13 minute read
Arts & Entertainment
Film/TV pg 16 | Art pg 17 | Travel pg 19 | Jazz pg 21
Your Stars
3 new Black books to explore: nonfiction, memoir and poetry
By JORDANNAH ELIZABETH
Special to the AmNews
Three prominent Black writers have new books emerging this year. The trailblazing music editor and journalist Danyel Smith has written a memoir entitled, “Shine Bright: A Very Personal History of Black Women in Pop,” poet and Miles Davis biographer Quincy Troupe has released a comprehensive collection of his poetry, “Duende: Poems, 1966 - Now,” and the New York Times best-selling author Resmaa Menakem has written a new book that explores the January 6th Insurrection entitled, “The Quaking of America: An Embodied Guide to Navigating Our Nation’s Upheaval and Racial Reckoning.”
The books are, of course, diverse. But the thread that ties them together is each book’s ability to bring big ideas and topics (history of pop music, a large volume of poetry, and the tragedy of the insurrection) into coherence, and more importantly into a story. These three authors are experts in their field and are all deserving of their successful careers as published writers.
These books are recommended for readers who hope to connect more deeply with Black voices and unique perspectives on poetry, politics and arts and culture.
“Duende: Poems, 1966-Now” by Quincy Troupe
Troupe is a generous and gregarious poet in this giant offering that includes many new poems, as well as a selection chosen from across his eleven previously published volumes. What’s remarkable is the constancy, the energy, and how he’s always looking right at you in the here and now, and at the same time sees something over your shoulder that others don’t see yet, maybe a distant storm gathering over the waters, something we’re going to need to rise up and face soon enough. —Penguin Random House
“Shine Bright: A Very Personal History of Black Women in Pop” by Danyel Smith
A weaving of biography, criticism, and memoir, “Shine Bright” is Danyel Smith’s intimate history of Black women’s music as the foundational story of American pop. Smith has been writing this history for more than five years. But as a music fan, and then as an essayist, editor (Vibe, Billboard), and podcast host (Black Girl Songbook), she has been living this history since she was a latchkey kid listening to “Midnight Train to Georgia” on the family stereo. —Penguin Random House
“The Quaking of America: An Embodied Guide to Navigating Our Nation’s Upheaval and Racial Reckoning” by Resmaa Menakem
Through the coordinated repetition of lies, anti-democratic elements in American society are working to incite mass radicalization, widespread chaos, and a collective trauma response in tens of millions of American bodies. Currently, most of us are utterly unprepared for this potential mayhem. This book can help prepare us—and possibly prevent further destruction. In “The Quaking of America,” therapist and trauma specialist Resmaa Menakem takes readers through somatic processes addressing the growing threat of white-supremacist political violence. —Central Recovery Press
By LINDA ARMSTRONG Special to the AmNews
“Arden: But, Not Without You!” playing at The Flea at 20 Thomas Street, is a very unusual theatrical experience, which attempts to create a space where cast members and audience can look at the negativity of the world and try to find a way that we can all come together. The production depends a great deal upon the audience interacting with the cast members, as scenarios are brought up and audience members are asked what they would do. There is a feeling of trying to learn lessons on human behavior from our wise elders, a feeling of us needing to acknowledge the wrongs done to many of us, but also learning to forgive them, so that we can come together and find common ground and peace.
The piece includes material from Okwui Okpokwasili. The seven cast members include Peter Born, Sharae Moultrie, Diana Oh (co-music director), Niegel Smith (who is also the artistic director of “The Flea” and co-director of the production), Carrie Mae Weems, Nia Witherspoon (another co-director) and Jack Fuller (co-music director). The cast endeavors to speak truth to the ugly things that have happened to different ethnic groups; they call the
events out and then try to create a spiritual approach. The audience is invited to go into a place of serenity as you hum with the cast, who alternate between humming and singing. This is not a theatrical experience one might expect. In some ways it may make you feel a bit uncomfortable at first, but slowly your defenses may go down and you may start to buy into participating.
