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      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

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      in Theater

      Review: ‘Jordans’ Tackles Race at Work at the Public Theater

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      Alternating between funny and bleak, the Public Theater’s latest production tackles race and the modern workplace.The workplace in “Jordans,” an ambitious but unwieldy new play at the Public Theater, is so white that it’s a bit alarming. I don’t mean to say it’s full of white people (though it certainly is that, too), but rather that the aesthetic of the space itself catches your attention: minimalist, modern, white screens and walls. By the end of the play, however, those bright white spaces will be covered with blood.Jordan (Naomi Lorrain) is the only Black employee at Atlas Studios, a “full-service rental studio and production facility,” as she says to a potential client. She’s the one who answers the phones; she also gets the lunches, collects receipts and calls maintenance. When her boss, Hailey (Kate Walsh), decides the company’s new path to revenue involves appealing to a more “diverse” demographic, she hires a director of culture: a young Black man also named Jordan (Toby Onwumere).Though their white colleagues somehow can’t seem to tell them apart, the two Jordans find themselves at odds: She knows how to “play the game,” even if that means compromising her integrity. He (dubbed “1. Jordan” in the script) imagines another path to success — a Jay-Z level of achievement that he will then put back into the neighborhood. But as Jordan sees an opportunity to advance, the team takes on a brand launch event for a rapper that transforms into a grisly horror-movie scenario.Written by the playwright Ife Olujobi (she/they) in their Off Broadway debut, and directed by Whitney White, “Jordans” feels a little “The Other Black Girl” and a little “American Psycho.” The play tries to make a satire about race in the workplace and then, within that, gender — the differences in how Black men and Black women might act and be treated in a predominantly white workplace. But it’s also largely a grim parable about the terrors of consumer culture, including the commodification and appropriation of Black people.Lorrain, far right, gives a sharp performance as Jordan, an employee so overworked she even does most of the show’s set and prop arrangements. The cast also features, from left, Matthew Russell, Brontë England-Nelson and Walsh.Sara Krulwich/The New York TimesMany of the targets of the satire feel too obvious: hip influencers, like a twerking white pop star and super-masc energy drink bros; the white boss fumbling through hollow corporate-speak about diversity; the white female colleagues bonding over how unfairly hard they work while their Black female colleague endlessly bustles around in the background.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 Shares119 Views

      in Television

      Pennsylvania School Board Reinstates Gay Author’s Speech Amid Backlash

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      The Cumberland Valley School Board reversed its decision to cancel Maulik Pancholy’s speech at a middle school next month after many community members said the actor had been discriminated against because of his sexuality.Less than two weeks after a Pennsylvania school board unanimously voted to cancel a gay author’s anti-bullying speech at a middle school, the board voted Wednesday night to reverse its decision and reinstate the event amid pressure from parents, students and administrators.The 5-to-4 vote by the Cumberland Valley School District’s board came in front of scores of community members who packed a high school auditorium and, for several hours, chastised the board for having canceled the event featuring the actor and author Maulik Pancholy over what they said were homophobic concerns.Bud Shaffner, a board member who had come under fire for introducing the motion at the April 15 meeting to cancel the speech, apologized for his comments about Mr. Pancholy’s “lifestyle.” He later introduced the motion to reinstate the speech and voted for it.“I will accept the blame because of the insensitive word I spoke on April 15,” he said at the beginning of Wednesday’s meeting. “I fully understand the interpretation of my poor word choice.”Many community members who spoke during the public comment period of Wednesday’s meeting rejected the contention by some board members that Mr. Pancholy’s speech had been canceled over concerns about what they called his “political activism.”“To claim that Maulik Pancholy is a political activist and use that as a justification to cancel his event is an excuse that the public sees through,” one person told the board.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

