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Gulf Today
14-07-2025
- Entertainment
- Gulf Today
Raphael Saadiq talks about his upcoming one-man show tour
Raphael Saadiq has always admired the boldness of stand-up icons like Dave Chappelle and Eddie Murphy who commanded the stage alone with only their stories. Now, the three-time Grammy winner is taking a similar leap, stepping into the spotlight solo for his own one-man show tour, announced on Tuesday. The intimate No Bandwidth tour will pull back the curtain on Saadiq's life and music, weaving never-before-told stories with performances spanning Tony! Toni! Toné!, Lucy Pearl and his solo catalog. The tour kicks off in Sacramento on Sept. 7 that's expected to run into mid-October. It'll mark a return to the stage that began with a recent limited four-city sneak peek in New York, Los Angeles and his hometown of Oakland. It's been a high note kind of year for Saadiq, who won a Grammy for his work on Beyoncé's 'Cowboy Carter,' wrote 'I Lied to You' for Ryan Coogler's 'Sinners ' and is preparing the rerelease of his 2004 solo album 'Ray Ray' through his Vinyl Club, a membership that reissues his catalog. In a recent interview with The Associated Press, Saadiq reflected on it all, including who he thinks should headline the Super Bowl halftime show and how he's honoring the legacy of his late brother, D'Wayne Wiggins, who died in March. Is doing the one-man show feel like your taking a risk or more of a spiritual enlightenment? I felt like it was more of a spiritual type of quest, and I thought it was a risk. But I like taking risks. I'm totally confident about being on the stage, but I definitely got to give props to people who do one-man shows. Comedians have a glass of water and a stool. I've always wanted to do that. What inspired you? I was really inspired by Mike Tyson's 'Undisputed Truth.' I watched Mike's show. It wasn't like I looked at it and said 'I could do it if Mike Tyson did it.' Mike Tyson's one-man show made it look difficult, but it was so good. It pulled me into Mike's life. Then that's when I said 'I want to do a one-man show.' It took this long, so it was therapy to do it. What stood out to you about Beyoncé being such a hard worker? I watched her organize the storyboard. The vision board is nuts. Her vision board is crazy. When I saw her vision board, it blew me back. Then I saw the show before doing my one-man show too. You need a challenge. You need to go be courageous. You need to like, you need to make some new challenges for yourself. That's what I always wanted to do. How did the death of your brother D'Wayne shift the focus of your music? It didn't really shift anything when I think about music. But the blessing in the music is we got a chance to tour all together before one of us was gone. We got together to talk and have some camaraderie ... and got the chance for all the fans to see us all together the way the group was really meant to be, because we spent a lot of years where we weren't together. What did you learn from your brother personally and professionally that you are carrying forward? One thing I took from my brother was the music. Period. He was the person who played guitar. Wake up with the guitar. Walking outside calling and trying to put bands together. I took that from him. Growing up in school, he left every school on fire for me. He blazed a trail for me, then I started blazing it for him. His two kids are like that with me. I'm blazing it for them. But now they blazing it for me. My nephew (Dylan Wiggins) is working with Frank Ocean, The Weeknd. Associated Press
San Francisco Chronicle
08-07-2025
- Entertainment
- San Francisco Chronicle
Raphael Saadiq talks upcoming one-man show tour, Beyoncé's work ethic and his work on 'Sinners'
LOS ANGELES (AP) — Raphael Saadiq has always admired the boldness of stand-up icons like Dave Chappelle and Eddie Murphy who commanded the stage alone with only their stories. Now, the three-time Grammy winner is taking a similar leap, stepping into the spotlight solo for his own one-man show tour, announced Tuesday. The intimate No Bandwidth tour will pull back the curtain on Saadiq's life and music, weaving never-before-told stories with performances spanning Tony! Toni! Toné!, Lucy Pearl and his solo catalog. The tour kicks off in Sacramento on Sept. 7 that's expected to run into mid-October. It'll mark a return to the stage that began with a recent limited four-city sneak peek in New York, Los Angeles and his hometown of Oakland. It's been a high note kind of year for Saadiq, who won a Grammy for his work on Beyoncé's'Cowboy Carter," wrote 'I Lied to You' for Ryan Coogler's 'Sinners " and is preparing the rerelease of his 2004 solo album 'Ray Ray" through his Vinyl Club, a membership that reissues his catalog. In a recent interview with The Associated Press, Saadiq reflected on it all, including who he thinks