Entertainment

Natasha Rothwell in the Spotlight for Her New Hulu Series — Andscape

Published

2 months ago

September 13, 2024

IAM

Writer and actress Natasha Rothwell, who rose to fame for her supporting role as Kelli on Issa Rae’s HBO series, steps into the lead role of her latest series on Friday, debuts on Hulu. It’s the first show she’s created, produced and starred in along with her latest production company, Big Hattie Production.

Rothwell told Andscape that working on the series “confirmed that I was following my destiny. It solidified my drive, my existence, my passion, and my voice.”

In the film, Rothwell plays Melissa, nicknamed Mel, a lonely, underpaid, debt-ridden airport trolley driver who’s petrified of flying, love and her potential. After spending her lonely thirty fifth birthday eating crab rangoon and assembling IKEA furniture, Mel has a near-death experience.

Mel wakes up alone in the hospital, with no emergency contact to choose her up, and finds a lonely older black woman in the hospital bed next to her, who gives her some sage advice. “Stop caring what other people think and start doing something that scares you.”

Mel takes the advice, decides to imagine she deserves good things and changes her life. She makes more friends, tries to get a promotion at work and tries to seek out love and herself. “(The show) is an invitation to start living now. Ordinary can be extraordinary. Your adventure can start now,” Rothwell said.

As a black woman, Rothwell finds it radical to seek out herself. “There are days when I do it really well. And there are days when I do it really badly, but I think there’s glory in trying.” One of her inspirations is a book by Sonya Renee Taylor “Sonya is incredible. She’s about the act of radical self-acceptance and dismantling the systems of oppression that have kept us from accepting ourselves fully.”

Mel’s body isn’t the focus of the show’s plot. “Mel’s body isn’t a topic of conversation. It’s just there,” Rothwell said. She embraces body neutrality, which “encourages us to understand ourselves and others as whole human beings, and to frame our concept of worth, value, and identity around a person’s inner self, rather than their outer self.” — Jessi Kneelandwrote for the magazine in 2023.

*How to die alone* tells the story of Mel (Natasha Rothwell), who has never been in love and has forgotten easy methods to dream, until a probability encounter with death throws her on a journey where she must take to the air and begin living in any respect costs.

Ian Watson/Hulu

Rothwell said that is why she chooses her words fastidiously in the context of the show. “That’s why I use the word fat. She’s a fat, black employee at JFK Airport who can’t fly. That’s in the logline. Putting the word fat there is to disabuse people of the idea that it’s a pejorative. It’s a description. It’s a fact. So welcome. Meet Mel. That’s who she is. Let’s keep it going.”

The show’s concentrate on body neutrality gives Mel a platform to shine. Fat black women are sometimes relegated to the role of funny best friend, comic relief, and therapist on sitcoms. But Rothwell puts herself and Mel at the center of all the characters’ messy, nuanced, imperfect selves—in other words, whole people. We all have to see someone who looks like us attempting to determine life.

She’s a large number, she wants to enhance, but she shows that she’ll do some morally gray things to get there. The whole show is not an inspiring montage of a heroine changing her life in the best way possible, but of a girl growing up, doing it systematically, if not all the time neatly.

In the past, coming-of-age stories have focused on teenagers and people in their 20s and 25s. But those stories don’t reflect the reality of so many millennials who’re in their late 40s or early 40s and still fighting funds, family, and love. Financial stability is elusive, dating is harder than ever, and the world seems bleak. With Melissa Rothwell, she brings to life the experiences of so many in this generation.

And for romance lovers, the series incorporates a tender, juicy, and realistic love triangle. But romantic love isn’t Mel’s only goal. Above all, she desires to live a life that, like all of our lives, might be satisfying to her after it ends.

“Societally, we often put romantic love on the line,” Rothwell said. “I grew up on romantic comedies and anything Disney princess-related. In a heteronormative sense, I was supposed to find my knight in shining armor on a white horse.”

It wasn’t until Rothwell began therapy in her early 20s that she began to unlearn the concept that happiness was only possible through romance. “For me, there’s a difference between being alone and being lonely.”

“I spent most of my 20s afraid of bad things. Because dying alone isn’t scary. It’s dying alone,” Rothwell said. In order to avoid being alone, Rothwell needed to learn to just accept love from the places she found it in her life. “I’m a person who recovers from being a people pleaser, and the result of that was being this unnecessary weirdo who didn’t want to ask for help or even feel like I needed it,” she said. “Luckily, I moved away from that POV, and my friends were there for me when I needed them. I love the connection, people just checking in on me and not wanting anything. It’s a really beautiful thing.”

