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Gunshot Medley Brings Black Theatre to the Electric Lodge

LOS ANGELES SENTINEL — “Gunshot Medley: Part I” is the latest play to hit the stage at the Electric Lodge on Abbot Kinney Boulevard near Venice Beach. Running until August 19, the play tells the story of American history through the eyes of three slaves.

Published

7 years ago

August 17, 2019

Oakland Post

Donathan Walters (left) as George, Mildred Langford (middle) as Betty, and Sha’Leah Nikole Stubblefield (right) as High Priestess in Gunshot Medley: Part 1. (Photo Credit: Cristian Kreckler)

A play with a Black cast, director, and playwright tells a story of pain, racism, and hope at the Electric Lodge.

By Shaquille Woods

“Gunshot Medley: Part I” is the latest play to hit the stage at the Electric Lodge on Abbot Kinney Boulevard near Venice Beach. Running until August 19, the play tells the story of American history through the eyes of three slaves.

The playwright, Dionna Michelle Daniel, was inspired to write this play in 2015, after the Charleston Church shooting. While in North Carolina, she visited a graveyard where she found the graves of Betty, Alvis, and George who would eventually become the characters for “Gunshot Medley: Part I.” All that was left on the graves were their names and the dates that they died, each before the Emancipation Proclamation. Daniel also found something unsettling in the graveyard — newly placed Confederate flags.

“At the time that I wrote ‘Gunshot Medley,’ there was so much going on with killings and discourse over the Confederate flag,” said Daniel. “For me the play is an awakening. It is so vital for Black people to tell our stories because we have lived through these experiences and the pain is real.”

Set in a haunted graveyard in North Carolina, audiences see the connections of racism through past and present. Betty, Alvis, and George are not able to rest their souls. They want to believe that things are better, and cover up the pain, but what they see in the present takes them back to their own past hurt. They see happy moments in Black culture as well, referencing famous songs and dances, but they are reminded of pain with each gunshot that they hear.

Sha’Leah Nikole Stubblefield (left) as High Preistess looks on as Derek Jackson (middle) and Mildred Langford (right) dance as Alvis and Betty in Gunshot Medley: Part 1. (Photo Credit: Cristian Krekcler)

Betty represents a mother figure, constantly cleaning to cover up her pain. Alvis takes on a more playful role, looking for the beauty in everything, and George represents revolutionaries fighting and dying for change. The fourth character is High Priestess Oya. When Daniel originally wrote the play, she made a lot of reference to the wind and the rustle of leaves and treetops. One of her friends told her about Orisha Oya, an African goddess who is the ruler of storms and winds, and the protector of cemeteries. From that comes the majestic character garbed in elegant reds and an expression of pain upon her face.

“The play was very powerful and moving,” said Tenille Jones, one of the audience members. “I think that it will open people’s eyes and make change for the better. I like how the main character, Betty, thought that she had to clean something up to solve the problems, but in the end, it showed that racism is more of a comprehensive problem. It’s not just a one-person problem, it’s a worldwide problem. I was very entertained. It’s a great way to spend an hour and support Black theatre.”

“Gunshot Medley: Part I” started as a project for a program at California Institute of the Arts, or CalArts, where Daniel graduated. She presented it in their 2016 New Works Festival and won the chance to go to New York to have a reading of the play and get it published. One of the readers from New York put Daniel in contact with Desean Terry of Collaborative Artists Bloc, a production team that produces performances that explore of cultural identity and promote social change. Terry became the director of “Gunshot Medley: Part I,” giving the play a Black cast, Black director, and Black playwright.

In 2018, Rogue Machine Theatre joined in and brought the production to the stage at the MET Theatre in Santa Monica for a two-week run. “Gun Shot Medley: Part I” also did a two-week run at the Watts Village Theater Company, where tickets were based on a donation of any amount and audience members could register to vote. Rogue Machine Theatre has brought the play back this year to the Electric Lodge. “Gunshot Medley: Part I” runs through August 19. Student tickets are $25.99 and general admission is $39.99. For more information and reservations, call (855) 585-5185 or visit www.collaborativeartistsbloc.org.

This article originally appeared in The Los Angeles Sentinel.

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2026 Lucid Air Grand Touring Review — Is This $136K EV Sedan Worth It?

AUTONETWORK ON BLACKPRESSUSA — Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, but it still feels elegant instead of trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

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4 weeks ago

May 3, 2026

Oakland Post

The 2026 Lucid Air Grand Touring is the kind of luxury EV that makes people stop and ask a simple question: Is this really better than a Tesla Model S, Mercedes EQS, or BMW i7? At $136,150, it has to do more than look futuristic. It has to feel special every time you get in it.

Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, yet it still feels elegant rather than trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

Inside is where the Air Grand Touring really makes its case. The 34-inch Glass Cockpit Display and retractable Pilot Panel screen give the cabin a clean, modern look that still feels different from other EVs. The Tahoe Extended Leather and Lucid Black Alcantara headliner lifts the sense of occasion, and the front seats are a highlight. They are 20-way power-adjustable, heated, ventilated, and include massage. That matters because luxury buyers at this price expect comfort first.

Rear passengers are not ignored either. You get 5-zone heated rear seating, a rear center console display, and power rear and rear side window sunshades. Add in the Surreal Sound Pro system with 21 speakers, and the Air feels like a true long-distance luxury sedan.

Lucid also gives this car serious EV hardware. The dual-motor all-wheel-drive system, 900V+ charging architecture, and Wunderbox onboard charger are big talking points. Buyers in this segment care about range, charging speed, and everyday ease, not just raw performance. That is where the Lucid continues to stand out.

