Eddie Murphy Appears On The Oprah Winfrey Show
Paul Natkin

Music Sermon: Eddie Murphy's Music Career Is Not A Joke

Eddie Murphy's music career may not have the success as his comedy and acting, but it's quietly been his most consistent artistic avenue.

In 1984, Eddie Murphy was dominating Hollywood. At only 23, he’d become the biggest star of the Saturday Night Live cast, earned a Grammy and sold over a million copies of his self-titled comedy album. He had also jumpstarted his movie career with two box office comedy smashes, 48 Hours and Trading Places, which resulted in a $15 million deal with Paramount to produce and star in five more films.

Eddie was rock star level famous, a new epicenter of not just Black entertainment, but entertainment, period. And he fully embraced it, adapting the all-leather ensembles Axel Foley had to stop and laugh at when he first got to Beverly Hills. Having conquered acting and comedy, the star turned his attention to another facet of entertainment: music.

Eddie’s music career is a footnote for fans at best. He only had one real hit, and his last two releases flew largely under the radar. But what many don’t realize is that making music is more than just a hobby the comic has dabbled in from time to time. This isn’t like Lil Duval hitting a lick with “My Best Life” by accident. Eddie is, at heart, a frustrated artist. Think about it; there’ve been through lines of music throughout his entire comedic and acting career, from SNL on. From the beginning, his goal was to eventually have a full-scale entertainment show, reminiscent of the vaudeville days when everyone sang, danced, told jokes, and the whole nine. Eddie as a recording artist never quite took – probably in part because his sh*t was a little unconventional, but we’ll get into that - yet music is the one aspect of entertainment he never gave up on. He stepped away from standup, even stopped doing movies at a point, but was still in his studio at the crib. As rumors swirl of Eddie possibly returning to stand up with a $70 million Netflix partnership, there’s the likelihood that some music will be involved, so let’s prepare by reviewing the comedian’s efforts to be taken seriously as a recording artist.

--

Even before making it in comedy, Eddie wanted to be a singer. ''I organized my own bands when I was in high school on Long Island,'' he told the New York Times while he was working on his first album. ''I was singing before I did comedy. I would do tunes by the Commodores, some by Earth, Wind & Fire, and then I'd do impressions of Al Green, or Elvis Presley. I was the band's manager, leader and lead singer. Actually, there were guys in the group who sang much better than me; I just wanted to be out front.''

His effortless, spot-on impressions made it easy for him to weave music into his comedy, going all the way back to Saturday Night Live.

Eddie added two parody songs on his 1982 self-titled comedy album. I discovered the better-known of the two, “Boogie in Your Butt,” my freshman year of high school when my best friend’s mother was walking around the house singing the song one Friday night.

Say, put a tin can in your butt
Put a tiny man in your butt
Say, but a light in your butt
Say, make it bright in your butt
Say, but a tv in your butt
Say, put me in your butt

Once she convinced my best friend and me it was a real song, we immediately grabbed the album, called a select few people, played it, and hung up (because we were 13, and *69 callback wasn’t a thing for another two years or so).

Once he hit superstardom and his brand identity as a comedic actor was solid, Eddie felt free to experiment with a legit album. He’d already put a piano and a studio in the crib, and he had access to pretty much any collaborator he wanted. Columbia Records, the label home for his comedy albums, became his home as a vocalist, and his singing career started in earnest with the one Eddie Murphy song everyone knows, the actually jamming “Party All the Time.”

Rick James was on the downside of his career when he found out – probably from friend Charlie Murphy – that Eddie had a couple of incomplete sessions with Prince before the Purple One eventually bailed on the project. Rick was still nursing resentment towards his one-time rival, and let that hate serve as fuel to deliver Eddie more heat than he’d had himself in two years.

“Party All the Time” hit #2 on the Hot 100 chart and stayed there for weeks, blocked by Lionel Richie’s “Say You, Say Me.” But it felt more like a Rick James song than an Eddie Murphy song. (That’s part of the issue with Eddie as a recording artist: he has no signature sound.)

The full studio album, How Could It Be, theoretically should have been massive. Eddie was one of the biggest stars in America, and major talent was involved in the project – in addition to James himself, Stevie Wonder produced a couple of tracks. But the album’s performance was meh, and Eddie was surprised. “I thought the album would be doing much better now,” he told the LA Times a little over a month after the LP dropped. “I look at Beverly Hills Cop. About 60 million people saw the movie. So you’d think at least 1 million would go out and buy my record. Unfortunately, I see now it doesn’t work that way.” (This is a lesson entertainers and “influencers” are still learning.)

