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Letter from the Editor
Dear Loyal Readers,
Welcome to the latest issue of our Soul and Salsa Film /TV Magazine! We are thrilled to bring you another collection of insightful articles, thought-provoking interviews, and captivating features that celebrate the rich diversity and talent within the world of cinema. In an industry often dominated by mainstream narratives, it is vital to shine a spotlight on the unique stories and perspectives that emerge from the diverse communities and Soul and Salsa Magazine strives to be a platform that amplifies these voices, highlighting the extraordinary work of these filmmakers, actors, and creators. We would like to express our gratitude to the talented filmmakers, actors, and industry professionals who generously shared their insights and stories for this issue. Your passion, dedication, and unwavering commitment to your craft continue to inspire and shape the future of cinema. Finally, we extend our deepest appreciation to our loyal readers. Your support and enthusiasm for our magazine fuel our mission to elevate underrepresented voices in the world of film. We encourage you to continue engaging with the stories and talent featured in these pages, and to share your own thoughts and experiences with us. Thank you for joining us on this journey of discovery and celebration. Together, let us embrace the power of cinema to enlighten, entertain, and unite. Yours sincerely, KWilcott Kim Wilcott Editor at Large Soul and Salsa Film TV Magazine @ kimsoulandsalsa @soulandsalsaceo @ soulandsalsa @ soulandsalsa
The Team: SOUL AND SALSA LLC Soul & Salsa Film TV Magazine www.soulandsalsa.com
London Williams:
Promoter turned Producer pg20
13 Publisher Soul and Salsa Media Editor at Large Kim Wilcott Assistant Editor Gustavus Betts Sales Manager G. Buford Sales Tiffany Tharpe Linda Casey Virginia Petty Contributing Writers Coffey Caesar Ty Beamon Jayden Harris Sophia Costanzo Michelle Jackson Geniese Simpson Contributing Photographers Siello Media Extreme Team Tal Campbell ZW Photography
On the Cover: London Williams Photography: Siello Photography
COPYRIGHT Soul and Salsa Magazine. All Rights Reserved. Reproduction, either in whole or in part is forbidden without written permission.
forbidden without written permission.
Winter 2023 5
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Evolution of Sitcoms
15 Showrunner for Cuban Voices
17 Movie Scores
23
25 Business Sponsorship
30 30’s Hollywood Glam Fashion in Film
36 Black Wall Street
38
Artist Spotlight On the Scene
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Winter 2023 7
“Empowering Creativity | Top 10 Foundations Supporting Actors, Directors, Producers and other Professionals in the Entertainment Industry”
T
he entertainment industry is a dynamic and challenging field that relies on the talent, vision, and creativity of its professionals. Actors, directors, and producers, and others involved in the entertainment industry, often face various hurdles in pursuing their dreams and bringing their artistic visions to life. Fortunately, numerous foundations recognize the importance of supporting these individuals and provide invaluable resources, funding, and mentorship opportunities. Here are the Top 10 foundations, in no particular order, dedicated to helping actors, directors, and producers, and others navigate their careers and achieve their aspirations in the entertainment industry. The Entertainment Community Fund (TECF) Formerly known as The Actors Fund, the Entertainment Community Fund is a national human services organization that provides a wide range of programs and support services to professionals in the performing arts and entertainment industry. TECF offers financial assistance, health services, housing resources, and career counseling and more to help actors, directors, producers, and other professionals during times of need and/or transition. The organization assists anyone working in theater, film, television, radio, music, dance, opera, or the circus - whether on stage, on camera or behind-the-scenes. Social services and financial assistance are free and confidential, and are administered through their offices in Los Angeles, New York, and Chicago. Visit entertainmentcommunity.org for more information. The Sundance Institute (TSI) As a champion of independent sto-
ries, The Sundance Institute (TSI) founded by Robert Redford, is a renowned nonprofit organization that
ducers, and actors to bring their unique visions to the big screen. By fostering a culture of diversity and inclusion, FI supports a global community of artists and audiences who embody diversity, innovation, curiosity, and uniqueness of vision. Women in Film (WIF)
supports independent filmmakers and storytellers. Today, according to Sundance.org, their team of 165 employees work year-round to offer 12 labs, intensives, and grants exceeding $3 million, as well as ongoing mentorships that support more than 1000 artists each year. TSI empowers emerging and established filmmakers, helping them develop their craft and gain recognition. Every year in January, the Sundance Film Festival introduces groundbreaking work and emerging talent in independent film to a global audience. In addition to the festival, programs. In addition, SI continues to discover, support, and inspire independent film and media artists. Film Independent (FI) Film Independent is a 501(c) (3) nonprofit organization dedicated to nurturing and supporting independent filmmakers. FI’s mission is to support independent creative visual storytellers by offering a wide range of resources, such as the Artist Development Program, designed to provide labs for writers, directors, producers, and documentary filmmakers as well as creating networking opportunities. FI (filmindependent.org) also helps with locating funds for projects, offers mentorship programs, and educational initiatives - enabling directors, pro-
Women in Film is an organization that advocates for and advances the careers of women working in the film industry. Founded in 1973, WIF works to achieve gender parity and inclusion. WIF addresses the underrepresentation of women in the motion picture industry. Women make up only 19 percent of all writers, 25 percent of executive producers, 31 percent of producers, 11 percent of directors, and only 8 percent of all cinematographers. In addition, women are only featured as protagonists 25 percent of the time in film, and only 34 percent star as major characters. WIF provides financial grants, scholarships, and mentorship programs specifically tailored to support female directors, producers, and actors, etc. to help them overcome gender-based barriers and thrive in the industry. More information is available at womeninfilm.org. The Black List (TBL) The Black List is a platform for screenwriters to highlight their features, shorts, and pilots with industry professionals to enable them to discover exceptional scripts and talent. TBL (blckist.com) was first established in 2005 as an annual survey of Hollywood’s most-liked unproduced screenplays. TBL provides exposure, mentorship, and networking opportunities to emerging and established writers, directors, financiers, and producers and plays See Empowering continued on page 7
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“Empowering Creativity | continued from page 7
a significant role in shaping the future of film and television. This platform is an excellent way for unrepresented writers and scripts to gain notoriety. The 2007 film “Juno” starring Elliot Page and Jason Bateman, and the four-time Academy Award winning “The King’s Speech” found their big breakthrough through TBL. It has become a writer centric and trusted go-to resource. The Tribeca Film Institute (TFI) TFI (tfiny.org) believes in the power of storytelling that celebrates diverse communities and inspires meaningful change through the art of filmmaking. The nonprofit organization offers grants, mentorship programs, professional development initiatives, and networking opportunities for entry-to-mid-level filmmakers to foster diversity and inclusivity. For example, the TFL Documentary Fund supports feature documentaries, from all over the world, that are in the advanced stages of development, in production, or post-production. Grant amounts range from $25,000 to $50,000. The TFI is also a proud supporter of the Tribeca Film Festival. The event brings diverse artists and audiences together to celebrate storytelling in all forms including film, television, music, audio storytelling, and games. Founded by Robert DeNiro, and others in 2001, the festival offers creative expression and entertainment. The Academy Foundation (TAF) The Academy Foundation Fund (Oscars.org), the philanthropic arm of the Academy of Motion Picture Arts and Sciences, supports various programs and initiatives that promote and advance the art of filmmak-
