness and Black culture manifesting online.“Black Twitter” treats the network not mainly as technology or business but as a cultural artifact — a platform, even an art form, for commentary, community and comedy. Twitter, it argues, is another part of American culture, like music and food, that Black Americans defined by coming to it from the margins.“In the same way that we took our lamentations and made gospel music, we took a site like Twitter and we made it a storytelling forum,” Meredith Clark, a journalism professor undertaking an archive of Black Twitter, says in the documentary. Or as the comedian Baratunde Thurston pithily puts it: “We repurposed Twitter the way we repurposed chitlins.”This scaffolding of ideas elevates “Black Twitter” above the kind of remember-this-remember-that pop-history documentary that it can resemble on the surface. Appropriate to its subject, it tells its story in a series of small bites. It stitches together interviews with academics, journalists, entertainers, viral stars and figures from business and politics with a nimble narration by the director, Prentice Penny.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 138 Shares109 Views

      in Theater

      The Tony Nominee Starring in Alicia Keys’s ‘Hell’s Kitchen’ on Broadway

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      Maleah Joi Moon almost gave up on theater. Now, in her first professional role, the “Hell’s Kitchen” star is a Tony nominee.Maleah Joi Moon has come a long way in a short time.Just a few years ago, she was a theater kid in suburban New Jersey, listening to her dad’s Alicia Keys records, starring in a high school production of “Rent,” waiting outside a Broadway stage door hoping to meet the cast of “Waitress.”Now, at 21, she’s a Tony nominee for her Broadway debut as the star of the new Alicia Keys musical, “Hell’s Kitchen,” which opened last month. That means she is working alongside the people she had just been fangirling — getting vocal advice and the occasional breakfast with Keys; honing her acting instincts with the show’s director, Michael Greif, who directed “Rent” 28 years ago; and learning to manage an eight-show week from Shoshana Bean, the actress she stage-doored in “Waitress,” who has taken Moon under her wing while portraying her mother.Moon’s confident performance — smoky voice, headstrong attitude, gestural dance moves — has caught the attention of critics. “Sensational,” Elisabeth Vincentelli declared in The New York Times. For Vulture, Jackson McHenry called her both “a great discovery” and “a virtuoso.” And Adam Feldman of Time Out went for wordplay: “With apologies to astronomers: Moon is a star.”“It’s surreal and it’s ridiculous and crazy and insane and all the things,” Moon told me as we stood in Shubert Alley, just under a digital marquee featuring her atop a piano, not far from the stage door where she now signs autographs for her own fans. “But my inner child — the one that wanted to be Nala on Broadway — is like, this is aligned. It’s divine alignment. I wouldn’t be here if it wasn’t meant.”Moon is dancing a delicate dance in “Hell’s Kitchen,” sort of playing Alicia Keys and sort of not. The show is about a few formative months in the life of Ali, a 17-year-old girl chafing under her mother’s vigilance, hooking up with a street musician and discovering a gift for piano. It is a fictionalized remix of Keys’s own childhood chapters, but it is partly Moon too — she has been with the show through developmental workshops and an Off Broadway production, and her personality and physicality, as well as her very recent adolescence, inform those of her character.“Hell’s Kitchen,” a semi-autobiographical Alicia Keys musical, was nominated for 13 Tony Awards.Sara Krulwich/The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 163 Shares99 Views

      in Movies

      Barbara O. Jones, Actress Who Brought Black Cinema to Life, Dies at 82

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      Her arresting roles in movies like “Bush Mama” and “Daughters of the Dust” helped shape a generation of independent filmmakers.Barbara O. Jones, an actress whose captivating work in films like “Bush Mama” and “Daughters of the Dust” helped define the cerebral, experimental and highly influential Black cinema movement that emerged in Los Angeles in the 1970s, died on April 8 at her home in Dayton, Ohio. She was 82.Her brother Marlon Minor confirmed the death but said the cause had not been determined.Starting in the early 1970s just a few miles from Hollywood, a generation of students at the University of California, Los Angeles, began making films that pushed hard against many of the tropes of commercial moviemaking.Budding filmmakers like Charles Burnett, Julie Dash and Haile Gerima eschewed polished scripts and linear narratives in search of an authentic Black cinematic language. They relied on actors like Mrs. Jones, drawn from far outside the mainstream, to bring their work to life.Mrs. Jones was in some ways the typical Los Angeles transplant, having moved from the Midwest in search of a film career. She took acting classes, but, rather than gravitating toward Hollywood, she fell in with the politically charged, aesthetically adventurous scene around the U.C.L.A. film school, a movement that the film scholar Clyde Taylor called the L.A. Rebellion.She appeared in several short student films, including Mr. Gerima’s “Child of Resistance” (1973), in which she played an imprisoned activist loosely based on Angela Davis, and Ms. Dash’s “Diary of an African Nun” (1977), adapted from a short story by Alice Walker.Mrs. Jones in Ms. Dash’s short film “Diary of an African Nun” (1977), adapted from a story by Alice Walker.Julie DashWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 188 Shares159 Views

      in Movies

      Ahmed Best, the Actor Behind Jar Jar Binks, Is Proud of His ‘Star Wars’ Legacy

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      Ahmed Best recalls the painful backlash to the “Phantom Menace” character that was considered a racial stereotype at the time, but is now embraced by fans.Ahmed Best is a futurist, an educator, a martial artist, a writer-director and the actor behind Jar Jar Binks, the most hated character in the “Star Wars” universe.Long-eared Jar Jar is a bipedal amphibianlike creature with an ungainly walk and a winning attitude. The groundbreaking, computer-generated goofball debuted in the first installment of George Lucas’s prequel trilogy, “Star Wars: Episode I — The Phantom Menace,” and instantly set off widespread criticism from both fans and the press.“It took almost a mortal toll on me. It was too much,” Best recently recalled. “It was the first time in my life where I couldn’t see the future. I didn’t see any hope. Here I was at 26 years old, living my dream, and my dream was over.”Now 50, Best is the picture of panache who could easily be mistaken for an off-duty rock star. He arrived at our interview riding a motorcycle and wearing a blue denim jacket, black jeans and stylish shades.Best has continued to play Jar Jar Binks in animated “Star Wars” shows and video games. “It’s big and it tends to overtake your life,” he said.Daniel Dorsa for The New York TimesIn the presence of Best’s self-assured demeanor, it’s even more shocking to learn that back in 1999 the vitriol fans flung at Jar Jar, and in turn at him, ravaged his mental health. But he revisited these memories a few weeks before the movie’s return to theaters on Friday to commemorate the 25th anniversary of its release.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More