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Kadeem Johnson for Everyday Afrique

With African Music On The Rise, Afro-Themed Dance Parties Get To Win, Too

When walking up to the venue for New York City day party Everyday Afrique, the music greets you before you can even reach the door. Depending on the day or the DJ, you might be welcomed with a remix of Afrobeats star Mr. Eazi’s 2013 hit song “Bankulize” or embraced by Niniola’s 2017 Afrohouse single “Maradona.” The dozens of people waiting outside of the venue, the majority of which are black professionals and creatives, are dancing along to the music, seemingly unbothered by the line that stretches down the block. The lively scene outside of the venue looks considerably different than it did in 2016, when media company OkayAfrica teamed up with two popular party series, Everyday People and ElectrAfrique, to throw its inaugural Everyday Afrique event. In the three years since Everyday Afrique began, the crowd has increased from 250 people to more than 1,800 people per event, tickets are selling out faster than ever, and the African music that anchors the event has transcended the borders of Africa and is now being played on radio stations and in clubs around the world.

African music, particularly Afrobeats, has shared a prosperous give-and-take relationship with Afro-themed party series like Everyday Afrique. In the past, Afrobeats, Afrohouse, and Caribbean soca music were once exclusively celebrated by local communities living in major cities on the African continent—Lagos, Johannesburg, Accra, and Nairobi—and diasporic transplants that returned home to these cities for the holidays. Over the last two to three years, there has been an extreme increase in demand for various genres of African music in places like Washington, D.C., New York, London, and Paris, cities that for years already maintained a high concentration of Afro-themed functions to serve their diverse populations. In these cities, Afro-themed parties like London’s Afrobeats in the Garden and New York’s Afro Night Live have done their part to curate experiences around a growing art form that had little support but that they appreciated and believed in. Now, these same parties are benefiting from the music’s newfound success and expanding just as quickly as the sounds.

Everyday Afrique has been one of the major benefactors and beneficiaries of African music’s success in NYC. Three times a year during the summer’s three major holidays—Memorial Day, Independence Day, and Labor Day—Everyday Afrique hosts an all-out sweat dripping, rump-shaking, gwara gwara-hitting dance party in rotating venues around Brooklyn. The party’s soundtrack is a collection of popular and underground Afrobeats, Afrohouse, reggae, soca, and hip-hop music provided by half a dozen DJs including Everyday People co-founder DJ Moma and ElectrAfrique founder, DJ Cortega. “Our approach for Everyday Afrique has always been one of community-building,” DJ Cortega says over the phone from his home in Dakar, Senegal. “We do this through connecting people who are like-minded, that have common objectives, that are inclusive, and using music as a platform to bring people together.”

The bulk of people who make up Everyday Afrique’s community are African born and diasporic born people who dwell in neighborhoods in Harlem, Queens, and Brooklyn. Although the ages of the attendees vary, the 21+ crowd is largely dominated by millennial age professionals and creatives who likely share five or more mutual Instagram friends with any given person in the venue. There is a sense of Pan-African pride amongst the group, highlighted by “Very Black” graphic tees floating around the party and gold pendants carved in the shape of the continent dangling from attendees’ necks. Not only are the people at Everyday Afrique connected by their love for African music, but what the music represents and tells them about their culture.

A number of other Afro-themed party series that aim to conjure a similar feeling of cultural pride and community fostering have popped up in various cities around the world. Afrocode is a similar dance-heavy event that hosts weekly parties in Atlanta, New York City, and D.C. The inaugural Afrocode was organized by Ghanian entrepreneur "FredEvents" in 2013. He had the primary desire to connect the often fragmented black American, black Caribbean, and black African communities and provide a celebratory environment where they could listen to and appreciate one another’s music and cultures. "We picked a theme that wasn't solely African, but that can also bring the three cultures together to appreciate each others’ genre,” Fred explains via phone. “We knew the energy would be completely different because you are giving the best of all the three categories in one space."

 

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The energy fostered in these environments has been both a cause and effect of the diaspora’s growing desire to reconnect and learn more about their African ancestry through various cultural channels. The growing popularity of parties like these corresponds with the success of travel companies like Travel Noire and Tastemakers Africa, both of which create and share opportunities for black people from the diaspora to visit the continent and engage in historical and cultural experiences during their visits. “I think people are now paying attention to what it means to be African,” Fred says. “For the longest, a lot of African Americans, black people in general, have tried to seek that connection.” Although these connections are also being formed through fashion, art, and other creative mediums, nothing has seemed to connect Africa and the diaspora more than music and the spaces that are curating a vibe around it.