ing. TAF was established for organizing educational and cultural activities of the motion picture industry. This includes preserving its history and promotion of its future, which includes the Margaret Herrick Library, the Academy’s film archives, and the Academy Museum of Motion Pictures. TAF offers grants, scholarships, and fellowships for filmmakers, to support their creative endeavors and facilitate the growth of the industry. TAF also oversees two prestigious competitions for up and coming talent: the Student Academy Awards, an international competition for university schools, and the Academy Nicholl Fellowships in Screenwriting - an international writing competition for aspiring screenwriters. The International Documentary Association (IDA) The IDA (documentary.org) is dedicated to promoting and supporting the art of documentary filmmaking for the past 40 years. IDA also champions vital works that are inclusive to documentary culture, by sponsoring education seminars to enhance practitioner’s knowledge of the craft. Annually, IDA produces the IDA Documentary Awards, which celebrates the best nonfiction projects of the year, as well as the IDA Documentary Screening Series that brings both films and their creators before industry insiders and film enthusiasts. What’s more, IDA provides resources, grants, and mentorship programs for documentary filmmakers. Grants like the Pare Lorentz Documentary Fund enable filmmakers to create impactful and thought-provoking films that shed light on important social, cultural, and environmental issues. The Alfred P. Sloan Foundation (APSF) The not-for-profit Alfred P. Sloan Foundation (sloan.org) supports and encourages the integration
of science and technology in film, television, and theater. The APSF is committed to the continued support of diversity, equity, and inclusion. The Sloan Film Foundation, launched in 1996, has awarded over grants for over 750 film projects for some of the nation’s most innovative filmmakers. The foundation has also created a film development pipeline of multiple program partners through which the APSF nurtures and develops individual projects. The APSF awards an annual feature film prize (The Sloan Film Foundation Prize) to student filmmakers, like the Kanbar Institute of Film and Television. The $100,000 production award is given to the director of a full-length narrative project that portrays intellectually engaging and entertaining images of scientists/engineers, a scientific discovery or technology. The Creative Coalition (TCC) The Creative Coalition (thecreativecoalition.org) is a nonprofit advocacy group, whose sponsors consist of members of the American entertainment industry such as: Chuck D, Alec Baldwin, Micheal J. Fuch, and Susan Sarandon. Founded in 1989, TCC hosts forums that address both general social issues of public importance - specifically in the area of First Amendment rights, art advocacy, and public education. The starred studded organization provides resources, mentorship, and platforms for actors, directors, and producers to engage in advocacy work and use their influence to drive positive change. TCC’s annual Humanitarian Awards will be held in January 2024. The awards show recognizes those in the entertainment industry who donated their time, resources, and their celebrity to promote worthy social causes.
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Winter 2023 9
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The 2023 Writer Strike: A Historical Stand for Fairness and Its Impact on Writer Rooms Introduction
By: Michelle Jackson - Photography by Zac Wade Strikes ing platforms.
In the realm of entertainment, writers play a pivotal role in crafting captivating stories that captivate audiences and drive the success of television shows and movies. However, throughout history, writers have often found themselves in contentious battles with studios over fair compensation and creative control. The year 2023 marks another chapter in this ongoing struggle, as the industry witnesses the emergence of the much-discussed 2023 Writer Strike. This article delves into the history of writer strikes, explores the demands of the striking writers, and discusses the effects it is having on writer rooms.
Writer strikes are not a new phenomenon in the entertainment industry. Over the years, writers have organized various strikes to address grievances such as inadequate pay, long working hours, lack of creative rights, and fair residuals. Notable writer strikes include the 2007-2008 Writers Guild of America (WGA) strike, which lasted for 100 days, and the 1988 WGA strike, which spanned 22 weeks. These past strikes have left a lasting impact on the industry, reshaping the dynamics between writers and studios.
The Historical Context of Writer
The 2023 Writer Strike comes at a time when streaming platforms are proliferating, leading to a surge in demand for original content. However, writers argue that their compensation and working conditions have not kept pace with the industry’s rapid growth. The writers, organized under the banner of the Writers Guild of America, have put forward a series of demands:
The 2023 Writer Strike: Demands for Fairness
Fair Compensation: The writers are seeking increased wages and residuals to reflect the expanding market and the success of stream-
Improved Working Conditions: Writers are advocating for reasonable working hours, better healthcare benefits, and protection against burnout. Diverse and Inclusive Storytelling: Writers demand an increased commitment from studios to ensure diverse representation both in front of and behind the camera, to accurately reflect the world we live in. Creative Control: Writers seek greater involvement in decision-making processes, allowing them to maintain the integrity of their work. The Impact on Writer Rooms The 2023 Writer Strike has had a profound impact on writer rooms across the entertainment landscape. Production schedules have been disrupted, and numerous shows have been put on hold or delayed indefinitely. The absence of writers has forced studios to rely on existing scripts or hire non-union writers, which often results in a decline in quality and cohesiveness of the final product.
In an interview with Jane Davis, a showrunner for a popular television series, she commented on the strike’s effect on the writer room: “Without the creative input of the writers, the room feels stagnant. Their absence disrupts the collab-
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orative process and hampers our ability to produce quality content.”
tionships with writers and potential harm to their reputation.”
The Financial Toll on Studios
Conclusion
The 2023 Writer Strike is not only causing creative disruptions but also poses significant financial ramifications for studios. According to industry analysts, the strike is costing studios an estimated $2 million per day in lost production and potential revenue. This figure takes into account delayed releases, halted productions, and the associated costs of rescheduling.
The 2023 Writer Strike represents another chapter in the ongoing struggle for fair compensation and creative control in the entertainment industry. As writers stand in solidarity, demanding their rightful share, the strike has disrupted production schedules, affected the
In a statement to The Hollywood Reporter, John Anderson, a financial analyst specializing in the entertainment industry, stated, “The financial impact of the 2023 Writer Strike is substantial. Studios are losing millions of dollars each day, not to mention the long-term damage to their rela-
Winter 2023 11
quality of content, and caused significant financial losses for studios. The resolution of this strike will undoubtedly shape the future dynamics between writers and studios, potentially leading to a more equitable and collaborative environment for all involved in the creation of our favorite stories. The strike officially ended in the wee hours of Wednesday, September 27, after 148 days.