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      in Television

      O.J. Simpson: Made in America, Made by TV

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      In O.J. Simpson’s life and trials, television was a spotlight, a microscope and a mirror.One of the strangest quotes I can remember associated with O.J. Simpson came from the broadcaster Al Michaels during the notorious freeway chase in 1994. Michaels, a sports commentator now covering the flight from the law of one of America’s biggest celebrities, said that he had spoken with his friend Simpson on the phone earlier. “Al,” Michaels recalled him saying, “I have got to get out of the media business.”For a man who was about to be arrested and charged with the murder of his ex-wife, Nicole Brown Simpson, and her friend, Ron Goldman, it was an odd statement. But it was accurate. Simpson, during and after his pro football career, was a creature of the media business. With the freeway chase, and the acrimonious trial on live TV, he would essentially become the media business. Simpson, who died Wednesday at age 76, was one of the most-seen Americans in history.What did people see when they looked at O.J. Simpson? A superstar, a killer, a hero, a liar, a victim, an abuser, an insider, a pariah — often many of these at once. In his fame and infamy, he was an example of what celebrity could make of a person and a symbol of what the media could make of a country.Simpson’s football career made him a TV star in itself, as he became the first N.F.L. running back to rush for more than 2,000 yards in a season, with the Buffalo Bills. But he found his way into mass-market stardom during the commercial breaks, doing endorsements for RC Cola, Chevrolet and, most famously, Hertz rental cars.Simpson was a star for the Buffalo Bills, but endorsements dramatically increased his fame.Getty ImagesAs the documentary “O.J.: Made in America” would later detail, race was a subtext of Simpson’s fame, even in his pitchman days. There was a sense of social relief in having white America, after the civil-rights battles of the 1960s, embrace a charismatic Black star. It felt good for the country to like O.J.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

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      in Movies

      A ‘Taxi Driver’ Remake: Why Arthur Jafa Recast the Scorsese Ending

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      The artist has gone back to his filmmaking roots, re-examining what he sees as racial undertones in Martin Scorsese’s classic 1976 movie.Call it a return to his roots. The artist Arthur Jafa began his career as a cinematographer, working with his then-wife, Julie Dash, on the acclaimed “Daughters of the Dust” (1991) and with Spike Lee on “Crooklyn” (1994), before garnering art world fame, including a Golden Lion at the 2019 Venice Biennale, for “Love is the Message, The Message is Death,” a snapshot of Black life in the United States created from collaged video footage. Jafa’s practice has embraced film and video, sculpture, installation, and even painting.His newest film, which goes on view Thursday at Gladstone Gallery in Chelsea, has a provocative conceit: Jafa has remade the shockingly violent climax of a classic of American cinema — Martin Scorsese’s “Taxi Driver” (1976) — in which the main character Travis Bickle, played by Robert De Niro, storms into a seedy Times Square brothel and kills everyone in sight in order to save Iris, a child prostitute played by Jodie Foster, then 12 years old.In the original movie — what Jafa calls the “redacted version” — these characters, including Iris’s pimp Sport (played by Harvey Keitel), were white. That never felt right to Jafa. When he discovered that the film’s celebrated screenwriter, Paul Schrader, had intended Sport to be African American, he decided to “restore” the movie by introducing Black actors, except for De Niro and Foster. In the 73-minute-long film, titled “******” — or as the artist pronounces it, “Redacted” — we see this recut version of the bloody climax over and over, each time slightly but crucially different. The result is extraordinary — both technically and conceptually — and brings to the surface the racist animus long accepted as underpinning Bickle’s barely contained rage. (Quentin Tarantino also criticized the decision to change the character to white in his 2022 book, “Cinema Speculation.”)Arthur Jafa cast a replacement actor, right, as the pimp in “Taxi Driver,” originally played by Harvey Keitel, then skillfully wove in the new footage and rerecorded the voices. via Arthur Jafa and Gladstone GallerySchrader, who is still making movies at 77, said in a recent telephone conversation that the change to his original vision was the right call. “Someone at Columbia Pictures said to Marty, ‘we’re going to have a riot in the theater if we cast Sport as Black,’ and I realized they were completely right.”“I think it would have been a much more vile and revolting film if his hatred was directed completely at people of color,” he added. “You can’t make something that is so off the meter that it can’t be seen or that people simply can’t bear watching.” (Martin Scorsese did not return several calls seeking his comment.)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

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      in Music

      Will Country Welcome Beyoncé? That’s the Wrong Question.

