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Kevin Kelley: Kitchen + Kocktails Founder is Building an Empire

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K + K Old Fashioned. Photo: Nsenga Burton/Kitchen + Kocktails by Kevin Kelley (ATL)
Kevin Kelley, founder of Kitchen + Kocktails by Kevin Kelley. (Photo: Google Images)

Kevin Kelley is making it happen. The lawyer turner restauranteur took a chance on himself and his grandmother’s cooking and has had amazing success, opening Kitchen + Kocktails by Kevin Kelley in Dallas, Chicago, DC, Charlotte and most recently Atlanta.

Kelley, an attorney for 22 years, transitioned into hospitality six years ago, creating his own restaurant brand, Kitchen + Kocktails by Kevin Kelley. A lover of great food., Kelley credits his late grandmother with teaching him how to cook and sparking his interest in hospitality. “I want people to feel the same way with me as I felt at my grandmother’s house,” he says, “I want them to feel fantastic in my restaurants like I did in her home,” he adds.  Kelley’s desire to replicate that experience for other people, inspired him to enter the hospitality industry at a difficult time. The serial entrepreneur launched his first restaurant in Dallas on August 20, 2020, during the pandemic. One could surmise that a lawyer launching a restaurant during the pandemic could be a recipe for disaster. Instead, based on Kelley’s laser focus on food quality and legal expertise, opening up his first Kitchen + Kocktails by Kevin Kelley turned out to be a recipe for success.

Prior to opening his first restaurant, Kelley insisted on making sure the food he was serving was stellar. “Before I sold one piece of chicken, my chefs created food for me every day for six months, and I tasted and tasted and tasted different types of food. I tasted drinks several times too, months on end, until I could ensure that I had a product that I personally believed in,” Kelley stated.

The restauranteur used his legal prowess to ensure that every detail was perfect before launch. “As an attorney, I understood that every single thing matters. I’ve had to put so much detail and data into being successful as an attorney; I knew that if I brought that same level of care to hospitality, I could make a difference in this market.” And make a difference is what he did, launching during a pandemic and “consistently packing the restaurant,” in spite of the risk.

Kitchen+Kocktails by Kevin Kelley. (Photo: Kitchen + Kocktails)

Fast-forward five years later and Kelley has opened Kitchen + Kocktails by Kevin Kelley in multiple locations including Chicago, Dallas, DC, Charlotte and now Atlanta. Kelley believes his attention to detail and the customer experience is what sets him apart from competitors. He talks about infusing Black culture into his soul food and being particular about what he offers customers from a brand perspective. “Growing up, we fried fish on Fridays, so we did catfish and white bread this past Friday.  Instead of Tabasco on the tables, we have Louisiana hot sauce. It’s the details that matter.”

It is this attention to detail that has led to the exponential growth of his restaurants in a relatively short period of time. Kitchen + Kocktails serves hundreds of thousands of people each year. The restaurants are set to hit 1 million people served in 2025. Kelley believes the success is because of the trust he has built up with customers, since day one, opening during a pandemic. “They [customers]trust us to give them a good experience. I don’t want to let them down each day that we’re open,” says Kelley. “It’s not just the quality of the food; it’s the total experience.”

Kelley wants customers to feel at home when they come in because that can make the difference between them having a good day or a bad one. “We encounter people who are happy, people who are sad. We have people who are celebrating anniversaries, birthdays, and other dates. We have people that are depressed. We have people that are suicidal, just by the number of people that we encounter,” Kelley shares. “If we can affect some of those people by them walking into our restaurant and being greeted with, welcome home, then maybe that’s the start of changing their day. And so, we don’t take that for granted. We want to be more than food. We want to be that experience that makes people happy, at least while they’re with us,” he adds.

K + K Old Fashioned. Photo: Nsenga Burton/Kitchen + Kocktails by Kevin Kelley (ATL)

Kelley is not only an attorney and restauranteur – he’s a family man and the business is a family affair. Everyone including his wife Deseri and mother work for the company. His first cousin is his COO and his frat brothers (Kappa Alpha Psi Fraternity, Inc.), who he has known for over 30 years, are executives in his company.  Kelley and Deseri sent their two sons to college to learn entrepreneurship and business so they can join the company one day or start their own companies.  An energetic and enthusiastic Kelley understands what’s most important and that’s, “Showing your family, especially your children, they are part of the dream and the journey. “

Kelley, who could easily continue to live the life he envisions with the restaurants he has now, has dreams to open more restaurants that offer a high-quality dining experience, inspired by his grandmother’s cooking.  Kelley shows no signs of slowing down. He plans to take his concept to five new locations next year, including one in Times Square (NYC). If Kelley has his way, his family will continue to thrive, his businesses will continue to grow and his customers will continue to be well-fed, well-served and feel at home at Kitchen + Kocktails by Kevin Kelley.