The cast shares stories of their lives and then turns to the audience members and asks them questions about themselves—their hopes, their
dreams, and how they are feeling at that present moment. There’s something intriguing about being in a theater that is presenting an unconventional work and suddenly, as an audience member, being in the spotlight. But the atmosphere was one of compassion and humor, which was interesting. While all the cast had different roles at times, it was Diana Oh who led the way, often singing and encouraging the audience. Her voice is incredible. She has a gift that thrills the listener and makes you want to hear more. A large part of this production involved improvisation, and Oh handled it with energy, humor and grace, and was able to relax audience members to the point of getting them to engage with her and answer questions. Smith often participated and had fun with what was happening under his supervision; Jack Fuller has a magnificently stunning voice; and the production has marvelous music by an all-female band that includes Serena Ebony Miller on bass, Bernice “Boom Boom” Brooks on percussion and Viva DeConcini on guitar.
The production will end March 13. I don’t know what you expect when you go to the theater, but if you are open to the unexpected you may want to consider this production. Just be warned it is not the usual bill of fare. Visit theflea.org/shows/arden/ for more info.
Diana Oh and Jack Fuller in “Arden But, Not Without You” (Hunter Canning photo)
16 • March 10, 2022 - March 16, 2022
THE NEW YORK AMSTERDAM NEWS
A R T S & E N T E R T A I N M E N T
‘The Batman’—even darker than ‘Dark Knight’ and even better!
(L-R) Jeffrey Wright as Lt. James Gordon And Robert Pattinson as Batman (Jonathan Olley/™ & © DC Comics photo)
(L-R) Zoë Kravitz as Selina Kyle and Robert Pattinson as Batman (Jonathan Olley/™ & © DC Comics photo) Robert Pattinson as Batman in Warner Bros. Pictures’ action adventure “The Batman,” a Warner Bros. Pictures release. (Jonathan Olley/™ & © DC Comics photo)
By LAPACAZO SANDOVAL
Special to the AmNews
The headline promises something huge, that the new “The Batman” is even darker and therefore deeper than “The Dark Knight,” which is a big claim. The level of gravitas that’s needed for this franchise keeps raising the bar for entire creative teams.
“This is a powder keg and Riddler’s the match.” Director Matt Reeves reaches for the powder keg with both hands, leaning into the elements that bring fans to their feet.
The running time of “The Batman” is 176 minutes, but it flies by so quickly you can’t feel the dismantling occurring as the very nature of superheroes (from the past) is being examined.
Remember, we’ve had decades of white, spandex-wearing heroes that have shaped our cultural landscape. Reeves is fearless, stripping the genre of its supernatural elements and thereby introducing a much more interesting, and significantly more complex version of this “classic” hero. I’m sure you know the controversial thought that evil is the other side of good and that the line between the two is surprisingly thin. Here we see a Batman that’s a few, precious inches away from being viewed as a villain.
Remember, these types of films are usually defined by the villain and “The Batman” actually brings up the very subject by putting the question on a platter: What if the good guys aren’t really the good guys? A huge question that rings beyond a film. What if the person you believed to be your protector is actually making the situation worse, and more dangerous?
Actor Robert Pattinson (“Twilight”) delivers and builds, beautifully, on the character’s tortured psychology, so well that we actually begin to have an understanding of why he brutalizes petty criminals in those dark alleyways and subways platforms.
Able to go toe-to-toe is actor Paul Dano, as the Riddler, who arrives from the murky villain archetype who’s focused on exposing the white-collar schemers who are sitting at the highest levels of power. It’s interesting that both hero and villain are vigilantes, one choosing to cooperate with law enforcement and others, drilling in on the systemic corruption that undermines our faith across the board in Gotham City, and in the real world.
It’s rather terrifying with the recent events unfolding between Ukraine and Russia, because “The Batman” taps into the frustrations and fears of our current (and terrifying) political climate. The director intelligently blends those key elements that create the classic gangster film with deeply thought-out commentary that highlights the challenges facing the modern world.
Is “The Batman” ambitious? Yes, but the screenwriters packed this world with many of the characters known from the franchise including—the Penguin (Colin Farrell), Catwoman (Zoë Kravitz), loyal butler Alfred (Andy Serkis) and the Batmobile that engages in an epic car chase with Reeves producing an excitement that makes the film’s length acceptable.
Reeves, from the very start, breaks away from the expected stylistic images associated with the genre. A gifted visual storyteller, he expertly establishes a tone that is uniquely his own.
Making his mark, the Riddler’s first victim sets the tone for why he does what he does—demanding in a bloodred command scrawled across his first victim, Gotham’s crooked mayor (Rupert Penry-Jones)—“NO MORE LIES.”
