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Movie Review: ‘Civil War’ Movie Portrays Consequences of Political Division

By Gregory Moore
“Civil War” was released on April 12, directed by writer-director Alex Garland, starring Kirsten Dunst, Wagner Moura, Steven McKinley Henderson, and Cailee Spaeny, and is 1:49 in duration.
The highly acclaimed movie, “Civil War,” set in modern times, tells the backstory of four reporters from three different generations going on a dangerous and risky road trip to cover the military conflict taking place in the US after two states secede from the United States.  Little is said in the movie about how the conflict started or why. All we know from the movie is that a “Western Alliance’’ between Texas and California have seceded from the Union and are launching a modern-day military march to the nation’s capitol in Washington, D.C.
The first few minutes of the movie mark the only time we hear a full explanation of the conflict which comes through sporadic breaking news reports on television. On the journey between New York and Washington, we see bombed-out cities, abandoned cars on empty highways, and what appears to be the complete collapse of the U.S. economy. There are periodic glances of a dystopian population seeking to survive, hunkered down with their shotguns, or seeking refuge in disaster relief camps. It’s a familiar picture frame that we see every day on the evening news. However, in this instance, instead of Gaza or the Ukrainian war-torn landscape, it is the cities and towns of the United States that are displayed in haunting detail.
The bulk of the movie is centered around the personal dynamics between three photojournalists and an elderly sage Black reporter seeking to scoop the first pictures of the Western Alliances’ seizure of Washington, D.C.
Presented in a fast-paced one hour and 49 minutes, “Civil War” follows the adventures of four main characters led by Lee Smith, an aging, trailblazing journalist portrayed by actress Kirsten Dunst; Sammy, a seasoned veteran reporter portrayed by veteran stage actor Stephen McKinley Henderson; Jessie Cullen, a very eager student photojournalist played by up-and-coming actress Caliee Spaeny; and Joel, the South American photojournalist portrayed by Brazilian actor Wagner Moura
Seeing the White House under fierce military siege was jarring and a reminder that the conflict, for whatever reason, had led to this level of carnage. Eventually, the journalists were embedded with the rebel forces of the Western Alliance as they made their way closer to the U.S. Capitol. Their deadly encounters with the warring factions along the way would reveal their personal journeys as photojournalists covering past foreign U.S. wars.
The character that resonated the most was Sammy, movingly portrayed by Henderson, who carried with his large frame a wealth of knowledge and experience that he repeatedly tried to impart to the younger, adventuristic journalists. Despite his poor health, Sammy takes up with the three younger journalists and helps guide them, and rescue them, through some of the more dangerous encounters in the movie.
“Civil War,” despite its title, directs the attention of the moviegoer, not so much on the deadly conflict itself, but on the coverage of it by the four reporters and the desperate citizenry they encounter along the way. Getting “the photo” of the graphic carnage and “the interview” with the beleaguered president under siege becomes the most important goal of the group – not saving the country from complete collapse.
The full-scale modern-day military seizure of the U.S. Capitol was depicted in the final minutes of the movie with still no clear reason why it had come to this and who or what was driving the rebellion. Ironically, the succession that reportedly started thousands of miles away from Washington,D.C., was now at its doorstep seeking its complete overthrow. The team eventually ended up embedded with the rebel forces as they marched toward the nation’s capital. It also became increasingly clear as the movie progressed which side of the conflict the media was on.
“Civil War” is a stark reminder of the inherent tragedy of war between the states and makes a strong case for why we should always aim for diplomacy, reconciliation, and peace over division, retribution, and pestilence.