The lackluster response wasn’t really surprising, though. Eddie’s actual music stood separate from his comedy. Look at Jamie Foxx – who is a classically trained musician, by the way – he sang and played every opportunity he got throughout his career, so him eventually releasing an album surprised no one. Eddie, however, wasn’t a singer, singer. He was like a play singer; he could hold enough of a tune to make the skits work, but nobody was walking around thinking, I really wish Eddie Murphy would record an album. He also didn’t really promote his music. He had already started shying away from media looks, so there were no TV performances or radio promo – things you need to do to let people know you have an album in stores. Most importantly, though, singing Eddie wasn’t the same Eddie fans knew; there was a more serious side in his music. “Look at the lyrics I wrote,” he continued in the same LA Times interview. “There’s feeling in them. They’re not funny. They tell how I feel about certain things.” But did fans really want social commentary, like the unity-preaching “God is Color Blind” from Murphy?

Once upon a time, an orange bus drove through the morning dew
And in the bus were children of assorted hue
Being shipped from the ghetto to a fine white school
But you know the people wouldn't let them through
We don't want no ni**ers in our school

And my God, ooh, is color blind
Blue, black or white, you can be a friend of mine
And don't ever judge another man by his race or creed
We are all different colors
But if I cut you, you'll bleed

Alternately, his songs could be playful, risqué and sexy. Eddie counted Elvis, The Beatles, and Bob Marley among his influences, but the songs that worked for him were more funk-driven, like “Party…” and the lead single from his Nile Rogers-produced sophomore album, “Put Your Mouth on Me.”

Did I mention that Eddie’s music was a bit all over the place? Again, he had no “sound.” He was experimenting publicly (which you can do when you already have all the money), reinventing himself musically with each release trying to make something work. In ’93 he released Love’s Alright, and the bizarre single “Whatzupwithu” featuring Michael Jackson during his peak era of weirdness, allegedly a trade-off for Eddie appearing in “Remember the Time.” Whatzupwithisvideo, though? This is really some “too wealthy to even care what people will think” ish.

The third studio album was a spectacular flop, and Eddie was still shocked about it. "If you look at Love's Alright and see who worked on the album, it's actually kind of funny that the record didn't do anything," he complained to the Baltimore Sun shortly after release. “From vocalists to musicians and engineers, we had everybody who's anybody working on that record."

As Eddie’s film career declined and he moved away from the public eye, there was still music. Every movie in the Shrek franchise closed with a funky performance from Murphey’s character Donkey, and he earned an Oscar nod for his (kind of dark) portrayal of the James Brown/Marvin Gaye/David Ruffin hybrid Jimmy Early in Dreamgirls.

But even though the public had failed to buy into Eddie as a serious artist and musician, he never stopped recording. He just wasn’t releasing anything. “All I’ve been doing is making music,” he said in an interview with Rolling Stone in 2013. “I haven’t been working on films, haven’t been developing movies or any of that sh*t.” After a decade, Eddie had two somewhat quiet album releases, in 2013 and 2015. And the singles for both were – wait for it – reggae. Like, Top 5 on the Billboard Reggae chart and everything (in fairness, the more niche the chart, the lower the level of difficulty to climb said chart – which is why Lil Nas X put “Old Town Road” up as country instead of hip-hop).

He tagged Snoop Dogg as Snoop Lion in on his 2013 single “Red Light” and went for social commentary again on 2015’s “Oh Jah Jah,” with lyrics inspired by Mike Brown’s murder and the Ferguson uprising.

The devil's on the move and the world's gone crazy (yeah)
Police in the streets shootin' down black babies

Eddie’s longest interview in over a decade is the first episode for the new season of Netflix’s Comedians in Cars Getting Coffee. One of the biggest takeaways from the episode was Eddie telling Jerry Seinfeld that he plans to put together a new set and get back on the stand-up stage for the first time in over thirty years. Based on his interviews over the last several years, his goal of putting together a multi-faceted show is still in play. “Ultimately, I’d like to have my own band and play live,” he’s shared. “If I ever get back on stage, I’d do everything – music, comedy, a big stage show. That’s my fantasy.”

So, we might as well get prepared for Eddie on guitar in between the jokes, because with all his other accomplishments and successes, he’s gonna keep giving us this music until it clicks. Until he realizes the vision he’s had since his foray into a singing career: “I’d like to hear people yelling for me to sing. That would make me feel good.”

--

#MusicSermon is a series by Naima Cochrane that highlights the under-acknowledged and under-appreciated urban artists and sub-genres from the '90s and earlier. The series seeks to tell unknown and/or forgotten stories that connect the dots between current music, culture and the foundations of the past.

From the Web

More on Vibe

JC

Nicky Jam: A Love Supreme

Love has neurological effects similar to those of cocaine. That’s what researchers from Syracuse University discovered in a study called "The Neuroimaging of Love.” According to science, falling in love triggers the same feeling of ecstasy experienced by people when they consume the drug.

