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Spike Lee’s 'BlacKKKlansman' Oscar Nods Show Power In Sticking To Your Guns

With BlacKKKlansman, Spike Lee earned his first Oscar nomination for Best Director while creating the same work that Hollywood has been reluctant to embrace since the 1980s.

The nominations for the 91st Academy Awards have been announced, and per usual there were some things of note. How did Toni Collette not get nominated for her performance in Hereditary? Does the Academy hate Mister Rogers? Who are these people that think Vice is good? Each of these is worth exploring separately, but another big takeaway is that both Black Panther and BlacKKKlansman are nominated for Best Picture.

Black Panther was not only the highest grossing domestic release of 2018 (just the third film in history to gross $700 million), but it was critically acclaimed as well, currently holding a 97 percent on Rotten Tomatoes. Its nomination for Best Picture makes it the first superhero movie to receive that honor. The fact that a $200 million blockbuster that thematically wrestles with pan-African identity could even be nominated is worth a celebration in itself. That doesn’t even cover the other six nominations the film earned. Funny enough, people may be able to thank Black Panther’s big screen arrival to the man who first put any mention of the character on the big screen. That, of course, is BlacKKKlansman director Spike Lee.

For the first time in his career, Spike Lee is nominated for Best Director. The honor is significant in that he’s no stranger to Academy recognition. His seminal film Do The Right Thing (1989) earned him his very first nomination in the category of Best Original Screenplay. Almost a decade later, 4 Little Girls (1997), the film about the 1963 bombing of the 16th Street Baptist Church in Birmingham, Alabama, would earn him a nomination for Best Documentary Feature.

At his best, Spike Lee has captured, perhaps better than any other black filmmaker, the cultural momentum of African American life.

BlacKKKlansman tells the real-life story of Ron Stallworth (John David Washington) — the first African-American to join the Colorado Springs Police Department—who infiltrates the local chapter of the Ku Klux Klan by posing as a white man. Upon the film's release, it received critical acclaim and was widely seen as a return to form for Lee.

Lee’s career dates back to the 1986 release of his debut film She’s Gotta Have It (which has since been adapted into a Netflix original series) and was followed by School Daze in ‘88. Both films were well received, but it was his 1989 film Do The Right Thing that elevated Lee’s status as a director. On the surface, it mainly focuses on a day in the life of a pizza delivery man named Mookie (played by Lee), but it’s pulsing with commentary about racial tensions between Brooklyn residents as well as those between African-Americans and the police. That social commentary, along with the distinct look and feel of the neighborhood where it’s set, the colorful characters, and the emotionally charged finale, are just a handful of characteristics that have become synonymous with Lee’s work. The film received critical acclaim and has since been added to the National Film Registry. Although it earned Lee his first Academy Award nomination, he would ultimately lose to Tom Schulman for Dead Poets Society.

At his best, Lee has captured, perhaps better than any other black filmmaker, the cultural momentum of African-American life. He’s remained vocal about the importance of African-American history, with films such as Malcolm X and Miracle At St. Anna. He’s offered his take on current issues that are unique to black life (the aforementioned School Daze, Jungle Fever, Chi-Raq). He’s also never shied away from being a proud New Yorker, as several of his films are set in his native Brooklyn (Crooklyn, He Got Game, Red Hook Summer). What makes Lee such an interesting figure in the world of modern film is that he’s clearly an admirer and student of classic cinema, but has consistently tried to offer an outsider’s perspective. A common criticism of his work is that he often gets in his own way with bloated plots and story beats that don’t always fit, or that his message sometimes comes across as preachy. While his dedication is admirable, one starts to wonder if the scarcity of black filmmakers working for major studios, let alone being recognized by the Academy, drives his tendency to overindulge. How many other filmmakers of color are working as consistently as him, with the freedom to tackle so many of these issues? There are points in his career (2004's She Hate Me) where it seems like he really just wants the void to be filled with anything he can throw at it, rather than run the risk of it disappearing altogether.

And that brings us back to BlacKKKlansman, and how incredible it is that the Academy is finally giving recognition to Lee’s work as a director. Among its six nominations, Lee has three (Best Adapted Screenplay, Best Director and Best Picture).

