UPTOWN MAGAZINE Spring 2021

THE HOLLYWOOD ISSUE

CULTURE DAMARIS LEWIS HOME DESIGN TRAVEL AUSTRAILIA CANCUN TAIWAN AND MORE!

Lee Daniels

The United States vs. Billie Holiday

SPRING 2021

UPTOWN MAGAZINE.COM

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Is it possible to outsmart fate? |

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WE WERE CURIOUS ABOUT THAT TOO

Spring 2021

Features Lee Daniels The United States vs. Billie Holiday

Pg. 22

Home Design Ray Norris Design

Pg. 28

Travel Turks & Caicos

Pg. 32

Travel Cancun Crush

Pg. 36

Rising Star Damaris Lewis

Pg. 38

Travel Australia, in the Land of Oz

Pg. 42

Travel Come Back to Haiti

Pg. 44

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Spring 2021

The Loop Opener: Vontelle Eyewear

Pg. 10

Spirits: Tequila por Cinco de Mayo

Pg. 12

Culture: Nia Fairweather

Pg. 14

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VONTÉLLE EYEWEAR

LUXURY EYEWEAR BRAND ALSO CREATES FASHIONABLE MASKS. PHOTOS BY MATT FRISBIE

Tracy Vontélle Green and Nancey Harris, founders of luxury eyewear brand Vontélle Eyewear, wearing Yellow Cleopatra and Star Gizas styles.

Eyewear is not only an extension of your wardrobe, but a necessary medical device. Therefore, Vontélle made it a point to fulfill all prescriptions (single vision, progressives and readers) at an affordable cost. Due to potential loss, the company offers a unique protection for consumers by providing a one-year/one-time replacement warranty from date of purchase if your eyewear is lost, stolen, damaged or broken.

Vontélle understands that eyewear is essential and realizes the importance of quality, thus using the most luxurious materials while creating bold looks for diverse faces. This includes a wider bridge for the nose, a longer temple (arm) for a comfortable fit on your ears and wider lens to fit over high cheek bones. The goal is to change how you see and be seen. Eyewear Culture Starts Here! www.vontelle.com Red Rands and coordinating mask.

What do you get when you mix serendipity, drive and determination?

Vontélle Eyewear, a new luxury bespoke company offering an array of designs and textiles from the African diaspora (Caribbean and Latin) on optical glasses and sunglasses. The concept for Vontélle was born out of a need of both founders Tracy Vontélle Green and Nancey Harris, who each lost their expensive eyewear within the same year. They wanted vibrant patterns and decided to focus their efforts on making their next purchases from a Black-owned brand. When they did not find what they wanted, they created it. The spectacular patterns and textiles are new to the eyewear industry and the focal point of the eyewear brand. So when the pandemic started it was an easy transition to add masks in the same eye-catching and awe-inspiring patterns as the eyewear. Vontélle has coined the phrase #fullfacefashion.

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TEQUILA KNOW IT, LOVE IT, DRINK IT

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CELEBRATE CINCO DE MAYO AND ENJOY WARM DAYS AND HOT NIGHTS.

BY JOSEPH SOLIS

Tequila, the official spirit of Mexico, isn’t so delicious by happenstance. A true luxury tequila must be 100 percent blue agave, while a mixto includes sugar.

Similar to cognac or champagne, agave, the plant from which tequila is produced, must be grown within one of the five designated states in Mexico.

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Created by Manny Hinojosa, Bacardi USA Portfolio Mixologist Ingredients: 2 oz. Corzo Reposado tequila 100 percent blue agave 1 oz. homemade hibiscus syrup (see recipe below) 1 oz. fresh lime juice Mint Ice Kosher salt Granulated sugar Hibiscus salt (see recipe below) Dried hibiscus flower Method: In a mixing glass, add Corzo Reposado, hibiscus syrup, fresh lime juice, ice. Shake vigorously and serve over the rocks with hibiscus-salt rim on the glass. Garnish with lime and sprig of fresh mint.

Homemade hibiscus syrup recipe: In a saucepan, add equal parts of sugar, water, dried hibiscus flower, and 3 sprigs of fresh mint. Bring to boil, then cool and strain.

Hibiscus salt: In a coffee grinder, add 1 cup dried hibiscus flower and 1/4 cup kosher salt. Grind to a powder.12

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THE TEQUILA TRIAD THE 3 BASIC STYLES

1.SILVER TEQUILA

Also known as blanco or plata, this white, clear tequila is unaged or bottled at distillation— or aged less than two months in steel or oak barrels. Silver tequilas make for great shots and are perfect for margaritas and mixed cocktail.

Standouts include Milagro’s Select Barrel Reserve, Don Julio Añejo Claro, and 1.Casa Dragones, which is bottled in a handcrafted crystal bottle and packaged in a Tiffany-esque blue box.

2. REPOSADO TEQUILA

Reposado or “rested” tequilas are aged from two months to a year, allowing them to take on color and flavors from oak barrels. Perfect for sipping, for shots, and in cocktails.

Try: 2.DeLeon Reposado and Corzo Tequila

3. AÑEJO TEQUILA

Añejo tequilas, known for smoothness and complexity, are aged and blended for one to three years. The newest category, Extra Añejo are aged a minimum of three years, usually in oak barrels.

Enjoy: 3.Jose Cuervo Reserva de la Familia, with its sultry bouquet of deep vanilla, cinnamon, and cognac flavors .

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Nia

Fairweather

PHOTOGRAPHER: ELLYN JAMESON

UPTOWN chats with triple-threat Nia Fairweather, writer-producer-actress.

UPTOWN: As an actress, writer, and producer, you are ultimately a storyteller. Nine years ago, this time, you released your first short, OORDEEL. Although it was nearly a decade ago, the premise is something people will understand at this time more than ever.

Can you discuss what the film is about? Are you ever surprised when the art you create truly imitates life?

NIA: OORDEEL centers on “Vanessa”, a woman living on the streets of New York. Through Vanessa, I wanted to amplify the voices of those who often go unnoticed and are reduced to their circumstances. I wanted to remind viewers of our shared humanity and that all it takes is one (or a series of) major life event (health issues, death, or loss of a job) to set someone on a course they hadn’t envisioned for themselves. OORDEEL addresses the high cost of healthcare, hints at the need for livable wages, and highlights the choices one makes in order to survive. While these are issues our society continues to grapple with, I believe it will be harder for people to turn away because they became a very personal matter and hit home for many due to the pandemic.

UPTOWN: Your film, Four Seasons, has been accepted into Diversity in Cannes Short Film Showcase. For those who are not in the film world, can you paint a picture that will enable them to understand the magnitude of this opportunity for you, both personally and professionally?

Personally, I’m very sentimental about it. The first international festival I attended as an actress with a film in the festival [The Roe Effect], was Cannes. Ten years later, here I am as the writer-producer-actress of Four Seasons steeped in my craft, fortified by things I’ve learned along the way and in gratitude for the mystic way my journey brought me back to the first film community to embrace my work internationally.

Honestly, I’m still in the midst of processing this moment.

UPTOWN: Because of Covid-19, film festivals are now virtual. On one hand, you miss out on networking with fellow creatives and filmmakers. On the other hand, it removes some of the exclusivity that is the norm for festivals. Has the digital format allowed you to share your work with family, friends, and supporters who would miss out on the opportunity to see your work that’s normally exclusively viewed at festivals?

NIA: Having A New York Christmas Wedding (Netflix) and Four Seasons on the festival virtual circuit during the pandemic meant I missed out on all the red carpets, networking events and fanfare that comes with those experiences.

NIA: Four Seasons being accepted in the Diversity in Cannes is incredible on many fronts. Professionally, it serves as recognition of my work as a writer, producer and actress. For some, seeing their laurel on my resume will make them consider me for opportunities I may have otherwise been overlooked for. In many ways, being a part of Diversity In Cannes is like a lighthouse pointing people in my direction saying, “Hey! Check out this Artist [Nia Fairweather]. She has sharp skills and something powerful to say.”

Traditionally, only those who could afford to attend the festival were able to be a part of the experience. In the past, I attended most festivals with the director of the film or as the sole representative for the film because it was too costly for everyone to attend. However, with festivals going virtual, this was the first film season where my family (most of whom live outside of the United States) and close friends were able to share in these special moments, in real-time, with me. Virtual festivals allowed more people to experience my work which otherwise would’ve been limited to those physically attending each screening. And, naturally, this made it easier for audiences to invite and share my work with others. This was one of the many silver linings of 2020. I’m grateful for how things unfolded.

While at the showcase, I will have the opportunity to connect and gain insights from leaders in our industry and other filmmakers which is extremely valuable, especially as I discern which pivots to make while creating new works during the pandemic.

UPTOWN: This pandemic has put a halt on productions all over the world and has introduced extremely strict restrictions to film and television sets that have resumed production. How do you feel about the current changes you are experiencing on sets during

these unprecedented times? And how has it impacted you as an actress vs. you as a filmmaker who writes and produces?

