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'Underground' Recap: Things Go Left For Cato In 'Whiteface'

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The fifth episode of the second season of Underground, “Whiteface” opens on a startling note. A room full of affluent white people have come to see a minstrel show, but instead, something else is amiss. Rather than being painted in blackface, the performers are covered in whiteface. They begin making fun of white people much to the horror of the audience. As the crowd rushes out, we soon realize that Cato or C. Powell as he’s calling himself these days is responsible for it all. Though many of us might have been shocked at the site of whiteface, Underground’s writers and creators did not pull that out of thin air. Whiteface became fairly popular during the 19th century. Initially, it was one of the many ways the Irish were mocked, and moving forward it was seen in the 20th century when actor Canada Lee, an incredibly talented performer in the 1940's donned whiteface for his role in the Duchess of Malfi. He used whiteface because his role was originally slated for a white actor. Needless to say, critics were none-to-pleased. More recently, whiteface has been seen in films like The Wayans’ Brothers White Chicks, Chappelle’s Show, and even in rapper Chamillionaire’s music video, “Hip Hop Police.”

Now a member of the Black elite in Philadelphia, Cato has used his money to assert his influence. Typically during the 19th century in Philadelphia, members of the Black elite were native Philadelphians, West-Indians, or fair complexion, freeborn Southerners. Much of the wealth in the Black community during the time period stemmed from caterers. For example, entrepreneur Robert Bogle was the first of many African-American caterers who served nineteenth-century Philadelphia's white elite, and he became extremely wealthy as a result.

Continue reading at ESSENCE.

tags: Aldis Hodge, ESSENCE, Underground, WGN America
categories: Culture, Film/TV
Wednesday 04.05.17
Posted by Aramide Tinubu
 

Salli Richardson-Whitfield On ‘Underground’s’ “Nok Aaut" & The Age Of The Black Female Director

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The fourth episode of the second season of Underground, “Nok Aaut," directed by Salli Richardson-Whitfield occurs at a crucial moment in history. Already embedded in the violate institution of slavery, 1858 sits two years before the South secedes from the Union, and one year prior to abolitionist John Brown’s infamous raid on Harper’s Ferry. Tensions among abolitionists and slaveholders are on the verge of bubbling over, and the characters of Underground are trying to determine where they fit in. We learn that Cato has returned to the States from Europe, where money afforded him the opportunity to live life as an aristocrat. However, we all know that money is no real balm for racism. It might soothe wounds, but it certainly does not heal.  As Cato attempts to pull Noah into his twisted circus, we discover just how much or how little, Noah is willing to give up for his freedom and a life with Rosalee.

“Nok Aaut" also focuses on Elizabeth who, while still grieving the loss of her husband John, is trying to determine where she now fits in the movement for abolition. An encounter with some of John Brown’s men leads her to begin reassessing what tactics she is willing to take up for the cause. Ahead of the episode’s premiere, ESSENCE sat down with director Salli Richardson-Whitfield to chat about these characters, the powerful performances that drive Underground, and the current climate for Black female directors.

ESSENCE: Were you a fan of Underground prior stepping into the role of director? It’s such an incredible historical drama.

Salli Richardson-Whitfield: Oh yes. I had gone to the premiere of the pilot, and when I was going, it was funny because originally I was like, “I don’t wanna go see no slave movie.” (Laughing) I had that attitude. But, by the end of the pilot, I was like “Uh oh! This is about to be good.” We’re not victims in this series, and that’s what you think of when you consider what a series like this might be.  It’s such a different way of telling this story. So, with that being said, yes, I had already seen all of the episodes. I just love everything about the show. I love the way they have the contemporary music mixed in because somehow it works. When you first hear about it you think, “How is this going to work? All of a sudden you have some hard hitting Kanye [West] and it works, and it rises, and it’s what makes it relevant for today and I think it’s what has pulled younger viewers in who maybe Underground would have been too period or dated for. It brings in a different audience. I just think everything about it works.

ESSENCE: Your most recent directorial credits have been on contemporary set shows like John Singleton’s BET series Rebel and Queen Sugar. Underground is really stepping back in time for you, so how did you prepare yourself to shed your twenty-first-century views and hone in on this nineteenth-century set project?