Along with the aforementioned nominations for his films, Denzel Washington earned a Best Actor nomination in 1993 for playing Malcolm X in Lee’s film of the same name. He lost to Al Pacino for Scent of a Woman, and Lee has remained vocal in his criticism of that decision. More recently, he was one of several black celebrities who boycotted the awards in 2016 amid the #OscarsSoWhite controversy. His relationship with the Academy has had some tense moments, so for him to finally receive these nominations, for a film that doesn’t stray far from what he’s been doing for most of his career, almost makes this a feel-good story.

BlacKKKlansman feels like a natural extension of Lee’s most recognizable work. The film isn’t set in Brooklyn, but it does feature an everyman protagonist who must learn that he doesn’t have all the answers. And through that protagonist, Lee gives himself the right balance to deliver the messages he wants. Whether it’s dealing with the relationship between African Americans and law enforcement, militant approaches to social justice, America’s history of lynching, the effects of white supremacy on non-black minorities, or white supremacy’s larger social influence, Lee is able to tackle race in a way that serves as both a genuine history lesson and a lens through which people ought to examine the current political and social climate. The relationships between Ron Stallworth and the other characters help Lee communicate a multilayered commentary on race. The audience doesn’t just see how Ron approaches the topic as it relates to the Klan, but he also has to figure out how to work with his fellow police officers, as he is the first and only black man on the force. The film almost takes on too much weight in giving him a love interest (Laura Harrier), but because she’s an activist, Ron is forced to consider that even within the black community, people have varying ideas on how to achieve justice. Each of these dynamics serves a specific role that allows for Ron to grow throughout the film.

Commentary aside, the film scored well with critics and audiences because it allows the audience to have fun at the expense of people who often get the last laugh. Make no mistake, the Klan looks terrible here. Not just in the inherent evil that they stand for, but in perhaps being some of the dumbest individuals Lee has ever featured in any of his films. These are the things that make the heavy subject matter palatable. The very idea that Ron’s partner Flip (Adam Driver) is a Jewish man that has to pose as an aspiring KKK member, is one giant joke in itself. There is no coincidence that David Duke, former grandmaster of the KKK and one of the film’s antagonists, leads chants of “America first.” Lee undercuts that humor periodically through the film, most notably in a finale that draws a direct line between the KKK and the 2017 Charlottesville rally (that David Duke attended) which resulted in the death of Heather Heyer.

Perhaps the most noteworthy bits about Lee being nominated this year is that the person who brought the project to him, Jordan Peele (also nominated for Best Picture as a producer on BlacKKKlansman), is the first African-American to win the Oscar for Best Original Screenplay for Get Out. That film, about a black man who goes to meet his white girlfriend’s family, makes race the key ingredient in its plot and its broader commentary, much like a majority of Spike Lee’s work. It's also similar to another film that is nominated for Best Picture this year, Marvel’s Black Panther, which oddly enough brings the character’s journey to the big screen full circle.

Spike Lee's relationship with the Academy has had some tense moments, so for him to finally receive these nominations, for a film that doesn’t stray far from what he’s been doing for most of his career, makes this a feel-good story.

Perhaps we should thank Spike Lee for that.

In the screenplay that earned him his first Academy Award nomination, Do The Right Thing, there is a scene in which the character Junebug is trying to organize a boycott of Sal’s Pizza. After asking some people in the neighborhood, he’s mostly met with no's. One of the reasons offered? Black Panther. “Black Panther eats pizza. We eat pizza,” says Punchy (Leonard Thomas) as he holds up a single issue of, you guessed it, the Black Panther comic book. This mention probably didn’t pique general audience interest quite like Chadwick Boseman’s debut in 2016’s Captain America: Civil War as the first live-action appearance of the character, but the idea of manifesting these things into existence isn’t complete nonsense.

As it stands, neither Black Panther nor BlacKKKlansman is favored to win Best Picture, but a strong argument could be made about Spike’s chances to take home the Oscar for Best Director, which would make him the first black recipient of that award.

The first superhero movie to be nominated for Best Picture, and the chance of us seeing the first black winner for Best Director? Punchy from Do The Right Thing had the right idea.

Black Panther blazes a trail in cinematic history. Spike Lee blazes one, too.