To learn more about Kitchen + Kocktails by Kevin Kelley, visit here

This article was written by Nsenga K. Burton, Ph.D., founder and editor-in-chief of The Burton Wire. Follow Nsenga on IG @Ntellectual or @The Burton Wire. 

Nancy Johnson: Acclaimed Author’s New Book ‘People of Means’ is Here

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Acclaimed author Nancy Johnson’s new book, People of Means, is now available. (Harper Collins)

Acclaimed author Nancy Johnson (The Kindest Lie) is back with her highly-anticipated second novel, People of Means, a driving novel about a mother and daughter each seeking justice and following their dreams in 1960s Nashville and 1990s Chicago.

SYNOPSIS
Two women. Two pivotal moments. One dream for justice and equality.

In the fall of 1959, Freda Gilroy arrives on the campus of Fisk University full of hope, carrying a suitcase and the voice of her father telling her she’s part of a family legacy of greatness. Soon, the ugliness of the Jim Crow South intrudes, and she’s thrust into a movement for social change. Freda is reluctant to get involved, torn between a soon-to-be doctor her parents approve of and an audacious young man willing to risk it all in the name of justice. Freda finds herself caught between two worlds, and two loves, and must decide how much she’s willing to sacrifice for the advancement of her people.

In 1992 Chicago, Freda’s daughter Tulip is an ambitious PR professional on track for an exciting career, if workplace politics and racial microaggressions don’t get in her way. But with the ruling in the Rodney King trial weighing heavily on her, Tulip feels called to action. When she makes an irreversible professional misstep as she seeks to uplift her community, she must decide, just like her mother had three decades prior, what she’s willing to risk in the name of justice and equality.
End of Synopsis

A native of Chicago’s South Side, Nancy Johnson worked for more than a decade as an Emmy-nominated, award-winning television journalist at CBS and ABC affiliates nationwide. A graduate of Northwestern University and the University of North Carolina at Chapel Hill, she lives in downtown Chicago and manages brand communications for a large nonprofit. Nancy’s first book, The Kindest Lie, a deep-dive into race, family and the American Dream, was a New York Times Editors’ Choice selection and an Indie Next pick.

Nancy’s new novel, People of Means, is ripe for book club reading lists and is available where books are sold.

Read more about People of Means here.

This post was written by Nsenga K. Burton, Ph.D., founder & editor-in-chief of The Burton Wire. Follow Nsenga on IG @Ntellectual. 

Follow The Burton Wire on IG or Facebook @TheBurtonWire. 

Proud Boys Lose Trademark to Historic Black D.C. Church

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The Historic Metropolitan African Methodist Episcopal Church. (Google Images)

The internet is in a tizzy over a recent Feb 6 ruling against white supremacist group and Trump supporters, “The Proud Boys,” awarding their trademark to Metropolitan African Methodist Episcopal Church, a historic Black church in Washington, DC for failure to pay a $2.8 million judgment for vandalizing the church during pro-Trump rallies in December of 2020.

According to NPR, “D.C. Superior Court Judge Tanya Jones Bosier ordered that all interests in Proud Boys International’s trademarked name, “Proud Boys,” be given to Metropolitan African Methodist Episcopal Church. And no one can sell, transfer, license or dispose of the Proud Boys’ trademarked name without permission from the church or the court, according to the judgment.”

The church, which traces its origins to 1838, is on the National Register of Historic Places. It has hosted many prominent leaders, including activists Ida B. Wells and Booker T. Washington and abolitionist Frederick Douglass worshiped there.

Rev. William H. Lamar IV has called for an end to hate.

Read this entire story at NPR.

This post was curated by Nsenga K. Burton, Ph.D., founder & editor-in-chief of The Burton Wire. Follow Nsenga on IG @Ntellectual. 

Follow The Burton Wire on IG or Facebook @TheBurtonWire. 

One of Them Days: A Cult Classic is Born

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Photo: TriStar/HooRae Media

If Friday and a bolder and blacker version of Thelma and Louise collided, One of Them Days is the offspring. A buddy film, One of Them Days centers around Dreux (Keke Palmer), an around-the way girl with the smarts, work ethic, intelligence and plan to make it out of the hood. Played brilliantly by Palmer, Dreux serves up a side of happiness and attentiveness customers need and deserve at a local diner while plotting her rise to the top. Dreux’s roommate Alyssa, played by music phenom SZA, is the opposite — a creative soul who is moved by energy and spirit, while stepping to the beat of her own drum. Naïve and always seeing the positives in life, Alyssa makes a major mistake by giving their rent money to her slacker bae Keyshawn (Joshua David Neal), who is bringing Big D energy to her life, but little else. Thus, the women must figure out a way to get the rent money to a tyrannical landlord more concerned with gentrifying the building than keeping the tenants who have kept the building in play over the years.