Afrobeats, in particular, has emerged as the leading genre during this most recent global African music takeover. The genre, which over the years has been used to define a broad collection of popular sounds coming out of West Africa, has catapulted a number of its stars into the international spotlight. Earlier this year, Afrobeats stars Burna Boy and Mr Eazi performed sets at Coachella and the summer before Afrobeats hitmaker Davido shut down London’s Wireless Festival with a highly talked about set. The former two artists were also featured on Beyonce’s latest surprise album The Lion King: The Gift, along with West African hitmakers WizKid and Tekno. The album itself appears to be an ode to the genre and its African roots and includes many of the same percussion elements as Afrobeats.

Much of the music's global appeal can be credited to its upbeat and lively instrumentation and feel-good lyrics, which tend to celebrate life, love, and positive experiences. “Afrobeats is engraved in people's culture, it's not just a cool thing,” Fred says. “People live, breathe it. It's a true culture, it's not just a music category. It feels like when hip-hop was starting out back in the day. They were telling their stories through the music. With the music comes a lot of different ways that we can showcase Africans in a different light.”

For Fred, Afrobeats seemed like the most logical breakthrough genre in the U.S. because of the hefty West African presence in cities like D.C. and New York, where both he and DJ Cortega first tried their hands at hosting Afro-themed parties. Europe has also been up on the Afrobeats wave. ElectrAfrique has touched down in Berlin and Paris, and London-based event company Sounds D’Afrique has brought the flavor of Afrobeats to London’s club scene. In each city, these gatherings are centering Afrobeats music, while simultaneously introducing locals to new artists and the sounds that energize crowds in South Africa, Zimbabwe, Kenya, Jamaica, and other countries around the world.

Their success is a prime example of the adage “when opportunity meets preparation.” When Swiss born DJ Cortega first launched ElectrAfrique, he did so with a small team in Nairobi, Kenya. ElectricAfrique held its first party in 2011, the same year WizKid released his debut album Superstar and Davido dropped "Back When," the first single off Omo Baba Olowo. DJ Cortega, FredEvents, and other early Afro-themed party founders had the foresight to curate parties around a sound that had yet to find a global audience or show potential to do so. Now, the rise in attendance at these events can be directly attributed to the growth of African music.

Parties like ElectricAfrique are continuing to introduce other African people to the new popular songs produced by their neighboring countries. “Even though we're growing, it’s still relatively organic and community-based,” Cortega says. “We have never really tried to push super hard to grow. We want the event to grow naturally. We want people to enjoy being there and feel like this is a space where they are comfortable and where they identify and so they want to bring their friends and like-minded people to it. In terms of the vibe that's one of the very important elements.”

So what’s next for the growth of African music and the party series that provides the music with the grassroots marketing it needs to succeed? Neither DJ Cortega nor Fred see it slowing down anytime soon. “Africa is almost 1.2 billion people,” Fred says. “There's not a question about it being sustainable. The culture will always be there. People are always going to create. I think the part where the music is so much more important now is because people are starting to respect what being African is because they have a marketable product that they can attach a dollar value to.” Regardless of the changing landscape of the music industry, parties like Everyday Afrique, Afrocode and the like are primed to continue thriving as a result of the communities they built that may have been brought together by the music but stayed for the experience.

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390649 13: Cedric The Entertainer (left) and Steve Harvey during the First Annual BET Awards June 19, 2001 in Las Vegas, NV.
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How The WB Became A Hub For Black Entertainment In The '90s

Seeing a television show with a predominantly black cast may not cause much of an uproar in 2020, but 30 years ago, any advancement in our representation on-screen was cause for celebration. Sure, the previous two decades had given us a handful of classic sitcoms - The Jeffersons, Good Times, Sanford & Son, 227, The Cosby Show, and A Different World among them - geared toward a black audience, but 1990 marked the beginning of a period during which Tinseltown would open the flood-gates. Television behemoths like ABC (Family Matters, Hangin' with Mr. Cooper) and NBC (The Fresh Prince of Bel-Air) continued to tap into the urban market, which, by then, had become a jackpot for ratings, prompting other networks to follow suit by shifting their own programming. FOX, in particular, had turned itself into a serious competitor in short order. Launched in 1986, the network quickly emerged as a favorite among the 18 to 40 demographic, with groundbreaking programs like In Living Color, Martin, Living Single, New York Undercover, Roc, and The Sinbad Show all making their debut during the early '90s.