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Josias Valdez

SAINt JHN Brings Unwavering Confidence To New York's Experimental Rap Sound

SAINt JHN’s amalgamation of primal energy and eager mosh pits at Rolling Loud are unmatched. A hazy sunset would’ve been a fitting pairing for his rage session, but his early set at New York’s Citi Field Saturday (Oct. 12) gets the job done. While a few curious eyes from VIP are studying the vibes, the trenches are full of fans screaming lyrics to “5,000 Singles,” "94 Bentley” and “Trap” (feat. Lill Baby)—all standouts from his sophomore project, Ghetto Lenny’s Love Songs.

The diverse crowd isn’t a surprise to the Brooklyn artist. JHN’s musical ancestry has allowed his vines to branch out to artists like Usher, dvsn and Beyonce; all artists he’s earned co-writer credits for respectively. But then there are those who discovered him through Fortnite or his work on “Brown Skin Girl.” No matter how Ghetto Lenny crossed fans' path, he’s grateful listeners are making the pit stop.

“It's better than anything I could ask for, that’s what I wanted,” he tells VIBE. “I just wanted people to hear the sounds and fall in love and not overthink it. You get a 12-year-old and you'll get a 55-year-old standing next to each other in the audience. They’re from different eras of music but they’ll feel the same way.”

JHN calls his presence at New York’s first Rolling Loud “good timing” in light of his appearances across the traveling festival’s Miami, L.A. and Bay Area staples. But the moment feels kismet since JHN is one of the few surviving New York performers who were able to hit the stage.

Just 24 hours before the festival kicked off, fellow rising Brooklyn acts like Casanova, Sheff G, 22Gz, and Pop Smoke as well as Bronx rapper Don Q were banned at the request of the NYPD because of their alleged affiliations to recent “acts of violence” citywide. While fellow NYC natives like A$AP Rocky, Desiigner, Jim Jones and Fat Joe took the stage, JHN was one of the few acts to represent New York’s new sound.

“Those artists come from the places I come from,” he said of the ban. “In instances like this, you have to separate the art from the incident. Clearly these artists come from different pasts—they talk about it in their music. But the point of the music is to transition out of that.” Many of the artists like Cassanova and Don Q spoke out against the NYPD’s influence in the festival.

"I’m at war with my past and the scars that they still leave on me every day," Casanova said on Instagram. "I will continue to fight against biases and advocate for those facing this same issue."

“You have to give them the opportunity to tell their stories or you further entrap them,” JHN adds about the group of rappers. “They end up stuck in the same positions they’re trying to escape by making a concrete wall around their history.”

JHN’s history is a mix of the power of attraction and community. His early years comprised of creating the building blocks of his label GØDD COMPLEXx and his fashion line Christian Sex Club. While making his dreams a reality, the grind led him to genuine friendships with future superstars like Jidenna, Skrillex and Ski Mask The Slump God. Last year, JHN released his debut album Collection One paired with head-bashing shows across the country.

Ghetto Lenny’s Love Songs takes his sound to the next level with melodic punches on tracks like “I Can Fvcking Tell” and the Lenny Kravitz-assisted “Borders.” With punk and rap flowing effortlessly from JHN, the artist can only attest his glowing confidence to the game of life.

“My journey is where I'm at right? It's the monopoly board of my life, and I'm making my rounds,” he says. Being confident grows every year. So me saying "too lit to be humble" [On “5,000 Singles”] that just means I'm not gonna call it nothing else, I'm just gonna tell what it is. This is who I am, fuck with it. If you don't like it, you can turn left. You can turn around if you want, but this is happening.”

On his collaboration with Lenny Kravitz, JHN looks back with a big smile and several words. “Iconic, outrageous, Ignorant. Three o'clock in the morning of Paris,” he says. “Checkered floors. Space. Leather fixtures, Dark rooms. Lenny Kravitz. SAINt JHN. My nigga, I can tell you anything. I can tell you it smelled like cigars, whiskey, rum, and the Bahamas because in my mind, all that shit happened.”

But in all seriousness, the moment was an indication for JHN that his journey in music is paved with golden intentions.

“It was reinforcement,” he says. “The first time I worked with Usher, I learned that I belonged in the room. You know the first time you get invited into a room you have never been in and you almost feel like you lied your way in? The second time, you don't feel like you lied your way in.”