Written by Syreeta Singleton (Insecure, Rap Shit, Central Park), One of Them Days does a great job of weaving important issues in Black communities like gentrification, predatory lending and barriers to upward mobility, into a story about a dynamic Black girl, trying to overcome her fate, one obstacle at a time. The film delivers strong performances by Palmer, SZA and Kat Williams, who plays Lucky, the neighborhood griot, giving voice to the significance and value of the unhoused. Singleton delves into the lives of the characters, showing what second chances look like, what it takes to make it out of the hood (sponsorship) and how often folks literally can’t get out of their way.

The film moves along at breakneck speed following the antics and crazy situations the roomies face while trying to raise this rent money, make it to a life-changing interview, and pay the no-nonsense, anti-Black American, pro-White American African landlord Uche (Rizi Tumane). They run into other characters along the way including Berniece the Bully (Aziza Scott), Ruby (Janelle James), the stripper-turned-plasma assistant, Kathy (Kayla Monterroso Mejia) the disrespectful predatory lender, a mentally unstable buyer (Lil Rel Howery) and King Lolo (Amin Joseph), a violent and raging O.G. They also encounter Shayla (Gabrielle Dennis), the around-the-way girl who made good, Mama Ruth (Vanessa Bell Calloway), Dreux’s entrepreneurial mother and Maniac (Patrick Cage), a former bad boy who is smitten with Dreux.  One of the film’s strengths is its ability to weave humor into moments of despair.

Directed by music video director turned television and film director Lawrence Lamont, One of Them Days is visually stunning, capturing the beauty of Los Angeles and showing the rich tapestry created by the Jungle, Baldwin Hills, Ladera Heights, Inglewood and other historically Black neighborhoods that have been historically underrepresented in film. Produced by Issa Rae, James Lopez and Keke Palmer, among others, One of Them Days tosses respectability politics out of the window capturing the complexity, creativity and resiliency of the working class. Through conversation and intertextual references, Lamont brings, “The Jungle” to life and filmically inserts it into the community of Black Los Angeles. The film’s pacing, which slows down just enough so audiences can learn more about the characters, helps viewers connect with their struggles and triumphs.

Featuring SZA, Saweetie, Tony K, Reem, Doja Cat, Latto, Offset, Ice Cube and more, the film’s soundtrack is infectious underscoring the action and adding to the good time appeal of the film.  Viewers will be bumping this soundtrack in cars, AirPods and Beats for years to come.

One of Them Days is a heartfelt film that captures the essence of life’s unpredictability through its rich character development and poignant storytelling. It invites audiences to reflect on their own lives and “one of them days” we all experience in some way or another. With strong performances, including SZA, beautiful cinematography, and a well-crafted narrative, One of Them Days is a must-see film that is destined for cult classic status. A thoughtful exploration of the human condition, One of Them Days is the antidote to the rough days ahead and the comedy film viewers didn’t know they needed.

One of Them Days opens in theaters today. Check local listings for showtimes.

This review was written by Nsenga K. Burton, Ph.D., founder and editor-in-chief of The Burton Wire. Dr. Burton is an independent film and media scholar. Follow Nsenga on IG @Ntellectual or The Burton Wire. 

Krishana Polite: Former NC Lieutenant Governor’s Chief of Staff Shot in Neck

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Krishana Polite (Facebook)
Krishana Polite (Facebook)

The internet is waking up to a story that happened on New Year’s Eve, which many are saying should have been covered by mainstream media but was not.

Krishana Polite, the former Chief of Staff for Lieutenant Governor Mark Robinson is recovering after being shot while leaving a church after a New Year’s Eve service. Polite, who was leaving church with her mother on New Year’s Eve, was shot in the neck. Police believe she was hit by a bullet that came down from people celebrating the New Year by shooting bullets in the air. Robinson was high-profile during the most recent elections due to a bevy of scandals. Polite is the first Black woman in North Carolina to serve as chief-of-staff for a gubernatorial campaign.

UNC.org reports, “The incident hadn’t garnered much attention until a conservative advocacy group, The Frederick Douglass Foundation, issued a news release this week.

The group called on police to provide more information about their investigation. And its leader, Immanuel Jarvis, questioned why “this act of violence against a trailblazing Black woman has been met with a deafening silence” in local media.”

Polite was elevated to Robinson’s Chief-of-Staff after his staff quit following reports of the politician making racist comments on porn sites.

This story is developing.

Read more at WUNC.

Follow The Burton Wire on Instagram or Facebook. Follow Nsenga on Instagram @Ntellectual.