What’s more, the withdrawal of love—or the emotional mourning that transpires after a serious breakup, for instance—can result in what is called Broken Heart Syndrome, also known as stress-induced cardiomyopathy. The chest pain, characterized as sudden and intense, can rear its ugly head no matter how healthy one might be.

So when one of the biggest reggaeton singers to ever walk the planet tells me he resorted to the use of narcotics after an unexpected breakup during his formative years, I was all but flabbergasted. A 15-year-old Nick "Nicky Jam" Rivera Caminero had slipped into subterranean levels of depression in the face of cyclical family trauma, maternal abandonment and, ultimately, adolescent heartache.

“That’s when I touched cocaine for the first time,” and Nicky experienced a coke-induced euphoria that he spent the following 15 years trying to reproduce. Not long after recording his first album in 1994, ...Distinto A Los Demás, Nicky set on a path of years under the devilish grips of chronic addiction that saw him rise to teen fame in Puerto Rico and practically fade into oblivion by his mid-20s.

A considerably brief, yet successful stint as one-half of Los Cangris with reggaeton compatriot Daddy Yankee during the late 90s served as a precursor to Nicky’s solo career in the early 2000s. After the two parted ways professionally, Nicky went on to release a pair of studio albums, Haciendo Escante and Vida Escante between 2001 and 2004. By 2010, Nicky—now a struggling addict and self-described embarrassment of the Latin Caribbean music industry—relocated to Medellín, Colombia.

It was there in one of the most criminally notorious Latin American cities where Nicky Jam was able to produce a cadre of concerts and hit singles— “Voy A Beber,” “Tu Primera Vez,” and “Juegos Prohibidos,” to name a few—that helped revive his once-dwindling career. A city he feels indebted to for nurturing him when he most needed it, Medellín would also go on to backdrop the near overdose that almost took Nicky’s life before he made the radical (and perilous) decision of going clean.

In 2015, Nicky earned his first Latin Grammy Award in the category of Best Urban Performance with Enrique Iglesias for “El Perdón.” By 2017, Nicky had effectively kicked a deadly habit, resurrected his career, and from the ashes emerged with Fénix, an award-winning and Latin Grammy-nominated studio album that gathered collaborations featuring everyone from Sean Paul and J Balvin to El Alfa and Kid Ink.

Lead singles “El Amante” and “Hasta el Amanecer” would go on to receive their respective billions in views on YouTube, while a spot on Jaden Smith’s “Icon (Remix)” sparked the beginning of a collaborative relationship with the rapper’s father and Hollywood veteran, Will Smith. The Lawrence, Massachusetts born singer was tapped to play the official 2018 FIFA World Cup anthem, “Live it Up,” featuring Big Willie himself and Albanian singer-songwriter Era Istrefi.

In the same year, amid an afrobeat wave, Nicky released “X” with J Balvin, under Sony Music Latin. The song would go on to rule Billboard’s Latin Pop Airplay charts and, as of today, its accompanying music video has accumulated nearly 1.8 billion views on YouTube. In the time “X” took to climb the charts and make a home on the global dance floor, Nicky conjured thoughts with Will about possibly starring in Bad Boys For Life, the third installment of the classic movie franchise.

On January 17, 2020, Nicky then made a memorable return to the big screen alongside Will and on-screen partner-in-crime Martin Lawrence for the big-budget film. Playing one of the villains, Zway-Lo, Nicky’s dedication to his role went as far as him learning to perform a majority of his own stunts. Bad Boys For Life topped the box office for three straight weekends, raking in approximately $168 million in revenue and a total of $338 million worldwide. In the thick of it all, the father of four managed to drop a seventh studio album, Íntimo, and go on a U.S. tour to promote it.

To call Nicky’s story a comeback would be an understatement. Reggaeton’s reigning cupid is a dissertation on transnational redemption and personal resilience, despite falling victim to the social, psychological, physiological, and financial ramifications of inherited drug abuse.

On March 5, 2020, Nicky Jam will enjoy the homecoming of a lifetime, as he's honored with the Special Achievement Award at this year’s Premios Tu Música Urbano at the renowned José Miguel Agrelot Coliseum in Puerto Rico. His former Los Cangris partner Daddy Yankee is the only other recipient to have taken home the same accolade. The greater accolade will be receiving his honor in the company of the new leading lady in his life.

Love is, indeed, in the air.

But no amount of emotional ecstasy was going to see Nicky through to the other side; it was the deliberate act of love that would save him. “I knew I had to break these chains,” he says. “To fix my life and my family.”

Bring me to the moment that made you feel you needed drugs.

I think drugs sometimes make you think it can be the fix of a lot of your problems. The problem with drugs is that you go to drugs because in your mind you don't care anymore about dealing with the troubles that you have. You need something to make you feel good.

What were you feeling bad about?

