Category / Culture

by mvfour

‘Real Women Have Curves,’ the Musical, Highlights Body Positivity, Immigration, and Female Empowerment Themes on Broadway with Punchy Songs and Witty Lyrics

Adapted from the 2002 film of the same name, written by Josefina López and George LaVoo, the new play is more resonant than ever in our current political and social climate.

From L to R: Florencia Cuenca (Estela), Tatiana Córdoba (Ana) and Justina Machado (Carmen) in ‘Real Women Have Curves.’ Photo: Julieta Cervantes

Real Women Have Curves follows the García family, living in Boyle Heights, a predominantly Chicano/Mexicano neighborhood in East LA, set in 1987. Ana García (Tatiana Córdoba, making her Broadway debut!), the main protagonist, has been accepted to Columbia University’s journalism program. Cause for celebration, right? Not for everyone. Ana’s parents are unaware, and her sister Estela doesn’t share her enthusiasm for her Ivy League journey.

Ana is the sole U.S. citizen in her family who handles taxes and any other governmental logistics. Her older sister Estela owns a textile shop, barely making ends meet, and Ana’s mother, Carmen, wants Ana to work at the factory. Once Estela accepts an order for 200 dresses with a tight deadline and loses a worker to deportation, Ana steps in to help. She isn’t a seamstress; she has a few mishaps but gets the hang of it while her mother, Carmen, chastises her. Makes derogatory comments about her weight. Reminds her of her unrealistic ambitions, lack of sacrifice, and unwillingness to follow traditional female roles.

Even though the musical touches on universal complex topics of family obligations, guilt, and pursuing dreams, at the core is the love these women have for each other. A true sisterhood. Communicating their joy, frustration, and camaraderie through feet-stomping, electrifying songs like “Make it Work” and “Oye Muchacha,” and the poignant “If I Were a Bird,” sung by Ana and Itzel (Aline Mayagoitia, Broadway debut).

From L to R: Tatiana Córdoba as Ana and Aline Mayagoitia as Itzel in Real Women Have Curves; Photo: Julieta Cervantes.

Tatiana Córdoba is sensational as Ana García, hitting all the right notes and convincingly conveying emotions — from defiance, sadness, to jubilation. Poised for continued success on the Great White Way, the young performer graces the stage like a seasoned pro. Florencia Cuenca (Estela, also making her Broadway debut) is the first Mexican immigrant to star as a co-lead, dominating the role as the goading older sister yet empathetic best friend and champion of Ana’s dreams. Veteran stage and television actress Justina Machado (In the Heights, A Free Man of Color) joins the cast as Carmen, the overbearing mother, a multi-layered character who warrants both compassion and reproach. Machado’s acting is fantastic, making Carmen likable and relatable. Last, but not least, is the patriarch of the family, Raúl (Mauricio Mendoza, Resurrection Blvd, Matlock), a calming force amid a sea of estrogen. Seasoned actor Mauricio Mendoza is up to the task, serving as the voice of reason to his family’s boisterous, resolute women with captivating charm.

Florencia Cuenca (Estela) and ensemble in ‘Real Women Have Curves.’ Photo: Julieta Cervantes.

The set design (Arnulfo Maldonado, Buena Vista Social Club) and costumes are rich in warm, Latin American cultural hues, featuring stunning, vibrant dresses that embody the spirit of Mexican Americans.

Real Women Have Curves, the musical, directed and choreographed by Sergio Trujillo (first-ever Latino to receive the Tony for Best Choreography, Ain’t Too Proud to Beg: The Life and Times of the Temptations), written by Lisa Loomer (The Waiting Room) and Nell Benjamin (Mean Girls) and music and lyrics by Joy Huerta (Broadway debut and first Mexican-American woman to compose a musical), and Benjamin Velez (Broadway debut) is playing at the James Earl Theatre. Don’t miss this spectacular musical. Click here for tickets!

Full Creative and Production Cast

by mvfour

Mathematics Reinvents The Wu-Tang Sound with the New ‘Black Samson, The Bastard Swordsman’ Album

Wu-Tang Clan members and guest artists collaborated on the record, which features fresh beats and sonically elevated rhymes reminiscent of the group’s legendary hits.

Black Samson, The Bastard Swordsman Album; Photo: DKCNews.

Young and old, hip-hop heads gathered at the IMI Studios in Manhattan recently as producer/DJ Mathematics debuted the tracks off the highly anticipated Wu-Tang Clan x Mathematics Black Samson, The Bastard Swordsman album. The intimate setting enabled attentive listeners to soak in the melodies and arrangements selected by Mathematics, who provided anecdotes, tales of his carpentry background, and inspiration for the songs.