The body count grows, one gross murder after another done by the avenger, a sincerely twisted demented sicko whom everyone should be terrfied to be around.
I would never want to offer any spoilers, but I would suggest that you pay close attention to the long “vein” of corruption that runs through Gotham. One that includes (cough, cough) tracing back to the Wayne family.
When we meet this Bruce Wayne, he’s been defending Gotham for two years. We know about him through media clips and we are made to understand that the city is plagued by a major narcotics epidemic, because of a lethal street drug, “drops,” and the city is facing a level of disorder that’s oppressive.
“The Batman” is a beautiful film to watch, thank you production designer James Chinlund. And we all know that “Gotham” is modeled on New York City, and this city (like NYC?) is rotten from top-to-bottom.
Gotham’s midtown looks and feels like Times Square and is illuminated by even more digital screens and more buildings. Batman watches his city, sometimes from an upper floor, halfbuilt skyscraper, and his Batcycle.
Bringing Batman into the realm of being human, it’s clear that he’s not an alien or a god, so no supernatural powers. He is, however, a man with a billion-dollar fortune and an ability to build products that others can’t get their hands on.
Our Batman isn’t happy, he’s sullen and not necessarily fearless but it seems like he doesn’t care if he dies or if he lives. That’s top surface stuff and the actor goes deeper, morphing into intriguing with clear signs that he is weighed down by some massive emotional trauma. A modern hero for our times. A hero in pain, a man whose deeply troubled past informs every relationship, including tackling a psychopath that has labeled Bruce Wayne one of his targets.
The Riddler is a scary dude who’s determined to clean up the government. He’s convinced that a lot of Gotham’s top-ranking officials, and a cat burglar/cocktail waitress Selina Kyle (Kravitz)—are somehow mixed up with Falcone, and the Riddler has appointed himself the answer to purging the system of such evil doers.
Reeves lays out how intertwined city government is with organized crime, making “The Batman” an interesting crime drama and marking it a detective story. Does the Riddler win? No spoiler alerts here but with evil and good being so close, the question looms large.
“The Batman” will not disappoint and yes, it can hold a candle to Nolan’s trilogy.
Harlem gallery home to 2nd edition of Fire & Soul exhibit
NEW YORK CITY CENTER
By ASAR JOHN
Special to the AmNews ENCORES!
Uptown will welcome its latest art exhibit, Fire & Soul 2022: “We’re Still Harlem” at the Heath Gallery on Saturday, March 12. The exhibit is sponsored by ArtCrawl Harlem, an organization dedicated to promoting arts/culture and education in the local community.
The exhibit is the second edition of Fire & Soul as the first edition was held in December of 2020. Co-curated by Saundra Heath, Heath Gallery director and coowner, and Fable Jones Studios, “We’re Still Harlem” will feature the works of 10 artists in various forms, ranging from paintings to mixed media art.
“‘Fire and Soul 2022: We’re Still Harlem’ is really talking about Harlem as a model for any urban community of primarily Black and Brown people,” said Heath, who further explained that despite the political and economic turmoil experienced during the pandemic, the “fire and soul” of the community still exists. “We are still holding on to those things that make us unique and also able to navigate these circumstances because of certain things we look to, and that’s what you’ll see reflected in the work.”
Heath said she and Fable Jones Studios conducted an open call for the artists and viewed their artwork and art bios to determine whether these factors would reflect the portrayal of the exhibit.
While the Heath Gallery strives to portray diversity and inclusion in all of its exhibits, Heath describes “We’re Still Here” as a “continuum” of the gallery’s typical presentations.
“We are always looking to make sure that we are speaking to the Harlem community first, and making sure that the community has in Heath Gallery, a space where they are welcome,” said Heath.
Heath explained that while the image of “fire and soul” may sound like something extravagant and striking, the idea of this exhibit is to portray something that is quite the opposite.
“In this exhibit, we are
"Steadfast" by Jonte’ Drew (Photo courtesy of the artist) looking at the contemplative side of who we are—what happens in the quiet spaces that allow people to gather themselves, to regroup; to reconsider; converse and connect.” “We’re Still Harlem” will open at 2 p.m. on Saturday and wraps up April 2. Heath Gallery is located at 24 West 120th Street in Harlem, open Tuesday to Saturday. For more information about the gallery and the exhibit, visit artcrawlharlem.org "Rose 1" sculpture by Bianca Allen (Megan Maloy photo)