JHN's IGNORANt FOREVER Tour kicks off Nov. 11 in Miami with stops in Toronto, Los Angeles and New York. See the dates here.

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Stacy-Ann Ellis

20 Minutes With Davido: The Afrobeats Giant Talks Confidence, Timing And Strong Foundations

Davido can’t sit still. Maybe it’s early afternoon energy or impatience or knowing that his press rounds for the day aren’t winding down for some hours. Or maybe it’s just the fact that he’s sitting on what he considers to be an audio goldmine. David Adeleke, the gifter of astronomical hits like “If” and “Fall”—two-year-old songs with gravity still strong enough to pull Snapchatting wallflowers and clumsy dancers to the center of the floor—knows there’s much more where that came from.

“It's an album for everybody, I'll say,” he says of his forthcoming album, A Good Time, with a smirk. “I feel like everybody will have at least three songs they love in different genres.”

Technically speaking, the Atlanta-born and Lagos, Nigeria-raised artist has made a moderate splash on the Billboard charts, the metrics most artists use to quantify their success and measure progression in the industry. (In 2019, “Fall” became the longest-charting Nigerian pop song in Billboard history thanks to admittedly delayed radio push.)

However, Davido’s worldwide footprint speaks louder than a few hard figures. This year alone, he’s sold out shows as intimate as nightclubs and massive as London’s O2 Arena, rocked sets at Essence Music Festival and Hot 97's Summer Jam, and was an international headliner abroad at Oh My! Fest in the Netherlands, Afro Nation Portugal, and eventually Afro Nation Ghana alongside afrobeats greats he can safely consider peers.

July summoned his album’s breezy lead single “Blow My Mind” featuring Chris Brown, and a burst of new guest spots this month are carrying that same fresh energy into October. Davido was featured alongside Jeremih in “Choosy,” a new release from Fabolous, as well as on Brown’s “Lower Body,” a newbie on the extended version of his Indigo album. To say he’s ready to fan the mainstream flame with fellow afrobeats and afro-fusion hitmakers is an understatement. “Let us in, open American doors,” he jokes, knowingly. “We will finish everybody.”

In between banter about the turnup we’re missing in West Africa—trust, December in Africa is a thing—Davido opens up about his A Good Time (a genre hodgepodge guaranteed to please), the source of his success (part luck, part work ethic), and afrobeats’ undeniable global appeal.

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VIBE: Tell me about how your 2019 has been so far? Davido: 2019 has been a journey. It’s been the longest time that I’ve spent away from Lagos probably since I came to school in America. Reason being, just wanted to focus and get new energy, new environment to record the album. There’s just so much going on back home, so we’ve been out here the whole year, basically. “Fall” blew up and then we just came out here and worked with it. That album is about to come out and it’s gonna be crazy.

Given the momentum and expectations that come with it, are you more excited or nervous about this next album? I’m not nervous because I’m confident about the music. I’m just anxious to see what the next stage is, the next step. I like to challenge myself. When you reach a stage, you want to challenge yourself to reach higher stages.

You said it’s been the longest time you’ve spent away from Lagos. Is that a good or bad thing? No, that’s good. To me, it's a new energy. The people miss me, of course, but sometimes it's good to be away. To just step back and see where you’re at in your surroundings and stuff like that. I think every artist needs that.

Sometimes when you're too present, people think they know what you're going to deliver. Exactly, and me being out here recording, all my producers I flew in from Nigeria. It's not like I left my team. The whole team is here, so people ain't really heard the music. Back home, in my studio, it's like everybody comes through, so I can imagine recording my album back home, four or five of the songs would have probably leaked already.

You had a great year and so has music from African artists. What has it been like to watch that happen, to see us latecomers catch on? I felt like it was always going to happen. Even when I was in school in Alabama, when I used to play Nigerian songs from artists that were the top artists then—they were the biggest artists, like D’banj, P-Square—when I used to play their music in my dorm room, my American friends would love it. I always knew it was a thing that once America heard it, they would love it. Afrobeats, you hear it once, twice, I promise you, it's going to ring. So I feel like it was just for the people to hear it. Give us a channel to be heard. Radio, now you have social media. Back then all those things weren't in place. Now you have things in place where even if it's not in your face, one way or the other, you can find it. I think if you had all those things back then, social media and the support, it would've been the same.

