‘Power Book III: Rasing Kanan' Recap: Kanan Finally Presses Raq, Unique Gets The Green Light To Start His War & We Finally Meet Breeze
In the season four finale of Power Book III: Raising Kanan, the tension between Raq (Patina Miller) and Unique (Joey Bada$$) reaches its tipping point, and war is finally here. Kanan (MeKai Curtis) finally learns the fate of his missing girlfriend, Krystal, and is further manipulated into breaking bread with his mother's enemies . Kanan Learns About Krystal's Fate, Raq & Unique Don't See Eye-To-Eye
Source: Starz / Power Book III: Raising Kanan
After getting the information from Detective Garcia on last week's episode, Jukebok (Hailey Kilgore) breaks the sad news to her cousin that Krystal is dead, and of course, Kanan doesn't take it very well.
Jukebox tries to console him as he tears his apartment up, but it's useless. Kanan then tells Jukebox that he believes Snaps (Wendell Pierce) and Pop's (Erika Woods) story about his mother being behind the deaths of both Famous (Antonio Ortiz) and his girlfriend.
Source: Starz / Power Book III: Raising Kanan
Jukebox tries her best to convince Kanan that it couldn't have been Raq, but Kanan is not trying to hear it, telling his cousin he knows his mother better than anyone, and she always takes away people he cares about.
Speaking of Raq, we pick up where she and Lou Lou (Malcolm Mays) left off, at Unique's headquarters. This turns out to be a complete waste of time because Unique uses the moment to taunt his rivals.
Source: Starz / Power Book III: Raising Kanan
Unique tries to get Lou Lou riled up by talking about his sexual encounters with his sister and tries to get underneath Raq's skin by calling her a bad mother and revealing that Kanan wants to work with him. Raq tells him to chill because if he continues to mess with her son, she will have no choice but to get at those close to him because family is fair game at that point.
Lou Lou wastes no time in tracking down Unique's baby mother, Pernessa. Stefano Cuts Ties With Raq; She Loses Her Restaurant Businesses
Raq has no idea her business will take a serious hit because Stefano (Tony Danza) decides he no longer wants to work with her or Marvin because he feels working with them has made him look soft to his New Jersey rivals. Marvin (London Brown) tries to smooth things over with the mob boss, but he only manages to make things worse.
She also takes another L when the owner of the Chinese restaurants where she sells drugs tells her he no longer wants to do business with her. Despite her threatening him, he tells her he's no longer scared of her because he is old anyway, and he sent his remaining family back to China so she can't hold that over his head anymore.
He drops some deep knowledge on Raq, telling her she's a monster, but she can't see it.
Detective Garcia pops up on Jukebox with more information, telling her that a Black woman was seen leaving the stairwell where Krystal's body was found.
Source: Starz / Power Book III: Raising Kanan
Kanan runs to speak with Snaps and Pop to see if they know who killed Krystal. Instead, the bank-robbing duo tries to convince Kanan to work with Unique. Kanan tells them he never had any intention of working with Unique.
They then try to convince him to work with their nephew, Branford, revealing to Kanan that Raq never gave them a cut of her business. Unique Makes A Power Move, Stefano Is Blindsided By Russo
Source: Starz / Power Book III: Raising Kanan
Unique is itching to go to war, but he knows he can't make a move on Stefano without Russo's blessing. So he visits Sal's widow, Teresa, and takes advantage of her grief by convincing her to protect his baby's mother and son while instigating a feud between her and Russo.
Teresa still wants Raq and Stefano to pay for Sal's death.
Marvin is still trying to make things right with Stefano, so he finds Early (Chris Redd) hiding out in a motel room and kills him and his associate.
Jukebox is the first to confront Raq about Krystal. Raq tells her niece she had nothing to do with Krystal or Famous's death, and she tells Jukebox she's just like her father, Marvin, always rushing into a situation without full knowledge of what's going on. Jukebox replies by telling her she would rather be like her father than Raq.