should headline the Super Bowl halftime show and how he's honoring the legacy of his late brother, D'Wayne Wiggins, who died in March. AP: Is doing the one-man show feel like your taking a risk or more of a spiritual enlightenment? SAADIQ: I felt like it was more of a spiritual type of quest, and I thought it was a risk. But I like taking risks. I'm totally confident about being on the stage, but I definitely got to give props to people who do one-man shows. Comedians have a glass of water and a stool. I've always wanted to do that. SAADIQ: I was really inspired by Mike Tyson's 'Undisputed Truth.' I watched Mike's show. It wasn't like I looked at it and said 'I could do it if Mike Tyson did it.' Mike Tyson's one-man show made it look difficult, but it was so good. It pulled me into Mike's life. Then that's when I said 'I want to do a one-man show.' It took this long, so it was therapy to do it. AP: You was recruited by Ludwig Göransson — who scored 'Sinners' — to write the film's pivotal track 'I Lied to You.' What did you pull away from that experience? SAADIQ: Being that I score film already, what you learn is when you work with people like Ludwig and Ryan is the art of storytelling through music and visuals. You got to love the process. Working with Ryan and Ludwig, you're listening to two perspectives. One person scores, one person writes and shoots. It's like having a super team with those two guys. Adding me to the equation, it should only get better. Ludwig is an amazing composer, guitar player, producer. Ryan's from my hometown. He's a good dude. Solid, great storyteller and you want to show up for a movie that's deeply rooted in blues and gospel and tradition because this is going to go for generations for other people to see what this music was about. I was honored that I could contribute. AP: You worked on 'Cowboy Carter' tracks like 'Texas Hold 'Em,' "Bodyguard" and '16 Carriages.' How was being apart of the album's process and seeing Beyoncé in full work mode? SAADIQ: It was amazing, lucky, fun. Besides the whole country thing, just being a part of Beyoncé's critical thinking, it was great for me. I never meet too many people that can work harder than me. That's somebody who can. I was excited about the energy of her whole team. It would be like playing football for the Jacksonville Jaguars as a receiver and you get traded to the Kansas City Chiefs and got Patrick Mahomes throwing to you. That's how I felt. You just knew you was in a new camp and everybody on the team is like 'Let's get ready to go.' AP: What stood out to you about Beyoncé being such a hard worker? SAADIQ: I watched her organize the storyboard. The vision board is nuts. Her vision board is crazy. When I saw her vision board, it blew me back. Then I saw the show before doing my one-man show too. You need a challenge. You need to go be courageous. You need to like, you need to make some new challenges for yourself. That's what I always wanted to do. AP: You curated and performed a Bay Area tribute melody with a 14-piece band for the NBA All-Star Game in February. Next year's Super Bowl will be played there in Santa Clara. Who do you think should be the halftime performer? SAADIQ: As far as power, it's got to be some Metallica things happening. In a stadium, you're supposed to be a power band, and they got the biggest records that would resonate all over TV. I would say Metallica to be honest. I wouldn't even say myself in that. But I could definitely be a part of somethings for the Super Bowl. But if you want to bring the urban side, I would say Too Short. Those are biggest in the Bay for me. AP: How did the death of your brother D'Wayne shift the focus of your music? SAADIQ: It didn't really shift anything when I think about music. But the blessing in the music is we got a chance to tour all together before one of us was gone. We got together to talk and have some camaraderie ... and got the chance for all the fans to see us all together the way the group was really meant to be, because we spent a lot of years where we weren't together. AP: What did you learn from your brother personally and professionally that you are carrying forward? SAADIQ: One thing I took from my brother was the music. Period. He was the person who played guitar. Wake up with the guitar. Walking outside calling and trying to put bands together. I took that from him. Growing up in school, he left every school on fire for me. He blazed a trail for me, then I started blazing it for him. His two kids are like that with me. I'm blazing it for them. But now they blazing it for me. My nephew (Dylan Wiggins) is working with Frank Ocean, The Weeknd. So many people I can't keep up with them. Everything that's instilled in me and Dwayne is now instilled in Jaden (Wiggins). He's a beast. He plays bass and guitar. He's producing and playing with bands. I'm trying to keep everyone going forward, not backwards.