Mathematics is more than Wu-Tang’s multi-talented go-to-producer, even before the critically acclaimed Enter the Wu-Tang (36th Chambers) dropped in 1993 and changed Hip Hop forever (recognized as one of the top five most influential Hip-Hop albums ever made!). Mathematics, aka Ronald Maurice Bean, is the group’s musical muse and graphic artist. Not only has he produced many of Wu-Tang’s greatest hits like “Protect Ya Neck,” “C.R.E.A.M,” and “Bring Da Ruckus,” but he also designed the Wu-Tang Clan logo.

‘Black Samson, The Black Swordsman’ cover art; Photo: M. Vizcaino.

Black Samson features the current Wu-Tang members: RZA, Raekwon, Method Man, GZA, Ghostface Killah, Inspectah Deck, Cappadonna, Mastah Killa, and U-God. The album also includes renowned artists Kool G Rap, Benny The Butcher, 38 Spesh, Crooked I, R.J. Payne, Willie The Kid, Nicole Bus, Kameron Corvet, and Kurupt. According to Mathematics, each added their distinct rhyme style and creativity to each track.

“The artists all kept it hard and kept it beautiful.”

And audibly, the beauty of seasoned lyricists annihilating the mike was transcendently evident. Tracks like “Cleopatra Jones,” featuring Raekwon Masta Killa, and “Warriors Two, Cooley High,” featuring Benny the Butcher and Method Man, had the guests in the studio bopping their heads, immersing themselves in the hard-hitting beats, taking them on a musical rap odyssey.

Wu-Tang Clan x Mathematics ‘Black Samson, The Black Swordsman’ Album listening session, pictured (Mathematics). Photo: @Robert.photoshoot + @jon_officials.

Experimental, soulful storytelling and, in true Wu-Tang Clan fashion, karate flick sound effects and soundbites are prevalent on the album with an edgy spin. Black Samson, The Bastard Swordsman is the first collaboration from existing Wu-Tang members since 2015’s Once Upon a Time in Shaolin. The album drops as a limited edition on April 12th on National Record Store Day on a 2LP audiophile-grade vinyl featuring 5,000 one-of-a-kind covers. The whole LP will be available worldwide on April 25th. Click here for a sneak peek!

by mvfour

Netflix Levels Up Their Streaming Game with Bingeworthy Programming Primed to Captivate Viewers with ‘Back in Action,’ ‘What Had Happened Was,’ and ‘Missing You’

Secret operative missions, stand-up comedy, and a who-dun-it; Netflix enthralls viewers with a new batch of titillating entertainment.

From L to R: Cameron Diaz, Jamie Foxx, and Rosalind Eleazar; Photo Credit: Netflix.

Superstars Cameron Diaz (Emily) and Jamie Foxx (Matt) make a splashy comeback with their spy thriller Back in Action. The couple plays a pair of brilliant CIA spies in a clandestine relationship. Once Diaz finds out she’s pregnant with their child, they decide to disappear, assume new identities, marry, and move to the suburbs until their cover is blown. Forced to return to the world of espionage with precocious teens in tow, they battle oligarchs and their henchmen until their family is safe. Glenn Close (Fatal Attraction, The Wife) plays Cameron Diaz’s estranged mother, whose actions allude to being a former spy, and she’s glorious as usual! An actor’s actor.

Both actors are in great shape, and we buy their roles as GenX martial experts who haven’t lost their edge. Back in Action marks Diaz and Foxx’s return to cinema. Diaz hasn’t starred in films since 2014, and in the middle of shooting the action-comedy, Foxx had a medical emergency that left him out of the spotlight for a few years. The two stars have dynamic chemistry and a natural comedic ability. Cameron Diaz’s Emily is reminiscent of Natalie Cook’s graceful fight scenes from the Charlie’s Angel franchise (2000–2003), while Foxx channels his Django character’s stealth moves.

Cameron Diaz and Jamie Foxx proved their bankable stars as Back in Action remains the top film on Netflix.

Cameron Diaz and Jamie Foxx in ‘Back in Action’; Photo Credit: Netflix.

Clearing the air and setting the record straight on his hiatus from TV and Film, Foxx stars in his poignant and hilarious comedy special What Had Happened Was. Rumors and conspiracies stating that P. Diddy drugged Foxx to him becoming a paraplegic were debunked by Foxx. The truth, as confirmed by the actor, is that he had a brain bleed, leading to a stroke that doctors had a hard time diagnosing, and his sister stepped in to advocate for further analysis. Foxx addresses the severity of his condition and epiphanies, makes jokes, and sings in this hilarious and poignant one-hour show. Foxx still got it, but more importantly, never lost it.