SRW: Well, I look at it as, the story is the story, and I just go with what that feeling is. I also do my research. It is important, especially on a show like this to have watched all the episodes. You really want to bathe yourself in that period, and what’s going on in that show, so you know the characters. So honestly, it’s more about knowing the characters, that’s really what it comes down to, that’s what people are watching. These actors are so good; it’s not like I need to come in there and tell them anything. They just need that third eye, someone to push them a little bit further and to know that they can. It was really wonderful working with Alano [Miller] who plays Cato. I know how good he is, but I was still able to sit there are go, “That’s not it yet, that’s not enough. Push it.” I know how far he can go because I watch the show. Sometimes you work with people, and they do a performance, and you go, “Well, we might as well go on, cuz it ain’t gonna get no better.” (Laughing) But, then you have these kind of actors where you go, “Oh that’s good, that would be good for somebody else, but we’re going to go further. You’re about to give me everything you’ve got in you, cuz I know it’s there.”

Continue reading at ESSENCE.

tags: Chocoaltegirlinterviews, ESSENCE, Salli Richardson-Whitfield, Underground WGN America
categories: Culture, Film/TV
Wednesday 03.29.17
Posted by Aramide Tinubu
 

'Underground' Recap: It’s All About Heartbreak & Survival In ‘Ache’

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In the opening sequence of “Ache,” we see Daniel once again. He is still reading and learning. This time, he reads Sojourner Truth’s “Ain’t I A Woman?” to his teenage daughter by candlelight while the young girl looks on enthralled.  In probably the strongest opening of Underground since the series premiere, Daniel reassures his child that she is not just strong in her body; but her mind is also incredible. I nearly shed a tear. In South Carolina, Ms. Ernestine is spiraling. Standing in the middle of the ocean, she sniffs the drug off of her handkerchief and speaks to the ghost of her dead son Sam. (Can we take a moment to praise the presence of Sam’s lush beard? Why didn’t he have it during season one?)  Ghost Sam asks his mama, “I thought you said, Massa Tom was the last one?” Clearly, Ernestine is feeling guilty about her role in killing Clara’s baby. AS SHE SHOULD.  However, instead of despairing in the ocean, she needs to be plotting against Hicks because that man is clearly the devil.

Apparently, Ernestine had no business being in the ocean at all. As she arrives back to the rice fields, the overseer runs up to her, demanding to know where she’s been. She looks right through him, not caring to answer. For her insolence, he slaps her down to the ground.  Hicks comes to her defense at the last moment.  After helping her up, he tries to pick up where the overseer leaves off. However, Ernestine is not here for his overbearing hyper-masculinity. Hicks stupidly thinks she’s mad at him about Clara, but that’s the least of Ernestine’s troubles.

Up North, Patty Cannon is still searching for Rosalee. She knows that Black Rose was injured from her bullet and has lost a lot of blood. As her men search, Cannon’s aggravating biographer Mr. Donahue assures the slave catchers that Negro women have a supernatural ability to bear pain. Seriously, the things racist white people come up with to justify their demonic ways never fails to shock me.  In the midst of this, we watch a pregnant Rosalee, stumble through the forest losing more and more blood while clutching her swollen belly.

Finally stopping for a rest though still bleeding heavily, Rosalee gags herself and digs the bullet from out of her shoulder. After packing the wound, Rosalee burns it closed. The sheer amount of will and determination that Rosalee has had to muster up already this season is unimaginable. Delirious with pain, Rosalee recalls a young version of herself with Miss Ernestine grasping a small moment of joy. That memory is what pushes her forward.

Continue reading at ESSENCE.

tags: Chocolategirlrecaps, ESSENCE, Underground, WGN America
categories: Culture, Film/TV
Thursday 03.23.17
Posted by Aramide Tinubu
 

Netflix’s ‘Burning Sands’ Is A Riveting Assessment of the Perils Of Greek Life & The Vulnerability Of Black Manhood

Sundance17-BurningSands If you exist outside of the Greek world, and certainly if you attended a predominantly white university as a student of color, Greek life swirls around you.

You may be familiar with probates and socialize with friends who are members of sororities and fraternities, but you stay along the outskirts of it all. In his feature film debut, director Gerard McMurray peels back the curtain on Black Greek life in a shocking and riveting film about brotherhood, sacrifice and the freedom of individual choice.

Burning Sands follows Zurich (Trevor Jackson), a college student at the fictional Fredrick Douglass University, trying to survive Hell Week as a Lambda Phi pledge. With his academic work, girlfriend and social life all on the back burner, Zurich attempts to press forward with the hopes of making it through Hell Night; capturing the glory that is awaiting him on the other side.