August Wilson’s “Jitney” Delivers a Powerful Theatrical Experience

By Vince Robinson
Presented by Lakewood’s Beck Center for the Arts, August Wilson’s “Jitney” is a captivating portrayal of life in Pittsburgh’s Hill District in 1970, brought to life by local actors under the direction of Cleveland’s Jimmie Woody. The play premiered on April 5.
August Wilson is one of America’s most cherished African American playwrights, renowned for his poignant narratives that intricately depict the complexities of Black life. Set against the backdrop of a makeshift taxi company, “Jitney” follows the struggles of a group of Black men as they strive to earn a livelihood. The owner, Jim Becker, portrayed by the seasoned Karamu Alum Daryl Tatum (known for “Fences”), finds his business in jeopardy as his son Booster (played by Patrick D. Warner) returns home after a 20-year prison sentence for murder.
The ensemble cast skillfully navigates the personal tribulations of their characters amidst the bustling activity inherent to their clandestine operation. Against the backdrop of a rotary dial telephone atop a prominent wooden desk, the tales of triumph and tragedy unfold, culminating in an unexpected finale.
Tatum’s portrayal of the steadfast and community-minded Becker anchors the production, while Aamar-Malik Culbreath shines in his debut as the resilient Youngblood, a Vietnam War veteran striving to rebuild his life. Bryant Lyles delivers a compelling performance as Turnbo, juxtaposed against Thailand Hodge’s portrayal of Rena, Youngblood’s conflicted partner.
Royce Ruffin embodies the suave yet troubled Fielding, whose penchant for alcoholism contrasts with his impeccably styled wardrobe. Kym Williams captivates as Shealy, a slick numbers runner who conducts business amidst the chaos of the office. Pete Robinson brings depth to the role of Doub, providing a steady presence amid the conflicts between Turnbo and Youngblood.
Greg White rounds out the ensemble as Philmore, a patron of the taxi service whose sporadic appearances offer insights into the community dynamics. Warner’s portrayal of Booster, haunted by past transgressions, catalyzes the play’s climactic events, showcasing the rising talent of this promising actor.
“Jitney” captivates audiences with its dynamic pacing and compelling narrative underscored by a meticulously crafted set. Director Jimmie Woody’s curated soundtrack, featuring hits from the 70s, enhances the immersive experience, inviting viewers to journey through moments of tension and joy. As the final curtain falls, audiences are left with a profound sense of gratitude for the theater’s storytelling, providing both a glimpse into history and a reflection on the Black experience in America.
The production runs through May 5 in the Studio Theater of Beck Center for the Arts.
August Wilson’s legacy as one of America’s foremost African American playwrights is beautifully upheld in this remarkable performance.
Vince Robinson, based in Cleveland, Ohio, is an artist, broadcaster, photographer, and journalist.

Travel Beyond Without Leaving Cleveland

By Vince Robinson
The Cleveland Jazz Orchestra concluded its 39th season with Bonafide Genius, featuring international bassist, composer, and vocalist Richard Bona, on April 26, at the Maltz Performing Arts Center.
Born into a musical family in a village in Cameroon Central Africa, Richard Bona was surrounded by music from a young age. Recognized for his talent early on, he mastered various instruments, built his own, and taught himself music notation. After spending years honing his craft in Paris, Bona settled in New York where he resided. While his style drew comparisons to Jaco Pastorius, one of his influences, Bona’s sound was uniquely his own.
The Grammy Award-winning musician collaborated with musical legends like Herbie Hancock, Pat Metheny, and Sting, infusing jazz, world music, and Afropop into his performances.
“I didn’t want to play for bass players – I wanted to play for truck drivers! I wanted people to dance!” Bona once remarked, expressing his desire to reach diverse audiences.
The concert promised and gave an unforgettable evening of live music, transporting attendees far beyond Cleveland.
The Cleveland Jazz Orchestra has been Northeast Ohio’s premier jazz voice since 1985. Led by award-winning composer and trombonist Paul Ferguson, the CJO showcased jazz in its historical and contemporary forms, featuring a stellar lineup of jazz luminaries, arrangers, composers, and educators. Each CJO concert delivered “the best jazz you’ve ever heard and the best jazz you’ve never heard.” Through original music and innovative educational outreach, the CJO nurtured young musicians and enriched the region with unique cultural experiences.
Visit www.clevelandjazz.org for more information.