Fannie Lou Hamer: Honored Posthumously with Nation’s Highest Civilian Honor

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Civil rights icon Fannie Lou Hamer. (Photo: Google Images)
Civil rights icon Fannie Lou Hamer. (Photo: Google Images)

President Joseph R. Biden awarded the Presidential Medal of Freedom to 19 recipients Saturday January 4. Of the 19 people honored, civil rights icon Mrs. Fannie Lou Hamer was honored posthumously. The Presidential Medal of Freedom is the nation’s highest civilian honor, presented to individuals who have made especially meritorious contributions to the security or national interests of the United States, to world peace, or to cultural or other significant public or private endeavors.

Hamer received the award posthumously because she “transformed the struggle for racial justice in America. As a founder of the Mississippi Freedom Democratic Party, she challenged the exclusion of Black voices in the political system and laid the groundwork for the 1965 Voting Rights Act.” She is the 11th Mississippian to receive the honor.

Honorees included legendary basketball player, philanthropist and entrepreneur, Earvin “Magic” Johnson. Johnson “led the Los Angeles Lakers to five championships. Off the court, he is a successful entrepreneur and philanthropist who supports underserved communities through his Magic Johnson Foundation.”

Legendary actor and recently ordained minister Denzel Washington also received the selective award. Washington, an actor, director, and producer has won two Academy Awards, a Tony Award, two Golden Globes, and the 2016 Cecil B. DeMille Lifetime Achievement Award. He has also served as National Spokesman for the Boys & Girls Clubs of America for over 25 years.

Renowned Spanish-American culinary innovator José Andrés, who popularized tapas in the United States, also received the honor. Andrés’ World Central Kitchen provides large-scale relief to communities affected by natural disasters and conflict around the world.

Additional honorees included former first lady and former Secretary of State Hillary Rodham Clinton; U2 founder and philanthropist Bono; U.S. 25th Secretary of Defense Ashton Baldwin Carter (posthumous); actor and Parkinson’s disease activist and research advocate Michael J. Fox; software developer and LGBTQUIA+ activist Tim Gill; world-renowned ethologist and conservationist Dr. Jane Goodall; former attorney general Robert Francis Kennedy (posthumous); fashion designer Ralph Lauren; legendary soccer player and UNICEF Goodwill Ambassador Lionel Messi; scientist and science education advocate William “Bill Nye the Science Guy” Sanford Nye; former Chair of Ford Motor Company George Romney (posthumous); iconic global investor and philanthropist David Rubenstein; investor, philanthropist, and founder of the Open Society Foundations George Soros; award-winning director and American Film Institute founder George Stevens, Jr., and iconic Vogue editor-in-chief and philanthropist Anna Wintour.

To read more about the honorees, see the White House’s Official Announcement.

This post was written by Nsenga K. Burton, Ph.D., founder & editor-in-chief of The Burton Wire. Follow Nsenga on IG @TheBurtonWire or @Ntellectual. 

Black Nativity: Performer Maurice Griiffin Talks Shop with Songstress Latrice Pace

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Photo: Scene from Black Nativity: A Gospel Christmas Experience in Atlanta. (Photo: Dominion Entertainment)

This article is the third in a series of three articles about the cultural phenomenon, “Black Nativity: A Gospel Christmas Experience,” staged each year in Atlanta, GA by Robert John Connor, award-winning producer/director and CEO of Dominion Entertainment. 

Black Nativity Atlanta performer Maurice Griffin interviews Stellar award-nominated singer Latrice Pace. (Photo: Dominion Entertainment)

This conversation takes place between Stellar Award-nominated performer Latrice Pace and Black Nativity performer and multi-hyphenate Maurice Griffin about their journey to one of the country’s most beloved renditions of Black Nativity. In the first article Latrice interviews Robert John Connor. In the second interview she interviews Black Nativity performer and multi-hyphenate Maurice Griffin. In this final article, Maurice interviews Latrice about her career journey. Read on!

 

 

MG: Your single, “It’s Morning”, topped the Billboard gospel chart for 30 weeks and was
nominated for two Stellar Awards. What does this achievement signify for your journey in
gospel music and as a person?

LP:
Being at the award ceremony signified awareness. A lot of people were used to me being with my sisters who had not been out for years and doing background with Donald Lawrence and a lot of other people in the industry, but they didn’t get to see me. They now get to see me in the light as a solo artist. So, it signified independence and I’m doing this for real on my own as a solo artist. It was an awareness.

MG: You are really doing an outstanding job. I do want to let you know that.

MG: You’ve performed in powerful productions like Montgomery: The Musical and at events
like DC Women Sing! How do you feel you’re evolving as an artist and creative?