We’ve all heard whispers about the hazing that occurs when pledging various Greek organizations, but it’s mostly unspoken, remaining below ground and so ingrained in the tradition that it’s never shown the light of day unless some major trauma or tragedy strikes. As he moves through Hell Week with his fellow pledges, enduring beatings, emotional abuse and so forth, Zurich begins to question his commitment to it all. His Big Brothers are ferocious and unrelenting in their punishments. Moonlight’s Trevante Rhodes, Segun Akande, and Rotimi star as Big Brother Fernander, Malcolm, and Edwin respectively. Their physicality, as well as their near constant taunting keeps the pledges on edge.

And yet, if you watch Burning Sands (or simply try to analyze the film's trailer) focusing solely on the trauma that Zurich and his line brothers endure, you would be missing McMurray’s entire point. Shot over the course of eighteen days on the Virginia State University campus, Burning Sands tells a story about Black brotherhood and what it means to belong to something much bigger than yourself. The hazing is admittedly horrible, and I would be naive to think that there is no truth to these volatile acts. However, it is not every story; nor is it the thread that makes this film so powerful. Instead, Burning Sands is a coming of age story about legacy, bonds, and the choices that shape us forever.

Continue reading at ESSENCE.com. 

Image: Netflix 

tags: Alfre Woodard, Black Director, black film, Black Frats, Brotherhood, Burning Sands, choclategirlreviews, chocolategirlreviews, ESSENCE, Gerard McMurray, HBCU, Manhood, netflix, Steve Harris, Trevante Rhodes, Trevor Jackson
categories: Culture, Film/TV
Friday 03.10.17
Posted by Aramide Tinubu
 

‘Underground’ Premiere Recap: This Ain't No American Dream

UNDERGROUND_201-20160915-SD_0176.CR2 "Contraband," the first episode of the second season of Underground, opens with Beyoncé’s “Freedom” blaring as a roll of thunder awakens an enslaved man on the Fellow Plantation in 1858.  The man arises before sundown, and we watch him toil all day, sculpting a statue before handing his money over to his Master at sundown. Soon, a montage of his workdays reveals what he's really up to, stealing news clippings from around the plantation to teach himself how to read. “Soldier” is the first word he learns.

via GIPHY

Deep in some backwoods somewhere, we find a determined Rosalee running with some escaped slaves. This isn’t the meek Rosalee that we first met in season one. She expertly moves through the forest cutting off the slave catchers who are on her heels. Unfortunately, Rosalee just isn’t fast enough.  But, just when we think she’s cornered, an armed Black woman, who we soon learn is Harriet “Moses” Tubman, comes to her aid. Neither Harriet nor Rosalee are here to play games; both ladies are strapped and ready. Season two of Underground is already lit.

Back in Ohio, abolitionist John Hawkes is in court arguing for Noah’s release and return to Georgia as his wife Elizabeth looks on desperately from the back of the courtroom. The judge isn’t trying to hear John’s stall tactics, however, and in the meantime we learn that Noah has been incarcerated for five months. He ran six hundred miles from Georgia to Ohio only to end up back in chains.

In prison, Noah looks rough, fine as hell and fully bearded, but rough. As usual, he’s vigilant about his surroundings, watching and observing the enslaved men who are incarcerated with him. He picks up on a plot that two enslaved men have crafted to overtake the prison guards and escape, a plan he quickly realizes is trash.

Rosalee has gotten her group of enslaved men to relative safety at John and Elizabeth’s home, which has now become a full station on the Underground Railroad, We learn that she and Harriet got rid of the slave catchers by paying them off -- who knew that was a thing?! John also has good news for Rosalee; the judge has granted his request to “inspect” his sister-in-law’s property; aka Noah.  They won’t be able to jailbreak Noah though; he will be heavily guarded during the “inspection.”

However, Harriet wants the group to move on to the next station, but the men are tired and injured, so Rosalee doesn’t think it’s the best idea. Tubman isn’t buying it; she knows that Rosalee has other reasons for wanting to stick around, and she tells her that her plan to free Noah is dangerous. The most famous conductor of the Underground Railroad tries to reason with Rosalee to no avail. The two throw barbs with Rosalee telling Harriet that what she and Noah have isn't like her relationship with her husband John. But, Harriet reminds Rosalee that the journey to and from Georgia and Ohio is a lengthy one and if she's worried about Noah, their plan is destined to fail.