Music Made Miracles Happen

Lede: Music Made Miracles Happen
Writer: Vince Robinson
Publication: The Cleveland Observer
Date: September 19, 2023

The Pittsburgh International Jazz Festival presented by Citizens brought musical magic over a four-day stretch last weekend. The annual event is powered by the August Wilson African American Cultural Center and was curated by Orlando Watson, a Clevelander who left a post in the Tri-C Jazzfest, spread his wings and landed in the city of three rivers with a partial mission of bringing the two cities together with culture as the common denominator.

Performances in the first day included Madison McFerrin and Nigel Hall, followed by Friday’s lineup of Ledisi, Cleveland’s Hubb’s Groove, Jonathan Barber and Selecta, a DJ with an amazing repertoire of musical mixes. Hubb’s Groove brought it that night, according to Watson, lighting up the AWAACC, embellishing a stellar performance by Ledisi.

On Saturday and Sunday, the festival moved to Highmark Stadium, a soccer field with a majestic view of the Pittsburgh skyline, replete with river, bridges, train tracks and skyscrapers. The soccer field held three stages that hosted the acts sequentially, requiring minimal translocation by patrons who quickly caught on to moving to each stage.

Attendance-wise, the PIJF pales in comparison to larger festivals in Detroit and Chicago. Highmark has an intimacy that serves it well. On Saturday, festival goers were treated to smooth sounds from Bob James, Howie Alexander and Christie Dashiell, before this writer arrived. The Spanish Harlem Orchestra delivered a high-powered dose of Latin music in the late afternoon sun.

Then it was time for pianist Orrin Evans come with both barrels blazing as he fired up bassist Robert Hurst, drummer Mark Whitfield II, trumpeter Nicholas Payton and saxophonist/flautist Gary Thomas in real deal jazz.

Grammy Award-winning P.J. Morton punctuated his predecessor’s performance with a high-spirited gallop through some of his own hits and those of others that sparkled in the early evening starlight, making way for headliners Jimmy Jam and Terry Lewis.

After being presented with an award by the festival, Jam and Lewis turned up the audience with a plethora of hits by many of the artists they produced, including Cherelle, the S.O.S. Band, Ann Nesby of Sounds of Blackness, Kevin Ford (as Alexander O’Neal), and Korea’s Crystal Kay (as Janet Jackson). The stage was set as a living room. As they plowed through the hits, the singers brought the songs to life over tracks being played in the background for an audience that was largely unaware (or didn’t seem to care).
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On Sunday, the prospect of rain dampened attendance, but the tried and true were treated to masterful performances by Chelsea Baratz, Gerald Albright, Jose James, Nicholas Payton, Kurt Elling, Keyon Harrold and Gregory Porter (a perennial participant in the festival).

Particularly noteworthy was the set by James and his interpretation of songs by Erykah Badu. The Minnesota native was sporting a fitted NY baseball cap he assured fans was not a Yankees cap, then proceeded to give Erykah her propers musically.

Nicholas Payton manned his Fender Rhodes electric piano, a Hohner Clavinet and Hammond B-3 on top of the added spice of his trumpet strategically hanging next to him. His compositions took listeners down an etherial musical path that primed them for the hugely energetic Kurt Elling’s Superblue with Charlie Hunter, a musical force in his own right. Hunter doubled as bassist and guitarist with a six-string bass he manages to play bass and “guitar” licks simultaneously as Elling bounces in a sort of hyper-animation for a 55 year-old vocalist.

Keyon Harrold merged jazz, hip hop and R&B, presenting songstress Lulu Fresh, the iconic Pharoahe Monch and his own brand of trumpet virtuosity that had patrons rocking hard.