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Evolution of Sitcoms www.soulandsalsa.com
S
itcoms (short for situational comedies) have been an integral part of television programming for decades, providing light-hearted entertainment and reflecting societal norms and values. Since the 1970s, sitcoms have evolved significantly, gradually moving towards more inclusive and diverse storytelling. In this article, we will explore how sitcoms have changed for minorities over the years, highlighting the progress made, the challenges faced, and the positive impact on representation. The 1970s: Breaking Barriers In the 1970s, sitcoms began to challenge long-standing stereotypes and introduce more diverse characters. “Good Times,” which aired from 1974 to 1979, was one such landmark series. It focused on an African-American family living in a public housing project in Chicago. According to Dr. Stephanie Brown, a media studies professor at Columbia University, “Good Times” was a breakthrough as it depicted a working-class black family striving for a better life, countering negative portrayals prevalent at the time.
The 1980s: The Cosby Show Revolution The 1980s witnessed a groundbreaking sitcom that would redefine the landscape of minority representation on television. “The Cosby Show,” starring Bill Cosby, presented an affluent African-American family, shattering stereotypes and showcasing positive
Winter 2023 13
role models. As Dr. Rashida Brooks, a television historian, explains, “The Cosby Show” provided a counter-narrative to the prevailing negative stereotypes, demonstrating that a black family could be successful, educated, and relatable to a wide audience. The 1990s: Celebrating Cultural Identity
The 1990s saw an increase in sitcoms that celebrated cultural diversity while promoting inclusivity. “Fresh Prince of Bel-Air” starring Will Smith showcased an African-American teenager from Philadelphia who moves to an affluent neighborhood in California. Dr. Maria Rodriguez, a media scholar, emphasizes, “Fresh Prince of BelAir” defied stereotypes by exploring themes of race, class, and identity with humor, resonating with audiences of all backgrounds. The 2000s: Expanding Representation The turn of the millennium brought a significant shift in sitcoms, with a focus on expanding representation beyond African-American characters. “The George Lopez Show” featuring comedian George Lopez as a Mexican-American family man, provided a platform for Latinx representation. Dr. Ana Martinez, a cultural studies expert, asserts that the show challenged stereotypes and humanized the Latinx community, fostering cross-cultural understanding. The 2010s: Embracing Intersectionality The 2010s marked an era of increased intersectionality in sitcoms, where characters embraced multiple identities. “Black-ish” featuring an upper-middle-class African-American
family explored the complexities of race, class, and generational differences. Dr. Jasmine Thompson, a diversity and media researcher, highlights, “’Black-ish’ broke new ground by addressing social and political issues, showcasing the multidimensionality of black experiences.” The 2020’s – Missing? Conclusion: Sitcoms have come a long way in terms of minority representation since the 1970s. From breaking barriers and challenging stereotypes to celebrating cultural identity and embracing intersectionality, these shows have paved the way for greater diversity and inclusion on television. As Dr. Rodriguez affirms, “Sitcoms have the power to shape public opinion and challenge societal norms, and the progress made in the portrayal of minority characters is a testament to the power of storytelling.” By representing minorities in a more authentic and positive light, sitcoms have helped foster empathy, understanding, and acceptance among viewers from different backgrounds. Although challenges and opportunities for improvement remain, the evolution of sitcoms demonstrates a commitment to creating a more inclusive and equitable television landscape
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Fashion and Film in the Golden Age of Hollywood introduces Josephine Baker
T
he world of cinema has always been a vibrant canvas for documenting the evolution of fashion. Josephine Baker played a significant role in shaping how audiences viewed cinematic expression of the silver screen’s fashion aesthetic in the Golden Age of Hollywood.. Josephine Baker (1906 - 1975) became one of the first African American women celebrities in France and Europe in the 1920s, gaining notoriety for her beauty and innovative performance style. Baker, born in St. Louis, Missouri, was the first Black female to star in a major motion picture in the 1927 silent film “Siren of the Tropics.” During her
early career, Baker was among the most celebrated performers to headline the revues of Folies Bergere in Paris. Her performance in the revue Un Vent de Folie (1927) caused quite the sensation with her costume consisting of only a short skirt of artificial bananas and beaded necklace that became an iconic image symbol of the Jazz Age. Dubbed the Black Venus, she starred in four films: the aforementioned “Siren of the Tropics,” “Zouzou” (1934), Princesse Tam Tam “ (1935), and “Fausse Alerte (1942). The performer made her mark in fashion thanks to her sensational style, appearing frequently wearing silk jeweled evening gowns and her signature
oversized statement earrings. She also wore headpieces of luxurious feathers. Other times, she wore her hair in curls with bold red lipstick for an over the top look. Her exotic and extravagant costumes captivated audiences and set fashion trends. From the glamorous elegance Josephine Baker along with award-winning costume designers, played pivotal roles in shaping the silver screen’s fashion landscape. Her legacy continues to inspire and influence fashion today, reminding us of the enduring impact of diversity and inclusion in the world of cinema.
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Fashion and Film in the Golden Age of Hollywood introduces Josephine Baker
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1930’s Flapper Dresses
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“How Movie Scores Enhance the Movie Experience” Movie scores play a crucial role in enhancing the cinematic experience, heightening emotions, and captivating audiences. Several movie scores have not only enchanted viewers but also achieved tremendous success at the box office. From powerful melodies to infectious rhythms, these soundtracks have left an indelible mark on the film industry. Soul and Salsa delves into the some of the unique movie scores in diverse films, exploring their impact and quoting some of the industry professionals who produced them.
