richardmurray

photo by imani perry

Searching for America, South of the Mason-Dixon
By Tayari Jones
Jan. 25, 2022

Imani Perry has won the 2022 National Book Award for Nonfiction for "South To America: A Journey below the mason-dixon to understand the soul of a nation"

review of
SOUTH TO AMERICA
A Journey Below the Mason-Dixon to Understand the Soul of a Nation
By Imani Perry

At the start of “South to America,” Imani Perry implores the reader: “Please remember, while this book is not a history, it is a true story.” I tried to keep these instructions in mind — not always easy with a narrative so scrupulously researched and teeming with facts and citations — but ultimately, I discarded them. After all, Perry addresses everything from hip-hop to the United Fruit Company and her own grandmother. Any attempt to classify this ambitious work, which straddles genre, kicks down the fourth wall, dances with poetry, engages with literary criticism and flits from journalism to memoir to academic writing — well, that’s a fool’s errand and only undermines this insightful, ambitious and moving project.

This is no “both sides” affair: Perry is an unabashed “movement” baby, raised by intellectual freedom-fighter parents. The conviction of this book is that race and racism are fundamental values of the South, that “the creation of racial slavery in the colonies was a gateway to habits and dispositions that ultimately became the commonplace ways of doing things in this country.” In other words, the South is America, and its history and influence cannot be dismissed as an embarrassing relative at the nation’s holiday dinner table.

Inspired by Albert Murray’s 1971 memoir-cum-travelogue “South to a Very Old Place,” Perry travels to over a dozen Southern cities and towns, excavating both histories and modern realities. She begins at Harpers Ferry, W.Va. We meet Shields Green, a Black South Carolinian known as the “Emperor of New York” who was executed along with John Brown. His heroism has been nearly lost to history, and to compound the tragedy, after he was hanged his body was given to Winchester Medical College for dissection. In telling his story, Perry reveals the first of many patterns in the quilt stitched on these pages: At each stop, she recounts an atrocity, but also resistance. And she does not flinch when documenting the consequences.

From the three essays that examine Alabama it’s clear that despite a childhood in New England, Perry’s heart belongs to the idiosyncratic Yellowhammer State. Her tone grows tender as she recalls her dancing cousins or the foot-washing Baptists. Her portraits of her grandmother combine elegiac longing and the rigor of a historian setting the record straight. Equally moving are the dispatches from her mother’s native Louisiana.

The theme of unmarked graves and untold stories permeates this work. As remediation, Perry names scores of Southerners: some famous, some unknown. As Andre 3000 declared, “The South got something to say.” And it’s a breathtaking something — from fine arts to reality television, internationally traded corporations to roadside rib-shacks whose flavors inform the American palate.

Perry vowed to visit and contemplate as much of the South as possible for this project; this ambition is both gift and obstacle. The benefit of such a large canvas is that patterns are easily identified. Historical injustice such as the Wilmington Massacre cannot be dismissed as a one-off, nor can the contemporary violence of Dylann Roof, or the storied resistance of Rosa Parks. Perry finds that one “hidden virtue of an unsure genealogy is a vast archive of ways of being learned from birth.”

It is inevitable, though, that all sites will not receive equal care and attention — and clearly her loyalty is to Alabama. An acolyte of Toni Morrison, Perry nevertheless takes pointed issue with the Nobel laureate’s characterization of the women of Mobile. I understand her pain, for it is the same feeling conjured in me as I read the chapter on Atlanta, my hometown. While in some places, Perry has the benefit of a guide, here she doesn’t cite the personal conversations that led to her insights, and the resulting observations feel a bit chilly. Perry declares that “the major metropolis of the South doesn’t have a sufficient mass transit system or a polyglot culture....” but goes on to suggest that survivors of dirt roads take comfort, instead, in the shiny baubles hawked in Lenox Mall. Well, that hurt my feelings.

Wounded pride aside, it must be said that this work, though sometimes uneven, is an essential meditation on the South, its relationship to American culture — even Americanness itself. This is, as Perry puts it, “not a preservation. This is intervention.” For too long, the South has been scapegoated and reduced to a backward land on the other side of some translucent, but impenetrable, barrier.

Beyond the literal divide of the Mason-Dixon, Perry is fixated on the line that divides past and present. On her travels she encounters a Confederate re-enactor celebrating a birthday. Though he is nostalgia and revisionism made flesh, Perry finds him surprisingly pleasant. Assuming he’ll speak about “Northern aggression,” Perry chooses not to question him, and this, too, is the legacy of the intimacy of slavery — we have lived together so long that we believe we can read each other’s minds.

During her visit to Maryland, Perry sees people wearing muslin shirts and straw hats while laboring in a field. Her insides clench, fearing that she is witnessing some cruel antebellum cosplay. As she gets closer, Perry hears the men speaking Spanish. She was “sad, and also relieved. Workers, not re-enactors.” But of course, this underscores the refrain of this immersion in Southern (American) life and history — to what extent are we all re-enactors of the nation’s brutal history? This work — and I use the term for both Perry’s labor and its fruit — is determined to provoke a return to the other legacy of the South, the ever-urgent struggle toward freedom.

Tayari Jones is the Charles Howard Candler professor of English at Emory University.

SOUTH TO AMERICA
A Journey Below the Mason-Dixon to Understand the Soul of a Nation
By Imani Perry
433 pp. Ecco. $28.99.

ARTICLE
https://www.nytimes.com/2022/01/25/books/review/south-to-america-imani-perry.html
 

Harlem debuts African Jazz Art Society & Studio (AJASS) documentary

by CINQUE BRATTEE
May 12, 2022

African Jazz Art Society & Studio Credit: Kwame Brath photo
It’s taken several decades, but it’s finally happening: a documentary about the African Jazz Art Society & Studio (AJASS), who have the earliest documented contributions as an organization to what people now recognize as the Black Arts Movement. The artist collective formed in 1956 on Kelly Street in the South Bronx, with the agenda of preserving jazz music as an African art form, at a time that many saw it being wrestled away by white interlopers.

