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» Books
By JORDANNAH ELIZABETH
Special to the AmNews
Black historical documentation and analysis continue to advance rapidly in the 2020s. The passing of George Floyd sits firmly as a tipping point that ignited the mass interest and acquisition of books that disrupt the white-washing of American history. The history of Black music in particular has been an area where scholars, historians and veteran musicians are breaking ground in mining, documenting and offering new inclusive forms of analysis from predominantly Black musicologists and historians. Music history through a Black lens is a long underrepresented historical perspective; nonetheless, there are three new books that will expand the Black music history canon and offer new historical context and diversity to academic books and sheet music collections.
Music in Black American Life, 16001945 (University of Illinois Press)
“Music in Black American Life” is a collection of articles and analyses that were originally published in the Black Music Research Journal, “Music In American Life” book series and the American Music Journal. The selected writings were chosen from an array of experts who explored the music of Black Americans during colonial America throughout the innovations of the bebop jazz era, gospel and blues. Within those sounds and parameters, the book examines genres and string music that are lesser known to broad audiences. Contributors include R. Reid Badger, Rae Linda Brown, Samuel A. Floyd Jr., Sandra Jean Graham, Jeffrey Magee, Robert M. Marovich, Harriet Ottenheimer, Eileen Southern, Katrina Dyonne Thompson, Stephen Wade, and Charles Wolfe.
Music in Black American Life, 1945-2020 (University of Illinois Press)
“Music in Black American Life” the second volume continues with its selections of writings that were originally published in Black Music Research Journal, American Music and Music in American Life along with the African American Music in Global Perspective. With contributions from mostly Black scholars, this compilation “explores a variety of topics with works that pioneered new methodologies and modes of inquiry for hearing and studying Black music.” Spanning from the World War II jazz era to the emergence of hip hop out of underserved communities in South Bronx, to the impact of “Hamilton” on American mainstream culture, this book is a well of information and thought-provoking examinations. Contributors include Nelson George, Wayne Everett Goins, Claudrena N. Harold, Eileen M. Hayes, Loren Kajikawa, Robin D. G. Kelley, Tammy L. Kernodle, Cheryl L. Keyes, Gwendolyn Pough, Bernice Johnson Reagon, Mark Tucker, and Sherrie Tucker.
New Standards: 101 Lead Sheets By Women Composers (Berklee Press)
Editor: Terri Lyne Carrington
Iconic jazz drummer Terri Lyne Carrington, who helms as the founder and artistic director of the Berklee Institute of Jazz and Gender Justice, has creat-
(Courtesy images)
ed a visionary collection of the sheet music of women jazz composers. Carrington has built a resource and alternative to the volumes of male-dominated books of jazz standards, and reimagined what is considered relevant in the jazz music canon. The music in “New Standards” spans nearly a century, with Lil Hardin Armstrong’s work from 1922 to songs written in 2021 by recent Institute graduates. The collection also includes compositions from Mary Lou Williams, Alice Coltrane, esperanza spalding, Geri Allen, Maria Schneider, Cecile McLorin Salvant, Cassandra Wilson, Dianne Reeves, Dorothy Ashby, Nubya Garcia, Nicole Mitchell and many others.
Giveon co-writes, performs ‘Time’ for ‘Amsterdam’ soundtrack
By JORDANNAH ELIZABETH
Special to the AmNews
The ethereal, soulful singer-songwriter Giveon, who drew positive attention after lending his voice to Drake’s nocturnal hip hop song, “Chicago Freestyle” in 2020, has teamed up with Drake again. This time they collaborated as songwriters along with Daniel Pemberton to create a hauntingly beautiful song entitled “Time.” The song is the principal theme of the new film “Amsterdam” starring Christian Bale, John David Washington with Margot Robbie. The film is a story of three unlikely friends who make a pact to take care of each other through life’s trials and triumphs. When they become suspects of a murder, they must band together to prove their innocence. The star-studded film’s cast is rounded out by Chris Rock, Robert DeNiro, Zoe Saldaña, Rami Malek and more.
Newcomer John David Washington, who gives a standout performance as one of the film’s lead actors, described his experience working with Bale and Robbie to “The Hollywood Reporter,” “Their professionalism, their humility and their craving; their hankering for telling the truth and getting to the source of what all the actions are, what motivates the actions, as an actor, made it easy to just get in line, blend in and have the chemistry. Our bedrock of humility was that foundation, and I think that’s what made it seamless as far as chemistry was concerned.”