Source: Starz / Power Book III: Raising Kanan
Stefano and Russo meet alone at the park, and we learn they both conspired to take out Sal so Russo can take his spot. Russo stabs Stefano after he says it's time for the truth to come out. Lou Lou Speaks With Kanan, Breezes Makes His Appearance
Source: Starz / Power Book III: Raising Kanan
A still very upset Kanan links up with his uncle to discuss what's happening. Lou Lou tries to explain to his nephew that his mother deserves more respect than what he gives her by revealing that it was she who ended their mother's suffering because she had the guts to do it and was willing to carry that stress on her back.
Source: Starz / Power Book III: Raising Kanan
Kanan is stunned at what he learns, but his uncle's words go in one ear and out the other as his nephew is still blinded by his rage. Raq Berates Marvin, Jukebox Realizes She Loves Her Dad
We catch up with Marvin and Raq, and he tells his sister the bad news about Stefano no longer working with them.
Source: Starz / Power Book III: Raising Kanan
Raq berates Marvin, reminding him that he always manages to screw things up. Marvin doesn't take his sister's words kindly and reminds her she isn't perfect before he leaves.
Source: Starz / Power Book III: Raising Kanan
While Marvin has issues with Raq, his daughter, Jukebox, is hanging out with Iesha again. Iesha tries to convince Jukebox to go to Spelman with her, but Jukebox says nah, explaining that she would rather stay with her father and that he's the only one who would never leave her.
Kanan links up with Snaps and Pop again, and they introduce him to their nephew Branford, who turns out to be the Breeze (Shameik Moore) guy we have been hearing about.
Source: Starz / Power Book III: Raising Kanan
Unique meets with Russo, who is clearly worried about his life after stabbing Stefano. He tells Unique he no longer care what he does cause either way he's screwed saying he 'took a big swing and missed.' He gives Unique the green light to go after Raq because he knows if Stefano survives the knife attack, he is in big trouble. Lou Lou Makes A Move On Pernessia, Kanan Confronts Raq
Raq gives Lou Lou permission to attack Unique's crew. He and B-Rilla snatch up Pernessa and her son.
After saving her from a crazy foster family situation, Gerald's daughter Amber has a new home, and Marvin is there to make sure everything goes smoothly.
Detective Garcia catches up with Kanan, who shares the same information that was shared with Jukebox, telling him that a Black woman was seen at the scene of Krystal's murder.
Kanan instantly believes this is the information or is a smoking gun. After having a conversation with her dad, Jukebox still doesn't think it was Raq behind Krystal's death.
Kanan is trying to hear it, telling his cousin that if she tries to stop him, it instantly means she is against him. Kanan leaves in rage, and Jukebox quickly picks up the phone to make a call.
Now that he has the green light, Unique is firebombing Raq's businesses. His crew even shoots at Marvin, but thankfully, they miss, and Marvin lives to fight another day.
Kanan finally meets with Raq and draws a gun on his mother. He accuses his mother of killing the people he loves, and she tells him that she has nothing to do with Famous and Krystal's deaths.
Raq does her best to convince Kanan to put down the gun. The episode reaches its conclusion, leaving us with a mega cliffhanger as the screen fades to black, and you hear a single gunshot, leaving us to ponder if Kano shot his mother or not.
Social media had many thoughts about the finale. You can see those reactions in the gallery below.