Rothwell’s acceptance of platonic love into her life, her thrust back on romantic love, and her journey of self-discovery has been healing. “That’s not to say I don’t want romantic love, but I know my happiness doesn’t depend on it.”

can also be a workplace comedy, nevertheless it’s unique in that it’s set in an airport, which is all the time a spot of change, forks in the road, decisions, paths taken and roads not taken. The setting allows us to know Mel’s journey in limbo. She’s trapped, but additionally — literally and figuratively — one flight away from changing her life. All she has to do is gather the courage to get on board.

Rothwell selected the location because “I wanted to follow the fear and explore something that was really terrifying to me at the time, which was the idea of dying alone. This theme gave me the opportunity to pick a really interesting location where you can be in a crowd of people but still feel lonely.”

Mel (Natasha Rothwell, left) stars in this workplace comedy set at an airport.

Disney/John Medland

There’s also the limbo that society imposes on singles, the expectation that life doesn’t begin until you’ve a partner, a really perfect that Rothwell also needed to shatter in her own head. “When I first moved to New York in my 20s, I wanted to walk across the Brooklyn Bridge. I put it off because I wanted to do it for a date,” she said. “I thought it would be so cool, so romantic, to walk across the bridge and then go to Grimaldi’s Pizzeria. I was holding my breath for that.”

But after starting therapy, she realized she didn’t should freeze herself for anyone. “I thought, ‘You know what? I don’t want to leave these experiences for someone who’s not here. Here. I can live, I can have these experiences.’ So I got my ass over the bridge, ate pizza by myself, and watched the sunset. It was amazing.”

In some ways, Melissa’s leap of religion right into a latest life mirrors this new edition of Rothwell’s profession, taking over her own projects and pursuing larger-scale projects. Rothwell shows her range in , along with her signature comedic genius, but she also gives us intensely emotional scenes, including moments that show a darker side of Mel, which are enjoyable to look at. Her character in Stolen Hearts , nevertheless, was often one-dimensional. Here, we see Rothwell in her entirety, the whole person, a mirrored image we desperately need.

When I asked Rothwell where she thought the art world was headed for black women, she was thoughtful. “Because having an original show directed by someone who looks like me premiering without delay is a radical act of riot.

“We tell the industry that our stories matter and that they are worthy and valuable. A lot of the industry is bound by a fiduciary responsibility. I understand that, but I think by not focusing on our voices, you’re saying that our voices aren’t valuable and that we don’t matter, when in fact we do and we do.”

Rothwell believes that for things to alter, for stories to change into more diverse, “the many white cis-straight men at the center of many of these organizations in the city need to talk openly and honestly about the homogeneity of their content.”

Rothwell has made it his business to dismantle that homogeneity. “All the directors on my show were women because I intended to be women. There was a 50-50 gender split on set—in a binary sense—because I intentionally decided to do that. None of this just happens by magic. It’s not like sand eroding away on a beach over time. You have to bulldoze in and build what you need.”
is a show that so many individuals can relate to. Sometimes it takes the most terrifying thing we will imagine—like dying alone—to push us to beat our fear and at last live. What if we modify and hate it? What if we try to alter and fail? And perhaps the biggest, most unspoken fear of all… what if we succeed?

Nylah Iqbal Muhammad is a James Beard Award-nominated author whose work has appeared in Travel + Leisure, Vogue, and New York Magazine. Her work explores culture, politics, food, and their intersections, with a concentrate on North American indigenous, African diaspora, and South Asian foodways.

This article was originally published on : andscape.com

Entertainment

“The Honorable Shyne” is a hit. This is why I wanted to tell this story. — Andlandscape

Published

1 hour ago

November 22, 2024

IAM

One of the primary reasons Andscape culture author Justin Tinsley and I were tapped to co-executive produce was our backgrounds as music journalists. The documentary chronicling Moses “Shyne” Barrow’s rise to fame, imprisonment, and re-emergence as a political leader suits firmly into our wheelhouse, as his best rap years got here within the early 2000s – right at the center of our hip-hop fandom. I donated my time helping with the documentary, which was a top ten show in its debut week on Huluas a likelihood to help tell the story of hip-hop. I got here away from the project with an understanding of a man in conflict, at odds with himself and his past, and wanting to forge a path forward.

Shyne’s story illustrates the American dream: a poor black immigrant comes to America and from nowhere becomes one in all the largest rap stars. It is also a story about how the American criminal justice system and music industry chew up and spit out so many young Black people. To carelessly follow Shyne’s story is to consider him as just one other young black man who fell into a bad situation and never recovered. After all, his rap profession was effectively derailed when in 2001 he was sentenced to ten years in prison for the 1999 shooting at Club New York in Manhattan. But what inspired me about Shyne’s story was his refusal to let this devastation define him.