The evening wound to a close with Gregory Porter’s deeply resonant velvet vocal reverberating against the bluff that backgrounds the stadium, bringing the miracle full circle. The rain managed to wait until the last notes were sung, giving the faithful a just reward for their perseverance and a fitting end to a beautiful four days in Pittsburgh, Pennsylvania.

Pianist Orrin Evans with bassist Robert Hurst, trumpeter Nicholas Payton, saxophonist Gary Thomas and drummer Mark Whitfield II

Singer Ann Nesby of the Sounds of Blackness performs with Jimmy Jam, Terry Lewis, the SOS Band, Cherelle and others.

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Mastery: Terrance Spivey

By Terri Mason

It has been said that mastery is a true “gem” that all humans have in common; a natural gift that brings equality to subconscious fruition. As a little boy, Terrance Spivey made an innocent yet predestined decision to live with his great-grandmother while his other siblings stayed with their mom. This was a decision that would later give him a life of artistic freedom and theatrical mastery.

Although a native of Kountze, Texas, Terrance’s dreams, visions, and goals led him to the heart of Cleveland, which became his home. Terrance graduated from Prairie View A&M University, then resided in New York as an actor and studied at William Esper Studios. Terrance appeared in “The Fruits of Miss Mourning” at the National Black Theatre, “Waiting for Lefty” at Michael Chekhov Studio, and “Stringbean” at Lincoln Center Lab. Terrance later came back to Cleveland to be Artistic Director for the historic Karamu House, the oldest Black theater in the country. At Karamu, Terrance programmed over 70 productions and garnered many awards leading to 2013, when Karamu achieved the Repertory Company of The Year award by the Audience Development Committee, Inc. (AUDELCO), an organization that acknowledges and honors Black Theatre and its artists in New York City.

Photo credit: T. Mason

Terrance directed a plethora of plays and was appointed to direct “Objectively/Reasonable: A Community Response To The Shooting of Tamir Rice” in 2014, a play produced by Cleveland’s Playwrights Local. The cast was then invited to perform excerpts for NPR’s Going There with Michel Martin. During the pandemic, Terrance directed the film short, “Resurrection of the Last Black Man in 08:46.” This received numerous accolades at film festivals, including the 2020 Toronto Black Festival and the 2021 Black Panther Film Festival.

Currently, Terrance is the founding director of Powerful Long Ladder. Under this company, he has directed James Baldwin’s “The Amen Corner” and “Lady Day” at Emerson’s Bar & Grill, both in collaboration with Holy Trinity Culture Arts Center. He also directed the urban drama, “Thiz Girlz Lyfe” in collaboration with the Playwrights Local.

Terrace’s list is ongoing and limitless, which clarifies the mastery of his inner gem. He has expertly mastered it and is still defining it.

Hip Hop at 50: Holla If Ya Hear Me

Hip Hop at 50: Holla If Ya Hear Me

Rock and Roll Hall of Fame, 1100 East 9th Street, Cleveland, OH, 44114  (map)

Where Is Evenfall?

By Melvin Twigg Mason

Director Dustin Lee

The Atlas Lakeshore Cinema in Euclid was the host of the theatrical premiere of Dustin Lee’s epic movie, “Evenfall.” The film is a post-apocalyptic offering from his label, Maple Films Ltd., with help from Amos Productions and A Last Resort Productions. Written, produced, directed, shot, and edited by Lee, a Cleveland native and graduate of Kent State University, this indie film is the story of one mother’s efforts to find and retrieve her abducted son from the hands of a quasi-governmental organization known simply as “The Hands.”

Set in the year 2071, after several world wars, uprisings, and pandemics, widowed mom Claire is desperately trying to establish a safe homestead for herself and her son, David. But an agent working for The Hands decides David is needed elsewhere for the continued existence of humanity. What ensues is a search and struggle between the fierce expectations of a mother and the needs of a place called “Evenfall!”