NIA: As artists, pivoting and being flexible comes with the territory. I’m inspired by the various ways our community has come together and found ways to create safely. Naturally, filming during this time has its challenges and has impacted us in many ways.

As a filmmaker, with a crew of 15-20 people, I have to allot an additional $3,500 for Covid testing and PPE for a 2-day shoot. Add in reshoots or additional days due to weather and you are looking at up to $10,000 for Covid testing. For many independent filmmakers, the additional funds needed to film due to Covid-19 is a major barrier and some try to work around it. However, these precautions are non-negotiable for me.

It’s not only about safety on set but that of the loved ones we are heading home to at the end of the day.

From a production standpoint, storylines have been modified to limit the number of people on set, which means fewer opportunities for actors.

In addition, the closure of theatres and restrictions surrounding live performances has been extremely hard for the acting community as well as those on the production side. Nevertheless, we [actors] are finding ways to stay sharp and foster community in spite of it all.

From a writing standpoint, the current state of affairs has greatly affected stories I’d been working on. Some stories became pressing while others no longer felt relevant and required some reimagining before moving forward. The “slowing down” has given me the space to process, explore and implement new approaches to my creativity and left ample room for self-care and discovery which is invaluable.

I look forward to seeing the new technologies and creative systems that will emerge as a result of the many changes our industry is experiencing at this time and excited to be a part of this new era in filmmaking.

UPTOWN: As a creative, you’re more prone to the financial ups and downs that come with living a life built on faith and risks. For the average person who’s more conditioned

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to a traditional lifestyle, what advice can you offer them to uplift them during these uncertain times?

NIA: Be gentle with yourself. Take the time you need to process the multitude of changes. Surround yourself with loving people and things that support your overall wellness.

Productivity before and since Covid are very different things. Grieve the fact that life as we once knew it no longer exists. Now, productivity may have fewer things on the to-do list and perhaps more self-care. Taking better care of ourselves—be it 5-minute breaks, a nap, meditation, or a cup of tea may be the pivot we need in order to clearly see and hear what we need to do next.

At the onset of the quarantine, I knew grieving would be a critical part of the mental health process. Grieving loss in all forms: loss of work, our homes, reduced finances and loved ones who have passed during this time. Also not being able to connect in-person with family and friends as we previously did was sure to be difficult.

Currently, many therapists are offering virtual one-on-one sessions or group sessions tailored to a unifying concern. Having someone you can talk to without the feelings of responsibility often present in personal relationships is highly beneficial and can equip you with tools to use outside of your sessions.

NIA: Some days, our mental health may require an hourly check-in and at other times it may be a once-a-day thing. What I’ve learned is to listen to my body and take the time I need. We have to fill our own cups in order to pour into others and perform well in our various roles. Otherwise, we risk having a mental breakdown or engaging with others in harmful ways.

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NIA: Community involvement was modeled by my parents and elders in my family. Prior to filming OORDEEL, I was already serving individuals and families in need by volunteering at soup kitchens and clothing drives.

My urge to write OORDEEL came after being on the subway and watching patrons ignore a homeless man begging for food or anything we had to spare. While this occurrence wasn’t anything new to my experiences as a native New Yorker, something about that moment, the harsh looks and side-eyes I was given as I gave him a dollar, struck me deeply. OORDEEL gave me the opportunity to give a voice to all the “Vanessa’s” I’ve encountered; and creatively, it allowed me to use my talents in the service of good. This was the beginning of me writing with the intention to highlight things that often go overlooked and the discovery that creating my own content added to my viability as an artist.

As a creative (and partly due to my nature), I live a somewhat minimalist and practical lifestyle. During these lean times, I suggest looking closely at your budget and drill it down to the basics. In doing so, you may find ways to reduce and shift spending along with choosing more cost-effective ways to connect with friends and family. Take time to evaluate if the work you are doing is the work you want to be doing. I love what I do and it has been my anchor through the most trying of times. I’ve found that when your work is linked to your purpose, pivoting becomes a little easier because you know each step is bringing you closer to your larger vision. If what you are currently doing isn’t rooted in something deeper for you, pivoting may look like asking yourself, “How can I leverage my current opportunity to get to what I really want?” and start plotting from there.

While it may not be the best time to leave a “secure” paycheck, it may be the perfect time to outline your own “What’s next?”. This way everything you are doing now, whether you love it or not, can be viewed as an investment in your future!

UPTOWN: While some people have taken the time at home to unpack and heal, others have found the added alone time stressful, isolating and lonely and mentally difficult. Oftentimes, people are afraid to admit that they’re not okay. How important is it to consistently check on one’s own mental health, as well as the mental health of those around you, during these times? And what are some practical tools that people can use to make sure their mental health is in good condition? Do you have a mental health and wellness routine?

UPTOWN: You do a lot of volunteer work in Los Angeles, in efforts to help combat homelessness. Was this something sparked by the overwhelming response to your film, OORDEEL, or was OORDEEL also sparked from a heart that desired to understand and humanize those who suffer from homelessness and are so often overlooked?

UPTOWN: Much of your work, from OORDEEL to A New York Christmas Wedding, has involved your breathing life into a character who is sometimes labeled or misunderstood. Does that inspire you to work harder to give a character a voice to help humanize those people in the real world?

My mental health and wellness routine varies based on what I’m experiencing at the time.

However, my constants are starting the morning in meditation or silence, journaling, blocking time on my calendar for breaks throughout the day (often it’s a dance or tea break), going for a walk around my neighborhood, reading for leisure (non-work related), and preparing healthy meals. Sometimes, preparing a tasty meal not only gives me the fuel I need but feels like an accomplishment—especially on challenging days.

Lastly, I highly recommend some form of movement on a daily basis, be it dance, yoga or a cardio workout which is a great way to release stress and stagnant energy.

NIA: With each role, I am walking in the shoes of another human being, not a character. “Vanessa” [OORDEEL] and “Jennifer” [A New York Christmas Wedding] represent living beings in this world. What they experience, many have also experienced or know someone who has.

While reading a script, the main questions I ask are “What good will this create in the world?” and “What causes or issues does this draw attention to?” Thus far I’ve been able to use my skills as an actress to address sexual abuse, abortion rights, homeless awareness, mental health, equal marriage laws and champion the fact that love is love.

As an empath, my concerns about how we relate to each other and humanity is a constant. And, I’m grateful that my career as an actress-writerproducer has become an extension of that.

UPTOWN: You used to work for our publisher, Leonard Burnett Jr., at Vanguard Media Group. This isn’t the first time that you’ve experienced full circle moments in

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your professional career. What is the bigger picture that you see when these encounters take place?

NIA: While I can take credit for cultivating my skills, being diligent and doing the work, there are many moments that are truly awe-inspiring.

My journey has been a series of mystical, serendipitous and full circle occurrences. Each time I become aware of these moments, I’m flooded with this overwhelming feeling of gratitude which results in a wave of tears—the cleansing tears that come when you realize that something larger than yourself is guiding and protecting you.

“Be gentle with yourself.

Take the time you need to process the multitude of changes.

Surround yourself with loving people and things that support your overall wellness.”

Even how I came to work with Leonard was due to a chance encounter with an executive on a train (after a long day of job hunting), who said they [Vanguard] were looking to fill a position at their firm. I took their business card and emailed them the next morning. Some might say “right place, right time”, I say it’s all Divinely orchestrated! Give thanks.

UPTOWN: When you first began pursuing acting, you didn’t tell your family. You put yourself through school and waited until you had something tangible to show them.

For young people who have been pushed by their family to choose a safer professional route, what are some of the things that helped you do what you needed to do to meet their requirements, while wholeheartedly pursuing what you loved? And how does it feel to now be on the other side, and to be able to show them that you made the right decisions for you?

NIA: On the outside, it might have seemed like the choice was deciding on a career path but for me, I was making a choice for my life. Everything I did was rooted in survival. I worked in order to pay for drama school and essentials.

I did all that was needed in order to set myself up to win and lessen the “burden” on my family.

I wasn’t as aware of what was needed for their approval. I knew I needed to exhaust everything in order to realize my vision. Pursuing my own path, fueled and continues to nourish me in ways I can’t fully describe.

I’ve faced many challenges (personally and professionally) throughout my journey and having a trusted friend I could share, vent and cry with made the experiences bearable. With that said, my biggest advice is to surround yourself with at least one person who can hold space for you as you navigate your path because there will be times when you need someone else to put some wind in your sails.

I highly recommend keeping a gratitude journal.

Often as the person living the journey, it’s hard to see all the strides you’ve made so when you feel like nothing is happening or you are standing still, open and read your journal—you’ll see just how far you’ve come.

The beauty of choosing a path aligned with my purpose means I never have to prove to anyone that I made the right decision. I’m content within myself and in my spirit. Having that knowledge affirms that I made the right decision.