Lastly, Harlan Coben returns with his book adaptation series, Missing You. And use John Waite’s hit 80s song “Missing You” as the musical backdrop.

Rosalind Eleazar (Kat) and Richard Armitage (Stagger) in ‘Missing You’; Photo Credit: Netflix.

Missing You follows Kat Donovan (Rosalind Eleazar, Slow Horses, Deep Water), a detective inspector in the U.K. whose fiance broke off their engagement and went off the grid for 11 years. To make matters worse, Kat learns her father’s murderer is about to die and visits him to find out why he murdered him, a former policeman. In true Harlan Corben fashion, there are more winding twists and turns than the steepest stairwell in a centuries-old European castle in this story. And fans of the suspense-thriller author will love it! Not to mention the diverse multinational cast and Coben favorite and veteran British actor Richard Armitage (Fool Me Once, The Stranger) as Donovan’s boss, Ellis Stagger.

Fluff up your couch and prepare your favorite snacks for a superb TV viewing this weekend or next. Back in Action, directed by Seth Gordon (Horrible Bosses, Identity Thief). It’s Netflix’s highest-grossing film to date. Jamie Foxx’s honest Golden Globe-nominated special What Had Happened Was, detailing his recovery, is ripe with impersonations, storytelling, and singing extravaganza. If you’re looking for more than a contained show or film, check out the 5-episode limited suspenseful series Missing You.

by mvfour

The Brooklyn Museum Honors Black Revolutionary Artist Elizabeth Catlett — Activist, Trailblazer, and Champion of Mexican Art with a Stunning Retrospective Exhibit Spanning Almost a Century

Hispanic Heritage Month has ended, but the legacy left behind by one of its prominent allies, who advocated for social justice, women’s rights, and Mexican creative culture, lives on with the prolific artist’s artwork.

Artist Elizabeth Catlett in Mexico; Photo: From ‘Elizabeth Catlett: A Black Revolutionary Artist and All That It Implies’; Photo courtesy of Brooklyn Museum.

Elizabeth Catlett, born in Washington D.C. in 1915, was a naturally gifted artist and fearless activist. In her teens, she carved an elephant out of a bar of soap and kept developing her craft. She began protesting lynchings in front of the U.S. Supreme Court with a noose around her neck, symbolizing the violent demise Black citizens were experiencing. She was arrested but later released, becoming a beacon of hope and change for people of color. Catlett became the first student to earn a Master of Fine Arts in the U.S. from the University of Iowa in 1940 and completed her undergrad at Howard University, quite a feat for a Black woman in the Jim Crow era, rife with segregation, oppression, and unspeakable cruelty toward Black Americans.

Catlett’s art reflected the turbulence of that era, developing her sculpting and clay modeling techniques during the Black Chicago and Harlem Renaissance. One of her most iconic works: “The Negro Woman,” later renamed “Black Woman,” depicts beautiful solemn Black women at work (as nannies, servants, and field workers) through extraordinarily composed lithographs, paintings, and sculptures. When you look at these pieces, you can’t help but feel the ancestral pain of Black women who endured the limitations of their time yet possessed an unrelenting reserve of optimism.

Sharecropper, 1946. Oil on canvas. Collection of John and Hortense Russell.
© 2024 Mora-Catlett Family / Licensed by VAGAat Artists Rights Society (ARS),
NY. Photo: Wes Magyar/Brooklyn Museum.

Serving on the Arts Committee of the National Negro Congress (NNC), an organization committed to advocating for Black liberation and prompting Catlett to publish political cartoons and subsequently finding her social advocacy stride collaborating with Taller de Gráfica Popular in Mexico (TGP), an artist printmaking collective dedicated to social causes in the form of prints. Mexico is where Catlett would refine her “Black Woman” series, study terra-cotta sculpture under acclaimed artist Francisco Zúñiga, and call the country home for the next six decades after marrying her creative partner and renowned Mexican artist Francisco “Pancho” Mora, a celebrated printmaking and graphic creator who shuttled back and forth with Catlett to showcase their work in distinguished galleries around the U.S.

But, it wasn’t all accolades and fanfare for the artist couple.

As Catlett became more involved with the TGP’s mission, she gained notoriety back home. Spearheading and contributing to a series titled: “Against Discrimination in the U.S.,” showcasing African American heroes like Harriet Tubman and Ida B. Wells put a target on her back. Shortly after, incessant CIA and FBI monitoring of Catlett during the Cold War fear-mongering McCarthy era led to the artist’s citizenship being rescinded. And it wouldn’t be reinstated until 2002. Nonetheless, the courageous Elizabeth Catlett fought for workers’ rights, especially working-class Mexican women, advocating for railroad workers, teachers, and doctors to strike and support the country’s anticolonial movements of the 70s.