In 2021, I hung out in New Orleans with former No Limit rapper McKinley “Mac” Phipps, who had just been released from prison after spending 21 years in prison for a murder he denied committing. As I listened to Shyne’s story, I considered Mac. Both were avatars of a system that tested rap as much because it tested individual men. Mac’s story was about how hip-hop lyrics may be used to accuse someone within the face of overwhelming evidence of their innocence. Similarly, Shyne’s trial created a sensation about hip-hop’s relationship to violence in a city hungry for head on a plate.

Both Shyne and Mac emerged from prison as completely different people than once they entered. In Mac’s case, it was the period of time he spent at home, during which he transformed from a teenage rapper into a man after 20 years spent in confinement. For Shyne, his transformation got here from faith when he converted to Orthodox Judaism in prison. When I have a look at people like Shyne and Mac, I wonder how they’ll survive being locked in a cage, and their answers are inspiring.

While Shyne’s rap stories are what drew me to this project, it’s his journey as a man that makes me proud to help tell his story. And we actually get to see that journey after he raps the ultimate bars of his rap profession.

Shyne got here to the film wanting to discuss his lowest moments – the time after his release from prison in 2009, when he lashed out, frustrated at seeing a latest crop of rap stars emerge within the void left by his absence. He was rudderless. As rudderless as anyone may be who has lost a decade to a prison system that wanted to destroy him. And much more, since it was closed when the superstar’s fame was on the tip of his fingers.

The raspy-voiced rapper could have let these mishaps define him, but that is where Shyne’s story resonates with everyone, whether or not they’re a rap fan or not. Shyne’s second act, the one through which he finds purpose in community and family, where he uses his innate charisma and true genius to turn out to be a political leader and motivational speaker.

I cannot discuss Shyne’s reappearance without mentioning Sean “Diddy” Combs. Combs, the disgraced hip-hop mogul who signed Shyne to his label Bad Boy Records and helped launch his profession, is the elephant within the room throughout the documentary and in Shyne’s life. So lots of the artists who emerged under Diddy – from G Depp and Mase to The Notorious BIG – suffered terrible consequences. Shyne’s name was all the time on the list because he spent ten years in prison. And yet, Shyne’s approach to healing and moving forward is as inspiring as his ability to overcome what he sees because the sabotage of his life and profession.

These are lessons I didn’t expect to learn from the stories in regards to the hip-hop star from my childhood. These are inspiring moments that can be of interest to those that haven’t yet turn out to be inquisitive about the Brooklyn, or somewhat Belizean, rapper featured within the documentary. These are the points that make me proud to be a a part of telling Shyne’s story.

DavidDennis Jr. is a senior author at Andscape and the creator of the award-winning book “The Movement Made Us: A Father, a Son, and the Legacy of a Freedom Ride.” David is a graduate of Davidson College.

This article was originally published on : andscape.com

Entertainment

Kendrick Lamar Releases Surprise Album ‘GNX’; group chats are going crazy

Published

4 hours ago

November 22, 2024

IAM

Kendrick Lamar, Kendrick Lamar GNX, GNX, GNX album, K-Dot, K-Dot GNX, theGrio.com

There are few things more exciting than receiving an infinite barrage of text messages at the very same time in numerous group chats. This normally implies that something vital has happened in popular culture. Well, the exact same thing happened about noon on November 22, within the yr of our Lord two thousand and twenty-four. Kendrick Lamar Duckworth, higher often called Kendrick Lamar, released the album “GNX”, nod towards Buick Grand National Regal GNXa rare muscle automobile released in 1987 – which also happens to be the yr Kendrick was born.

“GNX” is coming to the tip of what has been a banner yr for Kendrick Lamar. From epic diss records geared toward Drake, to creating the largest song of his profession (and a Drake diss track) on “Not Like Us”, to the “Pop Out” concert streaming live to tell the tale Amazon Prime, Kendrick won this yr. He even received seven Grammy nominations, mostly for “Not Like Us.” And this victory will proceed in the brand new yr. In September, it was announced that Kendrick would stay Super Bowl 2025 headliner will happen in New Orleans. This announcement sparked some controversy and comments from several New Orleans legends similar to Juvenile and most notably Lil Wayne, who felt disrespected; Kendrick immediately refers to this topic within the opening song of the album (all stylized in lower case), “wacced out murals”.

The thing is, Kendrick didn’t sleep for many of 2024. And then, while the remaining of us were minding our own business, listening to other albums that had just dropped, like Ice Cube’s “Man Down,” I began receiving text after text… and I knew that would only mean that something vital happened.

At this point in my life (and possibly even yours), Kendrick Lamar releases are a drop-everything-and-listen event. I immediately went to the streaming service, launched “GNX” and pressed “Play”.