By Ty Beamon
orchestral arrangements, heightening the film’s dramatic moments. The film’s $218 million global box office gross is a testament to its success. “Hans
These are 15 powerful movie scores in films of diversity that left a lasting impression: Selena Grusin
(1997)- Composer Dave
Selena is a 1997 American biographical musical drama about Tejano music superstar Selena Quintanilla-Pérez, played by Jennifer Lopez. The film, written and directed by Gregory Nava, chronicles the star’s rise to fame and untimely death. The soundtrack peaked at Number 7 on the Billboard Top 200 chart. Jazz composer Dave Grusin’s emotional instrumental score does a great job of bringing out moments of happiness and sadness - making the film a memorable one. The Prince of Egypt (1998) –Composer Hans Zimmer: “The Prince of Egypt,” directed by Brenda Chapman, Steve Hickner, and Simon Wells, captivated audiences with its epic retelling of the biblical story of Moses. Hans Zimmer’s score blended Middle Eastern influences with grand
Zimmer’s majestic score lends an air of grandeur and spirituality to the film - elevating it to a cinematic masterpiece.” - Empire. “Amores Perros” (2000) - Composer: Gustavo Santaolalla Alejandro González Iñárritu’s directorial debut weaves together multiple interconnected stories of Mexico City. Composer Gustavo Santaolalla’s evocative score, incorporates traditional Latin American instruments, and contributed to the film’s artistic success and earned $20 million global box office revenue. “I wanted the score to reflect the diverse and raw emotions portrayed in the film, capturing the essence of Mexico City’s streets.” - Gustavo Santaolalla
Shaft (2000) – Composer David Arnold:
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The revival of the iconic detective story, directed by John Singleton, featured
a groove-laden score by David Arnold. The fusion of hip-hop, R&B, and orchestral elements perfectly captured the film’s urban vibe. With a global box office gross of over $107 million, the film’s score contributed to its commercial success. “David Arnold’s score is a vibrant celebration of the film’s cultural significance, blending genres to create a truly memorable soundtrack.” - the Los Angeles Times “Y Tu Mamá También” (2001) Music Supervisor: Lynn Fainchtein Music supervisor Lynn Fainchtein curated an eclectic soundtrack for Alfonso Cuarón’s provocative coming-of-age film. Blending popular Latin music and original compositions, the film’s soundtrack enhanced its gritty narrative - grossing over $34 million worldwide. “The music was carefully selected to reflect the mood and the changing dynamics of the characters, providing a sonic backdrop for their journey.” See Movie Scores continued on page 28
18 Winter 2023
D
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An evening of arts celebrating black equity
allas Lit 2023, produced by In the Spirit Entertainment was an evening of music, culture and entertainment celebrating Black equity. The event featured a wide array of talent including a strong performance by the Dallas Jazz Collective featuring conductor Jason Davis. Award winners and honorees mingled with supporters and admirers at The Black Academy of
West, Only God Ministries’ Carl and Chris, Yarbrough and Peoples, New Orlean’s DJ Big Cat, award winning Gospel recording artist Jackee H, award winning Gospel artist Alexia Curry, the Choreo Records Tap Company’s Reggie and TJ, Ballabelllient Sirlous and Big B, and Dr. Ben Tankard. Notable Honorees and other Attendees
Dr. Glori Monroe
Arts and Letters on August 26, 2023. Author, actor, and poet Michael Guinn was the host at the gala, and won the Creative Arts Spoken Word Award. Other award winners were founder of the TBAAL Curtis King received the Man of Excellence Award. Valerie Kelso took home the Unsung Hero Award. Derrick Marfquis Johnson won the Terry Staples Award. Bryan Kaeger won the Multicultural Award. Felicia Guimont also received an Unsung Hero Award. Dr. Lavinia Mastsers was recognized with the Woman of Excellence Award. Performers for this annual event included: Gospel Legend Tammy Young
Jason Davis is the unofficial Mayor of South Dallas – as he is affectional referred – and has been practicing his musical craft for over a decade. The Grammy Award Winning tenor saxophonist is also the manager of a state of the arts recording studio at the South Dallas Cultural Center. Davis has worked with some of the top names in the music industry including: Chaka Khan, Kirk Franklin and God’s Property, Erykah Badu, Jill Scott, Roy Hargrove, Judy Collins, and Herb Hancock. Ed Gray is a radio personality and host of the Commish Radio program on Fishbowl Radio Network (FBRN) and maintains a television presence on WFAA’S Inside Texas Politics. He is a two-time graduate at Southern Methodist University, and is currently working
Phillip and Jonnie Gipson
on a Doctorate degree. Gray remains active as a political consultant through
Lavinia Mathis, Antoinette Titus and Crystal Manning
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Ed Gray and Associates, and serves as an alumni mentor to African American students at SMU’s Minority Retention Program. Dr. Bryan L Carter has been the head pastor at over 9000 member Concord Church since 2003. A passionate community leader with vision for inspiring and motivating others. Pastor Carter serves on several boards including Frost Bank Dallas, Mayor’s Star Council, Bible Fellowship International, and Family Life Ministries. He is graduate of Oklahoma State University with a Bachelor’s of Science degree, a Masters of Arts from the Dallas Theological Seminary, and has an honorary Doctorate from Dallas Baptist University. Dr. Ben Tankard is a man of many talents. He is an American gospel/smooth jazz musician, producer, and arranger and author as well as a reality TV Dad in the Bravo’s Thicker Than Water. The
program follows the former professional basketball player and his blended family expand the family’s fortune. Tankard is also a NBA motivational speaker and lead pastor for a thriving church in Murfreesboro, Tennessee the Destiny Center. The winner of nine Dove Awards, and 12 Stellar Awards including Best Instrumental Album for 2010’s Mercy, Mercy, Mercy. Glori Monroe is a native of the Sunshine State of Florida. She is an international speaker, entrepreneur, author, and prophet. Known as the Leadership Coach. She is the coach to leaders. Her mission is to help women align with God’s purpose for creation as a leader in any facet of life by healing their core and fully stepping into their full potential through her spiritual beauty treatment. Glori’s goal is to inspire women everywhere to be their best selves, live their best lives, and monetize. She strives to share the
Winter 2023 19
Dallas Lit Gospel everywhere she goes and leads others to the throne of God. Phillip and Jonnie Gipson were presented with the Community Service Leadership Award for their participation in the local community. Gipson Grocery, one of the oldest Black Owned Grocery Stores in the US, is located in West Dallas, provides groceries for the community as well as food, and toys during the Holidays through their nonprofit. Gipson also has an insurance agency and is President of the Cedar Crest Association. In the Spirit Entertainment put on another crowd-pleasing event by providing a platform for independent and inspirational artists to bring the community together to celebrate Black Excellence. Dallas Lit 2023 was an evening enjoyed by all.