 

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Were you frustrated with how long it took? Not really, because we've got our stuff going back home, too. You know what I'm saying? Even me today, I make most of my money from back home. And even before afrobeats got mainstream in America, we’ve been coming to do shows. I did a show in New York in 2013 to 5,000 people, and this was when I didn't have most of my big records I have now. Sold it out. But now it's mainstream. You have Live Nation now partnering with us to do shows. Back then it was just like local promoters selling tickets at the clubs and we still had the numbers. Now, our fans can put on the radio and hear us.

It even gives them more confidence. Confidence to be like, you know what? Let's go out and support this culture. So that's why the Afro Nation festival in Portugal, it was bigger than Coachella to me. It just shows that you just needed that platform, and then the fans needed the confidence to come out and really support. The next step now is getting the fans to buy the music because we have the numbers, but you've got to come out and buy it. That's the only way we can really break. The music is spreading. It's on the radio. Everybody’s doing shows. Everybody's touring, but now the next step is getting these sales up.

In a way, that’s most artists’ problems now. Touring is the moneymaker. That and streaming. There's nothing really wrong with streaming. That is why they want us to appeal to the Western crowd because those people buy music. Those people buy merch, blah blah blah. But we have to do what we know how to do. So the Western [crowd], they're actually buying it, but we need our real fans to come and be like, yo, Davido album dropping. It's a campaign—80,000 copies the first week, let's go out and buy. Look at the Latin industry. They're doing numbers. So apart from the music getting big, I feel like, yes, the music is getting accepted, but where are the numbers? When you walk into a building, it's all about numbers. It's not about if your music is sweet or this, or that—it's all about the profit. That's what we'll be working on getting up.

What are your thoughts about seeing really large artists pay so much homage to the afrobeats sound? I mean some people find it offensive, but I actually don't. I mean, first of all, people in Africa do hip-hop, right? So you can't come and say these people are taking our sound when we have artists back home doing trap, doing all these things. I feel that everybody should feel free to do what they want to do, but maybe it won't hurt to evolve. Like, I feel like it was nice how Swae Lee had Tekno produce that record for him and Drake, stuff like that. And they have more of our producers more involved in the sound because those are the ones who really know how to get the sound. Yeah, I think the producer side needs more shine but apart from that, doing afrobeats is [for] everybody. Any artist is free to do any kind of music they want.

Who are some of the producers that we should know? Give us a starter list. I mean, first of all, Shizzi, that's my producer. He did most of my stuff. And we have Kiddominant, that's my other producer. And we have Speroach, this dude Rexxie, he's the one that's doing all the Zanku songs. So he's going crazy. But I feel like they should bring all these artists out here, get a camp, put 'em all in one room and trust me, they'll make magic.

Do you still consider yourself an afrobeats artist now? Some of your counterparts like Afro B and Burna Boy have classified themselves as afro-wave or afro-fusion. I'm just an artist, man. I'm just a musician. Every kind. Of course I do afrobeats, but I'm just a musician. Worldwide musician. World music.

You mentioned the Latinx music scene. Is there anyone you’re looking to collaborate with from that space? Bad Bunny, Maluma. I really want to work with them. I might get a studio session with them when I get back from Nigeria.

How would you say your sound has progressed over the years from your try at making music to now? Of course [when] you're growing, you learn. Sometimes I don't even listen to some of my earlier records, even though I always used to put a lot in my records so it's not like that shit was whack. It was cool but I can see the growth and the quality of the music. Back then we didn't really focus on our sound and mixing and mastering. We’d really just record, next day release. Right now, it's a whole package and music has to be perfect. Right now, they’re playing Nigerian music on the radio, African music, and after African music, they start playing American music. You don't want the level of the quality to drop. And planning. I'm at the label now. Before I could just wake up and just drop, but now they gotta submit the single two weeks before. You know how it is. So, of course, it's way different now from like four years ago.