Winnipeg Free Press
08-07-2025
- Entertainment
- Winnipeg Free Press
Raphael Saadiq talks upcoming one-man show tour, Beyoncé's work ethic and his work on ‘Sinners'
LOS ANGELES (AP) — Raphael Saadiq has always admired the boldness of stand-up icons like Dave Chappelle and Eddie Murphy who commanded the stage alone with only their stories. Now, the three-time Grammy winner is taking a similar leap, stepping into the spotlight solo for his own one-man show tour, announced Tuesday. The intimate No Bandwidth tour will pull back the curtain on Saadiq's life and music, weaving never-before-told stories with performances spanning Tony! Toni! Toné!, Lucy Pearl and his solo catalog. The tour kicks off in Sacramento on Sept. 7 that's expected to run into mid-October. It'll mark a return to the stage that began with a recent limited four-city sneak peek in New York, Los Angeles and his hometown of Oakland. It's been a high note kind of year for Saadiq, who won a Grammy for his work on Beyoncé's 'Cowboy Carter,' wrote 'I Lied to You' for Ryan Coogler's 'Sinners ' and is preparing the rerelease of his 2004 solo album 'Ray Ray' through his Vinyl Club, a membership that reissues his catalog. In a recent interview with The Associated Press, Saadiq reflected on it all, including who he thinks should headline the Super Bowl halftime show and how he's honoring the legacy of his late brother, D'Wayne Wiggins, who died in March. AP: Is doing the one-man show feel like your taking a risk or more of a spiritual enlightenment? SAADIQ: I felt like it was more of a spiritual type of quest, and I thought it was a risk. But I like taking risks. I'm totally confident about being on the stage, but I definitely got to give props to people who do one-man shows. Comedians have a glass of water and a stool. I've always wanted to do that. AP: What inspired you? SAADIQ: I was really inspired by Mike Tyson's 'Undisputed Truth.' I watched Mike's show. It wasn't like I looked at it and said 'I could do it if Mike Tyson did it.' Mike Tyson's one-man show made it look difficult, but it was so good. It pulled me into Mike's life. Then that's when I said 'I want to do a one-man show.' It took this long, so it was therapy to do it. AP: You was recruited by Ludwig Göransson — who scored 'Sinners' — to write the film's pivotal track 'I Lied to You.' What did you pull away from that experience? SAADIQ: Being that I score film already, what you learn is when you work with people like Ludwig and Ryan is the art of storytelling through music and visuals. You got to love the process. Working with Ryan and Ludwig, you're listening to two perspectives. One person scores, one person writes and shoots. It's like having a super team with those two guys. Adding me to the equation, it should only get better. Ludwig is an amazing composer, guitar player, producer. Ryan's from my hometown. He's a good dude. Solid, great storyteller and you want to show up for a movie that's deeply rooted in blues and gospel and tradition because this is going to go for generations for other people to see what this music was about. I was honored that I could contribute. AP: You worked on 'Cowboy Carter' tracks like 'Texas Hold 'Em,' 'Bodyguard' and '16 Carriages.' How was being apart of the album's process and seeing Beyoncé in full work mode? SAADIQ: It was amazing, lucky, fun. Besides the whole country thing, just being a part of Beyoncé's critical thinking, it was great for me. I never meet too many people that can work harder than me. That's somebody who can. I was excited about the energy of her whole team. It would be like playing football for the Jacksonville Jaguars as a receiver and you get traded to the Kansas City Chiefs and got Patrick Mahomes throwing to you. That's how I felt. You just knew you was in a new camp and everybody on the team is like 'Let's get ready to go.' AP: What stood out to you about Beyoncé being such a hard worker? SAADIQ: I watched her organize the storyboard. The vision board is nuts. Her vision board is crazy. When I saw her vision board, it blew me back. Then I saw the show before doing my one-man show too. You need a challenge. You need to go be courageous. You need to like, you need to make some new challenges for yourself. That's what I always wanted to do. AP: You curated and performed a Bay Area tribute melody with a 14-piece band for the NBA All-Star Game in February. Next year's Super Bowl will be played there in Santa Clara. Who do you think should be the halftime performer? SAADIQ: As far as power, it's got to be some Metallica things happening. In a stadium, you're supposed to be a power band, and they got the biggest records