Soul and Salsa Magazine Sponsor of Dallas Lit
20 Winter 2023
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London Williams: Promoter turned Producer By Soul and Salsa - Photography by Siello
“I do have a Bachelor’s degree in Business Management, a Master’s in Marketing, as well as a Doctorate in Business Administration. My film studies came later. Needless to say, the title doctor does not really matter in the film industry, because there you are judged by your box office success”
L
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ondon Williams could be called a Renaissance Man. The former concert promoter turned film and television producer was introduced to these mediums as a floor manager for Dallas Community Television (formerly Cable Access Dallas) and Project FX Productions. He was also an event photographer for Soul & Salsa Magazine, and as a former college professor at Southern Methodist University (SMU). Over the past four decades, Williams’ eclectic taste in film and television - from Alfred Hitchcock’s The Birds to Rod Sterling’s The Twilight Zone to John Singleton’s Boyz n the Hood, has significantly contributed to his gift for storytelling. These early influences bear witness to quite an impressive resume. To date, Williams has produced several short films whose titles include: Capital Inferno (2017), Hidden Trees (2017), and Varnel (2020). He has also produced a number of features - the first of which was Black Funk (2017), a sensual tale of anger, love, and pain available on Amazon Prime. Other titles under his belt include: Black Diamond (2019), the documentary Natural Hair the Movie (2019), and the horror/thriller Twelve (2020). Williams recently sat down with Soul & Salsa to reminisce on past endeavors and to discuss his latest project Bid for Love 2. Soul and Salsa: Tell us about your days as a concert promoter, and who were some of your favorite artists you booked? Being an independent concert promoter during the late 1990s and early 2000s was very demanding. You had to approach promotions from a business point of view - following the weekly performance metrics in order to be successful. In general, music acts on the Billboard Top 10 or in heavy rotation on radio got promoted properly. I started at a time when the music industry didn’t really know what to do with hip hop artists. I worked with larger promotion companies who would sell what was known as spot dates. These were dates they would sell to secondary or tertiary markets in smaller metro areas to local promoters for artists they were not really interested in promoting. Fortunately, I was lucky enough to work with more popular artists like Jay Z and DMX on the “Hard Knock Life Tour” and more established acts like The Isley Brothers on the “Mission to Please Tour.” S&S: What were some of the major challenges you faced back then? Booking venue dates on the weekends was a big challenge. Most people bought tickets on their payday, which usually fell on the 1st or the 15th of each month. If you were promoting a show outside of those windows, it could be hit or miss. Another challenge was getting your artists on local radio to promote their shows. If you did not have a radio account with the major players, you were unlikely to secure airtime. As a result, you would have to resort to grassroots promotions at the street level, where you had to literally hand out flyers and put up posters at other events where
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crowds would gather to get the word out.
S&S: You were also an event photographer. What were some of your favorite shoots and what made them special? My days as a photographer were amazing. My favorite shoots were during Couture Fashion Week in New York.
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London Williams: Promoter turned Producer We literally had to fight for space near the runway. I would have my old Hasselbad film camera in one hand I had bought at a garage sale, and my Nikon DSLR digital in the other. What really made these shows special for me was dealing with the different personalities like those of the designers and people in hair and makeup. Nevertheless, I really enjoyed the attention to detail, like lighting, background, etc. for each shot. S&S: What was it like having a media pass? It offered me several benefits, one being that I was given entry into restricted areas at press conferences. I had exclusive access to filmmakers, actors, and other industry professionals for interviews and networking opportuni-
ties with those I wanted to work with in the future. S&S: Do you have a favorite story from those days? One of my favorite stories was when I attended a press conference and ended up sitting next to one of my favorite actors. I introduced myself and eventually we were able to work on a project together. S&S: With your academic background, should we call you Dr. Williams? Williams: I do have a Bachelor’s degree in Business Management, a Master’s in Marketing, as well as a Doctorate in Business Administration. My film studies came later. Needless to say, the title doctor does not really matter in the film industry, because there you
are judged by your box office success. S&S: Did you enjoy teaching at one of the most prestigious universities in Dallas? Yes. I enjoyed teaching at SMU, where I taught undergrad classes in Physiology and Sports Management, as well as graduate level courses at The University of Dallas College of Business. The joy of teaching provided intellectual stimulation, because you not only learn from the material, you also learn from the students. Sharing knowledge and impacting students’ lives in an academic environment has its own rewards. S&S: What made you leave academia to pursue a career in film? Actually, I left my position at SMU to become a professor at Baruch College in New York City to pay for film school at The Digital Film Academy in New York. I taught classes during the day, and took afternoon and evening courses. I tried to keep the two worlds from overlapping, but my cover was blown one weekend while working on a motion picture. While filming, I ran into some of my students. Without going in too much detail, the encounter was both hilarious and revealing. Next class period, some of them asked if they could be part of the project, but I had to decline. I felt it would be a conflict of interest. S&S: What were some of the major challenges you faced during your time at The Digital Film Academy, and how did they contribute to your overall growth as a producer? During that time, I had limited financial resources. My saving grace was the fact that I had access to great equipment and eager crew members. This taught me to be more creative, resourceful, and innovative in order to achieve my goals without compromising on quality. Some of the tools I am able to utilize from that experience are time manage-
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Artist Spotlight: Ge Ge Brooks
Ge Ge Brooks, a Dallas Texas native, is not your ordinary Beauty Icon. With her diverse talents as a model, actress, and hip hop dancer, she has captivated audiences with her unique style and magnetic personality. Quote: Always come ready and stay ready Inspiration: One thing I learned about watching American top model is learning how to perfect my look as far as hair makeup and poses What’s in my travel bags: Fenty Makeup, Hair Accessories, backup clothes, heels, snacks, and an emergency kit Follow GeGe Brooks on Instagram @gegebrooks - J Lew Photography
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Supporters of Film/TV www.soulandsalsa.com
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“How Movie Scores Enhance the Movie Experience”
Lynn Fainchtein “The Motorcycle Diaries” (2004) Composer: Gustavo Santaolalla Based on Che Guevara’s memoir, “The Motorcycle Diaries” follows the transformative journey of the iconic revolutionary. Gustavo Santaolalla’s score, infused with Latin American folk music, beautifully captures the spirit of adventure and self-discovery. The film grossed over $57 million worldwide. “The music sought to reflect the profound impact of the journey on Che Guevara’s life and ideology.” - Gustavo Santaolalla