What else have you learned about yourself personally and the way you work? I'm really, really, really free with my work. I don't really bother myself with strategic planning and stuff like that. What's most important to me is the music. Once the music is good, I feel that's really all you need. And, of course, a good team around you and they're doing what you want. Connect with your fans. Very important, connect with your fans. Don't lose touch of home because that's your foundation, really. Without that foundation, you can't really be big in America when you don't have that foundation in Nigeria. An example is, I've known a lot of American artists for a while who are bigger in America, but when they came to Nigeria they saw the love I get at home. Then coming back is like, the respect is different. They'd come and they were like, Yo, you're the president. You know what I'm saying?

When was the first moment that you realized where you stood with your hometown? That they would be such a solid support system? That was probably for my first song, really. From the first record, man, it's just been love. Davido this, Davido that, negative, positive, negative and whatever.

Negative? What's the biggest critique you've seen of yourself? I don't know. Probably my voice. That's the worst I can think of. I can't think of nothing else.

What's the most memorable place you've ever performed? I've got a couple places. O2 Arena [in London]. I just did [Madison Square Garden] with 50 Cent [for the Power premiere]. That was cool.

Walk me through that. He [50 Cent] brought me out. It was just crazy cause I ain't really met him before. I met him at the pool party or something like that, when I was performing at the pool party, and the reception when I performed was crazy so I think it got his attention. The next day he called me up to perform at MSG.

And then in July, you headlined your first international festival. Oh yeah, yeah. Amsterdam. Yeah. Oh My! Festival, and then Afro Nation, too. This summer was lit, but next summer is about to be dumb lit. This fall's about to be lit. Album's coming October.

One thing I notice about you and the progression of your career is that it’s fueled by a strong sense of faith and confidence. Where do you get that? It just depends, man. Honestly, it's not even confidence. I wouldn't say that Nigeria spoiled me, but like bruh, they just showed me so much love. Like, I didn't really go through like a lot of things. I just dropped and it just took me... I didn't really have to overkill myself. They just kept me there. I don't know why they liked me so much, (Laughs) but they just kept me there, kept me comfortable, kept me confident. Always came out to all the shows, supported all the music. It's just love, everywhere is love. Even the love for Davido spreads to everybody around me. My family members.

Have newer artists in Nigeria or on the continent asked you for advice? If so, what do you tell them? You have to be very hardworking and ready to play the part. That's what they're always asking. But everybody has their different ways of getting to where they need to get to. My way might be different from somebody else's way, but most importantly is just be ready to work hard and the music has to be good. Once the music is good, get your team right, and just work hard. I feel like the other steps, you kind of figure it out yourself.

Who do you think is next up in terms of afrobeats artists?  I mean, there's a lot of other artists. It's like 500 of us. Let us in, open American doors, we will finish everybody. There is a lot of us. I feel like before you stand up and leave Africa, like, yo, I'm going to chase the dream in America, I'm going to chase the dream in Europe, you have to make sure your foundation, your home is super strong.

Is it still a goal to capture or change up the American market? No, not [to] change it, we just want to join it. Add us. We should have our own chart, I think. You know what I'm saying? Like if reggae could have their own chart, I think we can have ours, too. Or let us in the main chart, something. But I feel like it's gonna happen, man. It's been happening, man. Most importantly, I'm happy that American artists themselves open their arms for us as well. I got a lot of records dropping that are not even myself, they're their songs featuring me. Stuff like that helps us as well.

What can we expect from the new album? Just a lot of good songs. It's an album for everybody, I'll say. I feel like everybody will have at least three songs they love in different genres. It’s going to be 13 songs. Well, I’ll probably have "Fall" and "If" on there, so it's really like 11 new songs. But yeah, it's going to be an album for everybody. Trust me. Every type of song is going to be on there. Predominantly afrobeats-infused, of course. Mainly my producers and a lot of your [American] producers, too. With features, me and Chris got a second record.

And lastly, since you speak highly of your foundation, what is the best thing about Nigeria? The people. The attitude, rich or poor. It's just a jolly place. You would laugh, comedians everywhere. There's some bad, bad spirits sometimes, (laughs) but for the most part, it's a very beautiful place.

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Nickelodeon

How 'My Brother And Me' Resonated With A Generation Of Young Black Men

In terms of cultural impact and influence, the '90s ranks as one of the defining decades for black entertainment of the past century. This proves particularly true in the realm of television, with a number of landmark programs debuting that reflected the life and times of blacks in the urban community and beyond. While the '80s produced groundbreaking sitcoms like The Cosby Show, A Different World, Family Matters, 227, Amen, and Frank's Place, all of which featured predominantly black casts, these shows were few and far in between.