Montgomery Jr, McLeod, and Carleton

Sarah Carleton plays Claire, a hard-nosed mom fighting bandits and bear traps in her quest to survive and retrieve her son. Unfortunately, because her character is predominantly angry & anxious in this overcast world, Sarah’s performance is much less nuanced than other characters in this film. The lovable and sometimes heroic Reggie is well-played by Morgan McLeod. Rachel Anderson is the agent (“Trisha Forster”) whom you’re not always sure whether to love or hate. And Rick Montgomery Jr. as Garrett the backwoodsman brings the warmth and comic relief necessary to complete the audience’s three-hour emotional rollercoaster ride.

What’s remarkable about this independent project is that despite Evenfall’s $33,000 budget, its quality rises to the level of other productions with much higher budgets, such as AMC’s “The Walking Dead,” SyFy Channel’s “Z Nation,” or ABCs “Revolution,” thanks in part to the wonderfully plotted music score provided by 24-year-old Jake Weston, also a former Cleveland native. Once you get past the slow-moving opening scene (say, 14 minutes in), the action & pacing of the story pick up dramatically and keep your attention all the way to its heart-pounding and heartwarming conclusion. The choice of drab costuming for the characters provides a stark contrast to the glimmers of beauty & color that Lee found at various film locations like the Hoover Dam in Nevada, Lake Mead, and the Cuyahoga Valley. The lighting (Scott Morrison, Jon Jivan), sound (Chris Mack), and makeup are all well-balanced in this work of love. Some stock footage and technical consultation were even provided by technicians from the NASA-Glenn Research Center here in Brookpark.

Though it actually only took 30 working days to film (over a 3-year period), “Evenfall” is a must-see waiting for backers to discover and distribute it. Until then, you can find the seven podcast episodes, which combine to make the feature-length film, on YouTube.

Business inquiries:
maplefilmslimited@gmail.com
www.facebook.com/maplefilms

#twiggworks

Sundays at Sylk’s

By Nicole D. Miller

Cleveland once again knocked it out of the park by attracting Chicago native Sam Sylk. A true fan of the then-known “Indians” baseball team (now The Guardians), he reports that the city’s successful sports team is one of its many assets. After solidifying his spot at radio station Z 107.9, he hunkered down, digging deep roots into the small business and urban cuisine sectors. Several food-based establishments, such as Doc’s Fish and various Sam Sylk’s Chicken & Fish locations, can be enjoyed throughout the city, courtesy of Mr. Sylk. But it wasn’t until the Covid-19 pandemic hit in 2020 that another opportunity for expansion arose. While many were reeling from job losses and financial setbacks, Sam spearheaded an endeavor that breathed life back into the city’s nightlife. His vision to merge a live audience with good music, good food, and lots of laughs skyrocketed sales at his newly opened lounge, Sylk’s.

“I call it the ‘Grown Folks Playground’,” says Sam when describing the ambiance of the smooth, cozy venue. “I wanted to create a place where grown folks could come and just be, you know, grown.”

One of the vital needs of any community is to find joy amid adversity. This is especially true in urban sectors where poverty, crime rates, and racism slaughter the underprivileged daily. The Bureau of Justice Statistics confirms this in the 2021 National Crime Victimization Survey. This survey reports the chilling increase in crime in urban areas compared to the unchanged rates in suburban ones. The need for laughter was even more dire, as mental health stats nosedived and depression stats bloomed during the pandemic. According to the CDC, in the first half of 2020, over 40% of respondents reported symptoms of anxiety or depressive disorder associated with Covid-19. But knowing that laughter serves as a great buffer to grief, Sam implemented comedy shows as a tool for healing. It wasn’t long before he partnered with comedic giant Big Rich Greene, who produces and presents a seven times sold-out phenomenon at Sylk’s called “Funny Sundays.”

Unlike many shows that present more mainstream comics from other cities, “Funny Sundays” intentionally showcases local talent, thereby also putting money back into the pockets of northeast Ohioans.