Installation View of ‘Elizabeth Catlett: A Black Revolutionary Artist and All That It Implies’ Exhibit. Photo: Paula Abreu Pita/Brooklyn Museum.

Elizabeth Catlett is a monumental figure in Black and Mexican artistic culture. She’s lived through historic upheavals and milestones, all documented in this breathtaking exhibition. Visit the Brooklyn Museum for tickets to view Elizabeth Catlett: A Black Revolutionary Artist and All That It Implies exhibit (including over 200+ pieces), running through January 2025!

by mvfour

Why Glenn Close’s Character is So Controversial in ‘The Deliverance’ — and Director Lee Daniels Unapologetically Celebrates it

Inspired by actual events, Daniels’s new Black drama rattles viewers with the enigmatic veteran actress’s portrayal of Alberta.

Glenn Close as Alberta in ‘The Deliverance’; Photo courtesy of Netflix.

Alberta (Glenn Close, Fatal Attraction, The Wife) is the domineering white mother to her mixed-race daughter, Ebony Jackson (Andra Day, The United States vs. Billie Holiday, Marshall). A single mother of three, she moves her kids to a new home in Indiana, where the residence seems occupied by demonic forces. She resigns herself to finding an unorthodox solution to the problem, often through horror genre-infused tropes that are entertaining (kids speaking in satanic voices and levitating) but also through spiritual guidance that seems to temper the demons.

What’s so bad about the house?

Andra Day as Ebony Jackson and Anthony B. Jenkins in ‘The Deliverance.’; Photo courtesy of Netflix.

Ebony starts noticing strange behavior in her children: trance-like states, communicating with people who aren’t there, and unexplained bruises on their bodies. To make matters worse, Ebony is struggling financially, trying to stay sober, and battling with her mother, Alberta, who doesn’t hold back when Ebony messes up. Not to mention, Child Services is keeping a close eye on Ebony because of her past child endangerment issues. Constantly reminded by the agency’s rep, Cynthia Henry (played by Oscar-winning actress Mo’Nique, (Precious, and The Parkers), that she must put them first and be a responsible parent, Ebony feels trapped.

But back to Glen Close.

I watched the film without IMDB-ing or Googling the cast. At first glance, I didn’t recognize the actress playing Alberta (Close) until I started focusing on her voice and mannerisms. It’s Glenn Close like I’ve never seen or heard before. Ghetto-fabulous sassy. Critical. Bat-wielding protector. And owning the mean-spirited attributes sometimes single mothers possess when faced with poverty and lack of support. Resentment. Despair. And addiction passed down to their children. In this instance, it’s Alberta and Ebony’s dynamic. Generational trauma plays out on-screen between them, and viewers will cringe at the numerous mother-daughter showdowns. One explicit scene of their relationship, which has social media in an uproar, has Alberta (resurfacing as a Nosferatu-like creature) saying: “I can smell your nappy p*%@y.” Yeah, it’s an intense line. Granted. However, according to Daniels:

Andra Day as Ebony Jackson and Glenn Close as Alberta in ‘The Deliverance.’; Photo courtesy of Netflix.

“I had to do it. Every Black person knows an Alberta. She’s part of the fabric of our community, but we’ve never seen her on screen before,” Lee told CNN.

One of those never-before-seen moments viewers can anticipate is watching Alberta (mid-to-late 70s) flirt with a much younger (Omar Epps, Love & Basketball, Higher Learning) while receiving chemotherapy. Dressed in a revealing blouse, wearing lots of makeup, and confidently flirty for days, Glenn Close perfected the role to a tee. Cheers to that! We need more sexagenarians and septuagenarians strutting their stuff on screen playing sirens, not seniors ready for the afterlife. It makes for exciting cinema. Stream The Deliverance, based on Latoya Ammons’s experience with the haunting of her house in 2011, on Netflix!

by mvfour

Broadway Review: ‘JOB’ — Intense, Thrilling Reflection of the Perils of Internet Depravity As Seen Through the Eyes of a Therapist and Tech Patient

A hot new play has hit The Great White Way. It features a stellar two-person cast, sharp dialogue, and a captivating theme.

Peter Friedman as Lloyd and Sydney Lemmon as Jane in ‘JOB’; Photo: Emilio Madrid/DKC/O&M.

‘JOB’ begins with a seemingly unhinged 20-something woman pulling a gun on a man in his sixties in his psychiatry office. He has nothing to defend himself with; his phone is in another room, and he uses his decades-long psychiatric training to learn more about the young woman and, most importantly — convince her not to pull the trigger.

If only the psychologist could cry for help or get the attention of someone from the outside to get him away from this disturbed woman.