'Power Book III: Rasing Kanan' Recap: Kanan Finally Presses Raq, Unique Gets The Green Light To Start His War & We Finally Meet Breeze was originally published on cassiuslife.com
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Los Angeles Times
8 hours ago
- Los Angeles Times
Ritchie Valens died too young. His legacy will live on forever
This essay is adapted from Merrick Morton's 'La Bamba: A Visual History,' published by Hat & Beard Press. 'Dance!! Dance!! Dance!! to the music of the Silhouettes Band!!' read the handbill. The Silhouettes featured Ritchie Valens — 'the fabulous Lil' Richi and his Crying Guitar!!' — at a 1958 appearance at the San Fernando American Legion Hall in Southern California. He was 16 years old. The Silhouettes was Ritchie's first band, and they launched him into history. But a silhouette itself is an interesting thing: You can see the general shape of something while you hardly know the figure casting the shadow. Valens' musical story begins with the Silhouettes, and we have been filling in his story, and projecting ourselves onto it, ever since he left. A founding father of rock 'n' roll, he would lose his life barely a year later, when the plane carrying members of the Winter Dance Party Tour — Buddy Holly, the Big Bopper and Valens — crashed on Feb. 3, 1959, in an Iowa snowstorm. A Chicano icon. A stranger. Ritchie was a kid playing his guitar to make money for his family and one song he played was a version of 'Malagueña.' The number was rooted in centuries-old Spanish flamenco music that had spread in all directions, becoming a classical music melody and a Hollywood soundtrack go-to by the 1950s. In his hands, it became a catapult for guitar hero god shots. 'Malagueña' communicated experience and rico suave flair to his audience. Meanwhile, his mom was selling homemade tamales at his shows in the American Legion Hall. This guileless 17-year-old, Chicano kid from Pacoima found a way to introduce himself to America by taking something familiar and making it feel like nothing you had heard before. From the beginning, Ritchie heard the possibilities in turning a familiar sound forward. He saw, even as the teenager he will forever be to us, how in reinventing a song, you could reinvent yourself. Listen to 'Donna,' the heartfelt love ballad that felt familiar to Chicano ears, listeners who for years had tuned in to Black vocal groups. In the process, he cleared the way for so much great Chicano soul to come in the next two decades. Most of all, of course, listen to 'La Bamba.' A centuries-old song from Veracruz, Mexico; the tune has African, Spanish, Indigenous and Caribbean DNA. In the movie, he encounters the song for the first time when his brother Bob takes him to a Tijuana brothel, but however he first heard it, Valens viewed it as a prism, a way of flooding all that was in front of him with his voice and guitar. The music he made came from Mexico, and it came from Los Angeles, where 1940s Spanish-language swing tunes, Black doo-wop sounds and hillbilly guitar-plucking were mashed together in a molcajete y tejolote. Most of all, it came from the radio, which lined up sounds that were not like the ones that came right before and blasted them out on AM stations from corner to corner across the Southland. Radio devoured difference and transformed it, and if Ritchie is now regarded as a pioneer of Chicano music, he was in his own, brief time, a product of AM democracy, a silhouette with a spotlight shining on him. Danny Valdez knew all the songs. In the early 1970s, the artist and activist had released 'Mestizo,' billed as the first Chicano protest album put out by a major label. The singer-songwriter and his buddy Taylor Hackford would drink beer, belt out Ritchie Valens songs and make big plans. They talked about someday shooting a movie together, with Valdez playing Ritchie and Hackford directing. 'Neither of us had a pot to piss in,' said Hackford, 'so we never made that movie.' But years later, after Hackford had a hit with 'An Officer and A Gentleman,' Valdez called him and raised the idea once more. There were many steps to getting 'La Bamba' on the screen, but it began with an understanding that it would be about the music. That meant they had to make the music feel alive — namely the handful of recordings produced by Bob Keane that Ritchie left behind. The owner of Del-Fi Records, Keane was a guiding figure in the singer's life, recording his songs, urging him to mask his ethnicity by changing his name from Richard Steven Valenzuela and giving him career advice. Keane booked Gold Star Studios, cheap at $15 an hour, and brought in great session musicians as Ritchie's backing band, including future Wrecking Crew members Earl Palmer and Carol Kaye. But the recordings he made were not state of the art, even in their own time. 'They weren't high-quality,' said Hackford, comparing them to the early Ray Charles sessions for the Swing Time label. 