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THE MIDAS

TOUCH

Lee Daniels’ grit and grandeur scorches the screen in The United States vs. Billie Holiday.

The director talks with UPTOWN about who Holiday is underneath it all.

BY BRYNA JEAN-MARIE PHOTOGRAPHY: TAKASHI SEIDA/HULU

he spark was lit more than four decades ago when Lee Daniels sat in a Philadelphia movie theater mesmerized by the captivating chemistry between Diana Ross and Billy Dee Williams in Lady Sings the Blues. The imagery of Ross and Williams ignited his world with his life’s purpose—to become a director. Long before he became the first African American to solely produce an Oscar-winning movie, he wanted to bring audiences along for the soul-stirring ride that he experienced watching that film. He wanted to connect the dots of emotions, and to be inside the minds and bodies of strikingly ordinary yet utterly complex characters. His latest muse? An iconic Black female artist who defines the latter and is the nucleus of his latest masterpiece, The United States vs. Billie Holiday. The story, the music, the imagery, and the style are an ode to women. “I made this movie for my sister,” says Daniels. “I made this movie for my mom. I made this movie for my grandmother. I made it for my daughter. And I made it for women.” And they are all celebrated, understood, and adored through his glorious vision of pain, courage, beauty, love, and freedom.

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I saw a “ transformation that

Andra got from the bowels of her stomach,” says Daniels. “It just erupted. I had never seen that before. And I knew that there was no question that this was my girl. And that I was looking at God. ”

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Director Lee Daniels, Andra Day (Billie Holiday), and Trevante Rhodes (Jimmy Fletcher) on the set of The United States vs. Billie Holiday

UPTOWN: Why did you make this film and why did you want to tell this particular story about Billie Holiday?

LEE DANIELS: I’ve always been intrigued by Billie as an artist that understood addiction.

The extent of my perception of her was that she was an addict, she was brilliant, and that she was in and out of jail. Then I read her book [and realized she was so much more]. When I was 13, I saw Lady Sings the Blues which really affected me. That is the reason why I am doing the film today. Diana Ross and Billy Dee Williams were so beautiful. I’d never seen two Black people kiss before on screen. The colors that they were in and just Harlem. I understood everything about it. I understood the number-running. I understood the drugs. I understood the talk.

I understood Richard Pryor’s humor. I understood the nigga of it all. It spoke to my spirit.

It spoke to who I was as a human being. And after seeing this film, I wanted to make people feel the way I felt in that theater. And that set me off to becoming a director, without even understanding that there was a title for director. But that’s what I wanted to do with my life.

So 40-some-odd years later, I’m telling the real story of Billie Holiday. And I think even though Lady Sings the Blues wasn’t the accurate story of Billie, it was what Black people needed at the time because we had never seen ourselves like that on screen. Diana Ross was glamorous one minute, and in the next she was detoxing and she had nappy hair. Well, that was unheard of back in that time to show a Black woman on screen like that. To show us in all of our beauty.

Flaws and all.

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UPTOWN: Andra Day’s Golden Globewinning performance in this film is nothing short of magnificent. Did you always have her in mind for the role?

DANIELS: No, not at all. I had a bunch of really talented actors who had come to audition, and they were really great. But I hadn’t committed my soul to any of them. I was close to selecting someone, and then my friend, Simone, told me, “You have to see Andra.” But I wasn’t jumping up and down about taking the meeting. And then I met her and I could see that she really didn’t even know whether she could do it.

And at the end of the meeting, I found myself talking her into auditioning because she really cherished Billie Holiday. She got emotional talking about her. You could tell that Billie was Andra’s idol. She knew more about Billie than I did, and I had done two years of deep research on her. So it made sense to me when she said, “I don’t even know whether I could do this. I don’t want to let you down, Lee.” So, I sent her to my friend who is an acting coach and to a vocal coach, as I ordinarily do when prepping an actor for an audition, especially somebody who has not acted before. And the acting coach, unbeknownst to Andra, put her iPhone up [so that I could see her] and said, “Check her out getting into character.” And I saw the birth of Billie Holiday. I saw a transformation that she got from the bowels of her stomach. From her gut.

It just erupted. I had never seen that before.

And I knew that there was no question that this was my girl. And that I was looking at God.

This was God’s arm. She wasn’t acting. She just wasn’t acting. And I understood in that moment why she was so nervous about whether she could play Billie. She knew the importance of Billie’s legacy. She just didn’t want to mess it up. And I didn’t want an impersonation of Billie Holiday. I wanted Andra’s interpretation. I wanted Andra to become. And she became.

UPTOWN: What were some of the challenging filmmaking moments during the intense scenes in this project?

DANIELS: When she got off the bus and was headed to the backyard. That was the hardest scene that I have ever filmed in my career, because it was a single, five-minute shot. Now I fully understand what it’s like playing on a team because it wasn’t just about the acting.

It was about everything being in sync. And if everybody didn’t vibe perfectly, we’d have to reshoot the whole thing. The kids had to be crying; the cross had to be lit; the woman had to be hanging in just the right place. Billie had to go into that little shack that was next door and to explore in her head what it was like to see what she saw. Was she high? Did she not see this? She had to go into that labyrinth of crazy and darkness that would give her the courage to come out on stage to sing “Strange Fruit.”

I suffer from addiction, and that’s again what I connected to with Billie. So the first time we see Billie shoot up, that quiet, when she is on the bed shooting up you think, “Whoa, so this

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Andra Day as Billie Holiday in The United States vs. Billie Holiday

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is going to be serious. I can’t believe that we are sitting here in this dead silence for a minute.

Not doing anything but watching her nod.” I really wanted to show us what it was like to be high. And for Jimmy to understand what he did to her, and that everybody wasn’t born rich.

This girl had a difficult life. So in my mind, what really happened was Billie was telling Jimmy what her story was like while they were high.

But he was so high that he went on the magic carpet ride in his head, through the brothel, as the young girl walked him through her mind.

And then he came out of it. And that’s when Billie says, “Don’t ever do this again, it will not love you back.” And he’s so traumatized by it all because he realizes what he did. And he’s like, “What the fuck have I done to this woman?” I think that’s when he really started to fall in love with her.

UPTOWN: How do the ingredients in your films—the rawness, the aesthetic, and the style—seamlessly come together?

DANIELS: If you study all of my work as a director you will note that realness is what I picked up from Lady Sings the Blues. That realness exists in Precious, in Monster’s Ball, in all of my work. There’s a sense of urgency, of being a fly on the wall and watching life unfold in front of you. I picked that up as a kid in that theater in Philadelphia. Tasha Smith [my acting coach] was with me from Empire.

And she understands what I want from actors before they get in the room with me. And the

same with Tom Jones, who is a vocal coach.

He gets it. I have a cinematographer, Andrew Dunn, that I’ve worked with since Precious. I was obsessed with his work on The Bodyguard with Whitney Houston and I just loved the way it was shot. And of course there are others who have worked with me from Precious, The Butler, and then Empire. I wanted to make this movie look like the pictures of all of my aunts and my grandmom in Philadelphia and in Harlem, back in the day. I just see all these black-and-white portraits of them, dressed to the nines, and looking beautiful. I know that they didn’t have that much money, but I recall the portraits of them being absolutely majestic. I paid homage to my family from the portraits that stuck in my head. And the scenes were really about pictures of my great-grandmother’s home, my grandmother’s home, and my grandfather’s home. Those images and that palate, of my earliest memories of when I was like five, were etched in my head. A great production designer understood it, when he studied the pictures and listened to what I grew up watching as a kid. And he replicated that. Paolo Nieddu, my costumer from Empire, helped me with the vision as well. He really understands how important it is to nail the fashion. I wanted to make sure that these Black people were fabulous without trying. I didn’t want to shove it down your throat, but you were going to wonder, at the end of this move, “Wait a minute, who did those costumes?” And I wanted to convey that without being pretentious. So [when it all comes together] the clothes are seamlessly working with the backdrop of the fabric on the wall... It’s a science.

UPTOWN: How did you connect with your executive music producer, Salaam Remi?

And what was the process of extracting Andra Day’s bone-chilling renditions of Billie Holiday’s songs?

DANIELS: The music was everything. Absolutely everything. I wanted Billie’s music to be honest to the period. But if you close your eyes you find yourself nodding to it in a way that isn’t of the period. So it’s got a little bit of thump to today’s sound. It was very difficult to find the right artist for that. I started studying producers and musicians who understood the sound I wanted. And I asked Salaam—who produced Amy Winehouse’s music—for examples, and he gave me what I wanted. He had that thump. That back in the day sound with just a tiny bit, almost subliminal, current-day thump.

And with Andra, before we began shooting, I sent her to Salaam to pre-record the songs.

Because what I learned from Empire and Star is that you have to pre-record your music so that when you’re filming the lip-syncing is on point. So she spent several months in Miami just doing the music. But when it was time to film, she had evolved as Billie even more. The songs that she was singing, like, “Lover Man,” [ended up morphing into a whole other thing].

