The Hollywood ‘Black Panther’ premiere brings out black film glitterati in full force
To rousing cheers and standing ovations from glamorous stars, the long-awaited film arrives
9:15 AMHOLLYWOOD, California — Director Ryan Coogler stood onstage next to Marvel film executives, microphone in hand, and introduced his cast of Black Panther one by one. He could barely get his first welcoming words out before audience members leaped to their feet to give him a standing ovation — the first of several throughout the night at the film’s world premiere at Hollywood’s Dolby Theatre — an event almost unheard of, even at a place designed to celebrate such an accomplishment.
No one knew as he was bringing out his cast whether this film was any good. What they did know was that this was a moment. When Sterling K. Brown stood onstage after his introduction, he raised one fist in the air with the kind of conviction that Olympians Tommie Smith and John Carlos did on the Olympic podium in Mexico City almost 50 years ago. It was yet another moment when the crowd erupted into applause, and again, the first credit had yet to roll for the film. But this was a celebration. And most of black Hollywood, along with notable Hollywood dignitaries, was there to witness.
There was no bad seat in the Dolby Theatre. On the main floor, people such as Jamie Foxx, Donald Glover, Kendrick Lamar, Snoop Dogg, Janelle Monáe, Reggie Hudlin, Lena Waithe, Usher, Yara Shahidi, Elizabeth Banks and George Lucas sat among the film’s stars, who included Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, Daniel Kaluuya, Letitia Wright, Winston Duke, Angela Bassett, Forest Whitaker and Andy Serkis.
Up in the mezzanine sat notables such as director Ava DuVernay and actors such as Tessa Thompson, Issa Rae, David Oyelowo, and many, many others who all gathered to watch the film they’d been waiting years for.
A Black Panther feature film was announced more than three years ago, on Oct. 28, 2014, and since then an ever-growing fan base has been waiting with bated breath for the world premiere. The film’s arrival has been the subject of hilarious memes, Twitter polls and Facebook status updates, all backed up by impressive presales from Fandango. Deadline reported that “after tickets went on sale Monday night, Black Panther is already outstripping Captain America: Civil War as Fandango’s best-selling MCU [Marvel Cinematic Universe] title in the first 24 hours of presales. Captain America: Civil War kicked off the opening of summer 2016 during the first weekend of May with $179M.”
Finally, that day is here — for the lucky ones. Fans crowded the red carpet before the Dolby Theatre on Monday night just to get a glimpse of the cast (and their famous admirers) as they posed and did celebratory victory laps. As per usual, with a film of this magnitude, mobile phones were bagged and placed into security bags before anyone was allowed inside. Last time a Hollywood theater was this jam-packed, there was surely a lightsaber involved. This crowd, of course, is most certainly the blackest premiere crowd for a film of this magnitude.
A rousing cheer went up in the theater just as the lights were dimmed, and by the time Coogler’s epic story of the Black Panther’s homeland, the fictional African country of Wakanda, was done, the applause and cheers were even greater. It’s a moment, and it’s a moment that was witnessed by some of the biggest giants in the industry.
We’re not allowed to offer up plot points or spoilers — fans wouldn’t want that anyway! — until an official review embargo is lifted: It’s set for Feb. 6 at noon EST, but we can tell you that the film is quite magical. And very authentically black — both in nuanced ways, and overtly — and, importantly, it’s very, very good. It falls right in line with what we’ve come to expect from Marvel productions.
And as the even luckier ones who attended the screening poured into the Hollywood Roosevelt across the street, wrists draped in hot pink bands signaling they had entrance into the intimate after-party, the celebration continued. Directors F. Gary Gray and John Singleton and producer Kenya Barris were among the crowd feasting on turkey meatballs, mac ’n’ cheese and sweet potato fries as tunes by Mary J. Blige, Chubb Rock, Bobby Brown and Bruno Mars soundtracked the night.
A long line of well-wishers greeted Coogler — most of his family from his hometown of Oakland, California, were there — and Nyong’o at one point entertained a crowd under a tent while bopping to Cardi B’s “Bodak Yellow.”
By the time Frankie Beverly and Maze’s “Before I Let Go” dropped, the party felt every bit of a backyard boogie. Folks such as Meagan Good and her studio executive husband DeVon Franklin were among the last to trickle out as the after-party came to a close around 1:30 a.m. And even then, no one really wanted to go home and end the night.
The film will finally be released on Feb. 16, in the thick of Black History Month, and just about everyone in attendance is eager to see how well the film will be received by a large, general-interest viewing audience. But if Monday night’s premiere was any indication? Well, in the words of a Kendrick Lamar song that felt every bit a theme of the night’s festivities, “we gon be alright.”