'I had a commercial idea in mind, of music selling the film, of people walking out of the theater singing 'La Bamba' who had never heard of it before,' he said. That meant he needed contemporary musicians who understood the records and could re-record Ritchie's songs and reach an audience that was listening to Michael Jackson, Madonna and George Michael. Ritchie's family, including his mother, Connie, and his siblings, had already heard that Los Lobos were playing 'Come On, Let's Go' live in East L.A. When the band played a concert in Santa Cruz, where the Valenzuela family was living by the 1980s, a friendship grew. 'Danny and I knew Los Lobos in the '70s when they were just starting out,' says writer and director Luis Valdez, 'when they were literally just another band from East L.A. We were very fortunate that they were at that point in their career where they could take on this project. Without Los Lobos, we wouldn't have Ritchie. David Hidalgo's voice is incredible. I don't think we could have found other musicians to cover him. They come from East L.A., they're all Chicanos. They were paying an homage. We happened to be in the airport together when they got the news that 'La Bamba' had become number one in the national charts.' 'They called themselves the spiritual inheritors of Ritchie Valens,' says Hackford. 'And they went in and re-recorded Ritchie's songs plus several that he had played in concert but never recorded.' Now Hackford had his own album of old tunes that turned in a forward direction. Next, Hackford made sure there were roles for modern performers to play the classic rockers from the Winter Dance Party Tour. He cast contemporary performers who could re-record their material too: Marshall Crenshaw as Buddy Holly, Brian Setzer as Eddie Cochran and Howard Huntsberry as Jackie Wilson. Then there's the surprise of the first song heard in the film — a rumbling version of Bo Diddley's 'Who Do You Love?' that had Carlos Santana, hired as a soundtrack composer, playing with Los Lobos, and Bo himself offering a fresh vocal over everything. 'We were so happy to have the touch of Carlos Santana as part of Ritchie's story,' said Luis Valdez. 'It's his guitar that underscores a lot of the scenes and he had a theme for each of the players. We screened the whole movie for him first and he was very moved by it and ready to go right away once he saw it without his contribution. He was alone on the soundstage at Paramount, where we recorded his soundtrack, doing his magic with his guitar. He became a great friend as a result of that. It's incredible what an artist can do.' The original soundtrack recording topped the Billboard pop charts and went double platinum. Hackford loved pop music; his first feature film, 'The Idolmaker' (1980), was a rock musical. Releasing hit music became a key promotional element of the package. In advance of 1982's 'An Officer and a Gentleman' came 'Up Where We Belong' by Joe Cocker and Jennifer Warnes. It went to No. 1 a week after the opening. For 1984's 'Against All Odds,' he selected Phil Collins to sing the title cut, a song released three weeks before opening; the song soon went No. 1. 1985's 'White Nights' had two No. 1 songs, Lionel Ritchie's 'Say You Say Me' and Phil Collins and Marilyn Martin's duet 'Separate Lives.' One looming problem for 'La Bamba' was that the 1987 moviegoing public was not familiar with the name Ritchie Valens. Hackford had ideas for that as well. He set out to introduce him to contemporary audiences — convincing the studio to fund a unique teaser trailer to run weeks before the official movie trailer went into theaters. The producer assembled a parade of familiar faces to reintroduce Valens. The short film included Canadian hitmaker Bryan Adams and Little Richard talking about the icon. There was also the vision of Bob Dylan in a top-down convertible riding along the Pacific Coast Highway. The 17-year-old Dylan was present at a Valens concert in Duluth, Minn., just days before the plane crashed; he popped up talking about what Valens' music meant to him. 'You bet it made a difference,' said Hackford. After the 'La Bamba' soundtrack became a hit (there was also a Volume Two), Los Lobos made the most of their elevated success. They had experienced head-turning celebrity with 'La Bamba,' and they followed it up with 'La Pistola y El Corazón,' a gritty selection of mariachi and Tejano songs played on acoustic traditional instruments. They had banked cultural capital and directed their large new audience to this music that many had never heard before. 'La Pistola y El Corazón' won a Grammy in 1989 for Mexican-American performance. The 'La Bamba' soundtrack helped set a precedent for the crossover global success of Latin music, which has become a major force in mainstream pop culture. From Ricky Martin and Jennifer Lopez to Shakira, Bad Bunny, Peso Pluma, Becky G, Anitta, J Balvin, Karol G and Maluma, among others who are dominating the charts, racking up billions of streams, headlining massive tours and festivals. Does Hackford think 'La Bamba' helped set the table for subsequent Latino pop star success? 'I think the one who set the table was Ritchie Valens. He recorded a song in Spanish, a rock 'n' roll version of a folk song, and he made it a huge hit. 'I challenge you, any party you go to — wedding reception, bar mitzvah, whatever it is — when 'La Bamba' comes on, the tables clear and everybody gets up to dance. That's Ritchie Valens; he deserves that credit. We came afterwards.' RJ Smith is a Los Angeles-based author. He has written for Blender, the Village Voice, Spin, GQ and the New York Times Magazine. 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Geek Tyrant