“Pan’s Labyrinth” (2006) - Composer: Javier Navarrete Guillermo del Toro’s dark fantasy masterpiece, seamlessly combines haunting visuals with an ethereal score by Javier Navarrete. The film’s magical atmosphere, driven by the score, garnered cinematic acclaim and grossed approximately $83 million. “The score was meant to be an extension of the film’s unique visual language, enhancing the mystical and emotional journey of the protagonist.” - Javier Navarrete
Django Unchained (2012) Soundtrack curated by Quentin Tarantino Quentin Tarantino’s “Django Unchained” skillfully blended its narrative with an eclectic mix of songs (folk, rock, R&B, and hop), underscoring the film’s themes of revenge and liberation. With artists like James Brown,
Ennio Morricone, and John Legend, the film’s soundtrack became an instant hit. Its commercial success, coupled with the film’s $425 million worldwide gross, firmly establishes it among the top-grossing movie scores. “Tarantino’s ability to curate music that complements his storytelling is unparalleled. ‘Django Unchained’ is a testament to his musical genius.” - Rolling Stone
“No” (2012) - Composer: Carlos Cabezas Set during the Pinochet regime in Chile, “No” explores the power of advertising in shaping public opinion. Carlos Cabezas’ score masterfully captures the film’s historical context and the protagonist’s struggle. The movie achieved critical acclaim and grossed over $15 million globally. “The music sought to evoke the spirit of resistance and hope prevalent during that turbulent period in Chilean history.” - Carlos Cabezas
“Instructions Not Included” (2013) - Composer: Carlo Siliotto The Mexican comedy-drama captured hearts with its touching narrative about a playboy who unexpectedly becomes a father. Carlo Siliotto’s score adds depth and emotion to the film, propelling it to box office success, grossing over $99 million worldwide. “The score needed to reflect the bittersweet aspects of the story, blending humor and sentimentality in a way that would resonate with the audience.” - Carlo Siliotto
Creed (2015) – Composer- Ludwig Göransson: Directed by Ryan Coogler, “Creed” breathed new life into the “Rocky” storyline with its inspiring story and powerful performances. Ludwig Göransson’s score skillfully incorporated elements from Bill Conti’s original “Rocky” score while infusing it with contemporary flair. The film’s $173 million global box office gross solidified its place on this list. “Ludwig Göransson’s score for seamlessly weaves nostalgia with fresh beats captures the essence of the ‘Rocky’ franchise while propelling it into a new era.” - The Washington Post
“Coco” (2017) - Composer: Michael Giacchino Set in the vibrant Land of the Dead, “Coco” tells the heartwarming story of a young aspiring musician named Miguel. Composer Michael Giacchino’s enchanting score beautifully blends Mexican folk music with a more modern sound. With a worldwide box office gross of over $807 million, the film’s score resonated with audiences around the globe. “When you’re writing music for a movie, you’re trying to find a way to tap into that thing inside of you that emotionally connects you to the story.” - Michael Giacchino
Black Panther (2018) – Composer Ludwig Göransson: “Black Panther,” directed by Ryan Coogler and scored by Ludwig Görans-
son. The film’s pulsating and culturally rich soundtrack earned widespread acclaim. Göransson’s fusion of traditional African sounds with contemporary elements created a truly immersive expe-
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$1.3 billion worldwide. “Ludwig Göransson’s score is masterful in its ability to seamlessly blend traditional African music with the modernity of superhero cinema. It elevated the film to a whole new level,” according to the The Hollywood Reporter.
The Lion King (2019) – Composer Hans Zimmer:
rience, which perfectly complemented the narrative. The score’s popularity was a testament to its commercial success, helping the film to gross to over
“The Lion King,” directed by Jon Favreau, brought the beloved animated classic to life with its photorealistic visuals and a powerful score by Hans Zimmer. Building upon the iconic compositions of the original film, Zimmer’s orchestral arrangements added depth and emotion, earning critical acclaim. With a worldwide box office gross exceeding $1.6 billion, the film’s score played a significant role in its success. “Hans Zimmer’s score for the film captures the essence and magic of the original while infusing it with a new and majestic grandeur.” - Variety
magazine.
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Creed III (2023) – Composer Joseph Shirley “Creed III,” Creed III co-produced, directed, and starring Michael B. Jordan. It is the sequel to Creed II (2018), the third instalment in the Creed film series, and the ninth overall in the Rocky film series grossed $156.2 million in the United States and Canada, and $119 million in other territories, for a worldwide total of $275.2 million. Produced by J Cole’s record company Dreamville, the soundtrack captures the intensity of the film with raw foot-stomping beats that reflect Apollo’s unfiltered ambition and the violence of the world that he lives in.
As we celebrate the intersection of music and film, these masterful soundtracks continue to inspire and uplift audiences. They highlight the power of storytelling through the harmonious marriage of visuals imagery and music.
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Gloria Calderon Kellett: A showrunner for cuban voices By Sophia Costanzo
If you grew up Cuban in Los Angeles, certain staples were woven into your daily life. One of the most iconic symbols of Cuban culture was the yellow boxes filled with mouthwatering pastries from Porto’s Bakery. That’s how you instantly know that Gloria Calderón Kellett got it right in her classic sitcom television show, “One Day at a Time,” a comedy-drama inspired by Norman Lear’s 1975 series by the same name. In the pilot episode, aptly titled “This Is It”, Penelope (Justina Machado) a military veteran, mother, and nurse, returns home with a bag brimming with those unmistakable yellow boxes from Porto’s Bakery. As Rita Moreno’s character, Lydia, emerges from her room and exclaims that there’s a problem, Penelope replies, “I know, the hipsters have discovered Porto’s. Line around the block is like the freaking Apple store now.” When my Cuban family watched this show together and we encountered this moment, we couldn’t help but scream with laughter. It was a spot-on reflection of what it was like to grow up Cuban American in Los Angeles. Gloria Calderón Kellett’s clear attention to detail in depicting our cultural experiences felt like a victory for Cuban representation in media.
Kellett, a Cuban American writer, producer, director, and actress, was born in Portland and moved to Los Angeles to attend Loyola Marymount University for acting. Her own experiences growing up Latina in the United States have significantly influenced her work, as Kellett is known for creating shows and content that authentically represent Latino culture.
Some of her earliest writer-producer credits include “How I Met Your Mother”, and her early acting credits include roles in shows like “Jane the Virgin”. However, her work as the executive producer and co-showrunner of “One Day at a Time” and her original show, “With Love,” on Amazon Prime threw her into the spotlight. She even earned a place on the Hollywood Reporter’s “Hollywood’s 50 Most Powerful TV Showrunners of 2022” list, a notable accomplishment considering the lack of Latina representation previously featured on this list.
In “One Day at a Time,” Kellett beautifully captures the subtleties of Cuban American culture. The portrayal of Porto’s Bakery, along with other elements like nuanced language, exemplifies her skillful approach to addressing and navigating sensitive topics like racism, sexism, and mental health issues within the framework of a light-hearted sitcom television show. This approach serves as a guide for thoughtful navigation of these important subjects. It gently encourages open dialogue in Cuban American culture, where discussions about these sensitive topics have sometimes been less frequent. Gloria Calderón Kellett’s ability to weave the vibrant tapestry of Cuban culture into the fabric of American television has left a lasting impact on the world of entertainment. Having felt the warmth of her shows in my family’s own living room, I can personally attest to how her dedication to representation has made a lasting impact on our community. Check out “One Day at a Time” on Netflix and “With Love” on Amazon Prime.
