We’re back with another seasonal playlist, this one just might scare kids off your front porch on the 31st.
“Phantom Of The Panther” is a collection of jazz, classical, and soundtrack music. It features spooky tracks from Blacula by Gene Page and the 2021 remake of Candyman by Robert Aiki Aubrey Lowe. There are jazz cuts by Mulatu Astatke and Duke Ellington.
I’ve also included modern classical works by the likes of Pamela Z, Julius Eastman, and others. And while we usually truck on the works of artists from the African diaspora here at GBN, I’ve included tracks by Phillip Glass from the OG Candyman from 1992 and Trent Reznor and Atticus Ross’ work on HBO’s Watchmen starring Regina King.
And how you gonna not to include a track called “House OF Paincakes” by Marco Beltrami for Wesley Snipes’ Blade II?
Hope you enjoy this stroll through the dark side. Listen with the lights on. Or not.
by Ramin Satoodeh via Variety.com Chadwick Boseman struggled to catch his breath after he was cast as Black Panther. When he first tried on his spandex suit for 2016’s “Captain America: Civil War,” it felt too restricting. “It was suffocating,” recalls Boseman. “Literally, it closed off every possibility of air getting to you. I was in it, put the mask on. I said, ‘Hey, you got to get me out of this!’” By the time he headlined his own movie, as the first black Marvel superhero with his name on the poster, Boseman was more comfortable in his re-engineered costume. “I think it begins to feel like skin after a while,” says the 41-year-old actor. “But it takes time to get to that place.”
The same can be said for Disney’s long-awaited tentpole “Black Panther,” which opens in theaters on Feb. 16. For decades, actors, directors, producers and fans have wondered why Hollywood was so slow to bring black superheroes to the big screen. It’s not that there weren’t attempts along the way. In the ’90s, Warner Bros. had originally tapped Marlon Wayans to portray Robin in a “Batman” movie, before Chris O’Donnell landed the sidekick role. Wesley Snipes starred in the vampire superhero franchise “Blade,” which spawned two sequels. In 2004, Halle Berry headlined “Catwoman,” which was ridiculed by critics and tanked at the box office. And 12 years later, Will Smith, the co-star of the juggernaut “Men in Black,” popped up in “Suicide Squad” as the under-seen assassin Deadshot.
“Black Panther,” directed by Ryan Coogler, is a movie that doubles as a movement, or at least a moment that feels groundbreaking in the same way that last year’s runaway hit “Wonder Woman” inspired millions of women. “Panther” marks the first time that a major studio has greenlit a black superhero movie with an African-American director and a primarily black cast, including Forest Whitaker, Angela Bassett, Michael B. Jordan, Lupita Nyong’o, Danai Gurira and Letitia Wright as Shuri, the princess of the fictional African country Wakanda.
The reality of this milestone isn’t lost on Coogler, the 31-year-old director of the Sundance darling “Fruitvale Station” and the “Rocky” sequel “Creed.” “I think progress comes in ebbs and flows,” Coogler says. “I hope things continue to open up. As more content gets made, more opportunities like ours can come about for folks. But you’ve got to put your foot on the gas when it comes to that or things can go back to where they were.”
“Black Panther” chronicles an origin story for a Marvel character who first made his debut in the comic books in 1966. On the big screen, he’s a warrior named T’Challa, who returns home to an Afro-futuristic country to inherit the throne as king. The release of the movie coincides with a crossroads in America. Racial tensions are heightened as a result of a president who continually makes reprehensible remarks about immigrants from nonwhite countries. “Black Panther” also arrives on the heels of #OscarsSoWhite, the two consecutive years (2015 and 2016) that the Motion Picture Academy failed to nominate any actors of color for awards.
Anticipation for the release of “Black Panther” is much higher than for the last outings from Batman and Thor. In May 2016, the hashtag #BlackPantherSoLIT started trending on Twitter as casting details around the movie emerged. “Panther” is poised to break box office records for February, a typically quieter time as audiences catch up on romantic comedies around Valentine’s Day. Marvel’s latest crown jewel is tracking to gross an estimated $150 million on its opening weekend. Strong business for “Black Panther,” which cost nearly $200 million to produce and roughly $150 million more to market, would send a clear message to the movie industry that certain communities are still widely underserved. While domestic ticket sales plummeted last year, the number of frequent African-American moviegoers nearly doubled to 5.6 million in 2016, according to a survey by the Motion Picture Assn. of America.