“Cleveland has the makings of becoming a mecca for other artists and is on its way,” says Big Rich. He believes the city is busting at the seams with talent but needs more platforms to highlight it.

Sylk’s platform takes a whack at the outdated belief that one man’s gain is another man’s loss. Today, comedians like Big Rich share the stage of opportunity with up-and-coming artists. Tyrone Gaines, who headlined in January for “Funny Sundays,” is one such recipient of this generosity. Gaines adequately dominated a stage previously graced by heavy hitters Capone, Dominique, Kenny Howell, and Damon Williams, just to name a few.

“Sylk’s is the next Black Improv,” Gaines adamantly stated. “There’s no other comedy spot, with that level of notoriety, that exposes local artists to success.” Mr. Sylk confirms Gaine’s observation when divulging that Sylk’s has even served as a sort of “gateway entry” into Cleveland’s beloved improv scene.

So, what keeps the “Funny Sunday” show packed? In short, the comics do. Big Rich empowers performers to sell tickets and promote, and they bring the audience. Now that it’s been a consistent happening, the show has taken on a life of its own. One Sunday, a reported 25 walk-ins (vs pre-sold tickets) showed up looking for laughs.

“Sylk’s is a beacon for Black comedy,” Big Rich advises. That beacon starkly shone its light by producing income for the hardworking comics of Cleveland, all while inducing laughs from each attendee.

Sam accredits his ability to succeed, when the odds seem stacked against him, to his faith. When larger facilities couldn’t bring in revenue, he capitalized on the intimacy of his lounge, making him a key player in the comedy hub of Cleveland.

More laughs are in store at Sylk’s, 21300 Libby Rd in Maple Hts. “Funny Sundays” will run at least once a month indefinitely. Tickets are available on Eventbrite.

Add’l source:

City Journal: https://www.city-journal.org/violent-crime-in-cities-on-the-rise#:~:text=In%202021%2C%20however%2C%20the%20violent,areas%2C%20per%201%2C000%20persons).

Photo Credit: Freddie Bryant

Black Programs Streaming this Month

By Margaret Adams

Here’s a list of some programs streaming in February for Black History Month:

Cleveland WVIZ Public TV

  • Roberta Flack
  • Zora Neal Hurston
  • Block Party
  • Fight The Power (How Hip Hop Changed the World)

Hulu

  • 1619 Project
  • The Help
  • Abbott Elementary
  • I Am Not Your Negro

Netflix

  • Descendant
  • 13th
  • Amend
  • Who We Are

Showtime

  • Stand (The Chris Jackson/Mahmoud Abdul Rauf Story)

HBO Max/CNN

  • Dionne Warwick Don’t Make Me Over

Let The Cleveland Observer know what you are watching for Black History Month!

The World’s Biggest Selling Album of all Time

Staff Writer

Michael Jackson’s record album Thriller turns 40 years old on Nov. 30. This masterpiece has affected the world and changed Black culture forever.

When the album was first released, sales were not that great—but Michael had an idea to get them where they needed to be and it worked.

In the early 1980s, MTV had teenagers and young adults obsessed similar to TikTok in 2022. However, you rarely saw Black artists on the channel at that time. Knowing this, Michael Jackson created a top-quality music video called “Billie Jean.” The executives had no choice but to show it on MTV.

Michael Jackson created a second video, “Beat It,” which also premiered on MTV.  If MTV was playing it, the radio was playing it and sales of the Thriller album were going up.

Adding to Jackson’s repertoire, with the “Thriller” album came the third video—and this one had to be better than the first two.

The 14-minute “Thriller” music video had a budget of $1 billion, which brought a whole new meaning and format to the entertainment industry.

The storyline, characters, wardrobes, choreography, music, and singing accentuated Jackson’s supernatural persona. Viewers could not look away for fear of missing something.

The “Thriller” album won eight Grammys, and according to Wikipedia, has become the best-selling album in history

Happy birthday, “Thriller!”