Continue reading at ESSENCE.com

tags: 1858, Chocolategirlrecaps, ESSENCE, Rise Up, Season 2, Underground, WGN America
categories: Culture, Film/TV
Thursday 03.09.17
Posted by Aramide Tinubu
 

Fusion's 'The Naked Truth: Death by Delivery' Is An Eye-Opening Look At How Healthcare Fails Black Mothers

TNT_Death_By_Delivery_ Title Slate On February 1st, artist and entertainer Beyoncé Knowles announced her pregnancy with a grand Instagram post. Though her announcement and her subsequent performance at the Grammys was met with glee, excitement, and congratulations across the globe; white female writers at alarming rates attacked the Lemonade singer for expressing her joy over the impending birth of her twins.

Some of these women suggested that being pregnant is nothing to celebrate, while others expressed that Bey’s joy was hurtful to them personally, because they were struggling to conceive; a few even called the announcement "tacky." It was interesting in my opinion that all of this backlash swirled around one of the most powerful Black women in the world, a Black woman who has been vocal about her own struggles with conceiving, and her miscarriage. After all, Black women are four times more likely to die during or just after childbirth than white women and in New York City, that number rises to an exorbitant twelve times more likely.

FUSION’s Nelufar Hedayat travels from rural Georgia to New York City; two vastly different places in the United States where maternal death is raging on. We learn that two-thirds of the counties in Georgia do not have labor and delivery centers, which put women living in more rural areas at astounding risks. Being so far away from medical services when a complication arises can be the difference between life and death.  Additionally, in NYC, Black women in the most affluent neighborhoods are four times more likely to die than white women living in the poorest areas of the city.

Continue reading at ESSENCE.com.

tags: Birth, Black Mothers, ESSENCE, FUSION, Maternal Mortality, Motherhood, The Naked Truth: Death By Delivery
categories: Culture, Film/TV
Wednesday 03.08.17
Posted by Aramide Tinubu
 

A Very Thorough Refresher On 'Underground' Season One

underground The first season of Underground opened in 1857 on the Macon Plantation in Georgia. The plantation’s Master, Tom Macon is in the midst of running for Senate while trying to manage his pregnant wife, Suzanna, their large cotton plantation and many slaves. In the twenty years that Tom has been the Master of the plantation, he hasn't had a single runway.

We are quickly introduced to Noah, one of Macon’s slaves whose been plotting for a way out. Right away we learn just how brilliant and clever Noah is. He is able to manipulate Tom into thinking he’d gotten lost when he was really paving the route for his escape.  Over the course of the first couple of episodes of Underground, Noah recruits several people to run with him. In the midst of his plotting and planning, he encounters Rosalee.

A young enslaved woman who works inside the Macon home with her Mama, Ernestine, Rosalee seems meek and quiet. She’s also a favorite of Master Tom. Rosalee’s brother James is around six and stays inside the Big House as well, a companion of the Macon’s young son, T.R. Her older brother Sam is a skilled blacksmith on the plantation. Immediately we pick up on the obvious tension between Ernestine and Mistress Suzanna, and we soon discover that Rosalee and James are also Tom’s children.

Another man of note is Cato, the Macon Plantation’s Black driver. He’s menacing AF; basically your typical Uncle Tom. Spying on Noah, he soon realizes what he’s plotting, and he blackmails Noah into letting him in on the escape. Along with Cato, Noah recruits the preacher Moses, his wife, Pearly Mae (who can read), their young daughter Boo, Rosalee’s brother Sam, a young slave named Henry and a large, strapping slave named Zeke.

In the midst of the daily occurrences on the Macon Plantation, we also meet Tom Macon’s Northern brother, John Hawkes. Though he’s pro-abolition, he’s wary about offering his home, which lies along the Ohio River, as a station on the Underground Railroad. We also meet his wife, Elizabeth whose desperation to have children seem to be driving her mad.  When the pair arrives down South to the Macon plantation in celebration of Tom’s daughter’s birthday, the horrors that they witness compel them to take real action.