Filmmaker Louise Dente, of Cultural Caravan, will debut her documentary on AJASS at the Dwyer Cultural Center on Sunday, May 15. It is very appropriate timing since May 15 has been declared AJASS Day by New York State Sen. Cordell Cleare. She will provide proclamations recognizing members of the historical organization at the intermission of the film.

It’s the first, but surely not the last, film to focus on AJASS. There are other documentaries that have mentioned significant contributions by AJASS, with the most notable being the EPIX four-part series that was successful enough to garner the NAACP Image award for its director, Keith McQuirter in 2021. McQuirter included some significant highlights about AJASS in his four-part docuseries entitled “By Whatever Means Necessary: The Times of Godfather of Harlem.”
The documentary focused on the music and cultural activism during the life and times of Bumpy Johnson, the Godfather of Harlem. Filmmaker Louise Dente’s documentary will look at the birth of the Black is Beautiful Movement and celebrate 66 years, from AJASS’s 1956 founding date to the present day.

Last year, Community Board 2 in the South Bronx voted to recognize and honor the historical organization with a street co-naming recognizing its Kelly Street birth and contributions to the cultural development of the Bronx. Unfortunately, this honor has been delayed as City Councilman Rafael Salamanca’s office was slowed by COVID restrictions and delays, so paperwork was delayed. Now the honor should happen this year. New Yorkers will continue to hear more about the AJASS organization and its terrific members as an exhibit by the New York Historical Society hits town on Aug. 23. The exhibit focusing on the photography of AJASS co-founder Kwame Brathwaite is entitled “Kwame Brathwaite: Black is Beautiful.” The exhibit will run for six months down the museum mile on 5th Avenue, and New Yorkers will get a chance to see and learn about AJASS global contributions through the photographic lens of one of its founders.

VIP ticket buyers will begin festivities at 2 p.m. on Sunday, May 15, and general ticket holders will commence at 3:50 p.m. for this highly anticipated film documenting an important history that some are just beginning to understand the impact of. For tickets go to Eventbrite and type in AJASS.

Article
https://amsterdamnews.com/news/2022/05/12/harlem-debuts-african-jazz-art-society-studio-ajass-documentary/

Black Is Beautiful: The Photography of Kwame Brathwaite

August 19, 2022 - January 15, 2023

One of the minds behind the "Black Is Beautiful" movement, Kwame Brathwaite has long deployed his photography as an agent of social change. This exploration of his work features 40 stunning studio portraits and behind-the-scenes images of Harlem's artistic community.

LOCATION
2nd floor, Luman Reed Galleries

Known as the “keeper of the images,” Kwame Brathwaite deployed his photography from the late 1950s and throughout the 1960s as an agent of social change. Born in Brooklyn to a Caribbean American family and raised in the Bronx, Brathwaite traces his artistic and political sensibilities to his youth. After seeing the horrific images of Emmett Till published in Jet magazine in 1955, Brathwaite and his brother Elombe Brath turned to art and political activism, absorbing the ideas of the Jamaican-born activist Marcus Garvey, who promoted a Pan-Africanist vision for Black economic liberation and freedom. Kwame and Elombe founded the African Jazz-Art Society & Studios (AJASS), a collective of artists and creatives that organized jazz concerts in clubs around Harlem and the Bronx. The group also advanced a message of economic empowerment and political consciousness in the Harlem community, with “Think Black, Buy Black” emphasizing the power of self-presentation and style. In the 1960s, Brathwaite and his collective also sought to address how white conceptions of beauty and body image affected Black women. To do so, they popularized the transformative idea “Black Is Beautiful” and founded the Grandassa Models, a modeling troupe of locally cast women who appeared in annual fashion shows at Harlem’s Apollo Theater.

Organized by Aperture, New York and Kwame S. Brathwaite, the exhibition features 40 stunning studio portraits and behind-the-scenes images of Harlem’s artistic community, including Max Roach and Abbey Lincoln, as well as dresses worn by the Grandassa Models, offering a long-overdue exploration of Brathwaite’s life and work. The exhibition is coordinated at New-York Historical by Marilyn Satin Kushner, curator of prints, photographs, and architectural collections.

Audio Tour

The accompanying audio tour for Black Is Beautiful—available on our Bloomberg Connects digital guide—explores some of the exhibition's key themes and stories. From the origins of the Black Is Beautiful movement to the birth of AJASS to the rise of Black activism in the 1960s to a reflection on natural beauty, you'll hear about photography as an agent of social change. This illustrated tour, narrated by Kwame S. Brathwaite, Sikolo Brathwaite, photography historian Deborah Willis, and curator Marilyn Satin Kushner, reflects on the photographs and fashions in the exhibition.
Download the Bloomberg Connects app now > [ https://www.bloombergconnects.org/?_branch_match_id=1062812982689049197&utm_medium=marketing&_branch_referrer=H4sIAAAAAAAAA8soKSkottLXTywo0EvKyc%2FPTUotSk%2FOz8tLTS4p1ssvStc3d%2FfPzXLLC%2FfNSgIAOxlOuC0AAAA%3D ] 
Spotify Playlist

Music plays a vital and central role in this exhibition. Enjoy a curated playlist selected by the photographer Kwame Brathwaite and his son, Kwame S. Brathwaite, director of the Kwame Brathwaite Archive.
Listen on Spotify now > [ https://open.spotify.com/playlist/6SnR3uHeBF7pXSR3vVxGuY?si=cSyCxAsRQcGim-yXX2mK9A&nd=1 ] 

Major support for Black Is Beautiful: The Photography of Kwame Brathwaite at New-York Historical is provided by Bank of America and Agnes Gund. The exhibition and the accompanying Aperture publication are made possible, in part, with generous support from the National Endowment for the Arts and the Photographic Arts Council Los Angeles.