that would resonate all over TV. I would say Metallica to be honest. I wouldn't even say myself in that. But I could definitely be a part of somethings for the Super Bowl. But if you want to bring the urban side, I would say Too Short. Those are biggest in the Bay for me. AP: How did the death of your brother D'Wayne shift the focus of your music? SAADIQ: It didn't really shift anything when I think about music. But the blessing in the music is we got a chance to tour all together before one of us was gone. We got together to talk and have some camaraderie … and got the chance for all the fans to see us all together the way the group was really meant to be, because we spent a lot of years where we weren't together. AP: What did you learn from your brother personally and professionally that you are carrying forward? SAADIQ: One thing I took from my brother was the music. Period. He was the person who played guitar. Wake up with the guitar. Walking outside calling and trying to put bands together. I took that from him. Growing up in school, he left every school on fire for me. He blazed a trail for me, then I started blazing it for him. His two kids are like that with me. I'm blazing it for them. But now they blazing it for me. My nephew (Dylan Wiggins) is working with Frank Ocean, The Weeknd. So many people I can't keep up with them. Everything that's instilled in me and Dwayne is now instilled in Jaden (Wiggins). He's a beast. He plays bass and guitar. He's producing and playing with bands. I'm trying to keep everyone going forward, not backwards.
Buzz Feed
17-06-2025
- Entertainment
- Buzz Feed
10 Scenes From Black Hollywood's Rising Stars!
These young Black actors (30 and younger) are the future of Hollywood! They have been KILLING it onstage and onscreen, and I just wanted to give them their flowers. 💐 🌹🌻 🌷 Here are 10 noteworthy scenes from each actor that blew me away! Miles Caton in Sinners While the internet is still unpacking Sinners, I'm just trying to wrap my head around the fact that this was Miles Caton's very first role. Of course, I had to choose the juke joint scene, where Sammie is singing "I Lied to You." Think of how powerful your voice must be to command the scene while so much activity surrounds you. Sammie is the centerpiece, physically, metaphorically, and emotionally, tying together the movie's core themes! Amidst dancers who each represent a different point in time, it's the job of breakout star Miles Caton to fuse his blues with other genres and styles. And that's exactly what he does because, through it all, we never lose the trail of Sammie's voice. Miles is fearless but not forceful in his delivery, offering brilliant notes and subtle movements. His voice is perfectly cultured, textured, and layered. It reminds me of the good ole '90s gospel I grew up listening to (shoutout to his mom, gospel singer Timiney Figueroa). He has one of those voices that makes you say, "Oh my, my, my, my, my!" If you know, you know. 🙌 Hailey Kilgore in Raising Kanan Jukebox is such a relatable character that it was hard to imagine the evolution into the villain we see from the OG Power series, but Hailey Kilgore is pulling it off! It's also worth mentioning how aligned her mannerisms are with Anika Noni Rose's version of Jukebox. Hailey plays the version of Juke that precedes Anika's version, but she's doing it so well that it often feels like the same actor in both series. I was lucky enough to actually meet Hailey Kilgore in real life and watch her perform on Broadway. So seeing how sweet she is and watching her transform into this coldhearted (I'm talking colder than Tommy Egan, y'all), soulless Jukebox lets me know SHE CAN ACK! Not act, but ACKKKKKK! After Juke's first kill, we see the last bit of innocence and selflessness fade; after all, the only reason she's in this predicament is to save a friend. That's the beloved Jukebox we've sided with, been loyal to, admired, and adored. But as she buckles her seatbelt in a bit of shock, not to be mistaken with fear, the adrenaline settles and she smirks ever so slightly, resting in a blank stare of death. Hailey allowed us to see that there is nothing behind the eyes of Juke, who has just dropped her first body. Like Kanan says, she's dead inside, and the Juke we knew is gone. Seasons prior to this, we'd hear her sing throwback hits to perfection (seriously, Hailey Kilgore's voice is unmatched. I don't think I've loved a singing voice this much since Whitney Houston). We'd feel passion between Juke and her love interests, we'd see her loyalty to her family, and respect for the game. We even saw Jukebox, the dreamer, but her life's experiences