Don Cheadle as Maurice in BLACK MONDAY
Michael Levine/SHOWTIME

Don Cheadle On The Good Insanity Of 'Black Monday' And Battling Twitter Trolls

The Golden Globe award-winning actor takes us inside the improv titty f*cking and the blackness in Black Monday.

Don Cheadle isn’t insane; he just acts like he is, really well, on Showtime’s Black Monday. On the Wall Street dramedy about the 1987 stock market collapse, Cheadle has made fun of the AIDS epidemic and snorted cocaine off of a video game accessory as Maurice “Mo” Monroe, star trader on the show. As offensive as Mo is, Cheadle joined the cast after he “read the pilot, it made me laugh and I thought it was insane...in a good way,” according to the actor speaking with VIBE.

The 54-year-old Grammy-nominated director wasn’t rocking the Jheri curl and polyester threads like his character does in the show when the actual 1987 stock market crash occurred. At that time, he was a broke, struggling actor who admittedly could fit all of his worldly possessions in his car. Black Monday lets Cheadle experience the cocaine binges, robot butlers, and Jheri curl juice he never had in his past. But, fake or not, Cheadle doesn’t want to be on camera saying all of the absurdities Black Monday creators Jordan Cahan and David Caspe think up.

“Jordan and David are always pushing it and it's often up to us to say, 'Yeah, that's a bit too far. If you're going to say the line on camera, that's fine. I'm not going to say that on camera' (Laughs).”

With VIBE, Cheadle recasts Black Monday’s lead roles with rappers, talks smuggling blackness into a show about Wall Street, and why he doesn’t back down from Twitter exchanges with trolls.

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VIBE: What are some things you share with your character Mo?

Don Cheadle: That's a good question. I don't know. I know I'm nowhere near as intense as he is. I'm not as ambitious at all costs as he is. My sense of humor can kind of be on that level. But, never in public. You know how you could go in with your friends and be like, 'Please don't ever tape this' (Laughs).

One of the characteristics you two share is being confrontational. Do you ever worry that your personal opinions on Twitter could affect TV ratings?

Naaaahhhh. I've never had anybody of any position come to me and say, “You're really risking something and you got to knock that off.” No employer has ever said anything to me. There's a lot of bots on there, for one. A lot of people -- presumably people -- that come at me and say stuff like, “You just lost a fan.” I’m just like, “You were never a fan. Let's be real.”

On the show, Mo and Regina Hall’s character, Dawn, are the only prominent Black characters, yet their blackness has yet to be the focal point of an episode since the series’ premiere. Was that intentional and will the show explore blackness in the ‘80s?

It comes up in the second episode when they're in the store. Mo is telling her, “Those white boys will f**k you, they'll date you, but they won't give you a spot.” We want to pepper that stuff in, kind of smuggle it in and not lead with it. That's not something the characters talk about every day. They know who they are, they know what they're dealing with, and it comes in and out of the show. It's not the focal point of the show, which I like. They are black and it is front and center, but it isn't the subject matter.

The second episode has the classic back and forth negotiation scene between you and Dawn. Were there ever scenes where you and Regina couldn't get through it because y'all kept making each other laugh?

We would crack each other up a lot. Both of our desire was to always get it on camera, so we never really lost it during a shot. Maybe once or twice. But, most of the time we would get the take and then we would crack up. I'd always be like, “When you said this line.” She would be like, “When you said this.” We kind of improv a lot on the show and some stuff gets in there. When she said, “Who wants to titty f**k Keith” [in the series premiere], Regina just improv’d that.

So it was all Regina Hall's idea to mount Paul Scheer and thrust in the air as if she was titty f**king him?

Yes, that was her (Laughs).

The third episode starts with the most ‘80s scene we'll probably see on television this year: you snorting coke off of a Nintendo Duck Hunt gun while talking about Michael Jackson and Brooke Shields dating.

(Laughs) Yeah.

Are those moments intentionally put into the show to show that Black Monday is set in the ‘80s?