I lost my mom. My mom wasn't with me. In my mind, I was abandoned by her since I was eight-years-old. Then I had a close girlfriend who left me when I was 15 years old. That’s when I touched cocaine for the first time. ‘Cause in my mentality, nobody was stable in my life. Nobody was sticking around. I felt a lot of betrayal from my own mom and from the girl I loved.

I thought, “Why am I going to take care of myself? My dad didn’t handle his drug problems. My mom did drugs too, so why not me?" I mean, I had drugs all around me, and the foundation of everything is your home. It's your family.

The absence of someone you loved, is that at the root of your past drug abuse?

Yeah, basically.

What was the moment you knew you had to stop and that your life needed radical change?

Years and years after the fact. Imagine, I started at 15 years old. So it was about 15 years later around the time I was 30. I said I gotta break these chains. I almost died from an overdose. I knew I had to break these chains. My mom was doing drugs, my dad struggled with drugs—I gotta break these chains! I needed to fix my life and my family. And that's what I did.

What were the key decisions you had to make in order for you to be successful in your sobriety?

Every pain that I had while I was trying to get clean made me not want to come back to this ever again. When you go cold and try to break drugs, you start to get back pains and bone pains and it's cold all the time. Every time I was going through that process I thought, “This is me breaking this evil, this curse. Am I really going back to this curse?” I had to go through it.

Anything that you have to suffer physically for in that way is the only red flag you need. That right there was letting me know, bro, I was a slave to drugs. I didn't want to be one anymore, so I said I'm not going back to that again. I want to live like normal people. I don't want to work so I can maintain an addiction. I'm seeing that I haven't even been successful enough just because I've been stuck in this cycle. I didn’t want the story of my family and my life to be drugs. I didn’t want to die that way.

One of my favorite songs by Kendrick Lamar is called “i.” That song let us know he was someone who battled with suicidal thoughts and urges. I like to think it’s a love song that he dedicated to himself and others like him. The song is about coming to this radical understanding that despite what the world has to say about you and where you come from, you are enough and worthy of all the good things life has to offer. Talk a little bit about your relationship with self when you were on drugs.

I felt like s**t. I felt like my soul was dead. I didn't care about nothing. It got to a point where I loved living that life, that miserable life and that darkness. I enjoyed hanging around people that lived that same life as well. I enjoyed not having responsibility. I enjoyed just hiding away from everything. You know, one of the big problems of leaving drugs is not just leaving drugs. It’s going back to the reality of what made you turn to drugs in the first place. All those skeletons that you have in the closet. That was my problem.

What else don’t people get about drug addiction?

Another thing people don't know about drugs is that you are a slave to your first high. That first high is always the best high in the world. You're always looking for that same reaction and you never find it. You find a lot of good ones, but never like that first one. You could say that is love at first sight. The [high] is like love at first sight. This is what you feel in a moment where you fall in love or something like that. It’s the only thing similar to having something so good in your life. But it’s not good. Not good at all.

In another interview, you talked about the first time you saw people dancing reggae. It was at one of your parents’ house parties, I believe. You also compared that moment to love at first sight. What was it about reggae that immediately caught your attention?

It was just the Caribbean, you know? In the Caribbean you will see people dancing reggae like normal, but in the States you didn’t really see that. Now, yes, but back in the 80s? It was just MC Hammer, Vanilla Ice, A Tribe Called Quest. People danced to hip-hop, obviously, but not so together. It wasn't really that grinding present. So when I saw people dancing reggae like that in Puerto Rico, and how sexy it was with that Caribbean vibe…

Is that what sparked your love for music?

Yes and no. My love for music began really when I saw the “Thriller” video by Michael Jackson. I remember seeing the premiere and I said I want to do this. I knew automatically when I saw Michael Jackson do “Thriller” as a little kid that I wanted people to fall in love with my music.

What other artists or genres did you consume that helped mold you into the artist you are today? Because you're lauded for bringing romance or the romantic flair to reggaeton.

Yeah, melody wise.

Are you a hopeless romantic?

I'm romantic, for sure, but it's also that I have a beautiful voice. My voice happens to work for that kind of material. So it's not only about my personality; I have a voice that helps create that type of music. What I did was take advantage of that.

I see.

But to answer your question, you can say a lot of music made me who I am. I'm talking about Prince, JAY-Z, Jenni Rivera. I’m talking about country and rock and so much other music that made Nicky Jam. I love that soul—that feeling. That’s what I’ve always been about.

Who taught you how to love?

Who taught me how to love?

Yes.

My kids taught me how to love. They’ve shown me what love really is. Colombia, believe it or not, showed me how to love. Because when I most needed love, they gave it to me. And God taught me love. Por encima de todo, God. God gave me that second opportunity in life where I really recognized that I was loved. I had my doubts.

What is your relationship with God?