Giveon, also a young Black rising star, shares a touching, elegant and subtle vocal arrangement that is accompanied by dreamy classical soundscapes composed with strings, harp, piano, and the light drum rolls of a post-modern drumbeat that gives the song a unique orchestral ballad. The simplistic introspective lyrics are moving and timeless:
Cooler weather means cozy family food
After families across the country began cooking more at home during the pandemic, that trend has continued as loved ones seek comfort in the kitchen in the form of their favorite recipes and time spent together.
In fact, according to the “Hunter Food News Study,” cooking continues to change as more Americans come together at the dining table with recipe usage up 21% and dinners cooked from scratch up 14%. Around half (54%) of Americans are cooking more than they were before the pandemic, and 35% said they “enjoy cooking now more than ever,” according to Harvard Business Review.
If those closest to you are looking for home-cooked comfort, you can turn to satisfying family meals like PlantBased Meatloaf Sandwiches or Chicken Souse. These hearty recipes make it easy for loved ones to involve everyone in the cooking process from preparing vegetables and hand-mixing meatloaf to seasoning chicken and simmering ingredients.
With 65% of consumers saying they’re most likely to purchase a whole week’s worth of groceries when shopping, according to research from Datassential, opportunities abound for families to enjoy delicious, comforting dishes together.
Find more family meal inspiration by visiting Aramark’s Feed Your Potential website, fyp365.com.
Plant-Based Meatloaf Sandwiches
Recipe courtesy of Aramark
Servings: 6
Nonstick cooking spray 1½ pounds plant-based ground burger, thawed 1½ cups cooked wild rice, chilled 1 cup diced onion 1 cup diced red bell pepper 2 teaspoons paprika 1 teaspoon granulated garlic 1 teaspoon rubbed sage ½ teaspoon dried thyme leaves ½ teaspoon kosher salt ¼ teaspoon ground white pepper ⅔ cup barbecue sauce bread vegan cheddar cheese sauteed onions baking sheet with nonstick cooking spray.
In bowl, thoroughly mix ground burger, cooked rice, onion, bell pepper, paprika, garlic, sage, thyme, salt and white pepper until well blended without overmixing. Shape mixture into loaf on baking sheet. Spread barbecue sauce over meatloaf.
Bake 1 hour, or until internal temperature reaches 160 F.
Slice meatloaf into six pieces and place each piece on bread. Top each meatloaf slice with vegan cheddar cheese and sauteed onions then close sandwiches with top bread slices. Using panini press, griddle or frying pan, cook sandwiches until golden brown and cheese is melted.
Chicken Souse
Recipe courtesy of Aramark
Servings: 6
8 ounces boneless, skinless chicken thighs, cut into 1-inch pieces ⅛ teaspoon ground black pepper, plus additional, to taste, divided ⅛ teaspoon garlic powder ⅛ teaspoon onion powder 1 tablespoon vegetable oil ¼ cup diced onion ¼ cup diced celery 2 teaspoons minced garlic 2 cups chicken broth 1 cup peeled potatoes, cut into ½-inch pieces ⅔ cup canned diced tomatoes, undrained ¼ cup tomato paste 3 tablespoons cider vinegar 2 tablespoons minced, seeded jalapeno pepper 1½ tablespoons lemon juice 1½ teaspoons minced, peeled ginger root 1 teaspoon kosher salt, plus additional, to taste, divided 2 pinches dried thyme leaves 1 small bay leaf 1½ cups thawed mixed vegetables, drained
Season chicken with ⅛ teaspoon black pepper, garlic powder and onion powder. Cover and chill 2 hours, or overnight.
In saucepan over medium-high heat, heat oil. Add onion and celery; sauté 2 minutes, or until tender-crisp. Add garlic and sauté 30 seconds.
Add chicken and sauté until browned.
Stir in broth, potatoes, tomatoes, tomato paste, vinegar, jalapeno pepper, lemon juice, ginger, 1 teaspoon salt, thyme and bay leaf; heat to boil. Reduce heat. Cover and simmer 1 hour, or until potatoes are tender.
Stir in mixed vegetables and simmer 10 minutes. Remove and discard bay leaf. Season with additional salt and pepper, to taste.
Tips: Serve souse with griddled corn cakes and saltine crackers. Make vegetarian by replacing chicken with canned drained and rinsed black-eyed peas or red or white beans.
Sanaa Lathan beautifully steps into directing role with ‘On the Come Up’
By MARGRIRA
Special to the AmNews
During the junket for “On the Come Up,” directed by Sanaa Lathan who made her directorial debut, I had very little time. Such are the facts about these fancy press opportunities. But I’ve been following Lathan’s career since she stunned us all in the now classic film “Love and Basketball” starring Omar Epps.