Article
https://www.nyhistory.org/exhibitions/black-is-beautiful-the-photography-of-kwame-brathwaite

New-York Historical Society Showcases Black Is Beautiful: The Photography of Kwame Brathwaite

On View August 19, 2022 – January 15, 2023, the Acclaimed Traveling Exhibition Comes to New York City Featuring the Life and Work of a Key Figure in the Black Arts Movement

NEW YORK, NY (July 12, 2022) – Beginning August 19, 2022, the New-York Historical Society is the exclusive New York City venue for the traveling exhibition Black Is Beautiful: The Photography of Kwame Brathwaite, the first major show dedicated to this pivotal figure who helped launch and popularize the “Black Is Beautiful” movement of the 1960s. On view through January 15, 2023, the exhibition features 40 large-scale color and black-and-white photographs that document how Brathwaite helped change America’s political and cultural landscape during the so-called Second Harlem Renaissance, using his art to affirm Black physical beauty, celebrate African American community and identity, and reflect the vibrancy of Harlem’s jazz scene, local businesses, and events.

“We are thrilled to bring this exhibition to New York City, Kwame Brathwaite’s hometown and the location of many of his most powerful images,” said Dr. Louise Mirrer, president and CEO of New-York Historical. “His work is a testament to the power of a visual medium to impact the movement towards racial equity. We hope Kwame Brathwaite’s photographs inspire a deeper understanding of the Black empowerment movement and how its legacy resonates today.”

“This stop on the touring exhibition is especially meaningful because this is a New York story,” said Kwame S. Brathwaite. “My father was born in Brooklyn, raised in the Bronx and resides in Manhattan. These images introduce us to the origin of the Black is Beautiful movement that started in Harlem and show us how art, politics, music, and fashion combined to inspire, empower and change the status quo.”

Exhibition Highlights
The exhibition chronicles Brathwaite’s evolution as an activist and artist. Born in Brooklyn in 1938, and raised in the Bronx, Brathwaite was still a teenager when he saw the horrific photographs of Emmett Till in his open casket published in Jet magazine in 1955. For Brathwaite, as for so many people, the impact of those photographs was decisive. As the son of a Caribbean American family, Brathwaite was also greatly influenced by the ongoing Pan-Africanist legacy of the Jamaican-born activist Marcus Garvey.

With his brother Elombe, Brathwaite founded the African Jazz-Art Society & Studios (AJASS) and organized concerts featuring jazz luminaries such as Miles Davis, Abbey Lincoln, and Max Roach. In addition to promoting musical events, the group advanced a message of economic empowerment and political consciousness in the Harlem community, emphasizing the power of self-presentation and style. “Think Black, Buy Black” became a rallying cry.

In the 1960s, Brathwaite and his collective also sought to address how white conceptions of beauty and body image affected Black women and culture. To do so they popularized the transformative idea “Black Is Beautiful” and founded Grandassa Models, a group of Black women of varying backgrounds from the community who embraced natural hairstyles and their African ancestry. The modeling troupe sought to counter both the slight, androgynous figure made famous by 1960s British supermodels Jean Shrimpton and Twiggy and the ubiquity of lighter-complexioned, straight-haired Black models in Black-owned publications such as Ebony. Alongside striking photographs of Grandassa models, the exhibition features several dresses and pieces of jewelry worn by the women.

Special to New-York Historical’s display of the exhibition is a new audio guide available on the Bloomberg Connects app. The audio provides context about the “Black Is Beautiful” movement, the African Jazz-Art Society & Studios, and the Grandassa Models. The audio guide also explores other topics explored in the exhibition including jazz, Black activism, natural beauty, fashion, and Harlem during the time period depicted in Brathwaite’s photographs.

Organized by Aperture in partnership with Kwame S. Brathwaite, Brathwaite’s son and director of the Kwame Brathwaite Archive, the photographs—mostly shot in Harlem and the Bronx—tell a story of a movement and a time. Following its presentation at New-York Historical, the exhibition travels to the University of Alabama at Birmingham for the Abroms‐Engel Institute for the Visual Arts in February 2023.

The exhibition is accompanied by the first monograph dedicated to Kwame Brathwaite. Featuring essays by Tanisha C. Ford and Deborah Willis and more than 80 images, Kwame Brathwaite: Black Is Beautiful (Aperture, 2019) offers a long-overdue exploration of Brathwaite’s life and work and is available from the NYHistory Store.

About Kwame Brathwaite
Kwame Brathwaite (b. Brooklyn, New York, 1938) lives and works in New York. His photographs have been included in solo and group exhibitions at Philip Martin Gallery, Los Angeles; David Nolan Gallery, New York; and the Museum of the City of New York; and published in Aperture, the New Yorker, New York Times, and New York magazine. Brathwaite’s photography is held in public and private collections, including those of the Block Museum of Art, Northwestern University, Evanston, Illinois; Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York; MIT List Visual Arts Center, Cambridge, Massachusetts; Museum of the City of New York; Museum of Modern Art, New York; Santa Barbara Museum of Art, California; and Whitney Museum of American Art, New York. Organized by Aperture, Black Is Beautiful: The Photography of Kwame Brathwaite was first presented at the Skirball Cultural Center, Los Angeles, in 2019.

Programming
On Wednesday, October 19, photographer Kwame Brathwaite Jr. and historian Tanisha Ford with moderator Khalil Gibran Muhammad discuss the exhibition and legacy of the photographs on view. Special family programs related to the exhibition will take place during Martin Luther King Jr. weekend. Private group tours can also be arranged throughout the exhibition’s run.