God is everything. My respect to God is everything. I’m probably not the best church person in the world, but my connection with God is crazy. He knows that I have conversations with him. We can probably agree that I should maybe pray a little more. [Laughs] I get distracted a little bit because I got A.D.D., you know what I'm saying? But I love God.

You lit up when you mentioned your kids earlier. Who are they?

I have four kids. One is 18 years old and her name is Yarimar. My 17-year-old is Alissa. The 16-year-old is Luciana and my boy, Joe, is the youngest. He's 14 years old.

 

View this post on Instagram

 

A post shared by NICKY JAM (@nickyjampr) on Dec 22, 2019 at 8:40am PST

“La Promesa (La Calle)” is a standout cut for me off the new album. Considering some of the things you’re saying here, what was the writing process like?

That's the kind of song I wanted a lot of people to relate to. It’s saying I’m not giving up and I'm just going to do this. My situation is music, but somebody else can want to be a lawyer. Someone might want to be a journalist, a firefighter or a cop, who knows. But you’re saying, “I’m doing this.” I told my mom I'm not gonna stop. I'm gonna work my ass off and I'm gonna do what I'm gonna do so I don’t go back to that dark place. A lot of people hate me, but I see them. I see through them and I keep pushing anyway. I’m not stopping for nobody. That's the type of song that has a good vibe, but carries a strong message.

Would you say music helped save you?

Did music save me? Let me see, ‘cause I know a lot of people say it just to say it, right?

For sure.

Well, I gotta say that music did save me because it's really the only thing I had. I didn’t graduate from college, you know? I knew I had a voice and I knew I had the power to make people listen to me. So obviously music gave me hope and it gave me faith. It also made me want to be somebody and then it made me believe I was actually going to be somebody.

Music, then, also gifted you a world of people who love you, irrespective of your past or shortcomings.

It did. It gave me a platform, it gave me faith, and it gave me people that love me. Music saved me and my family, to be honest. Today my family lives good because of the music. Today my sister got her house because of the music. My mom got a home because of the music. My dad has his house because of the music. My kids got their college funds because of the music. Music saved the lives of my whole family.

What are your fears?

My fear today is not being with my kids when they need me. My fear today is that one of my kids will go through drugs. Because I know today the youth is crazy. My fear is not seeing my grandkids, stuff like that. I'm not saying I'm scared for my life. I'm saying that those are the things that I want to be here for. I want to make sure that I live a healthy life so I can be around for all of that.

You say that you work like you're going to lose everything at any given moment. Do you also love that way?

Of course. I try to give love to everybody that's next to me in the best way I know how. I try to share my life with them in a way that makes them feel like they have everything. That’s just how I operate. I focus on giving love and I focus on ensuring that [whoever is in my life] can walk away knowing that Nicky is a good guy. That I loved them and respected them. I'm the type of guy, I know when I go with God and I'm no longer on this earth, people gonna say, “I miss Nicky.” And that's when you know you made your legacy. When you make people miss you, you make people want to be with you. You make people want to say good things about you. That’s a legacy.

What’s your love language? How do you express your love to someone you care about?

I think the way I show love is by doing whatever it is I need to for my girl or for anybody that I love. You know what I'm saying? “What do you need?” I don't act like I'm this kind of guy, or that I can't do certain things. I don't have any limits when it's about showing love. It’s in the details, the stupid stuff. You want something? I’ll go get it for you. You want coffee? You hungry? You want me to get you anything? I got you.

You like to serve.

I definitely serve. I’m a server. It’s funny ‘cause I know I might not look like it, but that's who I am. That's how I show my love. And I think it's a good way to show it, ‘cause you know it when it’s gone.

And you brought your partner with you. How did you meet her?

I was doing a video called “Atrevete.” I called her agency and I thought she was the perfect girl for the video. It was just love at first sight. [Laughs] I just saw her come in the restaurant and I said, “Wow, that's a beautiful girl right there.” Then we started talking and it was just instant.

Really?

I had never seen eyes like that before. I just went crazy. Yeah, there's a lot of blue eyes, but something about her eyes drove me crazy. We were flirting around and everybody started to watch, and we just didn't care that people were there. We were just at it and it didn’t matter who was in the room. The video was about us. About me trying to win her over, and it worked. [Laughs]

Do you see a life with her?

Yeah. You also have to understand my background, where I come from and how I lost so many people in life. So my mind doesn’t necessarily… I try not to really think about it like that. I just try my best to enjoy [the present].

 

View this post on Instagram

 

My goofball ❤️

A post shared by Cydney Moreau (@cydrrose) on Jan 31, 2020 at 1:11pm PST

Is that what your “Life” tattoo is about?

It’s the only thing that matters, life and living it to your fullest. The word is a beautiful word. I don't think there's a more beautiful word. Other than God, maybe.

This interview has been edited and condensed for clarity.