LP: I feel like I’m evolving at my own pace and beautifully. With shows like this (Black Nativity), I’m intentional with making sure something meaningful and doing shows that speak to the moment, speak to the time, speak to the struggle, and even our victories. So, I’m very intentional about that. I feel like I’m evolving beautifully and at my own pace.

MG: You have celebrated ten years with Black Nativity: A Gospel Christmas Musical
Experience. Please give the readers one word to describe that milestone and why
that word?

LP: Hmmm… One word — consistency. I am big on consistency. I would have to say that the only way you can do anything well is by creating a habit of consistency with everything in your life. It may sound funny, but you brush your teeth every 8 o’clock. The only way to stay committed to something is to make sure you’re creating a life of consistency. So, I would say consistency describes that milestone.

MG: What does playing Sister Frankly in Black Nativity: A Gospel Christmas Musical
Experience mean to you personally, and how has it shaped your artistry?

LP: Sister Frankly reminds me of the church mothers and their significance in the church culture. They kept us in line. They were spiritually mature. They knew how to scold us in love. So, it’s important to me to keep that memory alive and to keep that presence alive. If not in the churches, then in the church mothers in Black Nativity, because a lot of our churches are missing that piece. With Black Nativity, at least (audiences) get to see and feel the presence of the church mothers in this production, every year, to be reminded
of their importance and their significance in our culture.

Regarding how this role has shaped my artistry, playing Sister Frankly has reminded me of everything that my mother has instilled in me. It goes back to that scripture that says, “Teach your children, and when they get older, they won’t stray from it.” So, even in my artistry and everyday life, I’m still molded by those teachings of the church mothers and my mother.

When concluding the interview, Latrice asked a question of her own to the group (Robert and Maurice), which she also answered.

LP: Why should theater enthusiasts and really everyone see this play?

MG: I believe everybody needs a shock factor and, this is a shock-factoring musical.
Every moment is ‘shockful’ and I mean that in a good way. You will get all the essentials of
gospel, dance and a good storyline that we all know from growing up to now. You get it all in one night, which is needed. If you don’t want to read something, watch this! This is watch-worthy.

RJC: It is a gift that just keeps giving. It is the unifying experience that brings people
from all walks of life, cultures, and faith together. It is something that is so memorable that I never imagined that it would get to this scope of notoriety. It is one of those things that you must see to understand.

LP:  For as long as I can remember, Black Nativity has always been an Atlantan tradition for my family to go to see. And the fact that I’m a part of it now. I think that’s important for people to see it, to be reminded of the cultural significance of the African American heritage. And not to exclude anybody else, but also to see it for its artistic expression – the dance, the poetry, and the singing. Earlier, I told someone that it unifies the community. It is engaging. It is important to know and remember all our celebration and culture and faith and community, regardless of your cultural background. We can all come together and be reminded of the hope that we have during this season that will carry us throughout the next year.

Black Nativity: A Gospel Christmas Experience played at the Ferst Theater, on the campus of Georgia Tech University, December 12-22, 2024. Mark your calendars, because it will return next year. 

This post was curated by Nsenga K. Burton, founder & editor-in-chief of The Burton Wire. It is the third and last article in a series of three articles about Black Nativity: A Gospel Christmas Experience in Atlanta, GA.

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The Six Triple Eight: Tyler Perry Salutes WWII Black Women Soldiers

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Photo: Netflix/Laura Radford/Perry Well Films 2/TNS
Photo: Netflix/Laura Radford/Perry Well Films 2/TNS

The Six Triple Eight tells the important yet often overlooked story of the 6888th Central Postal Directory Battalion, an all-Black, all-woman unit in World War II. The film chronicles the battalion’s efforts to clear a massive backlog of undelivered mail meant for U.S. troops, a task that was both vital and challenging. In a show-stopping speech atop a mountain of mail, Major Charity Adams, played fiercely by Kerry Washington, explains the importance of mail during wartime and its relationship to soldier morale. Adams, who is continuously denied promotions despite her impeccable professional performance, leads 855 Black women through 17 million pieces of mail in an abandoned, cold and drafty school rife with “vermin” to raise the morale of soldiers and bring closure to families who haven’t heard from loved ones in nearly a year.

The film features an all-star cast including Susan Sarandon as Eleanor Roosevelt, Sam Waterston as President Franklin Delano Roosevelt, Oprah Winfrey as Mary McLeod Bethune and Ebony Obsidian (Sistas, If Beale Street Could Talk)) who shows her acting chops by holding her own playing Lena, a bereaved private, opposite Washington.

Lena is a highly sensitive and intelligent young woman who is distraught over the death of her Jewish “boyfriend,” Abram David (Gregg Sulkin), who is killed in the war. Instead of attending college, Lena enlists in the army to “fight Hitler” En route to basic training in Georgia, Lena is joined with a group of women in the segregated battalion, all of whom are running away from a traumatic past and running towards a brighter future. What emerges is a strong sisterhood, that bonds the women whether in their barracks or crossing the big pond, which is one of the highlights of the film.