It was written in the script that the guy slaps her. And that was that. Well, that wasn’t enough for me. I had to have him throw her up against the mirror. And then I knew Billie wasn’t going to take that. So I had her pick up a chair and hit him. And he would retaliate by punching her in the face and then kicking her in the gut.

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Director Lee Daniels and Miss Lawrence (Miss Freddy) on the set of The United States vs. Billie Holiday

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When she got off the bus and “ was headed to the backyard,” says Daniels. “That was the hardest scene that I have ever shot before in my career, because it was a single, five-minute shot.”

Ultimately, it became a massive scene, which meant that she had to re-do “Lover Man” because the song took on a different meaning when she was singing it out there to Jimmy. She had just got her ass whipped.

It was a whole different thing. And the same with the lynching and “Strange Fruit.” We didn’t know what to expect. Again, this was groundbreaking for all of us. We had no idea that scene was going to affect us the way it did. How Andra would feel seeing that lynching. How we’d all feel when we shot that scene. The kids were crying— they were really crying. It took us all back to what it must have been like to actually witness a lynching. So when Andra sang “Strange Fruit,” three months prior to the shoot, it did not match the feeling that she was in during the actual scene. The producers were really upset with me because I had to stop, and I made her sing everything live.

So, the reason why you feel the way you do about a lot of that music, is that it’s live. It’s in the moment. It’s what she was feeling at that moment.

UPTOWN: Billie Holiday’s “Strange Fruit” was one of the songs that fueled the Civil Rights Movement. Do you think that today’s artists use their creativity to evoke change?

DANIELS: I don’t believe that we’re doing enough as the people in the forefront.

People are too worried about their brands.

And I know that’s hurt me over the years for not being so concerned about my brand.

But I think that we could do more. There are new types of leaders today. These young people, like Kimberly Latrice Jones, are coming out of the blue and standing in the middle of the streets breaking down what’s happening in the world. It’s not like the old days when Sidney Poitier, Harry Belafonte, and Martin Luther King Jr. were [fighting for social justice]. I think, today, that sense of protecting your brand is more important to some people. Even with this movie, I had to pause and ask myself a few questions: “Do I really want to show her nude? Do I really want to show her shooting up? Do I have to do this?” And I discussed it with Andra, and we prayed about it. And she

said, “We cannot do justice to Billie [if we don’t tell the story honestly]. Don’t worry about what people are going to say about us, because you have to tell the truth. All of this is truthful. You cannot sugar coat this story to protect yourself. They are going to talk about us anyway. So, let them.” That’s another reason why I hired her. Because she was so fearless.

UPTOWN: When present-day public figures push the envelope, do they have more, less, or nothing to lose in comparison to Billie Holiday’s era?

DANIELS: Well, you have to look at Billie specifically. I think that the reason why she stood out beyond Ella Fitzgerald, who we adore; beyond Sarah Vaughan; and beyond those beautiful talents that were still Black women struggling back in the day is because Billie had nothing to lose. Billie grew up in a whore house. Billie was raped at 10 and then she was sent to a reform school for being raped. She was a prostitute by 12, and she had this crazy relationship with men because of that. So she anesthetized herself because she needed to heal from the pain she was suffering. Addiction is viewed as a bad thing, but people are healing from trauma. She had been traumatized, and so she was healing. And her work was therapeutic to her. That’s why she never sang a song the same way twice. You could never capture it again the same way because she was in the moment [of healing and expressing her pain]. The vodka wasn’t hitting right, or the cigarette wasn’t right, the collard greens didn’t hit right. Whatever it was that she was feeling, she was deep in that moment. And you felt it, so you knew there were collard greens on her breath. And you could tell whether she had smoked a reefer or whether she had smoked a cigarette. So unlike many others, she had nothing to lose.

She already knew that Black people talked about her. Our people can be the cruelest of all. And I identify with that, deeply. She was kicked out of The Apollo Theater. She was a joke to many. They talked about her because she was high. All of that profoundly affected her because all she wanted to do was to please Black people. www.uptownmagazine.com 2 7

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SWISS PLEASE Rae P. Revelle, the president and creative director of Ray Norris Design, specializes in luxury residential design on a worldwide scale. Here, we learn more about this daring designer—who transforms spaces into elegantly edited homes—as she takes us on a tour of an exquisite house she outfitted in Switzerland.

Compiled by Noah Chamblee Photography By Ray Main

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LIVING ROOM “My core vision for this room was to appoint the living room as a series of places to sit, read and relax, and be as right for a party as for nights in with friends. Plus, this space was well deserving of statement lighting.”

MASTER SUITE “I considered every aspect of the imprint of the space such as the shape, proportions and light coming through before planning what to do with it. The goal was to provide the client with the ultimate comfort zone and design to please all the senses. The clients wanted a sanctuary from the rest of the world— a place to chat, read, lie down and think, rest, sleep and love.”

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Passion Play “I am a firm believer in pursuing your passion in life. Unfortunately, my former career as an acquisition manager did not provide enough creative stimulation. As a lifelong lover of interior design and architecture, I made the decision to pursue design. After completing the Interior Architecture and Design program at the Academy of Art University, I started my brand, Ray Norris Design.”

Inspiration Nation “My parents are my inspiration.

The name of the company is an homage to my father. He taught me a number of life lessons: namely, to never accept the status quo.

Also, he believed in the principle of continuous improvement—to always look for opportunities to learn and grow. These lessons have played an invaluable role in the success of my business.”

Creative Crush “I would be honored to work with Iraqi-British architect Zaha Hadid.

Her unique approach of envisioning buildings in different shapes than a box like dynamic formal qualities of sinuously, curving shapes, or crystallized strata is refreshing. I look forward to meeting her!”

When I Think of Home “The number one mistake people make in decorating their homes is to push furniture back all the way to the walls. Oftentimes, this creates a look that is boxy and uniform. My suggestion is to move furniture to the center of the room. Challenge the norm. In fact, sometimes the backs of furniture can be beautiful. Also, a sofa with a console table behind it is a great place to create a gorgeous display of items.”

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KITCHEN “I am always inspired to create beautiful, yet functional, spaces that embrace all of the clients’ dreams for their space. The kitchen is no exception, so we let the light in and kept the walls light. The space is as much for lounging with a laptop or friends as for cooking or eating meals.”

Hot Trends What’s cool in design right now, according to Rae. Mixed Metals

“Long gone are the days of keeping all the metal in the home the same, mix it up a little. Don’t be afraid to mix gold or brass with your nickel or iron.”

GUEST BATHROOM “This bathroom was one of my absolute favorites as it encompasses everything I love—elegant proportions, an abundance of light, natural materials and a calming color palette of white and gray. The client requested a space that was not overly masculine or feminine.”

Wallpaper

“Say goodbye to your parents’ or grandparents’ wallpaper. Today’s wallpaper is easier to install and comes in a wide array of colors, textures and digital prints.”

Color

“Deep, rich colors are very popular in luxurious velvets, silks and linen textiles, but can also be found on the walls in both matte and high gloss lacquer finishes for a dramatic and moody interior.”

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A Taste of Turks

Isoul H. Harris found a new reason (hint: decadent new dishes and wine) to fall in love with his favorite island, Turks & Caicos.

I adore Turks & Caicos. The country consists of over 40 different islands and cays (only eight are inhabited), with Providenciales at its center. Having hopscotched through the Caribbean over the years, I learned quickly that not all isles are created equal. Turks truly deserves claims by top travel magazines that it has the best beaches in the world.

It gives you what you want when you jet to the Caribbean: miles of beautiful shore, milky-white sand massaging your toes at every step, and sapphire-colored skies reminding you every moment that your cares and concerns exist elsewhere.

Bruce Willis, Oprah Winfrey, Donna Karan, and Keith Richards agree: Each reportedly own homes here. Though I never need a reason to visit, when I found out that Grace Bay Resort was hosting the First Annual Caribbean Food and Wine Festival, I booked the ticket.

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A DECADENT SAFARI The Caribbean Food and Wine Festival was created to bring top chefs, sommeliers, and winemakers to Turks & Caicos, which, as any clued-in foodie knows, is etching its mark on the world culinary stage. The two-day feast began with the Welcome Dinner at Anacaona, featuring a debaucherous five-course dinner by visiting kitchen master Beau MacMillan, paired with wines from Duck Pond Cellars. The charming and likable McMillan, who decimated the competition on Iron Chef in 2006 (including Bobby Flay), introduced each dish and explained his dedication to simplicity; overworked food has no place on menus in his opinion. And the proof was on the plate— though grand, each offering was accessible. The best: the second course with Seared Diver Scallop with Fragrant Black Beans, Creamed Corn, and Thai Lobster Curry, served with a 2009 Columbia Valley Block 97 Chardonnay; and, the fourth course of Miso Glazed Sea Bass with Forbidden Rice, Shitake Snap Pea Salad, Coconut Sake foam, and a 2009 Duck Pond Columbia Valley Syrah.