Support
Major support for Black is Beautiful: The Photography of Kwame Brathwaite at New-York Historical is provided by Bank of America and Agnes Gund. The exhibition and the accompanying Aperture publication are made possible, in part, with generous support from the National Endowment for the Arts and the Photographic Arts Council Los Angeles. Exhibitions at New-York Historical are made possible by Dr. Agnes Hsu-Tang and Oscar Tang, the Saunders Trust for American History, the Evelyn & Seymour Neuman Fund, the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. WNET is the media sponsor.

About the New-York Historical Society
Experience 400 years of history through groundbreaking exhibitions, immersive films, and thought-provoking conversations among renowned historians and public figures at the New-York Historical Society, New York’s first museum. A great destination for history since 1804, the Museum and the Patricia D. Klingenstein Library convey the stories of the city and nation’s diverse populations, expanding our understanding of who we are as Americans and how we came to be. Ever-rising to the challenge of bringing little or unknown histories to light, New-York Historical will soon inaugurate a new annex housing its Academy for American Democracy as well as the American LGBTQ+ Museum. These latest efforts to help forge the future by documenting the past join New-York Historical’s DiMenna Children’s History Museum and Center for Women’s History. Digital exhibitions, apps, and our For the Ages podcast make it possible for visitors everywhere to dive more deeply into history. Connect with us at nyhistory.org or at @nyhistory on Facebook, Twitter, Instagram, YouTube, and Tumblr.

Press Contacts
Marybeth Ihle
New-York Historical Society | 212-873-3400 ext. 326 | marybeth.ihle@nyhistory.org

Julia Esposito
Polskin Arts & Communications Counselors | 212-715-1643 | Julia.Esposito@finnpartners.com

PDF Link
https://nyhs-prod.cdn.prismic.io/nyhs-prod/fe383419-0d03-4d78-a8d3-ed4e4a485e7e_BlackIsBeautiful_imagesheet_FINAL.pdf

Article
https://www.nyhistory.org/press/new-york-historical-showcases-photography-of-kwame-brathwaite

Kwame Braithwaite short gallery

The Cincinnati Symphony Orchestra has announced Endea Owens as its 2023 MAC Music Innovator. Owens is an award-winning bassist known for her vibrancy and international array of musical projects and collaborations. Endea is the bassist for singer Jon Batiste’s band Stay Human, house bassist for The Late Show with Stephen Colbert, and creator of The Community Cookout initiative, which brings hot meals and free music to communities in need.

Learn more about Endea and the MAC Music Innovator residency with the following article

Announcing Endea Owens as our 2023 MAC Music Innovator

CINCINNATI, OH (November 10, 2022)—The Cincinnati Symphony Orchestra (CSO) announced Endea Owens as its 2023 MAC Music Innovator. Owens is an award-winning bassist known for her vibrancy and international array of musical projects and collaborations. Endea is the bassist for singer Jon Batiste’s band Stay Human, house bassist for The Late Show with Stephen Colbert, and creator of The Community Cookout initiative, which brings hot meals and free music to communities in need.

The Orchestra’s MAC Music Innovator is a year-long music residency that works to showcase and highlight Black leaders of classical music. Selected musicians embody artistic innovation and a passion for community engagement and education. With support from the Multicultural Awareness Council (MAC), a volunteer group that supports audience engagement initiatives with the CSO, the MAC Music Innovator will collaborate closely with the CSO’s Diversity, Equity and Inclusion (DE&I) and Learning departments to create a distinctive residency with educational and community engagement programs. During her time as the MAC Music Innovator, Owens will engage with area students, community partnerships, chamber performance opportunities, and a culminating orchestra performance with the CSO.  

“We are excited to have Endea Owens as our 2023 MAC Music Innovator,” said Jonathan Martin, President and CEO of the CSO. “Her musicianship and heart for community, as evidenced by her work as the founder of The Community Cookout, are admirable. She is already a role model to young people who dream of carving a path for themselves in music, and we look forward to seeing the impact that Endea will bring to students in our schools and the greater community.”

“I am deeply honored to be chosen as the 2023 MAC Music Innovator by the Cincinnati Symphony Orchestra,” said Owens. “The CSO's dedication towards both music and community is nothing short of amazing, and being selected as a MAC Music Innovator is something that I hold very dear to my heart. Growing up, I rarely had the opportunity to see live performances of any kind due to many variables. Now with the help of the CSO, I can be a part of the change that I've always wanted to see. I am excited to perform alongside so many incredible musicians and bring classical music, jazz, free meals, and joy to people from so many communities. The true spirit of music always begins with the people.”

Endea Owens is the 6th MAC Music Innovator since the residency’s creation in 2018, following violinist Kelly Hall-Thompkins (2018), pianist Michelle Cann (2019), composer and drummer Mark Lomax (2020), composer and pianist William Menefield (2021), and conductor Antoine Clark (2022). 

ENDEA OWENS

Known as one of jazz’s most vibrant emerging artists, Endea Owens is a Detroit-raised recording artist, bassist, and composer. She has been mentored by jazz icons such as Marcus Belgrave, Rodney Whitaker, and Ron Carter. She has toured and performed with Wynton Marsalis, Jennifer Holliday, Diana Ross, Rhonda Ross, Solange, Jon Batiste, Jazzmeia Horn, Dee Dee Bridgewater, Steve Turre, and many others.

In 2018, Endea graduated from The Juilliard School, and joined The Late Show with Stephen Colbert as a member of the house band, Stay Human. Since then, Endea has won an Emmy, Grammy Award, and a George Foster Peabody Award. Endea’s work has appeared on Jon Batiste’s Grammy Award-winning album We Are, the Oscar-nominated film Judas and the Black Messiah, and H.E.R’s widely acclaimed Super Bowl LV performance.

Endea has a true passion for philanthropy and teaching. She has taught students across the United States, South America, and Europe. In 2020, Endea founded the Community Cookout, a non-profit organization birthed out of the Covid-19 pandemic, that provides meals and music to underserved neighborhoods in New York City. To date, Endea’s organization has helped feed close to 3,000 New Yorkers, and has hosted over a dozen free music concerts.