Lathan has been sharpening her skills for 26 years in the industry and thanks to her family, she was basically born into it, as the daughter of legendary director and producer Stan Lathan. As an actress (and make no mistake, this new director can act) her credits include “Life,” “Brown Sugar,” and “Out of Time” to name a few. On Broadway, she was nominated for a Tony Award (2004) for her portrayal of Beneatha Younger in “A Raisin in the Sun.” On the television side, she recently received her first Emmy nomination for her guest role on “Succession.”
“On the Come Up,” which debuted at the Toronto International Film Festival, marks her directorial debut. And not only is she good in front of the camera (she plays the role of a recovering addict), she’s proven herself to be a very sturdy, gifted film director.
Here’s what producer/actress and now, film director Sanaa Lathan had to share about making “On the Come Up” which premieres Sept. 23, exclusively on Paramount+.
AmNews: Congrats on the directing. I loved your film.
Sanaa Lathan: Thank you.
AmNews: I’ve interviewed you in the past. I never knew you wanted to direct.
SL: I’ve been in the business for 25 years, plus, and have probably been on more [movie] sets than most directors.
AmNews: You just soaked it up.
SL: I was just around it, and it was all I knew. I wanted to do the opposite because it wasn’t cool. Whatever your parents do, you want to do the opposite.
AmNews: “On the Come Up” the film is an adaptation of Angie Thomas’ 2019 young adult novel of the same name. Why did you choose this story?
SL: I fell in love with it after I read it and it felt like the right time.
AmNews: It’s clear that you love what you do.
SL: Thank you. Well, I am a storyteller and I am if I’m playing a character or directing a movie. This is my life.
“On the Come Up” director Sanaa Lathan (Photo by Erika Doss/ Paramount+© 2022 Paramount Players, a Division of Paramount Pictures)
AmNews: Your destiny. SL: Yes. I know this for sure.
AmNews: Thank you for making a solid film.
SL: You are welcome.
‘On the Come Up’ with star Jamila C. Gray
Jamila C. Gray stars in Paramount+’s “On the Come Up” (Photo by Erika Doss/ Paramount+© 2022 Paramount Players, a Division of Paramount Pictures)
By MARGRIRA
Special to the AmNews
There’s a buzz in the air about the actress Jamila C. Gray who is the lead in “On the Come Up” and it started at the Toronto Film Festival. The film marks Emmynominated actress Sanaa Lathan’s feature directorial debut.
We caught up with Gray, who was making it all look easy, via a Zoom interview. It took me a few seconds to drink in her new look, a departure from her character Bri. The actress’s makeup was flawless and her hair—in two, long ponytails—framed her beautiful face perfectly.
“I like your hair,” I say with a smile. “I love your hair,” Gray says back.
“On the Come Up” the movie is based on Angie Thomas’ bestselling novel of the same name and delves into the world of Bri, a 16-year-old female rapper. The subjects tackled in the film would definitely qualify it as a comingof-age tale but (thankfully) it has a swagger and heart that makes the pulse race. For Bri, trying to balance her father’s legacy on her shoulders, managing a challenging relationship with her recovering addict mother (Sanaa Lathan), and a desire for financial stability make achieving her dream—to become a hit, hip-hop artist—a do-or-die endeavor for the up-and-comer.
“On the Come Up” takes the important opportunity to analyze the true price that comes with success. And although Gray admits that she doesn’t have much in common with Bri, she does note that there are a few parallels.
“I know a lot of women in my life who are exactly like Bri. So I had a lot to pull from, as well as there are so many parallels between me and her. She’s moving forward. Bri’s definitely on her come up and I am being on mine. She’s searching for herself. I’m finding myself and that happened in the process of playing her,” she confides.
There are layers to “On the Come Up” no doubt pulled from the gems that are from the novel. But the main theme is the importance of staying true to yourself, and Gray believes that this is an important lesson not only for herself and Bri, but for everyone.
“I think it’s very important to stay true to yourself,” she says. When pushed to answer what that could possibly mean, she offered this: “You have to take time to sit with yourself to understand things. Discover the things that you love and those things that you don’t love. Accepting yourself for who you really are. I can’t help thinking about what would it be like if everyone took that time to sit with themselves, would the world be different?”
Kudos to Gray anchoring the film as an unknown lead (almost unheard of) but to be directed by Lathan, who has starred in many films including the classic “Love & Basketball” and shows such as “Succession,” was an added bonus. As an actress, Lathan understood how to get performances from her cast.
“She [Lathan] helped me to stay grounded on set. I was No. 1 on the call sheet and that comes with a certain responsibility. You have to treat everyone with the respect you want as well. You show you. You do the work. She was a great mentor for me.”