Not so fast. We learn about the patient, who commands enough charisma and engagement to create her one-woman show, played by Sydney Lemmon(The Parisian Woman, Tár ), and is none other than the granddaughter of legendary actor Jack Lemmon. Acting genes run in the Lemmon family. We discover Jane has to attend mandated therapy sessions imposed by her tech employer, User Care, because of a meltdown she suffered at work, where she climbed atop a desk and started screaming uncontrollably. Coworkers filmed it, and the video went viral.

Sydney Lemmon as Jane in ‘JOB’; Photo: Emilio Madrid/DKC/O&M.

Shouldering her unsolicited internet fame and the stressors of her tech job, Jane keeps probing the psychologist to see if he’ll greenlight her return to work. A job that involves content moderating the worst images and videos imaginable — from child abuse to murder, rape, or torture, Jane is the gatekeeper preventing this content from reaching the public. It’s inevitable. This line of work has affected Jane’s psyche.

The doctor (Lloyd), played magnificently empathetic and uncondescendingly in his line of questioning of Jane, is veteran Tony-nominated Broadway star Peter Friedman (Ragtime, The Marvelous Mrs. Maisel). He provides a comforting space for Jane to share her experiences and family life while divulging personal details about him. The dialogue is fast-paced, witty, and timely. The banter between two generations discussing the effects of the internet and its roles in their lives is plausible until a dark secret emerges. It won’t spoil it for you, but it’s scandalously surreal.

Peter Friedman as Lloyd in ‘JOB’; Photo: Emilio Madrid/DKC/O&M.

Friedman and Lemmon’s chemistry is dynamic. They don’t miss a beat, as evidenced by the deafening silence in the theater during this 80-minute run with no intermission. Both actors starred in the hit TV show Succession. Although they’ve never filmed show scenes together, they continue to discuss and explore how the internet shapes and evolves the human experience and whether it’s to the benefit or detriment of people.

See the previously off-Broadway hit turned Broadway production of JOB, written by Max Wolf Friedlich and directed by Michael Herwitz. It is now playing at the Hayes Theater in NYC through September 29th! Click here to get tickets!

by mvfour

Sequels Generally Suck — But the Fourth Installment of ‘Beverly Hills Cop: Axel F’ Debunks my Theory with an Action-packed Comedy-laced Comeback

The familiar scoring and characters will take you towards a welcomed trip down movie memory lane.

Eddie Murphy as Axel Foley in Beverly Hills Cop: Axel F; Photo: Netflix.

Eddie Murphy reprises his role as Axel Foley, the Detroit street-smart former con-turned-cop who, in the first film, went to Beverly Hills to figure out who killed his friend Mikey, ends up tracking down the killers, and befriends officers Billy Rosewood (Judge Reinhold, Fast Times at Ridgemont High, Stripes) and John Taggart (John Ashton, Gone Baby Gone, Midnight Run), who initially took him into custody for trespassing the would-be killer’s businesses.

John Ashton as John Taggart, Eddie Murphy as Axel Foley, and Judge Reinhold as Billy Rosewood in Beverly Hills Cop: Axel F; Photo; Netflix.

Flash-forward to forty years later, and Axel Foley is still fighting crime and chasing criminals, especially early in the film. He suspects a robbery is about to go down at a Detroit Red Wings game he’s attending with a fellow cop. Foley’s policeman’s intuition pays off. After confronting the robbers at the stadium, a chase ensues. In true Foley fashion, he barrels down Detroit streets in a snow plow, eventually apprehending the criminals, but not without a slew of destroyed cars, traffic signs, poles, and terrified pedestrians in the midst. Foley’s now captain, formerly a detective in the original Beverly Hills Cop, is semi-furious and tired, played by funnyman Paul Reiser (Mad About You, Stranger Things); he’s over Foley’s antics and is ready to retire. Axel is about to challenge his captain when he receives a call from Billy Rosewood saying his daughter is in trouble. Foley’s daughter (Taylour Paige, Zola, Boogie), Jane Saunders, is a defense attorney in Beverly Hills and may be defending the “wrong” guy, according to the Beverly Hills Police Department.

Kevin Bacon as Captain Grant in Beverly Hills Cop: Axel F; Photo: Netflix.

Axel Foley finds himself again in Beverly Hills, ready to expedite the wheels of justice, cunningly and entertainingly. Upon entering the Beverly Hills precinct, we learn Taggart is now chief, and Officer Rosewood has become a private investigator — on the heels of exposing crooked Los Angeles cops. Enter Kevin Bacon’s character, Captain Grant. Oozing enough smarm and finesse, he can make playing a crooked cop an Olympic sport. And Kevin Bacon always seems to add a layer of depth to any film he’s in. Debate me if you’d like.