In 2022, Endea composed an original piece about the life of Ida B. Wells entitled “Ida’s Crusade” for the Jazz at Lincoln Center Orchestra, which was also performed by the NYO Carnegie Hall Orchestra. Endea has also written for brands such as Pyer Moss and Glossier. Endea is set to premiere a newly commissioned work with the Cincinnati Symphony Orchestra, and will serve as the 2023 MAC Music Innovator with the organization. In addition to her work with the Cincinnati Symphony Orchestra, Endea is the curator for the National Arts Club and also a fellow for Jazz is Now! with the National Jazz Museum in Harlem, where she presents original compositions, curates series, and headlines performances for the 2022-2023 season. Endea’s debut album “Feel Good Music” is set for release in early 2023.

Article

 https://www.cincinnatisymphony.org/about/press-room/press-releases/announcing-endea-owens-as-our-2023-mac-music-innovator/

Endea Owens and The Cookout: Tiny Desk Concert from NPR videos

The Honey

Wakanda- yes, do I have artistic issues... I have artistic issues with everything in art. But, I am overhjoyed of this financial news. Happy for all the Black folk involved first, but everybody else as well. 
https://www.hollywoodreporter.com/movies/movie-news/black-panther-wakanda-forever-box-office-sequel-1235260713/

The Pot
When I look at it, barring SChrumpf's death. Biden has the most important role in Schrumpf not making a comeback to the White House. 
Can Biden succeed in two years?
https://twitter.com/NEWSMAX/status/1592709116715094016
 

Elvis Mitchell on the set of Is That Black Enough For You?!? Hannah Kozak/Netflix

Hollywood’s Black film problem, explained by Elvis Mitchell
The venerated film critic on the unheralded Black influence on everything from soundtracks to Don’t Worry Darling.

By Alissa Wilkinson@alissamariealissa@vox.com  Nov 11, 2022, 7:30am EST

Over the past few years, movies like Black Panther and Get Out have raked in both accolades and box office returns, and the Oscar nominations hit new diversity records. To the casual observer, it may seem like Hollywood has made massive strides in moving from being overwhelmingly dominated by white actors, directors, and writers and toward a more inclusive environment. But from the standpoint of history, it’s startling how little has changed — and what that tells us about the industry.

That’s why Elvis Mitchell’s documentary Is That Black Enough For You?!?, which starts streaming on Netflix on November 11, is so revealing. The veteran critic and journalist, a former New York Times film critic, has, among many other pursuits, hosted KCRW’s phenomenal interview show The Treatment since 1996. He brings a wry and curious lens to the history of Black film in Hollywood, weaving interviews with renowned Black actors and filmmakers from Harry Belafonte to Zendaya into his own story. In so doing, he challenges many of the settled ideas about the film canon, Hollywood history, and what it’s meant to be a Black artist on screen.

I met Mitchell at a hotel on Manhattan’s Lower East Side to talk about those matters and a lot more. I wanted to ask him about Hollywood’s claims to inclusivity, about the still-common axiom that “Black films don’t travel,” and about why all of this history is really not so different from today. Our conversation has been edited and condensed for clarity.

Alissa Wilkinson side Elvis Mitchell interview BEGIN

Alissa Wilkinson

You say in the film that Hollywood appointed itself “the myth-maker” for the world. Early studio heads saw themselves as the guardians of America’s morality and morale, and the exporters of a message about America to the world.

But as you demonstrate, the story Hollywood told about Black people was often demeaning, and very far from the truth. What kind of an effect does that have on the myth that the country and the world internalize?

Elvis Mitchell

I think [Hollywood] was unique to film culture, different from any place else in the world. American movies were made by people who fled [their home countries] under enormous persecution, and then decided to create out of whole cloth this ideal of what America was — this America that they wanted to come to. And the America that they created is still being seen — it’s something popular culture is still responding to.

We noticed as we were putting the movie together that so many of the people on camera — Samuel L. Jackson, Suzanne de Passe, Charles Burnett, Laurence Fishburne — talked about Westerns. The myth became that there was never a Black person on a horse. That would have been empowerment; as soon as you put a Black person on a horse, you’re saying that they have some control over where they’re going, literally, within their lives. We can’t do that.

Back when Paul Thomas Anderson was talking about his film Boogie Nights, he talked about how absurd the idea of a Black cowboy is. So even Paul Thomas Anderson has been kind of rolled under by the idea the movies have created about what cowboys are supposed to be, rather than what they actually were.

So much of Black culture has been about responding to myths created about Black people through various forms of media. That response came from actors as much as filmmakers, because so many of these movies are not directed by Black people. Actors took some claim over [reclaiming the truth about being Black], and that confidence and that brio becomes this really transfixing quality.

Alissa Wilkinson

But it’s not just about telling America what it is, or what its own history is, but also exporting an idea of America and its history to people who aren’t American. My sense as a film critic is that we still see the reverberations of world perceptions of American Black culture through that influence.

Elvis Mitchell

That gets to this message that’s constantly pushed in Hollywood — that Black film won’t sell overseas.

Alissa Wilkinson

Exactly.

Elvis Mitchell

This shibboleth that exists to this very day, one that was constantly fed and cared for, that Black movies “don’t travel.” But think about [renowned Senegalese filmmaker] Ousmane Sembène in Africa, seeing what Ossie Davis is doing [in America], or seeing 1972’s Sounder, and being inspired by that, and creating his own ... I’m not going to say mythology, but his own worldview about Black masculinity. When that’s missing, what does that do to the culture?

It’s very convenient to say, “This stuff doesn’t travel.” Because it’s still this peculiar view of Black culture, even though it seeps in and subsumes everything. When you hear somebody on Fox say “24/7” — that’s hip-hop. They’re terrified by the “fist bump,” but they’ll say something is happening “24/7,” and thus they’re missing the entire point of their argument.