In “On the Come Up” the young rapper on the come-up has no choice but to try and balance the weight of her world on her slender shoulders. Her day-to-day is stressful, trying to deal with racism at school, violence in her neighborhood, and the growing tension with her mother, a recovering addict. The character is tough and although she’s not exactly street smart she does have the instincts of a fighter. This character has rage, which was a challenge for the actress to tap into.
“That was really tough,” she says. “So for me to understand her rage, I really had to understand what she had been through. I stepped into research, talking with people who suffered from addiction and watching documentaries about women whose parents were addicts.
“To get Bri right, I really had to do my research,” she continues. “I really had to understand what she had gone through.”
The other challenge that Gray had to master was learning how to rap and still be convincing in the rap battle scenes. To help her prepare she worked with rapper Rapsody—who wrote the rhymes that Bri spits—and the hard work paid off.
While the power of the music is an integral part of the movie, for Gray, she hopes that people will feel the message, which is to “remain true to who you are, stand up for what you believe and never let the trappings of fame or even being desperate sway you.”
22 • October 6, 2022 - October 12, 2022
THE NEW YORK AMSTERDAM NEWS A R T S & E N T E R T A I N M E N T Callum Francis reprises role of Lola in Stage 42 production of ‘Kinky Boots’!
By LINDA ARMSTRONG Special to the AmNews
For African American, British born actor Callum Francis the fifth time is certainly the charm as he reprises his role as Lola in “Kinky Boots” at Stage 42. Francis played the role in the original West End production in London, the Australian tour, the first U.K. tour, on Broadway at the Al Hirschfeld Theatre and now at Stage 42, located at 422 W. 42nd St. and he is FABULOUS. “Kinky Boots” is an incredible musical with a stunning book by Harvey Fierstein, mesmerizing music and lyrics by Cyndi Lauper, and delightful choreography and direction by Jerry Mitchell. In it, Lola, a drag queen, encounters Charlie Price, the owner of a shoe factory with no customers. Charlie is trying to find a new niche market and a new group of customers, and Lola not only inspires him to make boots for drag queens, she designs the boots as well. Francis recently spoke with the AmNews about being Lola. He was candid and honest in this Q&A.
CF: It’s just a joy. We get joy from the audience from their feelings and give it back. Jerry [the director] describes it as a tsunami of love because we get as much joy as we can and then we give it back. Especially at the end.
AmNews: You played the role four times before this and now at Stage 42. Have you grown with this character?
CF: Well, it’s interesting because coming back to it, my agent described it as a victory lap. I thought I put it to bed when I finished it on Broadway, and then circumstances in my life happened. I learned a lot from doing this role, about myself, and I felt like I needed to remind myself of certain things. When I accepted the role, I thought I was coming back to do the same kind of iteration of Lola that I already did. But the director, Cyndi Harvey, kind of said, “She’s a bit more mature.” Which I could see was the case. The last time I played it was three years ago, so I guess we all mature. So I think she’s a bit different.
CF: I was doing a job overseas where my person was questioned. I had someone, who was a senior in power in the show I was doing, take me off the show because I wasn’t “manly enough.” I’m quite comfortable in my own skin, but it was quite jarring, so I started to…not believe it, but I started to question certain things. Lola taught me a lot of things about myself I didn’t realize. At that time, when I was going through that, was when I got the call to see if I wanted to do this again and I said actually I do. I think I need to. Maybe that’s why there’s so much joy in her, because it’s a reminder.
AmNews: What is the journey like when you do a character that you know like the back of your hand, but you’re doing it with a different cast?
CF: That’s what’s been so much fun about it, because it’s completely different. I can’t play the show the same way because I have to do it towards the one who is playing Charlie and they are going to be different. Jerry Mitchell has a really wonderful way of letting you bring yourself to a role, so all these Charlies are bringing themselves to the same role, but they’re all different people. And, then I get to play around, far too much than I should.
AmNews: Lola is a character that has a lot of heart, love, humor. She also faces discrimination from men who don’t understand her. What do you want people to realize about this character?
CF: If you can look past the dress, the wigs and the heels to the person, you’ll realize that you don’t have to be a drag queen or a shoemaker, or whatever you are seeing on the stage, to realize that these people are real humans with real problems and real relationship issues with family members. We all grew up as kids and we had arguments in the house. Lola and Charlie want to think that everything is okay and it’s not. And I think that’s what I would have people take…“Kinky Boots” can really change someone’s life, it can open their eyes to something they didn’t previously see. It’s a joy to be able to do that. You get that one little brown boy or girl in the audience and you can change their lives, because they will see themselves up there. And, it’s a joy and a very wonderful responsibility to have. matinee and the audience enjoyed it, but they were very quiet, and it’s so difficult. It’s not that we need the applause to say we did it right, we know we’re doing it right. But it’s the energy that those kinds of things give you to get through to the end.