The second night, touted as the Gourmet Safari, consisted of a restaurant crawl. We began at the Infiniti Bar with passed hors d’oeuvres (lobster mango roll, Tataki Beef-Soy Pickled Carrot, Diver Scallop with Green Tea jelly, and a Watermelon Shooter topped with Beet and Goat cheese) paired with the Seventy Five Wine Company’s 2010 Lake County Sauvignon Blanc. From there we headed to Coyaba (an Arawak Indian word meaning “heavenly”), a gazebo-styled restaurant specializing in contemporary Caribbean cuisine that treated us to Ahi Tuna Smoked and Tartare with Pistachio Crusted Baby Back Ribs, paired with a 2009 Semper Ulises Chardonnay.

Next, we shuttled to Seven Stars and sampled the Wild Atlantic Halibut with a Spiced Pumpkin, Mango, and Chorizo Emulsion, which was only made better by a 2007 Semper Ulises Chardonnay. The Regent Palms was the next destination on our safari, and its New Zealand Lamb Cannon (oven roasted

FULL OF GRACE Grace Bay Club, which includes The Hotel (adults only) and the familyfriendly Villas and Estates, sits on 11 acres of beachfront property—meaning that no matter what room you have in the island’s first all-suite hotel, you will awake each morning to an eye-popping ocean view.

All rooms at the property have at least one private balcony or patio (or both), a spacious living room, and a kitchenette. Though many on vacay avoid even the thought of cooking, for those traveling with family or a group of friends, shopping for food and using the wonderfully equipped kitchen is Clark Howard smart. Breakfast at the Grill Rouge is included and not to miss. With made-to-order specialty omeletes, waffles, and French toast as just a sampling of this amazing spread on the beach, the attentive staff and backdrop feels like a country club on the ocean.

Evening dining at Grace Bay Club is also an experience. The four-diamondrated Anacaona is the only gourmet oceanfront restaurant on “Provo.” I dined there the first night, and the trifecta of the beach, moonlight, and crashing waves was almost overwhelming. The Euro-Caribbean menu boasts some exciting choices, including the Fire Roasted Sweet Potato Soup with duck confit, portobello mushrooms, and ravioli, followed by the pineapple local-rum-cured Atlantic salmon with pineapple jam.

The Infiniti Bar—the longest in the Caribbean at 90 feet—seems to have an ocean reach, and makes for a great place for cocktails any time of the day or night. Try the Moleca Spice Martini (with Cachaça, orange juice, Tabasco, Angostura bitters) or, if you like a jolting coffee cocktail, order the Infiniti Java (amaretto, Kahlua, vodka, Crème de Cacao, double espresso).

with a herb crust) did not disappoint, nor did the 2007 Tuck Beckstoffer Cabernet Sauvignon. We ended the evening at the popular Gansevoort Hotel. With its Miami vibe and contemporary decor, it was definitely a party as we munched on the Chocolate Torte with Smoked Blackberry and Cinnamon Ice Cream. As I sipped on the last wine of the evening, the Seventy Five Wine Co.’s 2008 The Sum, and swayed to the reggae and hiphop sounds blasting in surround sound, I was already planning my trip back to the island I adore for the second installation of a food and wine festival I now loved.

The 2nd Annual Caribbean Food and Wine Festival is scheduled for November 1-3, 2012. caribbeanfoodandwinefestivaltci.com | gracebayresorts.com/gracebayclub 34 www.uptownmagazine.com

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Cancun C

Crush

Although best known as a mecca for drunken debauchery, there’s more to this hot spot than tequila.

BY ANGELA BRONNER HELM

“DON’T DRINK THE WATER!” IS THE REFRAIN YOU HEAR MOST OFTEN ABOUT MEXICO. THE ADAGE SHOULD BE, “DON’T DRINK THE TEQUILA!” OR AT LEAST NOT COPIOUS AMOUNTS OF IT, EVEN WITH LIMES—BUT THAT’S ANOTHER STORY FOR ANOTHER TIME. HANGOVER ASIDE, I’VE ALWAYS BEEN EXCITED BY ALL THINGS MEXICAN, FROM MY LONG TIME ADORATION OF ARTIST FRIDA KAHLO TO MY RAVENOUS APPETITE FOR CHUNKY GUACAMOLE. SO I WAS SUPER GEEKED TO HIT THE CITY OF CANCUN, LONG ENSCONCED IN THE LORE OF SPRING BREAK SHENANIGANS WITH THOUSANDS OF YOUTUBE VIDEOS TO PROVE IT. 3 6

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Coba, a 90-minute drive from Cancun, lays claim to Nohoch Mul, the tallest pyramid on the Yucatán Peninsula.

From top: The Mayan Ruins; Moon Palace Golf & Spa Resort; Usher in concert with dancers.

there’s no need to leave the resort for nightly entertainment: The new $2 million nightclub Noir offers a striking mix of glamorous cocktails and cutting-edge design inspired by the movie Tron.

I couldn’t be in Mayan country and not visit the ancient city of Coba. Nestled in the lush Mayan jungle, the site remained relatively unknown until the first modern road was opened in the early ’70s. Hire a tour guide (alltournative.com) to get the most out of the historic city, which in its day had more than 50,000 people. It’s a 90-minute drive from Cancun, and lays claim to Nohoch Mul, the tallest pyramid on the Yucatán Peninsula. Despite my fear of heights, I climbed it and was rewarded with a full view of flora and fauna for miles around. Nohoch Mul is one of the last pyramids you can still climb so get to it posthaste.

Y

et Cancun, situated on the Yucatán Peninsula, which separates the Gulf of Mexico from the Caribbean Sea, is a tropical destination that’s eons beyond crazy coeds getting loose in the streets.

It has ample resorts and boutique hotels set on pristine beaches, as well as golf courses, water parks and top-notch entertainment. After you land at Cancun International Airport, you can do everything from serious barhopping to touring ancient Mayan Ruins.

I had the pleasure of staying at the Moon Palace Golf & Spa Resort (palaceresorts.com) in the new southern end of Cancun’s impressive

“hotel zone,” where I saw an amazing pre– New Year’s Eve Usher concert. Best described as palatial, it sits on 123 acres, with more than 2,400 rooms each equipped with a double Jacuzzi, 13 restaurants, 12 bars, a hoppin’ new nightclub, full-service spa, and one of only two signature Nicklaus golf courses in Cancun.

The all-inclusive resort includes 24-hour room service, and for guests who stay more than five nights, there’s a muy generous $1,500 credit to spend on sumptuous wine upgrades and spa treatments. Aquatically inclined?

There are multiple pools, water sports, and plenty of beach activities, including the new Dolphinarium, a state-of-the-art saltwater aquarium in the middle of the ocean. And

More than 60 families host tourists in the modern Mayan village of Tres Reyes. I was more than enlightened by this visit. I had never heard of cenotes, the large underwater caves or sinkholes that many Mayan communities were built around, as they were sources of fresh water. Cenotes were also used for storm shelters and sacred ritual spaces, as the spirits of ancestors were said to reside in them. We were able to descend into a cenote, but only after being blessed by the local shaman, lest we bring back a spirit. In Tres Reyes, you can also visit a makeshift museum with ancient tools and eat with the villagers, who serve up a mean lunch of vegetable soup, rice, beans, potatoes, pasta, empanadas, handmade tortillas, and stewed chicken. Cancun may have a reputation as a fast girl gone wild, but she’s actually a lady full of mystery, history, and culture, wrapped in a colorful Mexican serape.

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Damaris

LEWIS

BY MALCOLM RASHAAD BANKS Photography by Evan Rogers

PHOTO CREDT: ELLYN JAMESON

Having been discovered while performing with her childhood dance company, Restoration Dance Theater, Damaris Lewis modeled for major international brands and media outlets. With a strong work ethic, pure talent and drive, Prince selected Damaris as his muse and dancer up until his passing in April 2016. Turning her sights to acting and interviewing, UPTOWN recently caught up with the ambitious rising star to talk about what you can expect from her moving forward.

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mbitious, go-getter, beauty, and charisma are just a few words to describe an ascending star who navigated her way to a successful modeling career, landing coveted covers for Sports Illustrated Swimsuit and Fitness Magazine, and now has her eyes set on cinematic dreams.

Damaris Lewis, the accomplished model turned actress, is no stranger to the bright lights and taking chances that pay off. The mastering of two crafts is rare and as challenging as they come. It’s why we marvel in awe and celebrate the accomplishments of Kobe Bryant or Mary J. Blige, who can master the craft of dribbling a basketball or singing and seamlessly transition into a different art form. Being a legitimate player in more than one field is challenging, but a closer look into Lewis’ journey and it’s clear she isn’t someone you’d want to stack your odds against.