turned her into a savage! Hailey Kilgore gives us doses of that ruthlessness little by little until there's no holding back! She's made it so Juke is not to be liked, but feared, and whew, what a remarkable trajectory it has been so far. Hailey Kilgore's artistry in this series is not to be missed! Asante Blackk in When They See Us Asante Blackk plays Kevin Richardson in the limited series When They See Us. Based on the true story of the Central Park 5, this is not a series you can watch more than once, but I did go back for the sake of this post... Asante Blackk's performance stuck with me from my very first viewing. Kevin's involuntary head nods and stuttering between the disturbing lines of a forced confession were chilling! And with the camera angle brilliantly placed across from Kevin, viewers were inadvertently on the opposite side of the table as if to be involved in the interrogation. It. Is. Hard. To. Watch... In direct view of the bruises on Kevin's face, Asante Blackk nailed the innocence that his characterization required. The fatigue in his eyes and the cracking in his voice as he begged his sister to take him home made this a performance I will never forget, and I'm even more speechless now that I'm a mom of a young Black boy! Jharrel Jerome in When They See Us I also chose Jharrel Jerome from When They See Us. It's hard to choose one scene from this series, especially highlighting Jharrel Jerome! I was in tears the whole first half of Part 4, and will simply never be the same after Jharrel's performance! WOW!As Korey is brutally beaten by authorities and inmates, the trauma just builds and builds, leading to an explosive cry for help in the chaplain's office! But before that dramatic turn, Jharrel Jerome portrays how the criminal system toughened Korey Wise through trauma. When Korey is transferred from Rikers to Attica, there is a shift in his body movement. Once slumped shoulders turn upright, palms that once gripped up his prison uniform now join together in a fist-like motion as he walks through the pale walls of Attica! His youthful copper curls are now concealed with a du-rag, and there is rhythm in his movement, as opposed to his arms that once moved through space freely and delicately! It's utterly heartbreaking, but man, look how Jharrel Jerome absolutely nails the corruption of the justice system with small details and smart onscreen choices! Storm Reid in Euphoria When I mention Euphoria, you can probably guess which scene I'm about to highlight, so let's jump right into it: Rue's breakdown scene! And it's not lost on me that the main character in this scene is obviously Rue, which makes Storm Reid's performance as Gia so iconic. There is a lot of monologue for Zendaya as Rue, but for Storm Reid, she must speak with her tears!After Rue tries to kick down the door, banging her head against it, and tearing the house apart, Gia is found helplessly curled up on a daybed, protecting herself from being hurt by Rue both physically and emotionally. Later, they're in the car taking Rue to the hospital, and suddenly the scene slows down so much that we catch a single tear roll down Gia's face. Her eyes connect to Rue's, feeling her sister's pain, hearing her, hating her brutally honest words, but still hopeful for change. She uses this body language to show the complexities of addiction and how it affects loved ones. And there's something to be said about Gia's reaction versus Leslie's. As the younger sister, there is so much more disappointment layered through it all because she's counting on her big sis to get well. It's heartbreaking to see addiction through the eyes of a younger sibling who is absorbing all the chaos, but for Storm Reid to match Zendaya's intensity without words, without actually uttering a line, is just legendary. Do you realize how much Gia is saying without saying anything? Lovie Simone in Forever Body language is everything in a scene like this, where a teen is having an uncomfortable conversation with a parent. So let's get into the body language because by now, I'm sure you can see how I do not miss details!!!!Shelly starts off seated, straight-on, with her arms folded, and legs wide open. There's some accusatory energy coming from her side of the living room. Keisha, on the other hand, is sitting sort of slanted, almost leaning over, as if taking a ready-to-defend approach. She has one foot over the other while she is fidgeting with her nails. All of this nonverbal communication is important because Shelly does not comfort her daughter at all in this scene. Her focus is justice! All the things Keisha does to soothe herself show how great of an actress Lovie