I think, absolutely, we're trying to juxtapose that time period to now and see the things that remain and the things that change, and see how far we've come in some instances and how far we still have to go. Absolutely, all of that cultural stuff is very fun to play with. We always want to make it a part of the show. We don't want to full out do something that has no bearing on anything just to make fun of the ‘80s.

The music for the show has been great. Knowing what you know about Mo and the ‘80s, what would be his morning playlist before a day of kicking a** on Wall Street?

Oh, he would definitely listen to Run-DMC. I think he's into all of that early hip-hop with [Big Daddy] Kane and LL Cool J. He's deep into that. He probably also listens to some of the stuff that was coming out of Europe at that time. Stuff like the Eurythmics, Annie Lennox, a lot of that stuff. UB40 (Laughs). At one point in the show, he's like, “Don Henley's coming to play. I don't really f**k with his music, but he's number one, so I'm listening to it.” He likes what's popular.

You once said you wanted to cast Kendrick Lamar for the role of Junior in the film Miles Ahead.

Yes.

If you had to cast the roles for Dawn, Mo, Blair, and Keith with rappers, who would they be?

Oh, wow. Who would Dawn be? I think Dawn might be Queen Latifah. I like Dawn as Queen Latifah. I don't think Keith and Blair would be any rappers (laughs). I can't think of any rappers Keith and Blair would be. Not that there aren't some. I mean, they might be 3rd Bass. Who would Mo be? That's a good question. Who do you think Mo would be?

Mo is so out there I was thinking…

Ol’ Dirty Bastard?

Or a really animated Leaders of the New School Busta Rhymes.

Yeah. Definitely, a young Busta Rhymes. Kool G Rap also.

If they're going to be doing as much cocaine as Mo does on the show then it has to be someone from Wu-Tang.

(Laughs) It has to be O.D.B.

I did a little bit of IMDB digging and saw that Kevin Arnold is listed as your stunt double for 5 episodes of the second half of the season. Is Mo about to get crazier in the second half of the season?

No comment (Laughs). Things get crazy.

With a show titled after and centered around an event that it appears will be reached by the season finale, is there any way this show could come back for a second season?

Fingers crossed. I think the jumpoff is Black Monday, and the show is still going to still be about the stock market, Wall Street. That one day was just what started a lot of stuff. Things kept going on from then and are still going on.

Catch 'Black Monday' on Sunday nights at 10p/9c on Showtime.

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'The Old Guard' Celebrates Women On Both Sides Of The Lens, Says Director Gina Prince-Bythewood & Actress KiKi Layne

Gina Prince-Bythewood is not new to this. Her decades-long screenwriting credits go back as far as 1992 when she contributed to the Cosby Show spin-off, A Different World. Her directorial debut happened nearly 10 years later with her 2000 film, Love & Basketball which grossed over $27 million in the U.S. box office and went on to become a black cinematic classic. Since then, Bythewood directed more films like The Secret Life of Bees (2008) and Beyond the Lights (2014). Today, Bythewood is stepping away from the dramatic and romantic films of yesteryear and making her mark in the genre of action films with the new Netflix movie, The Old Guard.

Based on the comic book by Greg Rucka, The Old Guard stars lead actresses Charlize Theron (Mad Max: Fury Road, Hancock) and KiKi Layne (If Beale Street Could Talk, Native Son). Theron plays Andy, an immortal mercenary recruited for a mission to protect the mortal world. Layne plays Nile, a U.S. Marine recruited to join the badass task force. Before her "rebirth" into her new eternal life as a soldier, she learns about life as an Old Guard, what she'll stand to gain and lose as undying warrior and more.

Upon receiving the script, Bythewood was "incredibly excited" and happy to have an opportunity where she could not only take on a different type of cinema but also bring a young Black female hero to life and into the spotlight. "I knew the type of action film I wanted to do, an action drama," she says in an interview with VIBE correspondent Jazzie Belle. "And I knew absolutely when I got the opportunity, that I wanted us [Black people] to be in it." And that we are. With actor Chiwetel Ejiofor (12 Years a Slave) taking on a supporting role, Layne holds her own in the action-packed feature film as she tests her body's limits in scene after scene. The rising star would be sure to let you know how physicalities set her and her character apart.