Lewis’ career in modeling dates back to her school days as a student at Fiorello H. LaGuardia High School of Music & Art and Performing Arts. The born and raised Brooklynite was discovered while performing with her childhood dance company,

Restoration Dance Theater, at Chelsea Piers, and inked her first deal with Elite Model Management by her sophomore year. What would transpire in the coming years has taken Lewis on an exciting journey that hasn’t even scratched the surface of where her potential can take her. Already a proven success in the modeling industry, Lewis took her journey a step further; a conversation with legendary filmmaker Spike Lee helped steer her in the direction of a promising career in acting. Cast to play Odetta in Lee’s 2018 critically acclaimed film Blackkklansman, Lewis has carried recent momentum adding to a resume that includes roles in the television series Pose and the 2020 thriller Fatale.

When studying Lewis’ career, there’s something impossible to ignore.

It’s as if at every turn, she continues to find ways to evolve. Where career accomplishments may make most individuals comfortable, they serve as stepping stones for her. One second she’s a stunning beauty with elegance and grace on campaign shoots for Yves Saint Laurent; the next minute, she is touring with the late icon Prince, who hand-picked her as his Muse and dancer during several of his productions. Lewis would perform with Prince on several big stages, including the Welcome 2 Australia Tour in 2012 with The New Power Generation, the Welcome to Chicago Tour, Jimmy Kimmel Live, SXSW 2013, the Montreux Jazz Festival, and continued working alongside the legend until his untimely passing in April 2016. Lewis’ passion for basketball even led her to the 2017 and 2018 NBA Awards stage where she helped present the trophy to the Most Valuable Player. All of this is to say that Lewis has a gift of identifying her passions in life and embracing them head-on.

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UPTOWN: You established yourself as a very successful model. What inspired you to transition into acting, and how did that process occur?

DAMARIS LEWIS: I was a very expressive kid, and people around me always told me that I should act. I was one of those people who didn’t like it when people told me what to do. I’m still one of those people, so I didn’t.

Cut to 2010, I booked a role in [the film] Limitles. It was short, but it’s the scene when I’m dancing with Bradley Cooper in a club. That was my first taste of what life could be like when you are hired for more things than your height and how you look. The big kicker happened because of Spike Lee, who sat me down and asked me what I wanted to do and if I thought modeling will last forever. It was a reality check; after that, I was introduced to Susan Batson, an acting coach, and she showed me the benefits of art imitating life in terms of acting, and after that, to be honest with you, I couldn’t go back. Modeling is why I’m here, but It’s been really fun going from an industry that makes you feel underqualified into an industry that once you get booked, you feel qualified for the job.

to be able to say thank you and know that I’m telling the truth, and know that I’ve done the personal work to give them the truth. There’s actually a line in Bridgerton when Lady Danbury said, “You must promise me that when you step into the light, you will be worthy of the attention you command,” and that’s kind of how I feel. I want to make sure that whatever I put on the internet, whatever I share with the world, whether it’s something that people like or not, is something that is a truth for me. That’s my place in this business. I feel like that’s what old school artists used to do, that they did not care unless it made them feel good, and we saw them put their heart on their sleeve. That’s an energy that I would love to bring back.

UPTOWN: You played a prominent role in the 2020 film Fatale alongside Michael Eealy and Hilary Swank. What can you tell us about your time on set working alongside a talented cast?

UPTOWN: How would you compare the two worlds?

Is the knowledge and wisdom you gained in modeling beneficial at all to your acting career?

LEWIS: Yes, of course, modeling took me around the world by myself. Because of that, I have learned how to adapt very quickly when it comes to different places and different people to get the job done. I spent a lot of years living in Paris for a couple of months at a time, and being a girl from Brooklyn thrown into another culture with a language that I don’t speak without any resistance makes it easy for me to go from job to job. Right now, I’m in Canada. I’ll be here for a couple of months, but there’s no fear in that for me because of the modeling world and how independent you have to be to define success in it.

UPTOWN: From Blackkklansman to Fatale, you have an excellent range of performances. How do you prepare yourself for each role? Is that process a difficult one?

LEWIS: I watch animals, I go to the park, I turn on my TV, and I study the animal that I feel is closest to the character. I love animals because they don’t speak the same language as us. So I’m not learning anything based on opinion—I’m just watching. If I have to be angry, I’ll look up the instincts between a lion going from really calm to the detective, or I’ll look at animals in the water, and the difference between when they get scared and how they always come back. Animals have been my greatest teacher outside of humans, and that’s what I do whenever I get a new role. I won’t get too into it, but I’m on a show called Titans now, and my character is a very ferocious woman.

With Titans and being on Pose, I’m grateful for the range in the variety of projects I’ve been a part of in the past couple of years. My preparation generally comes from things that don’t know me. From music, animals, nature, looking at the connection between a flower coming out of the ground and a character coming out of their skin.

Nature has been my greatest preparation.

UPTOWN: As your career progresses forward, and you continue to find success, what motivates you?

LEWIS: It’s really important that people look up to someone who practices what they preach. There’s not a lot of people that I know in this digital age who do that, and it’s not a knock at them. Everybody’s trying to survive, and more so for the next generation, a little kid comes up to me, and they say, you were so strong. I want 40

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LEWIS: The plot was crazy. I had so much fun filming it. It’s very humbling getting to watch veterans in the business go to work. That was a movie where I had no ego. I couldn’t walk on set with an ego. It would get shot down very, very quickly. There was a cast of people who looked you in the eye. In today’s world, where we’re just looking at each other through our phones, we’re not really making eye contact with people. And because of the pandemic, we really can’t make eye contact with people. One of the biggest takeaways that I have from that film when I think about it is how much time I spent making eye contact with my fellow castmates, and that’s a beautiful thing to think about, even beyond the director. There is a lot of eye contact, and I think eye contact says more than words. That was fun for me. No matter what the job is, I promised myself when I was 16 years old and started modeling that I would have fun. I am happy to say that I can’t recall one job in my life that I’ve ever walked into without that being my intention, and Fatale was another example of that. Sometimes

that’s the intention, but not always the outcome. But with Fatale, that was the intention, and I’m happy that it was also the outcome.

UPTOWN: For anyone who hasn’t seen the film just yet, what can they expect from your character Tracie Tyler?

LEWIS: Know that there’s a reason Tracy is angry. I think so many times Black women get the threat of being angry without any justification for it. That’s kind of what I wanted to bring out of Tracy. She’s the wife of a famous person. Nobody really cares about those women; most of the time, nobody thinks that those women can amount to anything, yet those women are going through a lot of emotion. With Fatale, know that you’ll see a glimpse of the resilience necessary to coming second to your husband and everybody.

UPTOWN: What is your dream role?

LEWIS: My dreams change all the time.

At one point, my dream role was to be a superhero; I’m doing that now. Another time, my dream was to be on tour with a superstar, and I did that with Prince.

I feel like my dream world is constantly changing. Right now, my dream would be to shoot a silent love story on an island. I’m interested in using the other senses to tell the same story we tell with our mouths. Everybody shares a different accent, everybody has different experiences, but you’re connecting on a deeper plain when there are no words.

I think that’s not really in the algorithm at the moment, but I love disrupting the algorithm. It’s one of my favorite things to do in a nice way, but sometimes when you disrupt the algorithm, nobody notices. And that’s okay, too.

UPTOWN: You are the face of an upcoming advertising campaign. Can you share with us any details fans can expect?

LEWIS: Let’s say things will get very purple, and that’s all I’m going to say.

UPTOWN: What else can we expect from you in 2021 and beyond?

LEWIS: Since I’m new to so many people, I am looking forward to having them meet me as I am today. I think we oftentimes look at life, and we look at these moments that we had, and we want to go back to those moments, but I’m looking forward to people being introduced to the woman I am today. I love myself. I think I’m pretty amazing, so I want other people to feel the same way about themselves, and to do that, you’ve got to see it. Take the victim mentality out of greatness and put it back into the victor. That’s my mission to get people to understand that most of us are just growing in the wrong pots, we’ve outgrown our pots, and so I’m excited for people to see me in my new pot and see how I bloom. www.uptownmagazine.com 41

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Palazzo Versace

In the Land of Oz Australia’s Gold Coast is where jet-setters set.

Isoul H. Harris gives us an insider’s peek into its ultraluxe accommodations, world-class food, and Down Under cool.

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t’s 2:45 p.m., and I’m seated at a table amazed at the ocean views of Australia’s Gold Coast. The crisp wind serves as a muchneeded reboot after enduring 21 hours of cabin air during the Virgin Australia flight to get here. Living in New York, it’s not often I’m able to inhale deeply and without consequence; so I’m taking full advantage. As I sit at Oskars on Burleigh, one of the most popular restaurants in the area, I am anxious to see if Olivia NewtonJohn, Crocodile Dundee, Nicole Kidman, Hugh Jackman, or even Oprah have been hawking fool’s gold in their over-the-top praise of the Land of Oz. We shall see.