Photographer: Jason Chandler, Finalis Valdez

Art Designer: Nicole Tereza

Videographers: Dexterity Productions

Wardrobe Stylists: Norma Castro

Continue Reading
Courtesy of Neon

Chinonye Chukwu’s ‘CLEMENCY’ Reveals Incarceration's Hidden Perils

It pays to take note of films that encourage viewers to rethink how much space empathy and understanding take up in one’s conscience—and how to continue to allow more of both in. CLEMENCY, Chinonye Chukwu’s award-winning and thought-provoking film, explores those themes through the lens of capital punishment.

CLEMENCY follows Bernadine Williams (Alfre Woodard), a prison warden, whose livelihood of carrying out death row executions have taken a toll on her marriage and mental health. Bogged down with flashbacks of a recently botched execution that occurred under her watch, she must face the psychological and emotional demons her job manifests. This reckoning eventually connects her to Anthony Woods (Aldis Hodge)—another inmate she prepares to execute.

Each act in the film is a layer unfolding the intricate complexities of the death penalty—from how it impacts those who implement such acts as their day-to-day, to their community, the victims, the inmates’ advocates, and their own families. CLEMENCY, while leaving you speechless, shows how much more there is to learn about this form of punishment and poses the question of whether it’s even worth it—given the consequences all parties involved suffer over time.

According to the Death Penalty Information Center (DPIC), 29 states in America still uphold the death penalty with over 1,500 executions performed since 1976. Of those executions, about a third of the deceased defendants were Black. And just like the case of Anthony Woods in the film, many inmates are wrongfully convicted of the death penalty, where very few are able to get their cases exonerated.

Clemency is the process that defendants pursue, where a governor or member of the executive branch of government can reduce a defendant’s sentence or grant a pardon. This process is especially important for those who’ve been wrongfully convicted and have had their appeals denied. Though rare, clemency gives the possibility that an inmate’s life will be pardoned.

Chukwu says that Troy Davis’ clemency case is what sparked her to develop this film. Davis was executed on Sept. 21, 2011, where hundreds of thousands of people around the world protested against it, including a handful of retired wardens and directors of corrections. “They were urging for clemency, not just on the grounds of Troy’s potential innocence, but they spoke to the emotional and psychological consequences they knew, from first-hand experience, killing Troy would have on the prison staff sanctioned to do so,” she explains. “The morning after he was executed, I was really obsessed with the question, ‘What must it be like for your livelihood to be tied to taking a human life?’”

From there, the director embarked on a four-year journey of researching for CLEMENCY. She did her due diligence, speaking and interviewing wardens, corrections officers, death row lawyers, lieutenants and a director of corrections about their experiences working in prisons and death row facilities. She touched base with men currently on death row, including a man who was exonerated from death row after being wrongfully incarcerated for 28 years. Chukwu also spent time volunteering for nonprofit legal organizations on 14 different clemency cases for women who are serving life sentences as well as initiated a writing program in prisons called Pens to Pictures. Such a deep dive helped inform how humanity is tied to incarceration.

Putting in the preliminary work and paying attention to details the untrained eye would gloss over in this world was evident in CLEMENCY. Chukwu was intentional on drawing parallels between Bernadine and Anthony with her use of color theory, isolation and evoking emotion. “I wanted to show how anyone is connected,” Chukwu says. “They’re both tied to this ecosystem of incarceration—they’re both impacted in some way and so I really wanted to make that clearer as the narrative progresses.”

For Hodge, knowing how much preparation Chukwu did inspired him to do his homework as well. Alongside producer Bronwyn Cornelius, Hodge visited San Quentin Prison with the intent of speaking with men currently serving on death row. “I was only able to talk to the brothers serving life sentences—the warden wouldn’t allow us to speak with the death row inmates,” Hodge says. “How they were treated, their increased sense of isolation from the other inmates was very polarizing—and informative. It shaped my idea for my character’s world. From there, I went into who I thought I wanted my character to represent to the audience, which was hope.”

The actor saw playing Anthony as an opportunity to show people a man beyond his situation, to show empathy in human form. “I wanted the audience to be able to see a man and see something familiar before judging him based off of his situation,” he explains. “I didn’t want them to see a criminal. As it goes, when it comes to black and brown people in this country, I think we are disproportionately targeted, especially by the prison system and the judicial system, because we are still seen as less than human.”

Hodge also hopes CLEMENCY is a conversation starter that helps push the conversation of how American society is pacified by the idea of taking lives under the guise of justice. “What I keep asking and repeating to myself is that as a society, do we have the right to take the lives of those who have taken life? Would that not make us also the same kind of monster? And granted, there are people who do some heinous things and yes there are a lot of folks that need to be put in jail, but jail in the sense of actual rehabilitation—I’m not sure I’ve seen it,” he says.