Simone is because it explains Keisha and Shelly's relationship without having much of a backstory. A mature, straight-A student is trying to balance everything while on the road to Howard, and the extra layer of context that Lovie provides—the fact that Keisha spends a lot of time alone while her mother works—doesn't make us judge Shelly, but it does help us see the sacrifices being made. It shows the complexities of how far she is being stretched as a mom. (FYI, Shelly and Keisha come to an understanding in a later scene, and I actually love how the resolution is paced.)From Greenleaf to Selah and the Spades, Raising Kanan, and now Forever, Lovie Simone manages to capture the hearts of viewers no matter what she's in and proves time and again that she's a worthy leading lady! SHE IS A STAR! Kelvin Harrison Jr. in Waves The fight scene in Waves starts with Tyler confronting his dad (and knocking him down). He then drives to a party, drunk and eager to confront his ex-girlfriend, Alexis. The camera follows him through the large house, painting a melodramatic feel with harsh blue and red color schemes; it's dark. Still in pursuit of Alexis, he stops at the bathroom, and in true A24 style, there's a hyperfocus on his hands and his reflection in the mirror. He is faced with pressure; he's a wrestler, and he's wrestling expectations, which result in him fatally punching screen goes black for seven seconds. Yes, I counted because it felt like an eternity. And then for another 30 seconds, the sound is cut, not even music playing in the background. The camera zooms in on Kelvin's face, drool, sweat, blood, tears, the whole Academy Award special! There is so much pressure leading up to this moment, and it comes out in a scream from one of the partygoers. And at that moment, Tyler breaks from the shock of having murdered his ex-girlfriend and immediately switches to panic. It's too precise not to be mentioned. It's too authentic not to be praised. If you want drama, Kelvin Harrison Jr. will bring the drama. If you want an aspiring singer, an all-star athletic teen, a Disney villain, a trusted coworker and friend, a French composer, a Civil Rights leader, you gotta call Kelvin Harrison Jr. because there is no role he cannot authentically pull off! Kelvin has RANGE! 👏👏👏👏👏 Lyric Ross in This Is Us Once Deja was introduced as an addition to the Pearson family, the tears kept flowing in countless scenes, especially with Sterling K. Brown (Randall) as her scene partner. After Beth and Randall find Deja and her mom sleeping in the car, post-eviction, the conversation she has with Randall in her old bedroom really shows how maturing at a young age catches up to you. Deja says, 'At the end of the day, everyone sleeps,' right after describing her thoughts about the number of beds she has slept in. She continues to make the connection between her foster care experiences and the concept that everyone has something they're dealing with. Lyric Ross pulls us into Deja's world in such a rhythmic, slow-paced way. She doesn't rush these lines, which I think adds so much power to their statements and understanding Deja's worldview. Her turbulent life experiences are in direct contrast to her calm demeanor and how she explains her thoughts, saying to Randall, 'I'm really tired.' There is no emphasis on these words, and there doesn't need to be. Lyric Ross places us in the nucleus of Deja's mind. We are tired for her. Stretched. Stressed. Confused. Tired. I remember thinking, How does she do that? Appear meek and assertive? Soft-spoken and self-aware? Innocent and mature all at the same time? This is complexity. Deja is an emotionally complex character, and Lyric's portrayal of her is both elegant and raw! Ayo Edebiri in The Bear Sydney's quirkiness is beloved by fans of The Bear, but her usual high-spirited demeanor came to a concerning halt for most of Season 3! In episode 10, she's at the party, sees an article on the refrigerator, and starts to feel overwhelmed. When she grabs her coat to go outside, she doesn't quite make it to the fresh air but instead has a panic attack! Carmy has been minimizing Sydney's efforts, pushing her past her limit, and putting her in a box, so Ayo Edebiri is given just a tiny space to portray the walls closing in on Sydney! Her hands are shaking, eyes glossed with terror, with only a bit of light on her face as her fingertips press into her forehead, and her sharp emotions define every thought and decision. Sydney is painfully and simultaneously fighting back tears and fighting for air. This performance is worthy of mention because of how Ayo Edebiri has connected with viewers throughout the