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      With the release of “Cowboy Carter,” Beyoncé’s eighth solo album and the one that finds her exploring — and testing — the boundaries of country music, much of the early conversation has centered on whether the country music industry would rally around her. Beyoncé is one of the most commercially successful and creatively vibrant pop stars of the 21st century — certainly her arrival would be greeted with hurrahs, no?Not quite.Rather than being feted with a welcome party, Beyoncé has been met largely with shrugs. “Texas Hold ’Em” — one of the two singles she released in advance of the album — is a savvy blend of old and new. It displays a familiarity with the sonic principles of old-fashioned country, while maintaining the infectiousness of current pop. Nevertheless, it has received extremely modest attention at country radio. Beyoncé is Black, and a woman, two groups that contemporary Nashville has consistently marginalized and shortchanged. And no amount of built-in celebrity appears to be able to undo that.Contemporary mainstream country music often feels like a closed loop of white male storytelling. Which is why whether or not Beyoncé and Nashville can find common cause is, in every way, a red herring. Neither is particularly interested in the other — the tradition-shaped country music business will accept certain kinds of outsiders but isn’t set up to accommodate a Black female star of Beyoncé’s stature, and she is focusing on country as art and inspiration and sociopolitical plaything, not industry. The spurn is mutual.On Instagram last week, Beyoncé spelled it out plainly: “This ain’t a Country album. This is a ‘Beyoncé’ album.” It was a statement that preemptively denied the country music industry the opportunity to stake a claim on her work while also indicating that she had found a creative path around the genre’s confines.Beyoncé and the Chicks at the C.M.A. Awards in 2016.Image Group LA/ABC, via Getty ImagesThis is as close as she’s come to leveraging the expectation of the genre’s racism and exclusion as a means of promotion. Beyoncé instead made it personal, adding that her exploration of these musical themes was “born out of an experience that I had years ago where I did not feel welcomed … and it was very clear that I wasn’t.” This is likely a reference to her appearance at the Country Music Association Awards in 2016, where she performed her song “Daddy Lessons” alongside the Dixie Chicks (now the Chicks), another act who intimately understand the experience of being held at arm’s length by the Nashville oligarchy.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

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      in Music

      Aya Nakamura, French-Malian Singer, Is Caught in Olympic Storm

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      In four months, France will host the Paris Olympics, but which France will show up? Torn between tradition and modernity, the country is in the midst of an identity crisis.The possible choice for the opening ceremony of Aya Nakamura, a superstar French-Malian singer whose slang-spiced lyrics stand at some distance from academic French, has ignited a furor tinged with issues of race and linguistic propriety and the politics of immigration. Right-wing critics say Ms. Nakamura’s music does not represent France, and the prospect of her performing has led to a barrage of racist insults online against her. The Paris prosecutor’s office has opened an investigation.The outcry has compounded a fight over an official poster unveiled this month: a pastel rendering of the city’s landmarks thronging with people in a busy style reminiscent of the “Where’s Waldo?” children’s books.Right-wing critics have attacked the image as a deliberate dilution of the French nation and its history in a sea of sugary, irreproachable blandness most evident in the removal of the cross atop the golden dome of the Invalides, the former military hospital where Napoleon is buried. An opinion essay in the right-wing Journal du Dimanche said “the malaise of a nation in the throes of deconstruction” was in full view.The rapid immersion of the Olympics in France’s culture wars has its roots in a meeting on Feb. 19 at the Élysée Palace between President Emmanuel Macron and Ms. Nakamura, 28. Mr. Macron, doubling as the artistic director of the Olympics, asked if she would perform.The official poster of the Olympic Games in Paris has been attacked by right-wing critics as a deliberate dilution of the French nation and its history.Thierry Chesnot/Getty ImagesWe 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

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      in Music

      Insooni Breaks Racial Barrier to Become Beloved Singer in South Korea

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      Born to a South Korean mother and a Black American soldier, she rose to a pioneering stardom in a country that has long discriminated against biracial children.When she took the stage to perform at Carnegie Hall in front of 107 Korean War veterans, the singer Kim Insoon was thinking of her father, an American soldier stationed in South Korea during the postwar decades whom she had never met or even seen.“You are my fathers,” she told the soldiers in the audience before singing “Father,” one of her Korean-language hits.“To me, the United States has always been my father’s country,” Ms. Kim said in a recent interview, recalling that 2010 performance. “It was also the first place where I wanted to show how successful I had become — without him and in spite of him.”Ms. Kim, born in 1957, is better known as Insooni in South Korea, where she is a household name. For over four decades, she has won fans across generations with her passionate and powerful singing style and genre-crossing performances. Fathered by a Black American soldier, she also broke the racial barrier in a country deeply prejudiced against biracial people, especially those born to Korean women and African-American G.I.s.Insooni at a concert in Seoul in March.Woohae Cho for The New York TimesHer enduring and pioneering presence in South Korea’s pop scene helped pave the way for future K-pop groups to globalize with multiethnic lineups.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