"I mean I love the opportunity to be that physical," she says. "Nile still has so much heart and, being led by Gina, being encouraged to dig deeper into that and to not be afraid of her vulnerability, which was exciting. So I kind of play that, but then still play that physical strength and being a Marine and all of that. So I would say that would actually be the biggest difference between us."

The Prince-Bythewood and Layne sat with Belle to discuss the limitations around the term "Black cinema," being a part of a film that has Black women in front and behind the lens, and what they hope for The Old Guard's impact 20 years from now.

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On how music inspires her screenwriting:

Prince-Bythewood: Music is everything to my process. When I start to write, I create soundtracks for myself too. If it's just songs that either speak to what I'm writing or open me up emotionally to what I'm about to write. I have soundtracks for myself for directing, and then I create soundtracks as I'm editing. It's everything and I love doing songs for score. I love the traditional score, but I also love songs for scores. And those are songs that just help elevate the scene, add a little bit more emotion. It doesn't take over the scene, but it absolutely aides it and songs tell such a story...I love soundtracks, it goes back to Purple Rain. Where you could listen to that soundtrack and then watch the movie again in your head because the songs were that distinct, that's what I love to do with my films.

On the Black women she pulled influence from when preparing for her role:

Layne: Black women who I find to be strong and just maybe haven't seen it represented that way on film. Honestly, just thinking about my mom. Angela Bassett was the biggest example of strength. Who else was I thinking of? Those are like the first students to kind of pop in my head of just like, especially with Angela, the way that she just carries herself. There's such pride and dignity and integrity to her that I just, I mean love. Period. But it was definitely something that, when thinking of Nile, trying to bring some of that in there as well.

On the limiting term "Black cinema" as it relates to Hollywood:

The term "Black cinema" is not a negative to me, nor to us. My issue with it is with Hollywood. In terms of Hollywood using that to describe any film that has a black person in it. So suddenly they feel like, "Oh, we've done our one black film." As opposed to, "We should be in every single genre. Sci-fi, Western, love stories, period pieces." That's who we are, that's the breadth of our humanity, that's what I want to see. I just don't want to limit us, but I revel and celebrate black cinema and black film.

On how they would like The Old Guard to be remembered 20 years from now:

Layne: In 20 years from now, I would hope that it would be, you won't necessarily remember, but as a, I don't know, a piece of getting Hollywood to tell more of these types of stories with women at the lead in front of and behind the camera. I'm hoping that it will be an opportunity that leads to more doors like this being opened. Just showing that we're just as capable and it's just as interesting when we do it.

Prince-Bythewood: And then I'll just add in 20 years, if people are still watching this film that says it all, that this film had longevity, it spoke to them and it was a world and it's characters that they wanted to see again and live with again. And as artists, I think that's a pretty incredible thing.

Interview's music bed provided by Gus.

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Watch: Rodney Jerkins Talks Producing On ‘The High Note’ Soundtrack, Andre Harrell And How His Dad Sparked His Career In ‘Billboard’

When you think of your favorite R&B and pop hits by Brandy, Destiny's Child, Mary J. Blige, and Michael Jackson, you can't help but think about the musical genius behind the tracks: Rodney "Darkchild" Jerkins. Since his start in the music industry at the young age of 14 (under the mentorship of legendary musician Teddy Riley and his father Pastor Fredrick Jerkins), the Grammy-winning producer has created songs across countries, genres, and mediums.  To date, Jerkins has contributed to over 115 movie and television series soundtracks with his first credit for Joe's "Don't Wanna Be a Player" (not be confused with Big Pun's hit) on the 1996 Booty Call soundtrack.