Grammy weekend is about fun, but also about music’s ability to change the world
‘I liken these days to the Harlem Renaissance — that sort of artistic revolution.’ – Black Thought
12:59 PMBlack Thought, the legendary rapper and front man for the equally legendary Roots crew, takes a break from discussing his hometown Philadelphia Eagles. Like most people in a Gramercy Theater VIP section during the wee hours, the Super Bowl is a hot topic. But Black Thought soon starts talking about music’s Super Bowl — the Grammys, in particular, music’s role in a documenting this period of life. It’s a conversation that has been a constant theme of Grammy weekend — realizing the moment and embracing generational responsibility.
“Twenty years from now it would be dope to be able to say the arts, and not only music, but theater and visual art and literature had a renaissance,” Black Thought said as the final performances of The Roots Jam Sessions rage on a floor above. “I’d love to bring a new awareness to every medium. I liken these days to the Harlem Renaissance — that sort of artistic revolution.”
For fellow Roots brethren, multi-instrumentalist James Poyser, the magnitude of the moment for music, for him, has roots (pun intended) in the troubled yet transformative 1960s. That era turned Motown into a musical religion and made names such as James Brown, Otis Redding and Nina Simone synonymous and vital components of the black American experience. “The music that gave you hope. The music that inspired you to fight these battles. I’m hoping the same thing happens in this era,” Poyser said. “We know what’s going on with you-know-who and everything else that’s going on. We need music to feed our souls.”
Hours earlier, at the red carpet day party thrown by the American Society of Composers, Authors, and Publishers (ASCAP), the songwriting organization made up of more than 650,000 writers, composers and music publishers, the conversation was much the same. Drinks flowed like the Nile at New York’s Standard High Line as DJ D-Nice soundtracked a breathtaking view of the Hudson. Selfies nearly outnumbered hugs and laughs. But tones shifted to a more prideful, even stern demeanor when people spoke individually.
“We’re soldiers. We’re pioneers. We made it through a crazy couple of [months, years] for the world. Yet and still, music is thriving. I feel better than ever,” said ASCAP senior vice president of membership Nicole George-Middleton. “Despite it all, we persevered. We made things happen.”
Representing the full palette of emotions is important as well — that’s the message from production team/Grammy nominees The Stereotypes. Jeremy Reeves and Ray Charles McCollough II, are half of the collective that co-produced Bruno Mars’ “That’s What I Like.” They stress that stepping back and finding peace amid the turmoil is a part of life. “It’s such a serious time in history … The music we made with Bruno is like a break from the seriousness. You need the breath,” said McCollough. Reeves followed up, “Not everyone is gonna watch a suspense movie. You gotta throw some comedy in there sometimes. Not that this music is funny, but it releases those endorphins that make you feel good.”
Shortly before returning to the stage (after Big K.R.I.T.’s performance) Black Thought was still optimistic. The world, at times, is difficult to stomach. The headlines that populate phones, websites and televisions is daunting. And also draining. But for Black Thought, it’s easier to make change to than complain about the symptoms. The time is now. “Sometimes we take the day — today — for granted. It’ll be dope to look back a quarter-century from now to look back and say this was when the tipping point of the greatness that’s about to come began.”
Migos don their ‘CRWN’ in exclusive, intimate interview
As Grammy weekend heats up, the rap supergroup basks in success — while respecting the grind
10:29 AM“We the young kings of hip-hop right now,” said Quavo. He was laughing, and playful. Yet serious.
Their new album, Culture II, had hit all streaming services less than 24 hours before. The 24-track double album boasts verses and production from Drake, 2 Chainz, 21 Savage, Big Sean, Metro Boomin, Mike Dean, Kanye West and more. The group is up for two Grammys Sunday night: best rap album, 2017’s Culture, and best rap performance by a duo or group for the monster hit “Bad and Boujee.” But it made a weird kind of sense that the first time Migos (whose “Stir Fry” is the official song of NBA All-Star Weekend) spoke on Culture II, it would be in an intimate setting.
Elliott Wilson, Tidal’s editorial director of hip-hop content, revived his famed CRWN interview series Friday night with Quavo, Offset and Takeoff before an energetic crowd of just 100 people. The nearly hourlong sit-down, which included impromptu questions from the audience, spanned an array of topics: Quavo and Offset’s decisions to do separate projects (and Takeoff’s impending solo efforts), management company Quality Control’s influence on their glow-up, their “connection” to Joe Budden (“I never looked up to Joe Budden,” Quavo said, sarcastically), reuniting with Drake for the first time since “Versace,” and how the trio got both the iconic Nicki Minaj and Offset’s superstar fiancée Cardi B (who is also nominated for two “Bodak Yellow” Grammys) on “Motorsport.” “The girl power,” said Quavo, “was just so strong.”
“Yessir!” Offset followed up, drawing applause and laughter from the audience — and Offset and Cardi’s relationship of course quickly became a provocative topic. “We just stay focused on our craft. I always tell her, You gotta stay on they a—,” Set said. “To keep giving it to ’em … Cardi is a star.”