I need to admit that the primary time I heard the album I used to be a bit confused. Kendrick has probably never been more popular or famous; if there was ever a time to drag a Kanye West and release his own version of “My Beautiful Dark Twisted Fantasy” – an album largely produced as Kanye’s best and most representative of Kanye’s greatness – now could be the time. “GNX” has a far more modern West Coast vibe and is certainly more for his die-hard fans than anyone who just began gaining attention due to his beef with Drake. Maybe that was the purpose; possibly not.

Either way, I can imagine that folks whose favorite lines are “OV-Ho” won’t be immediately thrilled. I wasn’t immediately blown away (though very amused by how sensitive Kendrick is to what people say about him on social media, well, everyone), but as is all the time the case with Kendrick albums, repeated listens are likely to correct any immediate monotony that I even have about his projects. For example, now that I’ve listened to it just a few times, I can not wait to listen to black college bands playing “tv off” style, which seems like a cousin of “Not Like Us.” The Shoot, Bayou Classic, which also takes place yearly in New Orleans on Thanksgiving Day, stands out as the first time we hear a band playing “TV off.”

Since the album didn’t come out long enough to be reviewed, group chats and social media were abuzz with immediate reactions. This is the a part of music releases I really like, where everyone seems to be listening to the identical thing, offering premature takes that will not even delay the following day. I’m not different; I’m sure I’ll say something about this album that can sound silly by Monday. Shoot, I can have already done it. But that is what happens when great artists release music. We spend time with others after which we refer to them, analyze them, criticize them, praise them, destroy them and let all our prejudices fly free. Love it.

It’s value noting that certainly one of Drake’s diss tracks that did not appear during last summer’s fracas was titled “The Heart Part 6,” and was an apparent try to usurp Kendrick’s pre-album practice of removing a non-album song titled “The Heart.” Well, Kendrick has a song on his recent album called, you guessed it, “The Heart, Pt. 6,” which I feel will probably be released soon Drake. Good job, Kenny.

Argue.

This article was originally published on : thegrio.com

Entertainment

New music this week: Tyla, Lola Brooke, Coco Jones and more – Essence

Published

4 hours ago

November 22, 2024

Happy Friday, people! Whether you are drinking a warm beverage or preparing for a fun-filled weekend, this week’s latest music releases set the tone. From sensual R&B melodies to powerful hip-hop anthems, these songs have something for everybody.

Coco Jones leads the pack along with her seasonal album, and Tyla offers a heartfelt change of tone with “Tears.” Miguel’s smooth “Always Time” and Jorja Smith’s tender “Stay Another Day” showcase R&B at its finest, while Lola Brooke and Killer Mike turn up the warmth on “Go To Yo Head” and “Warryn’s Groove,” respectively. Today’s list also includes music from Eric Bellinger, Coi Leray, Blxst and more.

Below you possibly can read our list of latest products.

Coco Jones – “Coco by the Fireplace”

Coco Jones releases a warm, soulful album that evokes the comfy atmosphere of a night by the fireplace, showcasing her wealthy vocals and emotional storytelling. Listen to this HERE.

This week's best new music: Tyla, Lola Brooke, Coco Jones and more

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Tyla – “Tears”

In collaboration with COKE, South African sensation Tyla delivers “Tears,” a heartfelt ballad that highlights her vocal skills and emotional depth, marking a departure from her usual upbeat style. Check it out HERE.

Lola Brooke – “Go to Your Head”

Lola Brooke’s “Go To Yo Head” is an assertive anthem with strong beats and confident lyrics, solidifying her presence within the hip-hop scene. Check it out HERE.

Miguel – “It’s Always Time”

Miguel returns with “Always Time”, combining his signature smooth vocals with a up to date R&B beat, exploring themes of affection and patience. Hear this HERE.

Lila Iké ft. Joey Bada$$ – “Fry the Plantain”

Lila Iké teams up with Joey Bada$$ on “Fry Plantain,” fusing reggae beats with hip-hop elements for a must-see track. Check it out HERE.

Jorja Smith – “Stay One More Day”

Jorja Smith delivers “Stay Another Day,” a soulful performance that captures the longing and warmth of a brand new season. Listen to this HERE.

Eric Bellinger ft. Oxlade – “Shooting Star”

Fresh off the discharge of his latest one albumEric Bellinger teams up with Oxlade on “Shooting Star,” a seamless collaboration that blends R&B with Afrobeat influences to create a mesmerizing melody. Hear this HERE.

Killer Mike ft. Ty Dolla $ign – “Warryn’s Groove”

In the digital version of Killer Mike Songs for sinners and saintsthe rapper collaborates with Ty Dolla $ign on the song “Warryn’s Groove.” Listen to the song HERE.