His latest accomplishment is serving as the executive music producer for the new video-on-demand film, The High Note, starring actress Tracee Ellis Ross, daughter of the legendary Diana Ross. In the Nisha Ganatra-directed  film, Ross plays Grace Davis, a diva and iconic singer who has to "choose between playing it safe or listening to her heart in a decision that could change her life forever." Weeks prior to The High Note's premiere, Focus Features and Republic Records released "Love Myself," the lead single from the movie's soundtrack, which features Ross singing on her very first musical recording. As the film's executive music producer, Jerkins worked with her on another track, "Stop For A Minute," and helped Ross become comfortable with laying down tracks in a music recording studio, an experience she'd only witnessed second-hand while her mother worked on music.

"When we first started, that was Tracy's first time in the booths," says Jerkins about working with Ross. "That can become somewhat intimidating. I said, 'Tracy just trust me. I've worked with every artist. I've worked with actresses who had to sing before.' I said, 'This is what I do. Just have trust that we'll get through it.' As we started to work, her confidence started to build and she started to understand what it took."

VIBE and Cory Taylor of R&B Spotlight had a chance to sit down with Jerkins to talk about his extensive career, working on the official soundtrack for The High Note, his advice for upcoming producers, and more.

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On when he got the call to be a part of the film's soundtrack:

I was in Florida at home and Mike Knobloch, the head of music at Universal, he called me one day. He was just like, "Man, I got a prize that I think you would be perfect for. Would you mind reading the script?" I said, "Yes, send me the script." And this was crazy. I was actually working with an artist at the time. I have this artist named Jac Ross and I was just listening to Lee Moses because Jack has this super soulful voice. In the script, the first scene had a Lee Moses song. I called Mike before reading the rest of the script. I was like, "Yo, this is mine." I said, "The first song. I just studied Lee Moses two days ago." So the fact that the first song in the scene was a Lee Moses song called "Bad Girl," I was like, this is mine.

On how his Dad sparked his start in the music business:

I got started with Teddy Riley working in Virginia Beach. I was kind of this apprentice down there. I was 14 when I first met Teddy. Every summer I'd go down there and just kind of sit and learn. I would go back home and work on stuff and work on ideas. It wasn't really until I was probably 16 or 17 when I really got my first songs heard by record companies, and people started paying attention saying, "Yo, there's this kid in New Jersey." I think what really sparked that and my father, who was mentoring me at the time, I think I said to him one day, "I got all this good music, but nobody knows who I am, because I'm from South Jersey, Pleasantville." There's no outlet down there. My dad invested money out of his own pocket, and he bought this ad in Billboard.

At first, people thought he was crazy because there were no ads in Billboard. Like if you looked through Billboard, it was just charts. For some reason my dad, he bought this ad and in this ad it said: "Super producer." I was young and wasn't a super-producer yet. He put this ad in and 50% of the people laughing at it were saying, "Yo, this is crazy. This dude is crazy." You had the other 50% of people calling and saying, "Yo, we want to meet."

 

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Dad, Thanks for instilling in me Christ at an early age. It’s because of you I choose to lead my family in that same direction. You’ve given me so many great moments as a child growing up. Believing in me when others didn’t. Pushing me to greatness. Being unconventional with your approach is exactly the way I do things to this day. Demanding respect from my counterparts. Not being taken advantage of, and being prayerful about everything. These are the life lessons and qualities you have given me. By watching you apply all of these things in your life I’ve learned to do the same. I appreciate you and love you dearly! HAPPY FATHERS DAY DAD!

A post shared by Rodney “Darkchild” Jerkins (@rodneyjerkins) on Jun 21, 2020 at 4:51pm PDT

On his fondest memory of the late Andre Harrell:

He would call me up when I wasn't working with him. I remember when I did "Deja Vu" for Beyonce and Jay-Z. I was in New York City, the song was out, and Andre called and said, "Yo, where you at?" I said, "I'm in this old studio." "I'm coming to see you right now. I'm coming to see you right now." I ain't know what he wanted. He came up to the studio. He was like, "Playboy, playboy. Do you know what you just did? Do you know what you just gave this girl?" And I was like, "Nah," because I'm just keeping it moving.