After meeting Noah, Rosalee who had previously been fairly ignorant to the horrors of her own life has an awakening of sorts. An overseer whips her after she defends her little brother, and she narrowly escapes the clutches of Tom’s disgusting friends who are visiting for his Senatorial race announcement. Though she’s terrified of the consequences, she decides to run with Noah.

via GIPHY

As we all know, even the grandest plans don’t always play out as you'd expect; especially during this era. Despite Noah’s careful planning, which includes a stolen gun, a stolen seal, crafting tools to get across the bridge and forging free papers, Rosalee is accosted one evening by Bill, a drunken overseer. He tries to rape her, and she slashes his throat with a bottle in defense.  Horrified, she stumbles out of the man’s cabin to Noah. They decide then and there that their only recourse is to run immediately. In doing so, they leave Boo, Pearly Mae, Sam, Cato, Henry, Zeke, and Moses behind.

The next day the plantation is all-abuzz, Bill is hanging on for dear life (unfortunately) and Noah and Rosalee are missing. We think this might be the end of the grand escape plan, but in the final hour, Cato sets the cotton fields ablaze giving the men, now known as the Macon 7 time to run. Unfortunately, Sam and Pearly Mae don’t make it out with the others who eventually catch up with Rosalee and Noah. Noah, Rosalee, Cato, Boo, Moses, Zeke and Henry form the legendary Macon 7.

Continue reading at ESSENCE.com.

tags: Break Free, Chocolategirlrecaps, ESSENCE, Macon 7, Rise Up, Underground, WGN America
categories: Culture, Film/TV
Wednesday 03.08.17
Posted by Aramide Tinubu
 

Kalief Browder's Family Reflect On His Life And Legacy Ahead Of 'TIME: The Kalief Browder Story'

WASHINGTON, DC - FEBRUARY 27:  Family, film crew and invited guests attend the Viacom/Spike screening of "TIME:The Kalief Browder Story" at Landmark Theatre on February 27, 2017 in Washington, DC.  (Photo by Larry French/Getty Images for Spike) On May 15, 2010, sixteen-year-old Kalief Browder, a Bronx, New York resident was arrested while walking home from a party for allegedly stealing a backpack. Though he was never convicted of the crime, Browder would spend over the next one thousand days of his life locked away on Rikers Island, being beaten, starved and tortured. Browder spent eight hundred of those days in solitary confinement before he was finally released, with all charges dismissed, over three years later.

A victim of a broken justice system, which cares little for impoverished people of color, Browder was unable to escape the things that he saw and experienced while at Rikers. On June 6, 2015, at the age of twenty-two-years old, Browder hanged himself at his home. The day before, he told his mother, Vendica Browder, “Ma, I can’t take it anymore.”  At the time of his death, Browder’s story was making waves across the country. Now, with their compelling, six-part documentary event series, TIME: The Kalief Browder Story, Spike and The Weinstein Company are finally giving Browder the voice he so desperately wanted. This comprehensive look at his life, case, and incarceration at Rikers allows Browder the opportunity to speak for himself.

The evening before the series debut, ESSENCE caught up with Kalief Browder’s siblings: Nicole, Deion, Kamal and Akeem Browder, his lawyer Paul Prestia and filmmakers, Jenna Furst and Nick Sandow for a special screening and Q&A in New York City. Bronx City Council member Ritchie Torres moderated the panel.

Ritchie Torres: For the Browder family, can you give us a sense of who Kalief was as a person?

Nicole Browder: Kalief was a normal person like all of us. He was a happy kid, a silly kid; he was very smart. He always stood up for what was right. He was hardheaded and very playful. We picked on him a lot of the time because he was the youngest. Before he went to Rikers, he was a normal teenager getting to know who he was.

Deion Browder: One thing I will always remember about Kalief was how energetic he was. He was always into sports. He always wanted to try new things. He would do a lot of things to stand out as if to say, “Hey, I am here!” But, he was just a fun and energetic person, and he brought life to everyone around him.

Kamal Browder: He was always the competitive type. I brought a game called NBA 2K, and his team used to always be the Portland Trail Blazers. I don’t know how he found out who Clyde Drexler was, but he used to always call him Clyde the Glide, and he used to do insane dunks to make me mad.

Akeem Browder: Kalief was my younger brother, and you look to your younger siblings, and you want to protect them. He was just a kid. I mean no matter how old my younger brothers or my sister gets, they’re kids to me.

Continue reading on ESSENCE.com. 

tags: Criminal Justice System, ESSENCE, Kalief Browder, mass incarceration, NYC, Rikers, TIME: The Kalief Browder Story
categories: Culture, Film/TV
Wednesday 03.01.17
Posted by Aramide Tinubu
 

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