CLEMENCY is Chukwu’s offering to the viewer, where she hopes they see the humanity of people who are incarcerated while narrowing the gap between those who think they’re not directly impacted by incarceration and those who are behind prison walls. Even when embarking on challenging work that intersects social justice and film, one would wonder how this impacts a director and actor personally. Chukwu notes that she’s still processing it for herself, tapping into being intentional about finding and embracing joy and detaching from ego; utilizing helpful tools like meditation and therapy.

“It was hard to make this film emotionally and psychologically,” she shares. “There were definitely moments where I had to compartmentalize because I had a job to do—and as the leader of this ship, I can’t can’t break down every time I want to. But I stuffed it in and saved it for later. I knew when I needed to let myself cry and really let myself feel all the things and then feel through it.”

Hodge stresses that he was able to separate the two, as he does not carry his character home when working on projects, otherwise he would lose himself in the craft. “I have to be able to step out of it and be able to observe and refine what needs to be worked on,” he says. “My ambition is to increasingly improve every single take; to show this person I’ve built up for the audience to see. I’m also quite ambitious about showing the world what this rawness is—so the harder it is, the more excited I get. Oddly enough, with all those crazy scenes [in CLEMENCY], I was just actually really excited about shooting them.”

The end of 2019 was the time the world could finally see why CLEMENCY was awarded the Grand Jury Prize for the U.S. Dramatic competition at Sundance Film Festival—making Chukwu, who also wrote the film in addition to directing it, the first Black woman to win the award at the festival. This accomplishment was the launchpad she needed to expand the reach of the film but revealed yet another challenge for her to navigate as the film makes its theatrical runs nationwide.

“I realized that before Sundance I was comfortable in the struggle. I was comfortable climbing up the hill and I realized that I haven’t allowed myself to enjoy the view,” she says. “I think the struggle this year for me was allowing myself to thrive and really align. I’ve been working on other projects and writing. I needed to stop and have compassion for myself and enjoy and say to myself, ‘You did that.’ I’ve been doing the work spiritually to allow myself to thrive and enjoy it and not think that means I’m not doing the work. As a black woman especially, it’s an act of resistance to rest. We work, but we’ve got to rest. And it’s alright.”

As the 92nd Academy Awards approaches, Chukwu was one of the many women and filmmakers of color who were snubbed despite releasing critically-acclaimed bodies of work in 2019. Following her reaction to the lack of acknowledgment after the nominees were announced in January, it’s evident she still taps into joy in the face of willful ignorance.

“I speak on joy because in a world that is more comfortable with my oppression than my empowerment as a black woman, owning my joy is one of my greatest tools of power,” she says in a tweet. “To the many artists who have been overlooked and undervalued, I see you—I see US—and we are glorious!”

CLEMENCY is still playing in select cities. You can see if it’s available for viewing near you here.

Continue Reading
Courtesy of Management

Meet Wande Coal: The Afrobeats Pioneer Who’s Ready To Reintroduce Himself To The World

Before Wande Coal discovered that singing was his true calling, he had dreams of being one of Missy Elliott’s dancers. The artist, one of the few who laid the foundation of the buzzing musical movement we know coming out of Nigeria today, is ready to make another shift of leveling up his global appeal on the heels of his latest release, “Again.”

The 34-year-old Lagos native, born Oluwatobi Wande Ojosipe, is the multifaceted mind behind afrobeats hits we all know so well—including his 2015 collaboration with Patoranking, “My Woman, My Everything,” his prolific linkup with DJ Tunez in “Iskaba,” as well as the groovy track “So Mi So” produced by Juls. Prior to his steady rise, Wande’s musical foundation began in church, where he picked up the piano and learned how to sing.

Nigeria's innovative take on its pop music scene emerged in the 2000s, and it was in 2007 where the singer, songwriter, and producer would join Mo’ Hits Records after its former founders Don Jazzy and D’Banj noticed him as a dancer in his music videos. He then became a fixture at Nigeria’s top record label at the time, penning some of the biggest hits to come out of the label including D’Banj’s “Oliver Twist”—the single that caught the ear of Kanye West, a moment that contributed to the imminent hype that surrounds the genre today.

In 2009, Wande stepped out with his debut album Mushin 2 Mo’ Hits. The classic LP is home to his timeless singles “Bumper to Bumper” and “Ololufe,” where it was also an indicator of afrobeats being well on its way of going global. A year later at the 2010 Headies (the Nigerian take of the Grammys), Wande would then take home a record five awards for that album. Six years later, Wanted, his second LP dropped and it did not disappoint—with “Baby Hello” being a single of note, produced by Maleek Berry. Since 2017, Wande has consistently dropped solo singles and features that showed growth in his sound and would reveal his continued relevance in afrobeats’ global expansion.