Migos is a rare superstar conglomerate in an era where groups — as opposed to solo artists — aren’t trained to thrive. They said a number of times that loyalty is what keeps them together. “And don’t get [us] wrapped up in that mumble rap bulls—-,” said Quavo. Defiantly, he followed up: “We really do this.”
It’s showtime: The Apollo welcomes the Grammys back to New York
Fat Joe, Doug E. Fresh, Elle Varner — Harlem’s iconic theater hosts an artist-studded luncheon
One doesn’t just see Harlem, New York. You feel Harlem. You smell Harlem. You vibe with Harlem. From the backseat of a Lyft, you pass the stalwarts of the community — the Duane Reade pharmacies, General Grant Houses, the countless delis — many of which will sell you a delicious “chopped cheese” sandwich — if you’re hip on how to order them. Black Panther promotional posters adorn nearly every bus stop, it seems. Even as the gentrification of the Harlem becomes more and more entrenched, the spirit of Malcolm X lives on in the creative, cultural and social melting pot where he stood as a titan on its street corners, and died as an icon.
There’s not many things more authentically Harlem than West 125th Street and Frederick Douglass Boulevard — dubbed “the cultural heartbeat of the city.” And with the Grammys back in New York for the first time since 2003, the iconic Apollo Theater hosted a luncheon in celebration. “When you do something special in New York, you feel the vibration,” said pioneering hip-hop artist Doug E. Fresh said on the red carpet. “I’m glad they decided to do this at the Apollo. It’s Harlem. I am Harlem.”
Also in attendance is five-time Grammy-nominated Fat Joe, Rotimi, current Grammy nominees The Hamiltones, Dapper Dan, the Grammy-nominated Elle Varner and many more. These creative professionals understand the Apollo’s place in black culture, and know about the legends who stood on the stage – not 50 feet from the red carpet. “I wish I would’ve seen Lauryn Hill. They booed her,” said singer and Power cast member Rotimi. “Then 10-15 years later seeing she’s one of the greatest of all time, that’s the ultimate story.”
“Aretha,” Varner said without hesitation about who she wishes she’d seen, live at the Apollo. “Absolutely.”
An Apollo institution himself, Doug E. Fresh flips the script. “Me and Stevie Wonder was here one night. That was crazy!”
The energy was one of reverence. With celebrities and Harlem luminaries scattered through the stage and carpet, the collective perspective was one of privilege and respect. “The best night in the Apollo was when Ice Cube first came here,” Fat Joe said from the stage. “We gotta protect this. This our home.”
Janet Jackson surprises ‘Essence’ award winner Missy Elliott
The 9th Annual Black Women in Music event sets off a week of Grammy festivities
10:09 AMThe vibe was old-school glamorous New York last night for the Essence 9th Annual Black Women in Music event. Missy Elliott was honored at the jam-packed Highline Ballroom, and phones were in the air as none other than Janet Jackson surprised Elliott with a truly emotional speech, and presentation of the award.
“Some rhyme, some rap, some act, some choreograph, some write hit songs, some create whole new sounds,” said Jackson. “Some women are able to make [their] mark in some of these fields. But there’s only one woman who has made her mark in all of these fields…Not only have you made your mark, but she’s done so with boldness and courage.” Love & Hip Hop empresario Mona Scott-Young also spoke on behalf of her client and friend Elliott.
The drinks were flowing as luminaries such as Grammy-nominee Rapsody, as well as the Grammy-nominated Janelle Monae, Remy Ma and T.I. toasted Elliott’s creativity and 1990s dominance. Also enjoying the evening: Epic Records president Sylvia Rhone, Atlantic Records Chairman/COO Julie Greenwald, and BET Chairman/CEO Debra Lee. “I wouldn’t wanna be any other color but black,” Missy Elliott said, award in hand. “There’s something about our DNA that can’t be taught, it comes from a different place.”
The Plug, ‘Awards Season: Jemele Hill’ (Episode 7): Who’s the Best of the Best?
The co-host of ‘SC6’ talks about meeting Issa Rae — and Hill also talks about Tom Brady’s dominance
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It was only a matter of time before this happened: Chiney, Kayla, Tes, Terrika and I nabbed none other than friend-of-the-family, SC6‘s Jemele Hill. We wasted no time getting Jemele to spill the beans about she and Michael Smith’s time at the recent NAACP Awards. While there, Hill met Issa Rae as well as Congresswoman Maxine Waters. On The Plug, we also got Jemele to weigh-in on the NFL’s run-up to Super Bowl, and our NBA mid-season awards…with a twist. Also on deck? The Houston Rockets’ dominance, Kawhi Leonard’s supposed San Antonio angst, and this weekend’s Grammys. As always, the support is absolutely appreciated, my people. Continue to tell your circle to to subscribe to The Plug on the ESPN app! Until next week…