Alissa Wilkinson

Yes — here Ossie Davis is making films like Cotton Comes to Harlem and Black Girl, with roles in which Black characters can exercise self-determination, and it sparks something for filmmakers because their imaginations are expanded.

At the same time, though, you bring up that Sidney Poitier was, at one point, the number one box office draw, and yet Hollywood executives couldn’t imagine that any other Black actor could also be popular with a broader audience. The thinking is that it’s just Poitier; it’s an exception, it’s an anomaly, it’s just this one guy.

It reminded me of how people talk about huge, massive hits like Black Panther or Get Out today. There’s still a reluctance to greenlight big-budget Black films, because the thinking is, “Oh, well, that was a fluke.”

Elvis Mitchell

And what happens? We get a white remake of Get Out, called Don’t Worry Darling.

Alissa Wilkinson

You said it.

Elvis Mitchell

So at the same time, we have to be careful about the way we deal with Black film, because [Hollywood doesn’t think there are] “genres” in Black film; it’s just “Black film.” So when any Black film fails, it is a “Black film” that is failing, not that movie.

I remember when Black Panther came out, I talked to so many people, including Oprah, who said, “This is going to bring in a whole new way of [making] film.” No, it’s not. Because what happens when a film succeeds in a major way? It’s imitated. How many Jurassic World [imitations] have there been since the first Black Panther movie? And now, how many imitations of Black Panther have we seen? The answer is none, because they’re still treated as if lightning struck.

Alissa Wilkinson

Absolutely. Hollywood loves to make big creature movies, even if none of them hit quite like Jurassic Park. And this goes to something I think about a lot, which is that Hollywood is fundamentally conservative. Often people think of Hollywood as a very progressive, forward-looking industry, but it’s risk-averse and prone to sticking with whatever they know — which becomes a problem when what you know is stuck in some false idea of reality.

Do you think the reluctance to mainstream Black film in the industry is due to failure of imagination, built-in biases that they’d be horrified to be accused of, or what?

Elvis Mitchell

How much time do you have? Let’s send out for lunch.

To your point, Hollywood is a community that thinks of itself as being incredibly liberal, except when it comes to exercising that liberal impulse. Maybe they think their liberalism and commerce are two different things, but no, they’re not.

While we were trying to get [Is That Black Enough For You?!?] going, it got shut down by Covid; this was all happening at the same time that the country was reeling from the George Floyd attack, and the responses to that.

Back then, I would get these calls, saying, “So we want to put together this blue ribbon panel to figure out what we can do to make things [in Hollywood] different.” Look, we don’t need a panel. I don’t have time for this. I have three words for you: Hire Black people. It’s as simple as that. And not just one [Black person], but several, so the one person doesn’t have to labor under the burden of having to explain all of Black culture.

Alissa Wilkinson

Your film feels a little bit like a story about all the people who have been told that something “simply isn’t done” or “just can’t be done.” But when it is done, it’s a wild success — like Melvin van Peebles self-financing Sweet Sweetback’s Baadasssss Song because no studio would make it, and then it being a huge, era-defining hit. I sort of feel like that might apply to your own film — am I right? I can imagine people saying, “We can’t do this, nobody’s going to watch it, nobody’s going to be interested.”

Elvis Mitchell

People in effect said that when they turned down this same material in a book pitch. I thought, oh, this is the kind of thing that could go on a bookshelf next to Easy Riders, Raging Bulls, or Pictures at a Revolution. This isn’t esoterica. I’m not talking about a wave of art films.

In fact, these movies are not only enormous successes as movies, but they also created these soundtracks that were enormous successes, and then were imitated in ways that were enormous successes.

People who know and understand film history say, “Why hasn’t this documentary happened before?” I say, “I don’t know. If a tree falls in the forest, and there’s nobody to hear it, is that a legacy?” I mean, this is what this comes down to. I hate to torture a metaphor like that, but if it’s not reported on, then it’s not a legacy — if it’s not examined, if there’s not context offered.

Alissa Wilkinson

I think a problem is that people get very emotional and defensive when you threaten their canon, their idea of who did what first.

Why do you think this is?

Elvis Mitchell

There is this consistent boxing up of Black film culture. It’s this. It’s solely this. It is only this. It is Sidney Poitier. It is Black filmmakers finally getting a chance to work in the 1960s. It’s this thing that Melvin van Peebles has tried to fight his way, and then after that Spike Lee, and Robert Townsend, and so many filmmakers.

One of the reasons I wanted to present the idea of the dangers of canonical thought is that nobody tends to think about blackface in Alfred Hitchcock, in the 1937 film Young and Innocent. I remember seeing that as a kid, and thinking, “Oh my god, there’s blackface in an Alfred Hitchcock movie?” Or there is this idea in canonical thought that 1939 is the greatest movie era in American movie history. Some of us disagree with that.

Alissa Wilkinson

But it’s accepted as fact, along with the idea that a set of white filmmakers changed film in the early 1970s. There’s truth to it, but there’s more to the story.

Elvis Mitchell

They end up feeding into that river of myth. “These filmmakers came and changed everything” — well, they did sometimes, but they didn’t exist in a vacuum.

Alissa Wilkinson

Getting a chance to see these things on screen, in front of me, might be what’s good about doing this in film form instead of a book. I had honestly never really been struck by the similarities between depictions of Mickey Mouse and minstrelsy, but of course, it was obvious once you showed it to me in the film.

Elvis Mitchell

This feels like this innocent thing. In fact, it is not. Or, I’m not going to say it’s not innocent, but certainly there are layers to this that need to be pulled away, so we can see the entirety of it.

Mickey wasn’t keeping on gloves so he doesn’t leave any clues for a CSI team or something. “These are Mickey Mouse’s fingerprints, now we know who killed him.”