This renaissance reached a fever pitch when The WB, which would become a central hub for black entertainment on the small screen, was launched on January 11, 1995. A joint venture between Warner Bros. Entertainment and Tribune Broadcasting, the formation of The WB Television Network was first announced in 1993, amid deregulation of media ownership rules. Taking a page out of FOX's book, The WB braintrust included a number of the network's former executives, most noticeably FOX's original President Jamie Kellner, and Programming Chief Garth Ancier, both of whom served at the helm during the networks launch. While the major networks often presented sterile images of black households and characters that were meant to be relatable to mainstream audiences, only FOX had tapped into the energy and aesthetic surrounding hip-hop, which had become a driving force in pop culture at that point. The WB would help fill that void in a big way with programming that not only reflected the vibe of the streets, but embraced the art of the music and the artists that made it.

This was evident from the network's launch, with the debut episode of The Wayans Bros. immediately setting the tone for what was to come. The first program to ever air on The WB, The Wayans Bros. starred brothers Shawn and Marlon Wayans, the younger siblings of actors/comedians Keenan Ivory Wayans and Damon Wayans. Following stints on the final seasons of In Living Color, as well as roles in various films and television shows, respectively, Shawn and Marlon were tapped by The WB  to create and star in their own sitcom, giving the duo creative license to bring their vision to life. Set in Harlem, New York, The Wayans Bros. centered around the lives of Shawn and Marlon Williams, two brothers striving to realize their dreams while toiling away at their respective jobs. Boasting a cast that included John Witherspoon (John "Pops" Williams), Anna Maria Horsford (Deirdre "Dee" Baxter), Lela Rochon (Lisa Saunders), Paula Jai Parker (Monique), Jill Tasker (Lou Malino) and other recurring characters, The Wayans Bros. gave The WB a credible sitcom to build its legs on, with Shawn and Marlon's cache among young black viewers drawing eyes to the network.

Avid fans of rap music and products of hip-hop culture, the Wayans' made sure to make their affinity for the five elements known from the jump, with their decision to use the instrumental from A Tribe Called Quest's 1993 single "Electric Relaxation" as the opening theme song and the graffiti-inspired logo for the show serving as two blatant indicators of this love affair. Sporting the trendiest brands of the time and infusing popular street slang into their dialogue, Shawn and Marlon presented an authentic, albeit humorous, glimpse of young black men that wore baggy jeans instead of slacks and were from the hood, but came from a two-parent home and were far from criminal-minded. Airing 13 episodes during its debut season, the breakout success of The Wayans Bros. resulted in the show being renewed for a second season, helping solidify the duo as viable comedic talents while establishing The WB as a force to be reckoned with.

On January 18, 1995, the week following the debut of The Wayans Bros. The WB aired the first episode of The Parent 'Hood, a family-friendly sitcom in the mold of The Cosby Show. Created by and starring actor/director/comedian/writer Robert Townsend, The Parent 'Hood centered around the growing pains of an upwardly mobile black family based in Harlem, New York. Townsend plays a college professor (Robert Peterson), a hands-on dad and strict disciplinarian, opposite Suzzanne Douglas (Geraldine "Jerri" Peterson), the family matriarch pursuing a law degree. Other cast members included Reagan Gomez-Preston (Zaria Peterson), Kenny Blank (Michael Peterson), Faizon Love (Wendell Wilcox), Curtis Williams (Nicholas Peterson), and Ashli Amari Adams (Cecilia "CeCe" Peterson). In addition to traditional sitcom tropes about family values and morals, The Parent 'Hood also tackled serious issues like domestic abuse, peer pressure, teenage pregnancy, and gang violence, giving the show additional depth and garnering rave reviews from critics.