The Six Triple Eight has all of the tropes of a film set during the 1940s, including de facto segregation here and abroad, the mistreatment of Black women in and out of the service by any and everybody, aggressive white men using the N-word with the hard “R,” and older Black women whose hearts are free, but minds are shackled to fear that living in segregation and being subjected to impromptu violence, ridicule, jail or scorn brings to bear.

While the film elevates the untold story of the dynamic, pioneering and committed Black servicewomen of the Six Triple Eight, the narrative falls prey to Perry’s signature style –heavy handed dialogue, uneven performances and a redundant script that keeps beating viewers over the head with what many already know as opposed to what we need to know. For example, a short montage of the women working with the mail is usurped by abusive treatment from white, male leaders. A film like this would benefit more from seeing and understanding the dynamism, intelligence and dedication it took for these women to develop and implement a strategy to get this volume of mail to the soldiers and their families.

In another scene the 6888 soldiers yell out their prior professions which would prove helpful to keeping their assignment when they come under attack again from the white military men. Visually seeing the Black women demonstrate their talents would be far more satisfying than hearing them ticked off like a grocery list, which undermines the significance of their work and preparation for war as Black women during this harrowing time in history. The lack of emphasis on their skills and capabilities diminishes the overall impact of their story, leaving viewers wanting more depth and insight into their achievements.

While the film highlights the struggles these women faced against institutional racism and sexism, it ultimately falls short in delivering a nuanced portrayal of their significant contributions to the war effort. This is a must-see film because of the subject matter and strong performances by Washington and Obsidian, but the execution of the story makes it a difficult film to get through.

Tyler Perry is beloved as a filmmaker because he sometimes makes films that people need to see at a particular moment in time (For Colored Girls), resuscitates or helps to keep the careers of super accomplished actors alive (Debi Morgan, Alfre Woodward, Cicely Tyson) and gives young, talented actors like Obsidian, Taylor Polidore Williams (Beauty in Black, Snowfall, All-American HBCU) and Crystal Renee Hayslett (Zatima) a chance to play a lead role when mainstream Hollywood is taking too long. One thing Perry hasn’t done is extend that generosity of spirit to the same extent to the writing and directing categories.  Debbie Allen choreographed the march scene for Six Triple Eight. What might this film have been had she directed the film?

This much anticipated film is a love letter to Black servicewomen and a movie that audiences need to see now, that would benefit immensely from stronger writing and direction. Six Triple Eight is a commendable effort to elevate an untold story, but it ultimately leaves viewers craving a more nuanced exploration of the remarkable women at its center.

Six Triple Eight is now playing on Netflix.

This review was written by media critic Nsenga K. Burton, Ph.D., editor-at-large for NNPA/Black Press USA and editor-in-chief of The Burton Wire. Follow her on IG@TheBurtonWire.

AFCC: Atlanta Film Critics Circle Announces 2024 Award Winners

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Promo photos from Amora and Sing Sing, two of AFCC's top films of 2024.

Now in its eighth year, the Atlanta Film Critics Circle has announced its awards for top cinematic achievements in 2024.

The 38 voting members of the AFCC chose director Sean Baker’s Anora, the winner of the Cannes Palme d’Or, as its top film of the year. The sweet and sinister modern fairy tale, which also won Best Original Screenplay, features a breakout performance from Mikey Madison as Ani, a Brighton Beach stripper who falls for the son of a Russian oligarch. Madison is also the AFCC’s Best Lead Actress and Best Breakthrough Performer for her complex portrait of a woman equal parts fragile and bullet-proof. “I think most of the credit is due to the character of Ani and Mikey Madison’s performance. From moment one, you care so deeply about Ani and what happens to her. You want to go with her on this journey, no matter what happens,” said AFCC member Sammie Purcell, associate editor of Rough Draft Atlanta.

This year’s top films were a fascinatingly diverse mix, ranging from a clever spin on the Wizard of Oz in Wicked, to a tennis love triangle with heart-pounding matches in Luca Guadagnino’s Challengers, one of two films by the Italian director this year along with Queer. In a stunning, expertly crafted opus that never loses your interest despite its three-and-a-half-hour length, Brady Corbet’s The Brutalist follows a Hungarian Jewish refugee from Germany’s concentration camps to what initially seems to be an American promised land. Corbet won Best Director for his self-assured, acclaimed epic portrait of the rigors of immigration and creativity. Adrien Brody also won the AFCC’s Best Actor Award for his doleful turn in the film as the tortured, mercurial architect contending with the maddening whims of his benefactor.