REALMS, due this March, is Wande’s first project in five years, as well as his debut under a new partnership between himself, producer Screwface’s Starstruck Management and indie distributor, EMPIRE. The five-track EP is stacked with solid collaborations with producers including Sarz, London’s Lekaa Beats and Melvitto—who produced “Again” with Screwface.

“His process is crazy,” Melvitto shares. “He'll just go in a room and lock the door and just be in there. You'll hear him singing but you don't know what he's doing in there. Then he'll come back with his laptop and there are 30 voice notes in there that are two minutes long, of just song after song. He'll tell me to take them and find something that I like.”

Melvitto and Wande began to consistently work together after they met while “Iskaba” was in production. The producer also adds that “Again” was recorded in New York in August 2018, with parts of the track recorded in London and Nigeria.

“It's definitely a different record,” he continues. “For me, as a fan of Wande Coal, as a fan of music and as a fan of making great music, I always try to push artists to go beyond what they normally do outside of what they know. Wande's voice is so crazy—people don't get to hear it that often since he does more uptempo things. But with giving him the opportunity to have him sing on a slower song, you have to pay attention to his voice.”

Tina Davis, EMPIRE’s head of A&R, wholeheartedly agrees. “It's infectious,” she says. “When you're in A&R, you're hearing [a track] in its rough stages. I love it when I can hear a record from that point and see or know where it can go. Every time I listened to the record I wanted to hear it again—no pun intended. I love what he's saying. I think we need more records about women that are supportive of women, positive and records that show love. I think the world needs a lot more love today.”

Although Wande Coal is renowned, there are still pockets of the pop music market that have yet to get to know him. For Davis, that’s why EMPIRE couldn’t pass up the opportunity to work with him to build a higher platform that reflects where he started as well as his contribution to music. “He’s extremely talented and I feel like he hasn’t gotten the shine he deserves,” she adds. “And people are stepping up for him.”

As much as his collaborators sing his praises, Wande, in turn, does the same for them. He’s one who says so much using few words. His humility is one folks can learn from as it truly takes a village—in conversation, he amplifies those around him in lieu of bigging up himself. Admitting he’s a gentle soul and a loverboy at heart, the crooner pulls from life’s experiences, especially moments of heartbreak, to pour his reflections out in a track like “Again.”

When asked when he truly knew music was the right path for him, he mentions fervently, “I feel so, and I know so.” It’s evident that Wande Coal is in tune with his calling and his purpose. It manifests in his music.

-----

VIBE: How has linking with EMPIRE been for you as you begin to engage with a wider audience? Wande Coal: It's a great move for me because I never had that—this is a first for me. At first, I thought it was a joke, but now, it's becoming a reality. I'm really blessed and grateful.

"Again" is a standout track in your upcoming release. Your vocals and how you approach melodies are a marker of your impact to afrobeats all these years, and it's a track where the focus is on you. What was your creative process putting the song together? My surroundings, what I go through, my environment, my feelings, my relationships—everything around me inspires me. For "Again," I was going through a lot emotionally. I lost a girl and I'm trying to tell her that I want her back, I don't want to lose her and I want life to change and it's never going to be the same [without] her again.

With the REALMS EP, what inspired you to come out with new music now? It's my first time ever having an international major establishment back me, so it's a good look because it's been long overdue. Now I'm just ready to drop that and show the entire world that I got something in me.

You're an OG in the afrobeats game, but for a lot of folks, this will be their first time realizing that they should've been hip to you long before now. Just looking back on your career from your Mohits days to stepping out on your own, what else should new listeners know about you? Besides all of that, I was first a writer. I wrote, "Why Me," "Oliver Twist" [and] I developed Wizkid and Davido. I wrote songs with Wizkid, I gave Davido the name "OBO"—they both used to live in my house. Davido left school in Atlanta and came to my house [in Nigeria] twice using his school fees. Wizkid came by often too because I had three studios and I was inspiring them. I'm glad I was able to be a role model for them. They're big artists now, alongside Burna Boy and Maleek Berry, and the feelings are mutual. I'm glad they're doing so well.

How have you been able to balance being so multifaceted in Nigeria's music landscape? To me, everybody uses the same type of template, so I decided to always create new sounds to stand out and be different. When you check out songs like "Iskaba" and "So Mi So," it's a different vibe to what everyone is singing. I'm glad that people appreciate it and I'm glad to lead the change since I was there from the start. I stay ready to always change the game and create new sounds. I don't like to sing what I sang before and avoid singing the same lyrics.

When you were first starting out, did you ever imagine Nigeria's pop music scene would become as big and recognizable as it is today? Yes—see, I had a vision. When I met Mohits in 2006 they asked me what I wanted to do. I told them I was trying to take this music global. Because I listened to the likes of Usher, Akon, T. Pain, Michael Jackson—they inspired me to be what I am today [as an artist]. I decided to fuse both my culture and American culture together. That's why I sound the way I do.

Continue Reading

Top Stories