The Wayans Bros., The Parent 'Hood, and Unhappily Ever After - another sitcom that debuted on The WB as part of its initial roll-out - all saw immediate success and were green-lit for second seasons. But Muscle, a short-lived parody sitcom that was also a part of The WB's original Wednesday night lineup, was cancelled due to low ratings. Looking to fill the time slot, The WB picked up Sister, Sister, a fictional sitcom about reunited twin sisters who were separated at birth, that was cancelled by ABC the previous year. Starring Tia (Tia Andrea Landry) and Tamera (Tamera Ann Campbell) Mowry, with a supporting cast comprised of Jackée Harry (Lisa Landry Sims), Tim Reid (Raymond Earl "Ray" Campbell), and Marques Houston (Roger Evans), the show aired on The WB for its final four seasons, becoming one of the most popular shows on the network and catapulting the Mowry family to stardom. Around this time, The WB unveiled the First Time Out, the network's answer to FOX's Living Single and infiltration of the Latino market, which had a brief shelf life before being cancelled mid-season, but remains noteworthy within the Latin community.

As The WB continued to expand for the 1996-1997 television season, the network introduced additional programming with the debuts of The Steve Harvey Show and The Jamie Foxx Show. Created by Winifred Hervey and directed by Stan Lathan, The Steve Harvey Show cast comedian Steve Harvey in a starring role as Steve Hightower, a former music legend-turned-music teacher who plays an active part in his students’ lives while balancing his own love life. Playing alongside Cedric the Entertainer (Cedric Jackie Robinson), Wendy Raquel Robinson (Principal Regina Grier-Maddox), Terri J. Vaughn (Lovita Alizé Jenkins-Robinson), the late Merlin Santana (Romeo Santana), William Lee Scott (Stanley "Bullethead" Kuznocki) and others, Steve Harvey's performance helped turn him into a household name on the national stage and remains one of the definitive roles of his career. Standout showings during his time as a cast member on In Living Color and in recurring appearances on the FOX sitcom Roc aside, Jamie Foxx was still building his reputation as a comedic actor when the first episode of The Jamie Foxx Show premiered on The WB on August 28, 1996. Starring as Jamie King, an aspiring musician from Texas who works in his aunt and uncle's hotel, The Kings Tower, while pursuing his career, Foxx's star rose rapidly during the show's five-season run, as did that of castmates Garcelle Beauvais (Francesca "Fancy" Monroe), Christopher B. Duncan (Braxton P. Hartnabrig), Ellia English (Aunt Helen King), and Garrett Morris (Uncle Junior King), all of whom scored various roles in television and film in the subsequent years.

In addition to sitcoms, The WB also introduced animated content for children via the Kids' WB program block, which was introduced in September 1995. While largely comprised of popular Warner Bros. cartoons, Kids' WB also featured original series like Freakazoid!, Earthworm Jim, and Waynehead, the latter of which would prove to be highly influential. Created by comedian Damon Wayans, Waynehead, which is based on Wayans' own childhood, centers around Damien "Damey" Wayne, an inner-city kid with a club foot and a gang of friends. Featuring a voice cast including Orlando Brown (Damey Wayne), Tico Wells (Marvin), Jamil Walker Smith (Mo' Money), T'Keyah Crystal Keymáh (Roz), Shawn Wayans (Toof), and Marlon Wayans (Blue), Waynehead would only run for 13 episodes prior to being cancelled, but is remembered for its plot and giving kids from the projects and inner-city characters and scenarios that reflected their reality and has become a cult classic with the passage of time.

As the latter half of the '90s progressed, The WB became entrenched as one of the go-to hubs for black entertainment, with its slate of shows moving the needle and presenting viewers with stories and environments familiar to their own. Soon, after the initial run of shows, The WB would add additional shows with black leads to round out its programming block, picking up the NBC sitcom For Your Love, starring Holly Robinson Peete and James Lesure. However, when the network’s expansion into the teen market yielded huge returns in terms of ratings, hit shows like Buffy the Vampire Slayer, Dawson's Creek, Charmed, 7th Heaven, and Roswell began to become the priority. This change, along with competing networks like UPN doubling down on The WB's formula and cornering the urban market, would help result in the eventual demise of The WB's flagship shows. The first show to bite the dust would be The Wayans Bros., which aired its final episode on May 20, 1999, after a five-season run. Just days later, on May 23, 1999, Sister, Sister would follow suit after four seasons on the network, with The Parent 'Hood being the next to go just months later. The Jamie Foxx Show would last five seasons before bowing out at the top of 2001, while The Steve Harvey Show held on the longest, surviving until the following year after six seasons, making it the longest running show with a black lead in the network's history.