series and even more so in this moment. So many TV shows hold back when displaying stress, fear, and overwhelm, as mental health is such a taboo subject on TV. Without warning, Ayo Edebiri pulls us in emotionally, in such a way that causes me to reflect on my own stressors and triggers. It's a serious conversation, and I would just like to give Ayo Edebiri her flowers for her honest portrayal of battling relationships, career-based decisions, and mental health! Myles Frost in MJ the Musical I'll end on a more upbeat note. Last but not least is Myles Frost, who played Michael Jackson on Broadway. In the first number, which was also the first scene, "Beat It," I was amazed by the similarities between young Myles Frost and The King of Pop. He stepped in MJ's shoes, capturing the humility in his voice, effortlessly floating across the stage in the electrifying, world-renowned signature moves we all love. The scene took place in the rehearsal studio, and his first line was, "Don't stop. Looking great, everybody. Keep going." My aunt and I looked at each other like How is he even real? If you didn't see Myles Frost as Michael Jackson in MJ The Musical, then you truly missed out on an important moment in theater. When he won the 2022 Tony Award, he made history as the youngest winner of the Best Leading Actor in a Musical category. I'm telling my kids I saw Michael Jackson perform live. Idc. Idc. That's how believable, accurate, and remarkable his performance was. A time was had, and I look forward to many more performances by Michael Jackson, I mean Myles Frost. 😉 There are so many young Black actors deserving of accolades. Who are some of your faves? Tell me in the comments! I wanna know which scenes blew you away...
The Hill
05-05-2025
- Entertainment
- The Hill
How Ryan Coogler captured Black life in ‘Sinners'
(Editor's note: This article contains spoilers for the film Sinners. Stop reading here if you don't want to learn about them.) Ryan Coogler's Sinners has taken America by storm — so much so Warner Bros. announced that the film will be re-released in certain theatres May 15 through May 20. The historical thriller offers an unflinching glimpse into Black life in the 1930s, from sharecropping to chain gangs to the Ku Klux Klan. But it also shines a light on Black joy, love and resilience. For many, the film isn't truly horror, said Arionne Nettles, Garth C. Reeves eminent scholar chair at Florida A&M University. 'The scary stuff is the realness. When you put up vampires next to the Klan, I would rather have the vampires,' Nettles said. 'You're thinking about the real-life issues: the people still working the land and still picking cotton and not being paid in real currency.' It's that realness, Nettles said, that keeps audiences enthralled with Coogler's film. 'It doesn't feel like an unbelievable horror film where there is a big, bad boogeyman that is out to get you,' she said. 'It felt very much like the systems in place are the boogeyman, not some villain.' Here are three aspects of Black life Coogler weaves into Sinners. Music Coogler's use of music does more than set the tone or build toward a plot point; music is a weapon and the epitome of freedom. Much of the film revolves around Blues music, a genre born from the descendants of slaves and the experiences of free African Americans during Reconstruction and Jim Crow. Blues, Coogler told IGN, is 'for the full body. The soul and the flesh. It acknowledges the flesh and the pain that comes with a situation, the sexual desire, the anger. The whims of the flesh and the soul are acknowledged there.' Miles Caton's character Sammie, a young blues singer and guitarist who in the film is set to appear at a new juke joint opened by his cousins, uses music as his way to communicate his frustrations with his father, his desire to build his own life, even his attraction to a married woman. While Nettles admits she has had Sammie's 'I Lied to You' on repeat, it is the scene where Delta Slim, Sammie and Smoke drive past a chain gang where the music is at its most powerful. Delta Slim, an elder blues man played by Delroy Lindo, tells the story of his friend who was castrated and lynched, he begins to sing. Smoke — one of two identical twin cousins both played by Michael B. Jordan — calls for Sammie to use his guitar. The music in the scene was completely improvised, Lindo later shared. 'It's just a reminder that when we say music is in us, it is literally in us,' said Nettles. 