Gold Coast

Oskars’ arresting views and equally wondrous seafood menu (try the Spring Bay Mussels, or the Yamba or Peppered Snapper Fillet) make it a fine launching point for an exploration of Australia’s Gold Coast region, located in the northeast state of Queensland. Although lesser known than the south east coast’s Sydney (the most populous city in Australia), it’s arguably just as lively. A quick scan of the room finds potential candidates for a Haider Ackermann campaign or extras for a Sex and the City film. Relaxed cool rules. I notice a comely couple—ebony Creative Recreation high-tops for him, Chrysler building-high Sergio Rossi stilettos for her, and skinny denim for both—mingling with other beautiful folks that could easily cross any velvet rope the world over.

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fter lunch, I head to the popular Gold Coast Strip. While visually similar to South Beach’s central nervous system Ocean Drive, it differs in spirit. It possesses a modern mix of late-’60s pop and post-Diddy flash. There’s an inviting innocence that lures you in, and an unexpected sexuality that keeps you there.

The area boasts more than 35 miles of coastline, great cuisine offerings, and world-class surf breaks. (Aside: I can’t escape thoughts of the Patrick Swayze and Keanu Reeves ’90s surfer flick Point Break, in which Swayze meets his demise in the mythical 50-year storm in Australia.) Room81 at the Sofitel Broadbeach is refined and fresh; smooth wood paneling with cuts

and underneath your feet is a larger-than-life rendition of the famous Versace Medusa head trademark. You may be in Australia’s Main Beach area (sophisticated and high end with a private marina), but you are also at the edge of Italian opulence. Marble, gold detail, and beautiful mosaics abound.

Each of the 200-plus rooms and suites are adorned with all things Versace, from the bedding and bathrobes to the china and turn-down chocolate (in the shape of lips on a personalized card). The walls feature exclusive pictures of the many supermodels that worked with Versace, as well as original sketchings he did for theatrical productions. The palace would be incomplete without food fit for royalty; the fine dining of Vanitas (Latin for “vanity,” of course) does not disappoint. The sweeping views of the lagoon and a menu full of intensely flavorful dishes (from marron to rabbit) and fresh catches only add to an already decadent stay.

I then ventured to O’Reilly’s Rainforest Retreat and welcomed its rustic flavor and connection to nature. The rooms range from the Rainforest Retreat rooms—including the huge two-bedroom Canopy Suites that were transformed from one of the O’Reilly family’s former homes—to the übercontemporary condo-like Mountain Villas overlooking the Lamington National Park, on which the resort sits. One night, following one of the rangers into the rainforest with only the faint moonlight to guide us, we ran into a koala running solo (which is very rare to glimpse in Australia outside of animal facilities) and also noticed various prints in the muddy ground—evidence of the wild animals that we knew were there, but whose acquaintance I didn’t want to necessarily make at the moment.

The Great Barrier Reef

THE GOLD COAST STRIP, While visually similar to South Beach’s central nervous system Ocean Drive, differs in spirit. of silver plating abound in its New York–like ambience. The beyond-theborders menu by renowned Chef Michael Crosbie is both progressive and accessible—try his original Snow Scallop, Risotto, and Pork Belly.

THE GOLD COAST: STEVEN VIDLER/CORBIS; GREAT BARRIER REEF: FRANS LANTING/CORBIS

I must confess: Despite the toothsome dinner, I was obsessed with returning to my suite at the plushy high-rise Peppers Broadbeach. The two-bedroom, two-bath 30th-floor marvel is a study in modern luxury. With a wellequipped kitchen, cozy dining area, wraparound terrace with an additional gathering area, astounding views of the Coast, and a home theater system George Lucas would envy (not to mention the iPad every guest receives at check-in), why would you want to leave?

Make sure to visit another spectacle in the clouds, SkyPoint Observation Deck at the top of Q1, the fifth largest residential tower in the world. Take the lift to the top in only 42 seconds, and experience 360-degree views of the Gold Coast and lands beyond. And if you have a little Tom Cruise in your soul, try the SkyClimb. Attached to a harness and the guard rail, you can climb 280 stairs on the external walk and explore along the side of the building, 1,058 feet in air. SkyClimb opens summer of 2012, so I was not able to experience it, but one of the Seven Wonders of the World was waiting to challenge me the next day, and I gladly accepted.

After a three-hour flight on a propeller plane, we landed at Lady Elliot Island, one of only three resorts on The Great Barrier Reef, and the only one with direct flight access via the island airstrip. Larger than the Great Wall of China and the only living thing visible from space, the Reef is a global destination. We took a boat out, anchored and snorkeled. Wading in these miraculous, freezing waters, I saw all types of beautiful and multicolored marine creatures, including a not-so-menacing-looking reef shark.

Also unforgettable was my next stop: The first fashion-branded hotel in the world, and the only six-star hotel in Australia—Palazzo Versace. The lobby alone is an experience. The grandest chandelier you’ll ever lay eyes on hangs above (the late Gianni Versace poached it from the State Library of Milan),

O’Reilly’s Rainforest Retreat

The next day, while walking around another end of the rainforest, I stood riveted by thousand-year-old trees. Unlike at SkyPoint Observation, I was able to channel Tom Cruise and climbed a few of them, only to take in yet another gripping view from atop. O’Reilly’s was an excellent stop on the Gold Coast, and I was happy to experience it. Although the resort does have some of the same amenities as other places I visited—luxe rooms, lush spa, and stunning landscapes—it provided a needed balance. So, Oprah, Hugh, and Nicole weren’t exaggerating about Australia. And Gold Coast, Queensland, is the perfect gateway to the Aussie experience. www.uptownmagazine.com 43

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Haiti CALL IT A COMEBACK

Haiti was once a global hotspot for jetsetters from the 50s through the 70s.

Now, with new, top tier hotels, great restaurants and a reinforcement of its rich culture and place in world history, Haiti is determined to reemerge as the Caribbean treasure it truly is.

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IMAGES BY ISOUL HARRIS

ast fall, I read Dimitry Leger’s stunning debut novel God Loves Haiti, and at its finish, I was in awe. Leger, a native Haitian, managed to convey the beauty and grandeur of his homeland—the architecture, history and gorgeous terrain— all of which have been nearly forgotten and overlooked by a world more focused on the country’s problems. But Haiti is and has been a land of prosperity and potential. Celebrities like Marlon Brando flocked to the “Pearl of the Antilles” in the 50s and 60s, and a young Arkansas couple named Bill and Hillary honeymooned in the country in 1975. Haiti swells with globally-recognized art, music, writing, cuisine and its Creole culture is the backbone of New Orleans (in fact, had Haitian slaves not defeated Napoléon Bonaparte, he would have never sold Louisiana to the United States). As the adage goes: it is a country too rich to be poor. After finishing God Loves Haiti, my first thought was, I must visit this country. A month later, I was landing in the capital city of Port-Au-Prince.

Priceless in Port-Au-Prince Walking through Port-Au-Prince is exhilarating (it’s safe: most of the rubble from the massive 7.0 2010 earthquake has been removed; and, despite media paranoia, Haiti is actually one of the safest countries in the Caribbean, according to a 2013 Igarapè Institute study). Looking into the faces of the men, women and children passing by, I see the resilience and pride; it’s the same strength and courage that allowed their enslaved ancestors to oust Napoléon from their homeland and become the first independent black republic in the Western Hemisphere.

The energy of downtown Port-Au-Prince is frenetic with throngs of Haitians walking—some hurriedly, others with Caribbean leisure, but mostly all with purpose—and sharing the streets with vintage motorcycles and the gaudy Tap Taps. These colorfully-painted pickup buses are used

by Haitian locals for transport and are oftentimes adorned with political

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slogans or portraits of the famous.) The Iron Market, a stone’s throw from the Caribbean Sea, is one of the most famous structures in the country. Also known as Marche en Fer and originally built in in Paris in the 1800s, legend says that the market was purposed as a train station in Cairo, but Haitian President Florvil Hyppolite swooped in and purchased it when the deal soured. Nearly destroyed during the quake, the communications company Digicel coughed up $12 million and rebuilt the iconic bazaar to international building code standards, making it resistant to hurricanes and earthquakes. Lots of decorative odes to the original building and several 21st century add-ons were made including solar paneling and free WiFi. Today, with two major halls— one for food, the other for products—it’s just as vibrant as ever. The garrulous vendors work overtime hawking their goods, that include including everything from veggies to voodoo paraphernalia. It’s exciting, overwhelming and an absolute must-see.

Walking down Champ de Mars is equally heartbreaking and stirring. The famously majestic National Palace (the home of the Haiti’s president; reportedly twice the size of the White House) once stood near this boulevard. However, directly across from the palace site—in a telling balance (or maybe a empathetic notion from the gods)—the iconic statue Le Negre Marron (The Black Maroon), still stands despite Mother Nature’s destructive tremors. Created by Haitian sculptor/architect Albert Mangones in 1968, it depicts a former slave with left leg extended, a broken chain on his right hand (symbolizing the defense of independence), and a conch shell to his lips (the trumpet call for the gathering of slaves for battle).