Aside from the animated series Static Shock and the short-lived, Anthony Anderson-helmed sitcom All About the Andersons, The WB placed its focus squarely on teen dramas and sitcoms with Caucasian leads, with shows like Everwood, Felicity, One Tree Hill, Smallville, and Gilmore Girls all gaining traction. However, after the teen-boom of the late '90s and early aughts faded out, ratings for The WB declined, prompting CBS Corporation and Warner Bros. Entertainment to shut down the network in 2006 and jointly launch The CW later that same year. Officially shutting down on September 17, 2006, The WB's most popular programs would be moved to The CW the next day, marking the end of an era. Outlasting fierce competitor UPN, which shut down two days prior and would also have select programs moved to The CW upon its launch, The WB remains near and dear to the hearts of multiple generations of black television viewers and produced some of the most beloved sitcoms of its time. As shows like The Wayans Bros., The Jamie Foxx Show, and The Steve Harvey Show continue to live on via syndication, DVD, streaming services and YouTube clips a quarter century later, The WB's legacy as a major conduit in helping bring black entertainment to the forefront is iron-clad.

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Tyler Perry, Popeye’s Chicken, And Who We Call ‘Coon’

Black shame has been something of an online talking point in recent weeks. From a chicken sandwich’s bemusing popularity to a movie mogul opening a major studio on the back of a controversial cinematic legacy, big headlines have led to heated conversations about who or what embarrasses us as Black folks. This is an ongoing discussion – about “coonery” and how it affects Black America and Black Americans’ perception of themselves. Filmmaker Tyler Perry’s successes, a stabbing at a Popeye’s chicken, and the resurrection of a blaxploitation cult classic have all offered interesting peeks into how we see the more polarizing aspects of Black popular culture.

But there’s still no clear answer to the question: who, or what, exactly, is a “coon?”

The opening of Tyler Perry’s studio in Atlanta has been hailed as a major event for Black Hollywood; a moment where Black ambition and individuality broke new ground for Black storytelling and ownership of that storytelling. But no Tyler Perry success is an easy thumbs-up; from the moment the writer/director/actor broke through with Diary Of A Mad Black Woman back in 2005, Perry has been a polarizing figure for Black critics and audiences. While beloved by his fanbase, Perry, with his broad folksy comedy characters and church fan messaging, has been blasted as a purveyor of “coonery” for years. Notables like Oprah Winfrey have remained staunchly pro-Perry, while fellow filmmaker Spike Lee was once one of his harshest detractors.

"Each artist should be allowed to pursue their artistic endeavors,” Lee said in an interview with Black Enterprise in 2009. “But I still think there is a lot of stuff out today that is 'coonery buffoonery'."

Perry responded to Lee in a 2009 60 Minutes interview. "I would love to read that [criticism] to my fanbase. ... That pisses me off. It is so insulting. It's attitudes like that that make Hollywood think that these people do not exist, and that is why there is no material speaking to them, speaking to us."

The idea that what Perry does is “coonery” is complicated and has always raised questions. Perry’s brand of screwball humor (particular in his Madea films and former sitcoms) isn’t all that different from slapstick and over-the-top characters that we’ve seen from the likes of Martin Lawrence and Marlon Wayans. Lawrence’s beloved 90s sitcom Martin had its detractors during its heyday (and now), but there doesn’t appear to be the same level of contempt as compared to Perry; judging from how popular his old show has remained, its fair to suggest that Lawrence is beloved by many of the same people who have seen Perry’s Madea movies as embarrassing. As Perry himself mentioned in his rebuttal to Spike Lee, he speaks to his fanbase—a base that largely goes ignored by many of the more critically-acclaimed Black storytellers in cinema. While auteurs like Lee or Barry Jenkins may speak to a specific type of urban experience, Perry has always been most connected to a sensibility that’s more southern, rural and Black Christian-leaning. The fact that his brand of more countrified broad humor is so unsettling for some Black folks indicates an ever-present sense of shame for country Black-isms--particularly when they’re presented in slapstick comedy. Perry has built his empire on Black audiences, yet certain Black critics have always acted as though that audience doesn’t matter. Who gets the final say on Blackness in entertainment?

There are other reasons people criticize Tyler Perry: a penchant for heavy-handed moralizing in his movies, a tendency towards colorism, questionable labor policies – that’s all valid. It’s just as valid as calling out Spike for the choices he’s made regarding female characters in his films or addressing the colorism of Martin’s Pam jokes. But those specific criticisms aren’t inherently connected to “coonery” and what that uniquely damning insult signifies.