'You have a car full of men who may be acting, but even within this acting, there is a connection to the music that supported us through tough times and helped us in our expression.' Coogler also explores how music creates cultural connections that span across time. In one scene at Club Juke, visions of future artists and music like rock and roll and trap take shape as Sammie sings of loving the blues. In many ways, the image showcases blues music and Black artists' role in creating other genres. Serena Göransson, who served as an executive producer for the film's soundtrack, told Variety that she hoped viewers would 'recognize that blues is the biggest cultural contribution to America, and to the world.' 'It's touched every genre of American popular music. I want people to care about the music, and not just listen to rap and hip-hop, but to care about the people who made it, and the people who lived through this moment in history, and who are still creating this music,' she said. 'I want people to care not just about the cultural contribution, but about the influence that they had.' Religion From the title alone, it's clear Sinners delves into religion and what is and is not a sin. Coogler's film posits whether one's love for music can be a sin. It explores the sins of adultery, gambling and drinking — and essentially freedom. But Sinners also delves into the loss of spirituality among many Black Americans. At one point, Slim tells Sammie, the son of a preacher, the blues was never forced upon Black Americans in the same way Christianity was. When Africans were first enslaved and brought to the colonies, many brought their own belief systems with them. But those religions were soon replaced with Christianity, sometimes willingly, but sometimes not. Some slaves were severely punished for practicing their beliefs, while slaveowners would often refer to passages from the Bible in their justification of slavery. In the film, Christianity stands opposite of Hoodoo, a religion that is often seen in Hollywood as demonic or evil. While Sammie struggles to find acceptance before his father and his father's religion, African spiritualism provides safety and knowledge. It is implied that Smoke survived World War I in part because of a mojo bag given to him by the character Annike that kept him safe in battle. It is Annie, played by Wunmi Mosaku, who in the film first considered Remmick and his coven to be haints before identifying the villains as vampires. And it is Annie, along with her spiritual knowledge, who was able to tell the others how to fight Remmick and survive. In all, Nettles said, Coogler offered a legitimacy to hoodoosim that is not always portrayed in other films. 'We do our ancestors a disservice when we say disparaging things about the parts of our spirituality that historically have been passed down from those African religions,' said Nettles. 'You don't have to believe it, but you can respect it.' Outsiders Many social media users pointed to Remmick's plans to 'save' those at Club Juke as an attempt at trying to play the white savior. He tells the brothers, Annie and Sammie that he believes in equality and if they join him, they can break free of the oppression of racism. Some viewers pointed out that Remmick is leaning into white saviorism, which centers around the idea that without the help of white people 'saving' them, Black people will never be truly free. Through this process, which appears to be good, the white savior reaffirms white superiority over Black people. But Nettles argues Coogler is actually highlighting the difference between outsiders and those who claim the culture. Though Remmick does tell Sammie that he wants his stories, he also says he wants to share his own with the pastor's son. 'Remmick comes from a time before racism,' Nettles said. 'In regards to the United States, slavery created race and racism as we know it today. But if you were born in the 1300s, long before that, you would not have that same type of racial pressure.' Remmick sees the power of Sammie's ancestry and his ability to connect with his past, something Remmick desires but does not have access to. Similarly, Hailee Steinfeld's mixed race Mary struggles to find acceptance from the community she is part of but does not look like. As a white-passing woman whose mother cared for many of those in Club Juke, including the twins, Mary finds herself initially denied entry to the club until Annie claims her as family. 'It wasn't that she was an outsider that came in and tried to claim this culture — this was her culture,' said Nettles. 'When you talk about Blackness in its essence, it's more than just our skin color. Blackness is expansive, but also can be confusing, and it's also one of the reasons why you have to be careful about trying to say who it encompasses and who it doesn't.'