Eddie Murphy as Axel Foley and Taylor Paige as Jane Saunders in Beverly Hills Cop: Axel F; Photo: Netflix.

But Foley’s return isn’t smooth sailing. His daughter wants nothing to do with him since they are estranged. Foley’s daughter, Jane, works for a prestigious firm defending criminals; this time, it seems to be a cop-killer. There’s a big conflict of interest between father and daughter.

Bronson Pinchot as Serge in Beverly Hills Cop: Axel F; Photo: Netflix.

Although Foley and his daughter are at odds, they team up with other favorite characters like Bronson Pinchot’s (Perfect Strangers, Risky Business) Serge, who’s still as funny and eccentric as ever. And newcomer to the Beverly Hills Cop franchise, Joseph Gordon-Levitt (Don Jon, Looper). He’s ditched his clean-shaven, boyish look for a bearded mid-thirties millennial cop with daddy issues. Then there’s Axel Foley’s theme song that will be permanently etched in your brain as it was for me since childhood when I played it on my synthesizer.

According to Eddie Murphy, his loved ones can play the infamous Harold Faltermeyer-composed theme song at his funeral to make people smile, although his loved ones know he doesn’t want a funeral.

Watch this fun, action-packed Eddie Murphy flick, which is just as enjoyable as the first film forty years later. Don’t believe me? Rotten Tomatoes audience members gave it a higher rating than the original! Stream it now on Netflix!

by mvfour

Love Him, Misunderstand Him, or Intrigued by Him: Spike Lee’s Creative Resources Exhibit at the Brooklyn Museum Invites You to Explore the Acclaimed Filmmaker’s Monumental Body of Work in Film — and the People, Places, and Concepts That Served as Catalysts for his Cinematic Art

The expansive exhibit on director Spike Lee’s career and inspiration to create ground-breaking films on African-American culture is a multi-media tapestry of the artist’s creative journey, spanning almost 40 years.

Spike Lee: Creative Resources Exhibit; Photo: Paula Abreu Pita/Brooklyn Museum.

As soon as you enter the Spike Lee Creative Resources exhibit, Denzel Washington’s Malcolm X character’s infamous fiery 1964 speech from the film permeates the room. The scene, audio, costumes, and other colorful props from the movie, released in 1992, engulf your senses and prime you for what’s next.

A nostalgic visual stimulation that gives you front-row access to Lee’s early life.

Clockwise: Spike, Joie, David, Cinqué, and Christopher Lee at 186 Warren Street, Cobble Hill, circa 1967–1970; Photo: Unknown Artist.

In this room, there’s a collection of paintings in color and black and white of Spike Lee’s family — from his siblings as kids on the stoop of his beloved Brooklyn neighborhoods (an abstract character present in Lee’s films) to portraits of his dad, Bill, a renowned jazz bassist and composer, heavily influencing the filmmaker’s taste in music and scoring many of his films, like the critically-acclaimed Inside Man, where you can hear the theme song, play intermittently throughout the exhibit to photos with Lee and his children. Family played a pivotal role in shaping Lee’s love for the arts and the narratives of the projects he’s brought — and continues to bring — to life.

Next up: Do the Right Thing’s Immersive Experience

L to R: Illustration of Reggie Miller’s Infamous choking gesture, taunting Spike Lee; Image: Spike Lee’s archives/Brooklyn Museum.

From the neon “Fight the Power” sign to an encased Sal’s pizza box prop hanging on the wall and a movie clip of Rosie Perez’s opening scene of Do the Right Thing, where she’s grooving and shaking to Public Enemy’s “Fight the Power”— a song that changed rap music forever with its powerful lyrics and inconvenient social truths that drew legions of fans, including myself, to love the music genre, and cemented the film’s influence not only in Hollywood but in American culture.

The Sports Wing — There’s a Lot!

You’ll see scores of photographs and athlete jerseys from one of Lee’s favorite teams, The New York Knicks, where Spike Lee has been a fan since practically the womb. And as an avid sports memorabilia collector and once aspiring baseball player, there’s an array of news clippings of images showcasing his controversial court-side antics, signed autographs from the likes of Michael Jordan, young and old, to illustrations of Knick nemesis Reggie Miller (Indiana Pacers) infamous choking gesture, a nod to the Knicks/Pacers rivalry. Lee’s fusion of sports narratives into his films while celebrating the Black sports figures breaking records and acquiring the highest accolades in their respective fields is a testament to Lee’s unwavering commitment to amplifying excellence in Black culture.