Eddie Murphy’s Dolemite Is My Name premiered on Netflix in October to widespread acclaim, with the Rudy Ray Moore biopic earning Murphy his best reviews in a decade. The film focuses on Moore’s determination to make his Dolemite comedy character a movie star, independently using family, friends, and associates to get his movie off the ground. Hustling his way up from standup through hit comedy records to actually seeing his movie on the big screen, Moore is portrayed as a symbol of Black individuality and self-actualization. As I was watching his story unfold, I was reminded of the parallels to Perry. Like Perry, Moore and his team wouldn’t really be considered great filmmakers, but also like Perry, Dolemite’s appeal doesn’t really lie in craft or execution—Moore simply told stories that resonated with his particular audience. In one scene in ...My Name, when Moore watches an Indianapolis crowd guffawing at his low-budget blaxploitation spectacle, the sense of pride he feels isn’t just in what he’s accomplished, it's in who he’s doing it for: an audience that wanted Dolemite humor and camp—an audience that existed even within the broader blaxploitation fanbase.

With so many raving about Dolemite Is My Name and Murphy, there’s a question of hindsight being 20/20 and how Black art is often policed through a sense of shame. How many of those applauding this 2019 biopic would have cringed seeing Dolemite in 1975, a jive-talking, pudgy quasi-pimp at the center of a shoddily made flick? Now, that story is being told with reverence and heart, and it speaks to how, once you can put some distance between time and place, it’s easy to see a bigger picture and celebrate the spirit—even when the end result may not be to your taste.

When Popeye’s now-mythic Spicy Chicken Sandwich made its return last week, the online jokes and customer enthusiasm was met with criticism and handwringing from those who obviously felt Black folks were falling into a stereotype over fried chicken. When a news report revealed that someone had died violently at a Popeye’s over an argument while in line, many bemoaned how embarrassing Black folks had supposedly gotten over this sandwich. Of course, there wasn’t a widespread epidemic of chicken sandwich-related violence, it was just an incident that happened at a restaurant. But because the shame was already boiling over in some Black folks, this became a chance to finger-wag the culture for everything from poor eating habits to not supporting Black business to voter apathy. In a society that teaches us racism from the moment we are aware of race, it’s imperative that Black folks un-learn Black shame. And it’s time to stop running to “coon” any time you believe someone fits a stereotype racism taught you to be embarrassed by.

Black folks could stand to be a lot less embarrassed by Black folks.

Who “fits the stereotype” isn’t really what’s most damaging to Black people in America – it’s the fact that these stereotypes exist in the first place. Tyler Perry’s characters weren’t created by some outsider and foisted upon Black audiences from a place of derision; they’re affectionate parodies of his own family, written by and for someone who knows that churchy, southern voice and isn’t so ashamed by it that they can’t have a little fun with it. In the same spirit that we now applaud figures like Moore and southern rap impresarios like Master P (who built an empire with a No Limit Records label that catered to its audience while often being criticized for mediocrity by rap “purists” of the mid-90s). The shame in Popeye’s popularity, the shame in a Madea character, the shame in so much of what we see in Black people—is only there because racism put it there. Before deciding to speak against a Black creator as a “coon,” shouldn’t we be sure to not marginalize an audience? Black art is still Black art even when it doesn’t necessarily speak to your specific Black experience.

And beyond even art, maybe it’s past time that we just stop being so ashamed of Black people.

“Coon” has merit, no doubt. But when it’s tethered to a sense of embarrassment, it can become a weapon of respectability. Being who you are, telling your story, maintaining your voice—those things shouldn’t make you a “coon.” Even if your voice is loud and country, even if your voice is problematic in certain areas, even if your voice doesn’t match my own—you aren’t a “coon” until you begin shucking and jiving for the status quo; not just because you’re being you, regardless of whether they’re watching or not. That’s an important distinction that often gets lost in the haze of embarrassment. Using descriptors like “country” and “ghetto” as pejoratives is an indication that something taught us that these types of Black folks “make us look bad.” Believing that would mean that we’re buying into the lens of other folks. Do we really think Black experiences, Black voices should be shaped by how racism sees us? Because if so, that’s the real shame. 

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Todd “Stereo” Williams is a writer/editor/media producer based in New York City. An outspoken veteran entertainment journalist, his work has been featured in The Daily Beast, XXL, Ebony and The Undefeated. He's also an accomplished screenwriter and documentarian who's co-produced films such as Exubia and Beautiful Skin.

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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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