Atlanta Film Critics Circle 2024 Top Films. (Photo: collage of promo materials by NKB)

“This year, our critics seemed to gravitate to smaller budget labors of love,” said AFCC advisory board member Hannah Lodge. “Films like Anora, The Brutalist, Nickel Boys, Sing Sing, and I Saw the TV Glow remind us that cost doesn’t correlate with worth.”

Despite the diversity of films, AFCC member Spencer Perry, editor and critic at ComicBook.com, saw some common ground in the AFCC’s selections. “Something that feels distinct across all of our top 10 films is the idea of legacy. Be it Vanya’s parents in Anora, the rivalry between Patrick Zweig and Art Donaldson in Challengers, picking a new pope in Conclave, a galactic empire facing war in Dune: Part Two, or even a single robot learning to choose its own destiny in The Wild Robot, all of these films are wrestling with what someone can be or should be, either in their own eyes or in everyone else’s.”

Number three on the AFCC’s top 10 films, screenwriter RaMell Ross and Joslyn Barnes’s adaptation of novelist Colson Whitehead’s Pulitzer Prize-winning Nickel Boys, about two Black boys trying to survive a brutal Florida reform school, won Best Adapted Screenplay as well as Best Cinematography.

Perry was also delighted to see the atmospheric, but perhaps lesser seen coming-of-age fantasy I Saw the TV Glow make the AFCC’s top 10 list.

“Justice Smith and Brigette Lundy-Paine both deliver amazing work in a movie that is as haunting as it is personal,” said Perry of director Jane Schoenbrun’s moody feature. “I’m so thrilled that collectively we were able to recognize I Saw the TV Glow, a movie that at its core is about finding community despite your own feelings of internal isolation.”

Member of AFCC’s advisory board Jason Evans noted how close many of the awards were this year, with Adrien Brody (The Brutalist) beating out Colman Domingo in Sing Sing by just one point. “The number of places and categories that were decided by only one or maybe two points is stunning,” said Evans, “a sign of the quality of the films and work this year,” and an indicator of “how competitive this awards season is likely to be.”

The AFCC inaugurated Best Voice Performance and Best Dog awards this year. In a near sweep, the canine star of Deadpool & Wolverine, Peggy, was the AFCC’s top dog. The British pugese, who previously captured an award as Britain’s ugliest dog, has turned her runt of the litter status into Hollywood stardom this year.

Lupita Nyong’o won the AFCC’s first ever Best Voice Performance for her work as an intelligent robot Roz in The Wild Robot, who finds an escape from loneliness in the company of the wild animals that inhabit a desert island, including a gosling she forms a special bond with.

“Voiceover acting is so often overlooked, but it’s such a key part of animated films. Lupita Nyong’o brought something really special to The Wild Robot. In animation, voice acting isn’t just about delivering lines — it’s about bringing the character to life,” said AFCC member and entertainment journalist Tatyana Arrington. “It’s a huge part of what makes animated films work, and I really think it deserves more recognition.”

Jesse Nussman, AFCC advisory board member, said he hopes studios are taking note of the vision driving this year’s award winners.

“What strikes me about many of the films that took home multiple awards —  Anora, Nickel Boys, The Brutalist — is their specificity. They’re the work of filmmakers who feel unburdened by marketplace demands or fears of alienating their audiences,” he said. “Hollywood, if you’re listening? We want more.”

Complete AFCC Award List:

BEST FILM: 

Anora

TOP 10 FILMS (ranked):      

1. Anora

2. Challengers

3. Nickel Boys

4. The Brutalist

5. Conclave

6. Dune: Part Two

7. Sing Sing

8. Wicked: Part One

9. The Wild Robot

10. I Saw the TV Glow

BEST LEAD ACTOR:

Adrien Brody, The Brutalist

BEST LEAD ACTRESS:

Mikey Madison, Anora

BEST SUPPORTING ACTOR:

Kieran Culkin, A Real Pain

BEST SUPPORTING ACTRESS:

Ariana Grande, Wicked

BEST ENSEMBLE CAST:

Sing Sing                          

BEST DIRECTOR:

Brady Corbet, The Brutalist

BEST ORIGINAL SCREENPLAY:                   

Sean Baker, Anora

BEST ADAPTED SCREENPLAY:     

RaMell Ross and Joslyn Barnes, Nickel Boys

BEST DOCUMENTARY:

Sugarcane                     

BEST INTERNATIONAL FEATURE:

Kneecap (Ireland)

BEST ANIMATED FILM:

The Wild Robot

BEST CINEMATOGRAPHY:

Nickel Boys

BEST ORIGINAL SCORE:

Trent Reznor and Atticus Ross, Challengers

BEST STUNT WORK:

Furiosa: A Mad Max Saga                          

BEST BREAKTHROUGH PERFORMER:

Mikey Madison, Anora

BEST FIRST FEATURE FILM: 

Josh Margolin, Thelma

BEST VOICE PERFORMANCE:

Lupita Nyong’o, The Wild Robot

BEST DOG:

Peggy as Dogpool, Deadpool & Wolverine

This post was curated by Nsenga K. Burton, founder & editor-in-chief of The Burton Wire. Nsenga is a member of AFCC. 