Also located on Champ de Mars is the Musée du Panthéon National Haïtien. The tomb Opposite Page: Moulin Sur Mer Resort in Haiti’s coastal region La Côte des Arcadins; This Page: The iconic statue Le Negre Marron in holding the remains of the legendary Haitian downtown Port-Au-Prince freedom fighter Toussaint L’Ouverture sits at the entrance, and inside, the artifacts are just as deeply historical and priceless. (Cool Factor: the museum is completely underground.) Pieces include the silver gun that distance.) Le Rond Point, the hotel’s popular French/Haitian restaurant, King Henri Christophe used to commit suicide. Christophe gained Haitian was originally opened to serve as an eatery for the 1949 World’s Fair. Start independence from France and built both the Citadelle Laferrière or end the night at Tipsy Bar and Lounge with cocktails and light bites (citadellelaferriere.com) in Cap-Haïtien (the largest fortress in the Western (Tip: take a drink to the terrace and enjoy a view of the Place Saint Pierre).

Hemisphere) and the Palace Sans Souci. Hundreds of other items dating back to the 1400s are also on display, But, perhaps the most remarkable in the collection is the original 13-foot tall, severely rusted anchor from Drink. Dance. Sweat. Repeat.

Christopher Columbus’s flagship The Santa Maria. Columbus arrived to The Best Western Premier in Petion-Ville is Haiti’s first AmericanHaiti’s northern coast (now the city of Cap-Haïtien) on Christmas Eve in affiliated 4-star hotel (bestwesternpremierhaiti.com). The on-site 1492. The anchor is reportedly worth $200 million. restaurant, le Michel, is a great choice for casual dining with its comfort food dishes (truffled corn grits, goat Creole). The hotel’s Wednesday night happy hour is a popular party among the local young set and it Stay Awhile grooves into the late night with DJ –spun reggae sounds.

Petion-Ville is now Haiti’s commercial and cultural district. It’s also where However, the big night to play in Port-Au-Prince is Thursday at the weekly the majority of hotels and restaurants are located. Several hotels (including Voodoo Rock Party at the legendary Oluffson Hotel (hoteloloffson. a brand new Marriot in downtown built with the assistance from The com)—immortalized in famed writer Graham Greene’s novel The Clinton Foundation) are helping in the country’s effort to re-establish Comedians. The night is led by Richard A. Morse, the hotel’s owner and itself as a hot spot in Caribbean travel. The Kinam Hotel (hotelkinam. band leader of rock-in-roots group RAM (derived from his initials). The com), originally built in 1900, is known for its Haitian “Gingerbread” scene is raucous and loud: the Rara horns, Petwo drums and electric guitars style (a Victorian-era style using wood, stone and clay). However, it now induce the involuntary dirty dancing by most and the jaunty drinking by all. has an additional side with a contemporary upgrade. (Tip: request a room The crowd: a swathe of attractive faces spanning a diverse range of races, on floors 5-7 and enjoy a view of Port-Au-Prince and the ocean in the

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Top: The breathtaking view of Port-Au-Prince from the restaurant L’Observatoire; Bottom: A Tap Tap pick-up bus used by Haitians to get around.

classes and political affiliations, all enjoying great music and flowing rum.

It’s said that no matter the amount of work during the day, come sundown, Haitians will play. Thank the gods.

Rare Air 80% of Haiti is mountainous, which makes for interesting drives and spectacular scenery. And L’Observatoire (facebook.com/ observatoirehaiti) provides a breathtaking view of all of Port-Au-Prince and the sea. A 30-minute drive from downtown (depending on traffic), this restaurant and bar is located atop Mount Boutilliers—3,000 ft. above the city. The local Haitian cuisine is delicious, but the family who owns this remarkable venue has no delusions. They know that the cinematic view is the star of the show.

Just Coast The urban hustle of Port-Au-Prince and Petion-Ville is only a modest taste of what Haiti offers. For a completely different, and more tropical, experience, head an hour’s drive south to coastal area of La Côte des Arcadins (where many Haitians vacation).

Moulin Sur Mer (moulinsurmer.com), once an 18th century sugar cane plantation, is a rustic seaside resort offering 68 rooms, a resto facing the shores of La Gonave and plenty of old-world charm. The plantation ruins and artifacts are fully recovered and housed at the on-site OgierFombrun Museum. Here, history buffs will appreciate the records, paintings and relics depicting the uncensored brutality and violence perpetrated by Christopher Columbus after he landed on the island. (A telling painting depicts the indigenous people welcoming their future captor with open arms.)

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Book a boat trip and spend a day sailing along the coast. Enjoy the sapphire waves surrounding you in infinitum and the heather-hued mountains peaking into the clouds. Caution: Haiti’s beauty may overwhelm. A few minutes down the coast is Wahoo Bay Beach Club and Resort (wahoobaybeach.com), a gorgeous, yet completely accessible (and affordable) property tucked between the backdrop of the glorious Matheux Mountains and the shores of La Gonave Bay. Its beauty and welcoming vibe is reflective of what Haiti has to offer. “Someone that wants to experience great music, art and food, come to Haiti,” says Jenny, who co-owns Wahoo Bay resort with her husband. “Come here for something real, true and different.” I couldn’t agree more.

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COCK TAI L S Empower Cocktails presents the delicious and refreshing ready to pour Cosmopolitan Martini made with Sweet Potato Vodka, White Cranberry, Triple Sec and Lime.

Follow Empower Cocktails on: Empower Enthusiasts always drink responsibly. Empower Cosmopolitan Martini made with Sweet Potato Vodka, White Cranberry, Triple Sec and Lime flavors 12.5% Alc/Vol. @2019 Produced and Bottled by Sweet Potato Spirits, Atwater, CA for The Empower Cocktail Company, LLC. All rights reserved.

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2/27/19 6:56 PM

LA TOYA JACKSON

BY KARU F. DANIELS

Throughout the years, we’ve seen La Toya Jackson morph from a near silent member of one of the most vocally gifted music dynasties to a take-no-prisoners, sex-charged rebel child—spilling family secrets in the process. More recently, she’s been deep in the reality TV zeitgeist, battling it out viciously with the genre’s biggest vixens, Omarosa Manigault and NeNe Leakes on The Celebrity Apprentice, and exposing all of her idiosyncrasies on her former series Life with La Toya on Oprah’s OWN network. Here, the 64-year-old—who in the 80s was sexy with serpents before Britney and wearing signature headbands before Frank Ocean—speaks openly about being labeled “insane,” enduring domestic abuse, Ms. Winfrey, and her connection to Anna Nicole Smith.

The biggest misconception about me is… that “She’s insane.” I think it’s an easy way out for people—if they don’t know what to say about you, that’s the word they throw out. I’ve heard them say Madonna was. I don’t pay any attention to it.

My ex-manager/husband…would say, “Nobody loves their brother like that. You act like he’s God.” And that’s when he went on a mission

to go against him, and the only way he could do it was to threaten that he would kill him if I didn’t do what he wanted me to do.

After suffering domestic abuse…I went to therapy for a day. I felt that I could do this on my own because I believe in the power that resides within me. I wanted to do it my way [asking] myself: “What made this person beat me?” “What made this person make me go out and say things

against my family when I was nothing but kind and nice to this person?” The only conclusion that I came up with is basically his childhood. I started doing research and I found out so many things about his family background.

Oprah…was perfect to partner with. She’ll allow us our freedom to do whatever we want to do.

She doesn’t intervene, she doesn’t say, “No, you can’t do that, you can’t do this.” She’s Oprah!

Michael…myself and my friend Kathy Hilton, all said we’d name our kids Prince and Paris. They both ended up having children and were able to name their kids.

I didn’t have any, so Prince is the name of my Pomeranian.

I’ve always said no…to reality shows. In the very beginning, when Anna Nicole [Smith] had her show, they desperately wanted that to be my show. I wasn’t ready for it. Eventually, I thought, “People need to know me and get to know me for who I am,” and that’s when I decided that it’s time.

God…I believe I have a special bond with Him; I don’t believe in organized religion where you have to actually be there three times a week. I did it my way.

OWN NETWORK

Confessions:

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S:10"

If you’re 45 or older get screened for colon cancer now.

It doesn’t matter if you’re a man or a woman or if you have no symptoms.

This disease can be very treatable when caught early.

Even if you have no family history of colon cancer, you must get screened.

Visit StandUpToCancer.org/ColonCancer to learn about screening options that may be right for you.

Jamie Foxx for Stand Up To Cancer. Photo By G L Askew II

Stand Up To Cancer is a division of the Entertainment Industry Foundation (EIF), a 501(c)(3) charitable organization.

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