8 hours ago
- Geek Tyrant
SPARTACUS: HOUSE OF ASHUR – First Look Photos with Story and Character Details — GeekTyrant
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Miami Herald
9 hours ago
- Miami Herald
Explore Greater Miami and Miami Beach's Most Unique Neighborhoods by Starlight
It's no secret that Miami shines under the sun, but it also comes alive after dark. When gorgeous hues of a South Florida sunset fade and the lights flicker on, Miami's array of vibrant neighborhoods transform into buzzing hubs of music, food, culture and connection. Whether you're planning a weekend escape or a spontaneous night out, there's something unforgettable to be discovered during every star-studded evening in Miami. Start in Historic Overtown, where the smooth notes of soul and jazz echo through the streets. The Historic Lyric Theater, which was once a cornerstone of the Harlem Renaissance, is now home to live shows and performances that celebrate Black culture and history. Just a few blocks away, Downtown Miami shows off a different kind of electricity. At the Kaseya Center or the Adrienne Arsht Center for the Performing Arts of Miami-Dade County you might catch a popular concert, a Broadway touring show or a playoff game, depending on the night. Art doesn't sleep in Miami — and neither does Wynwood. By day, it's known for its colorful murals and buzzing cafés, but by night, the district turns into a mecca for creative cocktails, late-night galleries and performances by world-class DJs. Continue the artsy vibe in the nearby Miami Design District, where high-end fashion boutiques share the streets with outdoor installations and contemporary art museums. After hours, the district's luxurious dining rooms and stylish rooftop lounges are perfect for a sophisticated evening out on the town. No night tour of Miami would be complete without exploring Miami's rich Latin roots. In Little Havana, the sounds of live salsa spill out of open doorways as locals sip cafecito late into the evening. The nearby stretch of Calle Ocho is a hallmark of cultural pride every night, but especially so during festivals. For a more Caribbean-inspired evening, Little Haiti has many unique music venues and dance clubs that celebrate Haitian Kompa and other Afro-Caribbean genres. Across the bay, Miami Beach needs no introduction — its sun-kissed shores and Art Deco skyline set the stage for both vibrant energy and refined elegance. Beyond the palm-fringed boardwalk and oceanfront resorts, Lincoln Road is home to a world-class pedestrian promenade where high-fashion boutiques and curated cafés mingle with impromptu music and avant-garde art installations. As day turns to night, lantern-lit terraces and stylish lounges welcome you for cocktails infused with local flavors, inviting you to get a taste of Miami Beach's signature blend of glamour and sophistication. Just a short drive inland, Coral Gables showcases its own brand of polished charm. Here, bougainvillea-draped avenues lead to tucked-away speakeasies and grand Spanish-Revival landmarks that twinkle under soft, ambient lighting. Spend your evening catching a captivating performance at GableStage, then wander through courtyards framed by arched colonnades to discover opulent hotel bars steeped in history. In Coconut Grove, the pace slows down. Locals love this waterfront neighborhood for its laid-back nightlife, with wine bars, indie movie theaters and intimate live music venues tucked beneath swaying palms. Further west, Doral has quickly become a destination for top-notch shopping and upscale dining. It's ideal for those who want a chic, relaxed evening without heading into Miami's core. For a true off-the-beaten-path experience, head south to Homestead, where you can catch a race under the lights at the Homestead-Miami Speedway or stop by late-night food trucks serving authentic Cuban and Mexican eats. Meanwhile, Miami Springs and Miami Gardens — home to the iconic Hard Rock Stadium — are quietly carving out space in the local nightlife scene with community theaters, jazz lounges and delicious family-owned restaurants that stay open late. Every part of Greater Miami and Miami Beach showcases something different. You could find yourself front row at a 5-star show, dancing to incredible live music, exploring a local food scene or indulging in some retail therapy under the stars. But no matter what you choose, you won't be disappointed with the offerings in any of these iconic neighborhoods. So on your next visit, don't forget — the magic of Miami isn't limited to the daylight hours. A whole new experience is in store after sundown. Discover your ideal Miami experience at
