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Where is Super Fly: The Musical?

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In the 70s, a man’s swag and sexiness were measured by the width of the lapels on his maxi coat, the length of his sideburns, how far he could lean when he drove his custom Cadillac, and if his polyester bell bottoms were tight enough that you didn’t have to use your imagination. No one was more sexy or swaggy than “Youngblood Priest,” the hero in Gordon Parks’ 1972 Blaxploitation classic “Super Fly.” So when it was announced a few years ago that Tony Award-winning Fela! creator and famed choreographer Bill T. Jones was bringing Super Fly: The Musical to Broadway, there was palpable excitement among everyone who knew the movie and the music. But in the past few years, all talk and activity surrounding the show seems to have ceased.

It was announced that Jones, who was slated to direct and choreograph the production, would spend three weeks developing the musical in New York. “American Idol” Season 1 runner-up Justin Guarini was cast as “Priest” and a casting notice was sent out looking for a “woman to play ‘Georgia,’ a 20-something beauty with a fabulous voice who can match the ‘sexuality, fearlessness, and heart’ of ‘Priest,’ the college-educated cocaine dealer at the center of the show.” Music executive Tommy Mottola’s Mottola Group and the Dodgers were said to be backing the development of the show.

But after the casting announcements and several workshops, the last one in August 2013, we’ve heard no more news about the production.

Guarini, who appeared on Broadway in Women on the Verge of a Nervous Breakdown and the 2013 revival of Romeo and Juliet, posted on his blog how through working on the show he “encountered the beautiful and at times haunting music of the era. Curtis Mayfield’s title track was, of course, the signature piece in the show. However, woven throughout the sonic tapestry were pieces from Issac Hayes, James Brown (‘Say it LOUD’), and even Bob Dylan.” Now, even his blog is silent, and the posts have been taken down.

“Super Fly” was one of the first and most successful films made and funded by African Americans. It followed the story of “Priest,” one of New York’s most successful drug dealers who is looking to get out of the dangerous drug life, played expertly by Ron O’Neal. When he tries to pull off one last large drug deal so that he can retire, he continues to run up against a variety of cops and other criminals who wish to stop him.

One of the highlights of the movie was the Curtis Mayfield-produced soundtrack that, arguably, is one of the best film scores ever produced. With hits like the title track, “Freddie’s Dead,” and “Pusherman,” the soundtrack was a classic and ranked number 69 on “Rolling Stone” magazine’s list of the 500 greatest albums of all time.

Is the production still happening? Has it been put on hold? If anyone has an answer, Broadway Black would like to know.

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Get Your War Clothes On: Billy Porter Energizes in GLAAD Acceptance Speech

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So, I have a question.

In the same line of thought as “innocent until proven guilty,” do we grant the assumption of positive intent in our expectations of our brothers and sister in regards to woke-ness, à la woke until proven problematic?

Now don’t get me wrong, there was no doubt in my heart that Tony and Grammy Award-winner, Billy Porter, was woke. Nope, none. What I wasn’t ready for, was the way he fixed his fingers to pen one of the greatest acceptance speeches of my lifetime, and how he turned the Gospel classic “I Don’t Feel No Ways Tired” into a battle song.

The 28th Annual GLAAD Media Awards honored Billy Porter with the Vito Russo Award, presented to an openly LGBTQ media professional who has made a significant difference in promoting equality and acceptance.

He started by affirming the room full of members of marginalized communities, with my personal daily mantra: “You are enough. we are enough.”

Since the beginning of time artists are the folks who engage critically and encourage those who think they are powerless to question the status quo.

Brothers and sisters across the room leaned in.

The days of shut up and sing are over.

Alliteration informed and illustrated as Porter preached on remaining “vigilantly visual” as we tell our stories. Acknowledging the reality of our times, he spoke on Number 45:

Where they slipped up this time is in that declaration of war. It’s not only against Black and Brown people and Queer people anymore, it’s against ALL of us. And as a result, the good news is: white folk, and straight folk, and all those fierce women folk, are mad now. And NOW maybe something might get done!

Get. Your. War. Clothes. On.

From slavery to emancipation, to the 13th Amendment, to Jim Crow, to the Civil Rights Movement. From Stonewall to AIDS, to marriage equality— we gotta remember the shoulders who we stand on—the ones who fought and died for those freedoms that we hold so dear. Let’s use these historical strides we’ve made as a nation to empower us as warriors on this battlefield of equality.

Amen.

Until we can figure out how to love one another unconditionally, no one wins. Freedom. Equality. Justice. Have always come at a cost and evidently the always will.

If that’s not the truth.

Stay strong. Stay vigilante. Stay visible. Stay hopeful. Stay focused. Be brave. Be fierce.

Resist.

RESIST.

RESIST.

RESIST.

For a full list of this year’s winners, honorees, and guests, visit GLAAD.

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How Do We Feel

Jazmine Sullivan: The Next Singer-Songwriter To Write A Broadway Musical?

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We recently caught up with Jazmine Sullivan at The HeLa Project, a multimedia exhibition inspired by the HBO film, The Immortal Life of Henrietta Lacks.

Like the rest of us, Jazmine is in awe of the under-told story of Henrietta Lacks and her instrumental role in modern medicine. We further asked about why she got involved with the project and she said: “Anyway I can give light to an extraordinary woman like that, I’m there.”

Some of the integral women in bringing this story to light have their roots in Broadway: Tony Award-winning producer Oprah Winfrey, who not only stars in the film, but also credited as executive producer, and Tony Award winner Renée Elise Goldsberry, who portrays the title character.

We wouldn’t be Broadway Black if we didn’t keep it real.

Let’s be honest, we can’t get enough of 11-year-old Jazmine singing “Home” like she wrote the piece, so we got to asking, and it turns out Jazmine wouldn’t mind putting her pen to paper to create a musical for the Broadway stage.

She said performing on Broadway isn’t in the plans for the near future but, “You never know! I love writing and creating characters!”

God!? Oprah!?!? Stephen Byrd & Alia Jones-Harvey?!?! Who’s going to snatch this up?

Until then, it sounds like we have some new music to expect. What kind of musical would you like to see from Ms. Sullivan? Sound off below in the comments!

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