Some are paying attention. “Representation matters,” says Alan Horn, chairman of Walt Disney Studios, which owns Marvel. “It’s a powerful and important thing for people to know they are seen and to see themselves reflected in our films and the stories we tell.” Horn believes that “Black Panther” is part of a wave of change. “In terms of gender diversity, we’ve done very well,” he says, pointing to his studio’s own roster that includes “Beauty and the Beast,” “Coco” and the upcoming live-action “Mulan.” “When it comes to diversity reflecting color and ethnicity, I’d say yes, you will see more.”
Rev. Al Sharpton and Spike Lee (STEPHEN LOVEKIN/VARIETY/REX SHUTTERSTOCK)
The fact that Chicago’s police superintendent was fired hours before the premiere of Spike Lee’s latest feature, “Chi-Raq,” only reinforced the timeliness of the movie’s message about the senselessness of gun violence and racial discrimination. And instead of an after-party, Lee led many attendees out of Manhattan’s Ziegfeld Theater on a march down Broadway to Times Square.
The movie, the first feature produced by Amazon Studios, is a loose adaptation of the ancient Greek drama “Lysistrata.” In Lee’s telling, a group of determined women in Chicago band together to demand that their husbands and lovers put down their weapons, or lose their intimate privileges.
“It was great in 411 B.C. — it’ll work today,” Lee said of the source material Tuesday night. “This film is about changing lives.”
Chicago is among the big U.S. cities that is suffering through a spike in violence and homicides, particularly among African-Americans. Protests have rocked the city in the past few days following the release of a video showing the police shooting a 17-year-old black teenager some 16 times last year. Lee said he hoped “Chi-Raq” would help inspire others to “work harder to make America safer.” Kevin Willmott, who co-wrote the script with Lee, said the events of the day made for a “surreal” experience at the premiere. The movie was shot in Chicago last summer over a six-week period, which allowed cast members to see first-hand the issues depicted in the story. Chicago is the “epicenter” of violence at present but these issues are hardly isolated to one city, Willmott said. “It’s an American problem,” he noted. “It’s about guns, it’s about race, it’s about jobs. There’s nothing new about the problem.”
NEW YORK (AP) — Amazon Studios says it has acquired Spike Lee‘s new film as its first Amazon Original Movie.
The film, with the working title “Chi-Raq,” features a cast including Nick Cannon, Wesley Snipes, Jennifer Hudson and Teyonah Parris, as well as D.B. Sweeney, Harry Lennix, Steve Harris and Angela Bassett, plus John Cusack and Samuel L. Jackson.
“Chi-Raq” was shot entirely in Chicago and wrapped last week. Directed by Lee, it was co-written by Lee and Kevin Willmott. It focuses on violence in inner-city Chicago.
Amazon Studios’ Ted Hope said, “It would be impossible to find a better filmmaker” than Lee to launch the studio with.
Amazon Original Movies, announced in January, was formed to produce and acquire original movies for theatrical release as well as distribution to its Amazon Prime members. article via blackamericaweb.com
According to Variety.com, NBC has ordered two new hour-long dramas to series, “The Player,” starring Wesley Snipes, and “Game of Silence”, featuring Larenz Tate. “The Player” marks the first time Snipes will star in a primetime television show.
“The Player,” a Las Vegas-set action thriller which stars Snipes, comes from the team behind NBC hit “The Blacklist.” The series follows a former military operative-turned-security expert who is drawn into a high-stakes game where an organization of wealthy individuals gamble on his ability to stop some of the biggest crimes imaginable from playing out. His goal is to take them down to get revenge for the death of his wife. Charity Wakefield and Damon Gupton star alongside Snipes on the Sony Pictures TV, Davis Entertainment and Kung Fu Monkey production. Writer John Rogers, producers John Davis, John Fox and director Bharat Nalluri are all executive producers.
“Game of Silence”, though considered to be “too dark” for broadcast — was ordered by NBC because the pilot episode turned out so great.
The drama follows a successful Atlanta attorney (played by David Lyons) whose long-lost childhood friends unexpectedly reappear after 25 years. When a dark secret they thought they had buried resurfaces, the brotherhood bands together to right the wrongs of their shared past, a journey that will push the limits of their loyalty and quench their thirst for revenge. Larenz Tate, Michael Raymond-James, Bre Blair, Conor O’Farrell, Deidrie Henry, Demetrius Grosse and Claire Van Der Boom round out the cast. article by Lori Lakin Hutcherson (follow @lakinhutcherson)