Follow AFCC on IG @ATLANTAFILMCRITICSCIRCLE.

Follow The Burton Wire on Instagram or Facebook. Follow Nsenga on Instagram @Ntellectual.

Black Nativity ATL: Performers Latrice Pace Talks Shop with Maurice Griffin

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Scene from Black Nativity: A Gospel Christmas Experience in Atlanta, GA in the Ferst Theater on the campus of Georgia Tech University. (Photo: Dominion Entertainment)

This article is the second in a series of three articles about the cultural phenomenon, “Black Nativity: A Gospel Christmas Experience,” staged each year in Atlanta, GA by Robert John Connor, award-winning producer/director and CEO of Dominion Entertainment. 

This conversation takes place between Stellar Award-nominated performer Latrice Pace and Black Nativity performer and multi-hyphenate Maurice Griffin about their journey to one of the country’s most beloved renditions of Black Nativity. Read on.

Black Nativity: A Gospel Christmas Experience performer and interviewer Latrice Pace. Photo: Dominion Entertainment

LP: Your performances are known for their very high energy. How do you maintain such a vibrant stage presence across diverse shows?

MG: Studying, learning the environment that I’m in, getting the proper rest and just saying “no” to going out sometimes. It’s a sacrifice but I believe in the end the reward is much greater.

Latrice adds “That is so important. I don’t think many performers understand the power of not hanging out.”


LP: Your music inspires and empowers audiences worldwide. How do you approach songwriting to create such uplifting anthems?

MG: As a fellow artist who I watch and have been following is Jay-Z.  He said the same thing that I’m about to explain. I like putting out music that has a message for the now, for the moment for what’s happening in the world. And I feel that for me, putting music out is intentional. And so, I make sure that when I put it out, it’s intentional for the moment, for what’s happening in the moment. And it’s not just for a culture, it’s for the world.

LP: Can you tell readers about your role in Black Nativity: A Gospel Christmas Musical Experience?

MG: Last year, I was more than one character.  I was a wise man. I was a king. I was an ensemble. I got to dance.  You know what? I found dance to be a new love of mine but doing pushups during a show, we’re going to have to talk about that. (Laughs) It was a joy. It was a joy. The roles were great. I really embodied each character, even when I had to be a featured soloist in the show. All those components together were exhuberating for me. Last year was my first year with Black Nativity. There was a strike going on in the actors’ world so, for us to have an opportunity to get on that stage again meant so much to me. I am committed to every role that is given to me.

Scene from Black Nativity: A Gospel Christmas Experience in Atlanta, GA in the Ferst Theater on the campus of Georgia Tech University. (Photo: Dominion Entertainment)

LP: What does being a part of a production like Black Nativity: A Gospel Christmas Musical Experience mean to you as an artist, especially in terms of its cultural and spiritual themes?

MG: I believe that every entity has a niche. And I think that for the gospel community that niche comes around the time of Christmas birth or around the time of Easter Resurrection Sunday. Those types of moments are important to us, to the Black culture because of what was going on back in the day, and now it has evolved to what it is today. I believe that Black Nativity was a very important piece in my life, and I needed to check it off my bucket list because it’s done everywhere. When you do an adaptation of the great genius himself – Langston Hughes – You want to be able to enhance his expression. And I think that’s what he wanted all of us to do anyway. Black Nativity reminds me of the promise God made to Abraham when he said “Look at the stars in the sky.  All these people will know you.” Every star is an adaptation of the representation of the sacrifice that he was going to present in sacrificing his son with. And so that’s what I feel this is. Black nativity is that promise that God made to Langston Hughes, and now everybody’s making the adaptation. I’m just glad to be in the best one. That’s all! 

Black Nativity: A Gospel Christmas Experience is playing at the Ferst Theater, on the campus of Georgia Tech University, December 12-22, 2024. 

This post was curated by Nsenga K. Burton, founder & editor-in-chief of The Burton Wire. It is the second in a series of three articles about Black Nativity: A Gospel Christmas Experience. The third and last article in the series will feature Black Nativity performer Maurice Griffin asking Latrice Pace questions about her experience as a performer and how she became involved in Black Nativity: A Gospel Christmas Experience. The last article in the series will go live Dec. 15, 2024 and will be linked to this article so make sure you come back for more about the creatives behind one of the most beloved productions of Black Nativity on the globe

Read the first article in the series, here. 

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