However, the arrival of a new decade coincided with an influx of programs starring black leads, with shows like Martin, The Fresh Prince of Bel-Air, Living Single, Hangin with Mr. Cooper, Roc, Thea and South Central all making their debut. While these shows were hits across various age groups, they all starred and revolved around actors of age, in some form or fashion. One of the first programs to divert from this formula and place the focus squarely on adolescents was My Brother and Me, a sitcom that often gets overlooked when listing the pivotal shows of its era.

Making its debut on October 15, 1994, My Brother and Me was among the first live-action series to air on Nickelodeon and the first to feature a predominantly black cast. Created by Ilunga Adell and Calvin Brown Jr., and directed by Arlando Smith and Adam Weissman, the show centers around brothers Alfred "Alfie" Parker and Derek "Dee-Dee" Parker, the two youngest children of parents Jennifer (Karen E. Fraction) and Roger Parker (Jim R. Coleman) who experience the typical growing pains of pre-pubescent young men that are coming of age.

Additional core cast members include Alfie and Dee-Dee's older sister Melanie Parker (Aisling Sistrunk),, Alfie's best friend Milton "Goo" Berry (Jimmy Lee Newman, Jr.) who has an infatuation with Melanie, Melanie's best friend and Donnell's older sister Dionne Wilburn (Amanda Seales), Dee-Dee's best friend and Dionne’s younger brother Donnell Wilburn (Stefan J. Wernli),, Dee-Dee’s other best friend Harry White (Keith "Bubba" Naylor), and local comic book store owner Mrs. Pinckney (Kym Whitley).

Set in the suburbs of the west side of Charlotte, North Carolina, My Brother and Me was the Nickelodeon's answer to Sister, Sister, a sitcom on ABC starring identical twins Tia and Tamera Mowry that had debuted earlier that year. With a beat writer for the local newspaper for a father and a school teacher for a mother, Alfie and Dee-Dee enjoyed a stable living environment in which they could thrive academically and socially while simply being kids. A middle-class family with access to all of the basic amenities, the Parkers' economic situation was in stark contrast to the usual scratching-and-surviving, rags-to-riches themes often associated with sitcoms geared towards people of color.

While removed from the harsh realities that often accompany life in the inner-city, the Parker boys were drawn in by the allure of street culture, with Alfie and Dee-Dee both being avid fans of hip hop music, fashion, and style. This love affair would be the driving force behind various episodes, most notably "Dee-Dee's Haircut," during which Dee-Dee allows Goo to butcher his hair after marveling at fellow student Kenny's "Cool Dr. Money"-inspired haircut. Going as far as handpicking designs out of a rap magazine Donell borrows from his sister Dionne, Dee-Dee goes to the extreme in an attempt to mirror Kenny and Cool Dr. Money, a testament to the influence hip hop holds over him. His affinity for the culture is also reflected in the "Donnell's Birthday Party" episode, during which the impressionable youngster mimicking dance moves from a rap video in hopes of tightening up his dance skills.

Alfie and Dee-Dee may have been the intended stars of the show, but to many viewers, the most memorable character from My Brother and Me was Goo, who stole scenes with his humorous wisecracks and mischievous hijinks, often at the expense of Dee-Dee and his friends. From showering Mrs. Parker with disarming compliments to masterminding various plots and schemes in an attempt to get himself and Alfie out of trouble, Goo proved to be the most entertaining member of the show, exuding swagger and confidence that are palpable to the viewer and as hip hop as it gets. On the other hand, Alfie, who is not as overtly demonstrative in his rap fandom as his younger brother or Goo, reps his allegiance to the culture more subtly, with his haircut, backward caps and boisterous mannerisms.