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London Williams: Promoter turned Producer ment, collaborative problem solving, creative critique and feedback, as well as balancing my artistic vision practically with budget constraints. Overall, film school offered a structured and supportive way for me to learn, experiment, and grow. This helped to shape my production skills, my mindset, and my approach to filmmaking. The Digital Film Academy also prepared me for the complexities and demands of the film industry I would later face. S&S: How did growing up in Dallas influence your passion for film? My upbringing in Dallas fueled my desire to showcase the city in a positive light. I always wanted to use and uplift local actors who were serious about their craft. S&S: The most recent film you produced is Bid for Love 2. Can you give us a brief synopsis of the film? Bid for Love 2 is the sequel to Bid for Love, streaming on BET, BET+, and BETher. The story follows protagonist
Sasha, played by Dawn Halfkenny, as she tries to recover from a stint in prison, and many failed relationships by trying her luck dating an ideal, stable man. While seeking therapy, life comes at her fast when her presumed dead ex-boyfriend, Memphis, played by Blue Kimble, mysteriously returns. It’s the first Black film of this scale to be produced in Dallas. My hope is for the project will become a television series with the local backdrop of Dallas similar to what Power did for NYC or Queen Sugar did for New Orleans. The cast also includes: Eva Marcille (Linda), Clifton Powell (Haywood), David Banner (Adam Baraka), Dallas’ own Nanette Lee (Bobbie), and Nikki Dixon (Jewel). S&S: Can you break down the film’s budget and how you chose your vendors? When I’m creating a budget, it involves careful consideration of all the expenses required to bring the project to completion. The budget also requires input from various departments, as well as stakeholders. I usually break it down into five stages: development, pre production, post production, marketing, and distribution. Each stage could take up to two or three months, with a cost of - give or take - $30 million. As far as choosing vendors, I consider several factors such as: the reputation of the vendor, experience, portfolio, budget, compatibility, recommendations, referrals, negotiation, and availability. It’s very important for vendors to be available for the duration of the film’s production schedule to ensure smooth coordination and deliv-
Photography by Tal Campbell
ery of their services. Some vendors that I have used by department are: Wardrobe (The Fashion Den, Western Costume, and United American Costume Company), Transportation (Black Diamond Transportation, Enterprise Entertainment, and American Film Fleet) Makeup (Mocca Cosmetics), and grip & electric (Cinelease, MP&E) Payroll companies, (ABS Payroll, Entertainment Partners, and Media Services) Security, (Prestigious VIP Concierge Services, Texas T Tactical & Security Inc.) Talent Agencies (Pantheon Talent, CAA, WME, and Linda McAllister). In regards to facility venues, I have used: Location and Studios: Wordplay (Birmingham, Alabama), Southside Studios (Dallas, Texas), Phosphor Studios (Kansas City, Missouri) Restaurants/Craft Services (Thibodeaux’s Cajun Cooking, The Coaches Box) I usually try to secure vendors that have 24 hour emergency services. Choosing the right vendors is crucial, because they play a significant role in the success and overall quality of a film. Filmmakers often build a team of trusted and reliable vendors over time, making future projects more streamlined and efficient. You can visit: http:// mediaservices.com/production-incentives/production-incentives-incentives-maps/ for more information on incentives by city and state. S&S: How important is location when choosing a particular site, venue, etc? The importance of location cannot be overstated. One of the benefits of shooting in Dallas is the variety of See London continued on page 34
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London Williams: Promoter turned Producer different looking neighborhoods that contribute to the atmosphere of the film, along with storytelling ability, and an audience’s emotional connection to a particular location. I look for visual aesthetics that enhance a film’s overall appeal. A beautiful and unique setting can add visual interest or set the tone of a specific scene or even the entire movie. I also consider cost efficiency, production value, and I try to make sure the environments I choose have not been overused. Ultimately, selecting the right location is a collaborative effort between the director, the production designers, and location scouts all working together to create a cinematic experience that will captivate an audience. S&S: Can you share some valuable insights or lessons you have learned that might help those aspiring to produce motion pictures in the future? I’ve learned to check-in with the leadership of each department involved in making a film in order to ensure they
have all the resources needed to be successful. Also, it’s important to pair those who may be new in the industry with more seasoned individuals. Mentorship is vital. S&S: How do you balance creativity with business acumen? I make decisions by starting with a script breakdown to figure out shooting requirements for every scene, this includes budget, scheduling, and prep work. Some scripts might have certain elements that don’t align with the budget. So, I have to work out what can be changed or make the decision to pass on the script or raise additional funding. I have worked on projects that were privately funded and others that were bonded - that is when an insurance policy is presented to financiers, lenders, or distributors as a guarantee that a particular film will be delivered on time and within budget. I’ve also worked on projects that were funded by government or private entities. In the end, business deliverables are required to make it to distribution. S&S: From your perspective, what are some of the current trends and challenges in the industry? Streaming and On Demand platforms, like Disney+, and international content are readily available and have made a huge difference on how traditional viewers gain access to viewing materials. These outlets provide more convenience and affordability. Superhero franchises are also a thing, like Marvel and DC Extended Universe, which have led to massive box office success. Advances in technology have allowed filmmakers to create incredibly awe-
some visual effects as well. However, I would say that AI (artificial intelligence) presents a challenge because it has been utilized for various purposes from scriptwriting to casting to editing to marketing and may pose a threat to job security in those areas. S&S: What piece of advice would you give someone looking to pursue a career in film production? I recommend finding that one thing that you are passionate about - something that motivates or drives you. When I first started, I thought I wanted to be a set crew member, until I realized I had to be locked on set for every scene. Being more of a free spirit, I eventually shifted towards producing, because of my business background. This affords me the ability to move around as needed. If you ever find of picture of me on set, please let me know. S&S: How do you approach building strong relationships and collaborations with directors, writers, and other creatives? The collaboration process is key for success. Producers build a team of directors, writers, and others in hopes of producing a spectacular project. It’s important because we know and have respect for one another. We know our work ethic and what the other person brings to the table. For example, I’ve worked on projects where the director may be very creative, but is an introvert when it comes to dealing with other members on a set. I’ve also dealt with writers that were able to create strong storylines, but would not allow any sort of creative liberties with a script from the studio. I’ve worked with crew members who were good at what they do, and I wanted to work with them on every project I produced, but the competitive financial landscape would easily lure them away to join other productions – making them
no longer available. You have to develop a mutual support system. Start by thinking of the needs of others ahead of your own. Sometimes, you may become friends as you work on your creative pursuits together and that’s even better. It’s important to come from a place of compassion and flexibility. S&S: Can you share a particularly rewarding experience you’ve had from your career? There is nothing like receiving your first distribution deal and watching your movie on the big screen. When I produced my first film, I was able to see firsthand how the business metrics contributed to the bottom line of the film. The goal is always to make a film for less, and to sell or license it, for more than you put into it. S&S: As a former concert promoter, how has your understanding of audience engagement shaped your strategy for marketing and promotions? It gave me valuable insight, because my emphasis on audience engagement creates a memorable experience by tapping into the emotional connections that entertainment can evoke. This principle can be adapted and applied in the context of film marketing and production to effectively reach and resonate with your target audience. S&S: How long does post production usually take?