L to R: Illustration of Reggie Miller’s Infamous choking gesture, taunting Spike Lee; Image: Spike Lee’s archives/Brooklyn Museum.

The Music and Film Poster Rooms

Lee’s mom, Jacquelyn Shelton Lee, introduced him to movies and musicals when he was young, fomenting his interest in entertainment. Visitors can soak in the filmmaker’s extensive musical instrument collection, including Prince’s guitars, one-of-a-kind record players, and the movie posters he’s amassed. Posters reflecting all movie genres, from Jaws and The Deer Hunter to Raging Bull and North by Northwest, and photographs of Spike Lee with cinema greats, actors Robert Deniro and Joe Pesci, and filmmaker Martin Scorsese, fill the hall.

Spike Lee’s collection of Prince’s guitars.

There are seven sections to the Spike Lee: Creative Sources exhibit to blow you away. I won’t share any more details because you should run, not walk, to this comprehensive, educational, and awe-inspiring collection of 350 pieces, organized by Kimberli Gant, Curator, Modern and Contemporary Art, with Indira A. Abiskaroon, Curatorial Assistant, Modern and Contemporary Art. The exhibit displays many facets of Lee: his advocacy for justice and homage to the African American titans who came before and after him, who have challenged the status quo and have made a mark in every aspect of American life, and last but not least, his playful side.

Spike Lee: Creative Sources will be running through February 4th. Click here to get your get tickets to see this extraordinary exhibit!

by mvfour

‘All Up in the Biz’ — Tells the Tale of Talent, Influence, Adversity, and Controversy Before Hip Hop Pioneer Biz Markie’s Untimely Death

Filmmaker Sacha Jenkins chronicles The self-proclaimed “Clown Prince of Hip Hop’s” legacy through candid interviews with colorful animations, a Biz Markie puppet, and old videos of the rapper in proper form.

Image of Biz Markie; Photo: Showtime Networks.

The Humanbeat beatbox. Ascending to fame with the improvised quirky yet melodic sounds he could belt at any given moment and his universal hit, “Just A Friend,” Biz Markie was more than just his goofy exploits. And ‘All Up in the Biz’ captures the multi-faceted performer’s essence through his career’s ups and downs.

Many Hip Hop heads like myself are still celebrating Hip Hop’s indelible mark the music genre has made on pop culture and pretty much every facet of life. And while Hip Hop’s official birthday was on August 11th, with a 50th anniversary celebrated worldwide, homage and tributes are still on the horizon for the rest of the year. One recent commemoration was held on August 31st, tentatively proclaimed Biz Markie Day, by the New York Mayor’s office as they announced the proclamation at Marcus Garvey Park in Harlem.

Biz Markie Day T-Shirt; Photo: Just A Friend Foundation.

Champions and supporters of this campaign include the late rapper’s wife, Tara Hall, who leads his Just A Friend foundation, established to provide resources for foster kids as once Biz Markie was. Plus, organizers of the event ImageNation, a cultural nonprofit entertainment hub in Harlem, advocating for and helping to sponsor spectacular community cinema and music events and Up In The Biz’s distributor, Showtime.

This late summer Thursday evening leading up to the All Up In the Biz screening attracted people of all ages and races. From men in their Zulu nation get-ups and women outfitted in head-to-toe African bohemian and contemporary fashion, dancing non-stop to the nostalgic grooves of DJ Hollywood and listening intently to the rhythmic verses of the Last Poets, who celebrate 55 years together this year, it was an ode to Hip Hop nostalgia.

Following the eclectic mix of artists on stage came a projection of All Up In the Biz, directed by Sacha Jenkins (Bitchin’: The Sounds and Fury of Rick James, Word Is Bond), a Hip Hop historian, visual artist, and preservationist of the music genre.

Young Big Daddy Kane and Biz Markie; Photo: All Up in the Biz documentary.

The film begins with old footage of Biz Markie’s early life, moving from Harlem to Long Island’s Patchogue region. He found a passion for music, coming into his own as a human beatbox, rapper, and DJ. While performing, he encountered 17-year-old Big Daddy Kane and Rakim, who went to the same high school as Biz, encouraging both to raise their profile in New York City clubs by rapping. Hip Hop powerhouses Big Daddy Kane and Rakim acknowledge Biz Markie’s influence on their careers. Others like Dougie Fresh and Roxanne Shanté, a prominent Juice Crew member and Biz Markie was part of, reflect on and reminisce about the rapper’s passion for music, collectibles, and his undeniable gift for beatboxing.