While race was never a prevalent topic on the show, if one was to look closer between the lines, My Brother and Me was unapologetically black and pridefully so. Take, for instance, the various nods to HBCU culture throughout the show, including Roger Parker's various North Carolina Central University sweatshirts and hats, Alfie's Morehouse fit, and insignias from various black fraternities. One other common thread of the show was its incorporation of sports, starting with the Parker household's fandom of Charlotte's local professional franchises on full display, as Charlotte Hornets and Carolina Panthers memorabilia are all visible throughout the household. Cameos also included appearances from NBA stars Kendall Gill and Dennis Scott, the latter of whom teaches Alfie, the superior athlete of the Parker brothers, a lesson in selflessness and teamwork by cutting him from the school basketball team in "The Basketball Tryouts" episode.

Of all of the aspects of My Brother and Me that made the show a game-changer, the fact that it was one of the first times young black males saw themselves in characters on the TV is the most enduring. While plenty of shows and networks fixated on coming-of-age storylines centered around the privileged youth of white America, My Brother and Me provided the alternative, promoting the bond of brotherhood and family values with each episode aired. Preceding shows like Kenan & Kel and Cousin Skeeter, both of which implemented overt comedic or fictional elements, My Brother and Me was a realistic glimpse at the life of the average black boy in America without the overarching narratives of impoverishment, temptation, and despair. For many young black men born in the '80s, the show left an indelible impact on them and holds a place near to their heart a quarter-century later.

In spite of its critical acclaim and popularity, My Brother and Me only aired for one season, as it was canceled after airing its final episode on January 15, 1995. The network would air reruns into the early 2000s before returning briefly during The '90s Are All That block on TeenNick in December 2013, the last time the show would appear on television. In June 2014, Nickelodeon released My Brother & Me: The Complete Series as a two-disc DVD, giving a new generation of viewers and longtime fans of the show an opportunity to relive the magic that the show captured during its short, yet unforgettable run.

In the years following My Brother and Me's cancellation, many of the actors and actresses from the show would fail to find their footing in the entertainment industry, resulting in their acting careers fading into obscurity. Arthur Reggie III scored a few additional credits, appearing in the TV shows Sliders and C-Bear and Jamal, as well as the 1998 film Bulworth, but later transitioned into a rap career, performing under the name Show Bizness. My Brother and Me would mark Ralph Woolfolk's last appearance as an actor, as he decided to leave the industry behind and focus on his education, pursuing a degree in English at Morehouse College in Atlanta, while also attending law school. He is also a member of the Alpha Phi Alpha fraternity and currently serves as a police officer for the city of Atlanta. Jimmy Lee Newman, Jr. scored bit roles in the TV shows Sweet Justice and Sister, Sister in the subsequent years after the show, while Aisling Sistrunk, Stefan J. Wernli and Keith "Bubba" Naylor would never act professionally again.

However, a few members of the cast were able to sustain viable acting careers well beyond My Brother and Me's cancellation, most notably Amanda Seales, Karen E. Fraction and Jim Coleman. Seales would rebrand herself as Amanda Diva and become a successful media personality before transitioning back into acting, last appearing as Tiffany DuBois on HBO's "Insecure." In 2019, Seales debuted an HBO Comedy Special I Be Knowin', and was chosen as the emcee for NBC's comedy competition, Bring the Funny. Jim Coleman has kept himself busy with various roles over the past two decades, last appearing in "The Council," and continues to receive steady work. Karen Fraction would add a few additional credits to her resume after "My Brother and Me," but passed away on October 30, 2007, after a five year battle with breast cancer. She is survived by her two children, Lauren Elizabeth Jean and Lawrence Wm. Morris, and her husband Lawrence Hamilton. And last, but not least, Kym Whitley would enjoy a fruitful career on television and on the big screen, appearing in dozens of shows and films throughout her lengthy career, with her latest role being Mrs. Malinky in the Netflix animated comedy Pinky Malinky.

In the time since the debut of My Brother and Me, a lot has changed in terms of the presence and representation of black youth on television and beyond. A number of black actors and actresses have had the opportunity to shine in a big way, including Tyler James Williams (Everybody Hates Chris) Zendaya (Shake It Up), Kyle Massey (Corey in the House), Keke Palmer (True Jackson, VP), Miles Brown (Black-Ish) and Alex R. Hibbert (The Chi) all among the more prominent child stars making major waves on TV over the past two decades. That said, 25 years later, the fact remains that My Brother and Me was ahead of the curve as one of the first instances of seeing ourselves in a positive and uplifting light on the small screen.

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