Alissa Wilkinson

Music is really important to this film, and it’s especially interesting to hear about how releasing a soundtrack before the movie’s release — pretty common now — was virtually unheard of before Super Fly.

Elvis Mitchell

By releasing the soundtrack [before the movie], and having it be such an immediate success, it created a must-see feeling around the movie. And it was constantly being played. If you drove around LA, you heard the commercial for the release of Super Fly. People respond to these songs, and then go out and buy the soundtrack. It is that rare case where you had people listen to the soundtrack before they saw the movie. So they created their own movie in their head through Curtis Mayfield’s soundtrack. And the movie, in some ways, couldn’t live up to that movie they created in their head.

Let’s be honest, those songs are better than the movie. There’s great stuff in the movie, but as a dramatic creation, as a narrative with its own life, that soundtrack is extraordinary. The soundtrack was a huge artistic and commercial success, and every song was released as a single. This isn’t like you’re making A Hard Day’s Night, and the Beatles are already a hit; this is something that becomes a mainstream hit that then propels the movie to enormous success. Shaft followed its example, and it started to happen so much that by the time Saturday Night Fever was coming out, they had the soundtrack out two months before the movie.

Then music videos also started coming out before the movie, and that became the coin of the realm for the ’80s, that the soundtrack was as important, if not more so, than the film. Super Fly did that.

Alissa Wilkinson

Now that’s all TikTok, 10-second clips. This summer the music from Baz Luhrmann’s Elvis started circulating on TikTok before the movie came out. I’m not even sure people knew what it was from, or that the “Hound Dog” remix was based on an Elvis song.

Every year I’ve been doing this job, and especially when Oscar season arrives, the industry starts touting how far they’ve come in terms of inclusivity — the whole #OscarsSoWhite issue having pushed it recently. That is, frankly, embarrassing, when you actually look at who gets jobs and who wins awards.

Elvis Mitchell

Here’s the example. Suzanne de Passe was nominated for Best Original Screenplay in 1973 [for co-writing Lady Sings the Blues]. How many other Black women have been nominated since that, in that category? None.

So when people would say to me, “Are you afraid this documentary’s going to seem dated?” No.

My fear is that it will never seem dated. In the film, Zendaya says, “It’d be great to see Black kids playing together on camera, or to see more Black people in a sci-fi fantasy.” Was that going to seem like old hat by the time this movie came out? No.

It’s weird to show this history to young people and have them go, “God, nothing has changed.” This is the thing that I wanted to try to find a way to deal with, too: Every decade we hear about this “resurgence in Black film.” But where did it go? It didn’t go anywhere; it just wasn’t being covered.

To your question, maybe in some fundamental way things have changed, but it’s still about trying to wrest some control of this narrative. Certainly, the visibility of the phenomenon may change, but Black women aren’t getting opportunities to write movies. It’s as simple as that.

It would be fun to say, “Well, god, in the three years since I’ve started working on this, so much has changed.” No.

Alissa Wilkinson side Elvis Mitchell interview END

Is That Black Enough For You?!? premieres on Netflix on November 11.

ARTICLE
https://www.vox.com/23447401/elvis-mitchell-black-enough-interview

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Betty Gabriel: The Unsung Black Scream Queen
"THERE IS A LOT OF HORROR WITHIN THE BLACK FEMALE EXPERIENCE IN THIS COUNTRY," THE ACTRESS SAID. "THERE IS A LOT TO BE MINED THERE."

BY RIVEA RUFF · UPDATED OCTOBER 28, 2022
When the term “scream queen” is brought up annually around this time, images of white women narrowly escaping the clutches of a crazed killer or evil entity across film franchises or pivotal genre entries come to mind. Jamie Lee Curtis as Laurie Strode, locked in a 45-year-long battle against Michael Myers. Neve Campbell as Sidney Prescott, opposing the various murderers donning the famed Ghostface mask in the Scream franchise. Naomi Watts as the longsuffering mother fighting supernatural forces in The Ring and Shut-In, or scratching for survival in Funny Games or Goodnight Mommy.

Less often mentioned are the contributions that Black women have made to the genre. Marlene Clark’s conflicted bloodthirst in 1973’s Ganja & Hess. Rachel True‘s vengeful teenage witch in 1996’s The Craft. Naomie Harris as a post-Apocalyptic warrior in 2002’s 28 Days Later.

But perhaps the most prolific yet often overlooked of these in the current era of horror is Betty Gabriel.

Starring in titles like violence thriller The Purge: Election Year, futuristic sci-fi/horror Upgrade, Screenlife slasher Unfriended: Dark Web, cybercrime horror-thriller limited series Clickbait, and of course, Jordan Peele’s innovatively genre-pushing racial horror, Get Out, Gabriel has broken the mold of the disposable Black friend of the protagonist or the film’s first victim.

Gabriel’s performance as “Georgina,” the white grandmother of villain Rose Armitage (Allison Williams), inhabiting the body of an unnamed Black woman, is one of the most iconic in the genre’s history, hands down. Though she had only a handful of lines in the film, her spine-tingling, smiling-yet-tearful monologue about the kindness of the Armitage family is one of the most recognizable frames of the film. Subtle yet chilling, it’s the strongest clue of the horror at the root of the story before the hand is revealed in the film’s third act. And it helped set the tone for a renaissance of Black horror that has begun over the last 6 years.

“I hadn’t really been aware that my contribution to the horror genre was significant in any way,” Gabriel says in conversation with ESSENCE about her status as a staple of modern horror. “I take it with gratitude.”

Ironically not much of a horror film watcher herself – “I will get nightmares,” she says laughing – Gabriel fell into starring in a string of scaries by pure happenstance.

“Starting out, you don’t really have much of a choice. You just take whatever work you can get,” the actress says. “Blumhouse, which was the main producer behind a lot of these films, kept hiring me, and I kept on saying yes to them. It wasn’t like I had a choice between this and a rom-com. It was a choice between this and not working.”