But Marcel Theo Hall took the moniker Biz Markie, a name rooted in his mother calling him a busybody when he was young and neighborhood friends giving him the name Markie for short; life wasn’t always a bed of roses. The rapper was battling Type 2 diabetes for most of his life and had fallouts with a few rappers, shady business dealings with music producers, and the repercussions of unlicensed music samples. Despite it all, the beloved rapper persevered and kept reinventing himself, as the documentary illustrates. Click here to check out this in-depth portrait of Biz Markie’s contributions to Hip Hop and eventful life, now streaming on Showtime and Paramount+.

by mvfour

Eva Longoria’s New Film ‘Flamin’ Hot’: From Janitor to Marketing Exec, Richard Montañez is the Snack Hero of the 21st Century

How One Man’s Dream to Spice Up the Cheeto Came to Fruition.

Flamin’ Hot Movie Poster; Photo: 20th Century Studios.

As a kid traveling to Mexico, I was always intrigued when the locals would add Tajín spice (a unique blend of 100% natural chili peppers, lime & sea salt) to fruits and almost all of their cuisine. Spice is a staple for Mexicans. I’m Cuban, and we’re used to heavy seasoning, but not food that would set your mouth ablaze. The film triggered memories of my almost choking on a mango with Tajín and thinking, ‘I might die, but this is delicious.’

Flamin’ Hot follows Richard Montañez (Jesse Garcia), a Mexican-American man’s corporate journey to revolutionize the popular American snack based on his book: A Boy, a Burrito, and a Cookie: From Janitor to Executive. Actress/producer/ director Eva Longoria made her feature directorial debut and brought Richard’s story to the big screen.

Richard Montañez (Jessie Garcia) and Judy Montañez (Annie Gonzalez); Photo: 20th Century Studios.

We meet Richard as a boy in 1960s Los Angeles in Guasti, California, a community of grape pickers struggling to make a living. Montañez has ten siblings. Life was hard, rife with racism and run-ins with the law. Making matters worse, he grew up with gangs and limited opportunities to make money legally. However, the one positive thing in his life was his childhood sweetheart, Judy (Annie Gonzalez), and partner-in-crime until she became pregnant. With his father’s derogatory comments about him in his head and unflinching determination, Richard decides to make a change. He seeks the help of a fellow gangbanger who left “the life” behind by working at the Frito Lay plant. Richard lands the janitor job and gravitates toward the most intelligent man on the plant floor, an engineer named Clarence Baker (Dennis Haysbert), who educates him on the ins and out of production.

Richard Montañez (Jessie Garcia) with Clarence Baker (Dennis Haybert); Photo: 20th Century Studios.

After hearing that Frito Lay sales are down and the plant might close, Montañez develops a spicy concoction with his family in their kitchen and create a new product that celebrates their Mexican heritage. The idea didn’t take off initially, as corporate naysayers didn’t invest in the product’s marketing and promotion. Undeterred, Richard finds another way to get consumers’ attention. His drive to succeed is unparalleled, and the film affirms this message.

Flamin’ Hot is an American immigrant story that relates, inspires, and speaks to American tenacity by proving people wrong and making it anyway! The story’s pacing is perfect, and the characters are lovable and funny.

Yet, the film is full of controversy. In 2021, after Richard Montañez’s book was released, a Los Angeles Times reporter published an article titled: “The man who didn’t invent Flamin’ Hot Cheetos,” claiming his year-long investigative reporting, along with Frtio Lay’s internal investigation concluded that Montañez’s dates are off as well as his association CEO, Roger Enrico (Tony Shalhoub), who in the movie greenlit Montañez’s game-changing idea.

Richard Montañez holding a Flamin’ Hot Cheetos bag; Photo: 20th Century Studios.

Following the article’s publication, Richard Montañez responded:

“I don’t care what room you’re in; somebody in the room will always try to steal your destiny. People may even say you never existed. I want you to do this: Write down your history because if you don’t, somebody else will. Remember that. And also, remember this, the best way to destroy a positive message is to destroy the messenger. Never allow that to happen to you. I’m certainly not going to let it happen to me.”

PepsiCo, Frito-Lay’s parent company, later stated:

“Far from being an urban legend, Richard had a remarkable 40-plus-year career at PepsiCo and made an incredible impact on our business and employees and continues to serve as an inspiration today. His insights and ideas on how to better serve Hispanic consumers were invaluable and directly resulted in the success of Flamin’ Hot Cheetos. To be clear, we have no reason to doubt the stories he shares about taking the initiative to create new product ideas for the Cheetos brand and pitching them to past PepsiCo leaders.”

Sure. Hollywood is known to embellish true stories to dramatize plots, but corporations are notorious for poaching ideas from employees without giving them their due credit. And why would Richard Montañez go on a limb if his version wasn’t authentic? You be the judge. Flamin’ Hot is streaming on Hulu and Disney+. Watch it now!

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