AmNews: What is the energy that you are working off of when you’re in scenes with the Angels, the other drag queens?
CF: I adore them. Six of them and two swings and they are all wonderful. We had a chat at the very start—I call them my girls— and I said if there’s any issues in the building, if you are not feeling respected or anything like that, my door is always open. That’s how I want it to stay. As Lola I look to interact with them on stage…I want to make sure from the start that we are a team. Before every show I go into the dressing room and I put my hand on each chin, look them in the eyes and I tell them to enjoy the show. Then we go out there onstage and we are the best group of friends. You see them, they work their butts off.
AmNews: Why is it so important that a musical like “Kinky Boots” is being presented on the stage right now?
CF: The list is kind of endless. “Kinky Boots” finds itself in cities, countries, when it needs it most, because it is pure joy. America needs it. There are certainly things happening in the world that are ludicrous and in “Kinky Boots” you put two different kinds of people together, which is what life is about, and watch how it can work if you open your heart and mind and change it if needed…If we have hundreds of people leaving each night and one person changing their mind, that’s a win.
AmNews: What would you say to the young person watching this show who thinks that they too would be comfortable in drag, but don’t know how to communicate this to their parents and friends?
CF: Bring them to the show. The friends that I had that had that feeling, that confusion, that need to come out to their families but didn’t know how to express it, “Kinky Boots” is a great conversation starter. I had so many friends that came out to their family after bringing them to watch the show. If you’re brave enough and strong enough, who says that you’re not allowed to do those things? Who says that you have to do certain things the way society says you have to do them? We only get one life, so why do we question things?
“Circle of Life” from “The Lion King” (Brinkhoff-Mogenburg photo)
By LINDA ARMSTRONG Special to the AmNews
What a blessing on Broadway! Disney’s “The Lion King,” playing at the Minskoff Theatre at 245 W. 45th St., is approaching its 25th anniversary on Nov. 13, 2022. I recently had the pleasure of going to see the show with my daughters—ages 29 and 20, both had seen the musical at the age of 5 and loved it. As I sat with them in the audience and heard Rafiki start the conversation and the call and responses that followed, I felt chills. Then, the animal puppets, the dancers dressed in costumes of zebras and other wildlife gave me thrills. There is something so beautifully dramatic about that opening scene in “The Lion King.” Something that says to you, this is going to be an experience like no other!
For almost 25 years, audiences have come to see this very spiritual musical with a story that showcases African culture, beliefs and language. This musical has some of the most powerful music and lyrics by Elton John, Tim Rice, Lebo M, Mark Mancina, Jay Rifkin, Julie Taymor and Hans Zimmer, along with a stunning book by Roger Allers and Irene Mecchi. There is also unbelievably poignant choreography by Garth Fagan and incredible direction by Julie Taymor, who along with Michael Curry is also the mastermind behind the animal mask and puppet design.
This musical tells the story of Mufasa, the Lion King; his newborn son, Simba, who is to grow up to be king; and Mufasa’s jealous brother Scar, who is furious that he is being passed over. “The Lion King” demonstrates how everything in nature is connected and how everyone’s existence is part of the Circle of Life. But it also has a deeper side that shows the love and connection between father and son and mother and son.
There are so many moments in this musical when I found myself with tears in my eyes from the beauty of what was being performed in front of me and the life lessons being taught. “The Lion King” has love, loss, jealousy, joy, anger and redemption. Another excellent reason to see it now is for the original cast members who have returned. L. Steven Taylor, the original Mufasa is doing what he does with such heart and brilliance. Tshidi Manye is Rafiki and she is magnificent in this role. Her emotions, heart and humor come through splendidly.
Of course, one of the most endearing aspects of “The Lion King” for me these 25 years is that it has always been a major source of employment on Broadway for Black and South African people. That is a distinction which makes it soar to new heights in my eyes. The cast is singing all the songs that we have all come to love. “Circle of Life” will give you head-to-toe chills. “I Just Can’t Wait to Be King” will put a smile on your face. “They Live in You” will grab your heart and soul. It is such a beautiful moment between father and son. “He Lives In You” is a great number that will stun and inspire.
Sitting there with my daughters, I experienced the overwhelming emotions that come with seeing exceptional performers, giving performances with everything that is in them. The cast and the ensemble are stupendous. Please make plans to go and see “The Lion King” and know why it has at least 25 more years to go!
For more info, visit www.lionking.com