He's like, "Man, you gave her Michael Jackson, 2005, like you gave her the Michael Jackson 'Don't Stop Til You Get Enough' for a female like this." I was like, "What you mean?" He was like, "The way you put the horns with the live bass and the drums, and still knocking with the 808, people aren't doing that." He was so animated when he spoke to you. He made you believe there's something much greater in yourself. That was my guy, man. He did that constantly with me. He would be like that all the time. I'm talking about even like three months ago, like in February, we had a similar conversation.

Advice to up and coming producers looking to get their foot in the music business:

First, I would say study all the greats that came before you. I'm not talking in the last 10, 20 years. I'm talking about going back, going back to Barry Gordy days, and study them. Study sound. Every sound and every genre possible. Don't be a one-trick pony. Be able to produce any type of genre. I would also say be different. What I mean by that, a lot of technology has allowed it for producers to become easy, but it's also become easy in the same sonic, in the same sound. All the tools are the same. You have everybody using the same tools right now. It all starts to sound the same. I would tell producers to challenge themselves to be different. Be unique, be different.

On his future plans to produce music for films: 

I'm going to continue to do movies. I've made it my thing. I can't say it right now, but it looks like I got another movie coming my way right now. With the same company, by the way. I'm going to continue to do it because I love it. I think it brings out a whole different side of emotion for me. It allows me to create differently. Sometimes we get caught up in what's popping at radio, what's popping streaming...I would love to do more in the TV and film realm because I just think that's the natural progression for me and my career.

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VIBE Vault: Jada Pinkett / August 1994 Issue

The first thing you notice about Jada Pinkett is her long, curved, scarlet-enameled fingernails—“ghetto Vogue,” she calls them, laughing. Describing her meteoric ascent from the Baltimore School of Arts (where her best homie was Tupac Shakur) to overnight Tinseltown success. Pinkett coos for a few moments over her continuing romance with former Duke star hoopster/future NBA player Grant Hill, and those acrylic claws click like miniature castanets.

With close-cropped hair and a pearly smile, the tiny, gamine Pinkett is even prettier in person than she was as Lena in A Different World or as Ronnie in Menace II Society. Her compelling feature film debut as the heroic teenage single mom at the center of Menace’s world of adolescent violence and moral indifference catapulted the 22-year-old actress to the top of Black Hollywood’s A-list and into starring roles in three major movies this year.

Those nails actually belong to Peaches, Pinkett’s loud-mouthed, sassy character in Keenen Ivory Wayans’s A Low Down Dirty Shame (tentatively due this fall). Peaches brings Pinkett a sharp 180 degrees from Menace’s serious, responsible Ronnie. Her performances as Lauren, the upper-middle-class BAP brat in Matty Rich’s The Inkwell “who only worries about boys spending money on her,” and as Lyric, a fragile rural rose blooming from the dusty back roads of a Houston ghetto in Doug McHenry’s Jason’s Lyric (due in November), showcase her range further still.

The challenge of playing four radically different roles back-to-back could unsettle a young film newcomer, but Pinkett’s characters are always grounded in her own sometimes difficult life experience. “Ronnie is very close to my mother; she graduated high school with me in her tummy,” Pinkett says. “Lauren was also familiar because my Jamaican grandmother raised me in that upper-middle-class background before she died.” That loss and the divorce of her parents (both substance abusers at the time) plunged 13-year-old Pinkett into a very different world, one she says equipped her at age 18 for the Hollywood jungle—and for a character like Peaches. “I have a really obnoxious nature,” she admits, laughing. “I can get stank sometimes, all attitude and just being forward with it.” In contrast, she says, “playing Lyric allowed me for the first time to be loving, vulnerable—to let the walls down and say, ’Here I am.’”

The self-confident Pinkett, who counsels troubled teens across the country in her spare time, seems particularly savvy about her career. “I’m extremely lucky not to have been typecast, even though I’ve done only black films by black filmmakers,” she says. “It’s not, ‘Let’s get Jada for the homegirl and blasie-blah.’ That leaves my opening to grow.”

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