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Depending on the size of the feature, the post production process can take as little as three months up to a couple of years. Several factors contribute to the length of time it may take. Once shooting is over, the editing process of sound and visuals begins. For example, if you really wanted a particular song bad enough, getting music clearance can be an arduous process. You may have to wait for several publishing administrators to decide on a negotiated price. Also, if you found some recorded sounds unsuitable, scheduling ADR (automated dialogue replacement) might cause more delays. Ordinarily, post production tasks include: cutting raw footage, accumulating that footage, adding the sound mix, dubbing, sound effects, etc. which can be somewhat time consuming. S&S: With your concert promotions background, how do you choose a music score? I have an ear for music and a knack for knowing what sounds are best in whatever genre of movie I’m developing or producing. Choosing a composer is a different approach. I usually look for a composer that can provide a unique feel and overall tone. If I want to make an audience feel uncomfortable, I may choose a composer who provides more dissonant sound intervals throughout a particular film to build suspense. In my opinion, some of the best iconic horror sounds are the two-tone sound from
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Jaws, and the low undertones from The Fog. Many factors play a role in the selection of a score such as: the setting, the emotion meant to support a certain scene, the musical taste of the director or the budget that’s available. S&S: What achievement are you most proud of, and what legacy do you hope to leave in the world of entertainment? Looking back on my journey in music and now film, I have a sense of pride that often comes from my involvement in projects that have a positive impact on audiences and leave a lasting impression. That may take the form of a successful concert that brought joy to thousands of fans or a motion picture that inspires others. I feel good about my role in nurturing and mentoring talent, as well as creating works that stand the test of time. Ultimately, I hope my legacy leaves a meaningful contribution that goes beyond success. Clearly, London Williams possesses the necessary determination, drive, and experience it takes to produce successful creative cinematic projects. It will be interesting to see what other engaging and exciting works he has in store for audiences in the future. In the meantime, don’t forget to check out his latest film production, Bid For Love is now streaming on BET+. Bid for Love 2 will be released 2024.
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Remembering Black Wall Street: Movies and Series that Honor its Legacy The tragic events of the Tulsa Race Massacre in 1921, which saw the destruction of the thriving Black neighborhood known as Black Wall Street, have left an indelible mark on American history. The Greenwood District of Tulsa, Oklahoma, had been a prosperous hub of African-American entrepreneurship and culture, showcasing remarkable resilience and economic success despite the oppressive Jim Crow era. Today, the story of Black Wall Street remains a poignant reminder of the resilience of the Black community and a testament to the enduring spirit of progress. Several films have sought to portray this powerful history, educating and inspiring audiences about the strength of the human spirit amidst adversity. In this article, we will explore some notable movies that pay tribute to the legacy of Black Wall Street.
“Tulsa” (1949) One of the earliest films to touch on the subject of Black Wall Street was “Tulsa,” a 1949 drama directed by Stuart Heisler. Starring Susan Hayward and Robert Preston, the film revolves around a love story set against the backdrop of the discovery of oil in Oklahoma, which ultimately leads to the growth of the Greenwood District. While the film does not explicitly focus on the Tulsa Race Massacre, it provides a glimpse into the life and culture of the African-American community in the area. “Before They Die!” (2008) Directed by Reggie Turner, “Before They Die!” is a powerful documentary that delves into the history of
Black Wall Street and the events that led to its tragic demise. The film features interviews with survivors, descendants, and historians who recount the harrowing tales of the massacre. Through their firsthand accounts, “Before They Die!” serves as a moving tribute to the resilience of the victims and their families. “Black Wall Street Burning” (2013) In 2013, award-winning filmmaker Marcus Brown brought the events of the Tulsa Race Massacre to life with the release of “Black Wall Street Burning.” This docudrama showcases the development and subsequent destruction of the Greenwood District through a compelling mix of interviews, archival footage, and reenactments. The film’s raw portrayal of the violence and devastation
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Courtesy of Greenwood Cultural Center faced by the residents of Black Wall Street ensures that the memory of their experiences endures. “Dreamland” (2021) “Dreamland,” directed by Miles Joris-Peyrafitte, is a fictional drama set against the backdrop of the Great Depression. While not exclusively centered on Black Wall Street, the film weaves in the story of the Greenwood District and its eventual destruction during the Tulsa Race Massacre. With a talented ensemble cast that includes Margot Robbie and Finn Cole, “Dreamland” sheds light on the events that have remained obscured from mainstream historical narratives. Rebuilding Black Wallstreet – Morris Chestnut and Oprah Winfrey (2023) The trailer for OWN’s forthcoming
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@ MAGIC Fashion Show LV @ Ladylike Foundation w/Antoinette Titus
@ Step Dad Premiere w/ Linda NGO
@ Dallas Cowboys Game Day Event @ LA Marketing Mixer w/ Nikki Rich
@ Kimie Simone Show w/ Marco Polo
w/ Cynthia Bailey w/ Al Dias
w/ London Williams
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Remembering Black Wall Street: Movies and Series that Honor its Legacy
(Morris Chestnut) - Photo courtesy of OWN The trailer for OWN’s forthcoming docuseries, “Rebuilding Black Wall Street,” featuring host Morris Chestnut has been revealed. Premiered on Sept. 29 docuseries, “Rebuilding Black Wall Street,” featuring host Morris Chestnut has been revealed. Premiered on Sept. 29, the series will follow Chestnut and build teams, led by designers Jon Pierre and Mary Tjon-Joe-Pin (Two Steps Home), as they take viewers through Greenwood’s rich history and the personal journeys of those featured – many of whom are the descendants of original Black Wall Street residents – over the course of six episodes. As new businesses and projects progress, viewers will experience the physical and emotional challenges that come with large-scale construction and celebrate the promise of Greenwood’s future. (Own) Movies are powerful tools for education and remembrance, and the sto-
ries surrounding Black Wall Street deserve to be shared with a broader audience. Through a combination of historical accuracy and creative storytelling, filmmakers have sought to immortalize the legacy of Black Wall Street, ensuring that the sacrifices and achievements of the community are never forgotten. By watching these movies, audiences can
gain a deeper understanding of the strength and resilience of the African-American community during a tumultuous period in American history. As we continue to remember Black Wall Street, let us also strive for a more inclusive and just society, where the lessons of the past are used to build a better future for all.
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