“But I think perhaps on a subconscious, universal level, there is something about me that is drawn to these films, or they’re drawn to me.”

Her first foray into chills and thrills came in 2016, for the second sequel in the wildly popular dystopian action horror franchise, The Purge: Election Year. Playing on societal fears over the turn the nation would take during the election cycle taking place in the real world just months later (and preluding some real-life political horrors that came about during the next Presidential term), the film tackled topics of politics and policy through the lenses of race, class, and religion – with a healthy dose of violence and mayhem, of course.

Gabriel portrayed Laney Rucker, an ex-purger known as “La Pequeña Muerta” in her youth, now an EMT assisting victims of violence each purge night, fighting to keep a peaceful senator in line for presidency alive for the night with the hope of Purge eradication on the horizon.

“It’s something I don’t really like to consume as an audience member, but as an individual, these are things that I definitely am haunted by,” she says of her connection to the material. “Just complete and utter chaos, the breakdown of our system, the guns constantly being a part of our everyday reality, and oppression.”

“It’s one of those movies where it’s like, ‘Is this horror? Or is this just a really messed up version of reality that might come true, that kind of [already] is true?'”

But her true big break into horror icon status came after a pretty harrowing audition process for Blumhouse’s new horror feature, written by that one comedian from Key & Peele.

“I was backpacking through the mountains of Peru, as one does when you’re soul-searching and single,” she reveals. “So, I didn’t have any technology, no smartphone, no wifi, nothing. I was going to an internet cafe once or twice a week, paying 10 cents for an hour for internet, and I got the email audition notice.”

Initially inclined to pass the process up, with no access to camera equipment, internet access, or even too many other people around who knew English, Gabriel tried to let this one go and move on. But something about the opportunity wouldn’t let her rest.

“I went to the hostel, and went to bed, and just couldn’t sleep. So, I just woke up and went, ‘Ugh…I’ve got to figure this out. I’ve got to figure out how to get that tape in. I can’t pass this up.'”

That realization led to a 24-hour bus ride to the next village over to visit a documentary filmmaker she stumbled across through a referral on Facebook, who not only had access to all the equipment she needed to film and upload her audition for the role but was from Chicago and knew English.

“We actually shot it outside. There were birds chirping throughout the whole thing,” she laughs. “12 hours later, it was uploaded and submitted.”

The rest, of course, is horror movie history. Get Out led to a renewed interest in horror films centering Black protagonists in authentically Black experiences, making way for films like Spell, His House, 2021 reboot sequel Candyman and shows like Lovecraft Country and Them.

“I think that ultimately, we’re being more inclusive, and we’re being a bit more aware in how we don’t fully invite people to the table,” Gabriel says of the increased space that’s been made for Black people in the horror genre. “And I do mean certain ‘we’s.’ The ‘we’s’ in power. We pat ourselves on the back for issuing crumbs. In any genre, I hope it isn’t a trend. Hopefully, we see more beautiful Black women on screen.”

Beyond the expression of horror in front of the screen, Gabriel is hopeful that the trend toward stories told by Black creators and about Black experiences continues, with increase.

“I think with the horror genre in particular, there’s so much to be mined there, because there is a lot of horror within the Black female experience in this country,” she says. “I look forward to that being conveyed, and in a way that’s profound, and not necessarily [gratuitous].”

Like many modern film watchers, Gabriel has a hard time viewing “Black struggle” and racialized violence against Black bodies committed to screen, though she sees the horrific stories they portray as valuable expressions.

“I do find myself not able to watch certain stories that really focus on slavery. I just find it challenging and retraumatizing. But that’s not to say that they’re not important and that I don’t try,” she said. “And, there’s always an audience for any story.”

“Personally, I think there’s something [special] to striking a balance between horrifying images, and transcendent nuances that we don’t always think about or see. Or things maybe we know on some level, but we haven’t quite seen [conveyed].”

“I look forward to seeing horror evolve in general. I personally am drawn to subtlety, with lots of layers and complexities about the human experience,” she continues. “I think that’s what made Get Out so wildly successful was that everyone related to this protagonist. Even though a white person will never know what it is to be a Black person, something about that journey was relatable and universal. So, I hope that is the future of horror, with Black stories and Black people behind and in front of the camera.”

Indeed, as Get Out opened Hollywood’s eyes to the bankability of Black horror, it opened doors personally for Gabriel, who has gone on to star in 17 more projects since the film’s release, 4 of which fall into the horror genre. The actress revealed that her role as Sophie Brewer in Netflix’s cyber-kidnapping thriller Clickbait, was the most pivotal on her journey through the genre.

“For me, that was the most personal, because it was the most extensive journey that I had been on playing a character,” she says. “It was my first time playing a lead, and though it wasn’t my first time playing a mom, I was a mother who had to really be the mother and keep the family together, while also having all these secrets and all this shame that she was processing and dealing with.”

Though the actress was considering stepping away from horror altogether in an effort to avoid typecasting, another horror project from a director of color recently came her way that was simply too good to pass up. Now presented with a choice, she chose horror once again – this time from another BIPOC perspective not often seen in American theaters.

The as-yet-untitled horror slated for a 2023/24 release comes from Indian director Bishal Dutta and centers on ancient Indian legends and personal immigrant experiences, subject matter which is likely to resonate with Black viewers just as much as our South Asian brothers and sisters. She also joins season 3 of Prime Video’s action drama Jack Ryan this November, and Discovery’s Manhunt, dramatizing the search for John Wilkes Booth in the days after Abraham Lincoln’s assassination.

“I think we’re in such an anxious place collectively that [horror is] really manifesting itself in a lot of stories,” Gabriel says. “So, yeah, I don’t think you can escape it.”

ARTICLE
https://www.essence.com/celebrity/betty-gabriel-unsung-black-scream-queen/

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