On the technology side, the Air Grand Touring includes DreamDrive Premium, with 3D Surround View Monitoring, Blind Spot Warning, Automatic Park In and Out, Automatic Emergency Braking, and a Driver Monitoring System with distracted and drowsy driver alerts. This one also has DreamDrive Pro, which adds future-capable ADAS hardware.

There are still some real-world annoyances. Based on your notes, the windshield wiper control is hard to find and use, and that matters more than people think in a high-tech car. When controls become less intuitive, even a beautiful interior can feel frustrating.

Still, the 2026 Lucid Air Grand Touring succeeds where it matters most. It feels luxurious, advanced, comfortable, and thoughtfully engineered. For buyers who want an EV sedan that feels truly premium and less common than the usual choices, this Lucid makes a very strong case.

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Snoop Dogg Celebrates 10 Til’ Midnight at the Compound

LOS ANGELES SENTINEL — The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles.

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4 weeks ago

May 3, 2026

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Snoop Dogg celebrated the premiere of 10 Til’ Midnight at his Inglewood recording studio & multipurpose facility, The Compound, but the night felt like much more than an album release. It felt like Los Angeles. It felt like legacy. And it felt like another major move from one of the city’s greatest cultural architects as he continues to prove that he is not just dropping music — he is building moments, shaping narratives, and pushing the culture forward in real time.

What made the event so powerful was the clarity behind the vision. During a panel conversation with DJ Hed, Snoop opened up about the heart behind 10 Til’ Midnight, explaining that the project was created to help bridge older and younger generations while also speaking to the long-standing divisions between Bloods and Crips in a unique way through film. That alone gave the project a different kind of weight. This was not just about songs. This was about using creativity as a tool for connection. This was about taking a story rooted in Los Angeles and telling it in a way that could bring people together.

Snoop Congratulated By Rapper & Fellow 10 Til Midnight Cast Member G Perico (CreativeLB/KreativeKapturez)

The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles. The film was shot in the city, including at WePlay Studios in Inglewood, which gave the entire project an even deeper hometown feel. It was not just a West Coast story in content — it was a Los Angeles-made production from the ground up.

That matters because, in a city like this, authenticity still carries weight. Snoop understands how to make sure that what he creates does not just represent Los Angeles on the surface, but actually comes from it.

What also makes 10 Til’ Midnight significant is that it represents another major step in Snoop’s evolution as both an artist and executive. Public reporting around the project identifies it as his 22nd studio album, but the bigger story is what it represents in this season of his life. This is one of several consecutive moves he has made in his 50s that show he is still building, still expanding, and still finding new ways to reinvent what the next chapter looks like.

Snoop Dogg at the Premiere of 10 Til Midnight (CreativeLB/KreativeKapturez)

Now, as the head of Death Row Records and the newly aligned leader of Death Row Pictures, he is taking the brand into a new dimension. That is what made this moment feel bigger than music. Snoop is not just protecting the legacy of Death Row — he is stretching it. He is expanding it beyond records and into film, visual storytelling, and larger creative worlds that can continue carrying the label’s impact forward. Public reporting has noted that this project arrives as part of that broader cinematic push.

That is a major Los Angeles move because the city has always been built on the intersection of music, film, neighborhood identity, and cultural storytelling. With 10 Til’ Midnight, Snoop is leaning all the way into that intersection.

The room at The Compound reflected that. It felt like a private premiere, but it also felt like a statement — a reminder that Snoop Dogg’s staying power has never been based only on nostalgia. It comes from his ability to remain connected, remain visionary, and remain in tune with how to move the culture without losing the essence of who he is.

That is why this premiere mattered. It was not just about celebrating another album. It was about witnessing a Los Angeles legend continue to evolve, continue to unify, and continue to use art to tell stories that hit deeper than entertainment alone.

In that sense, 10 Til’ Midnight became more than a project launch. It became another example of how Snoop Dogg is still taking Los Angeles to the next level — using music, film, and legacy together to build something bigger than a moment.

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OP-ED: Small Businesses Need Minnesota to Act on Pass-Through Tax Policy

MINNESOTA SPOKESMAN RECORDER — A Twin Cities immigrant entrepreneur who built several businesses including grocery stores in underserved neighborhoods is calling on Minnesota lawmakers to extend the Pass-Through Entity tax option before it expires, warning that its loss would hit small businesses already recovering from Operation Metro Surge with higher federal tax bills.

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4 weeks ago

May 3, 2026

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A Twin Cities Small Business Owner Is Urging Minnesota to Extend a Tax Policy That Could Save Thousands of Businesses

By Daniel Hernandez | Minnesota Spokesman Recorder

I came to the United States as a teenager with a clear goal: to build something meaningful through hard work. I put in long days in construction, restaurants, and landscaping; doing whatever it took to learn, save, and eventually start my own business.

Over time, I built and ran several successful ventures, including an event photography company, a magazine, a tax and accounting firm, and now grocery stores serving neighborhoods across the Twin Cities where other retailers chose not to invest. I’ve created jobs, supported families, and committed to communities that deserve stability and opportunity.

That’s why I’m speaking out now.

Small business owners in Minneapolis and the communities we serve are recovering from serious disruptions, including the impacts of Operation Metro Surge. That event hit immigrant communities especially hard. In my own case, I lost nearly half of my 60 employees and saw revenue drop by about 85%. While I worked to provide competitive wages, health benefits, and paid time off, the real hardship fell on the people who lost their jobs and income.

Even as we rebuild, small businesses are facing another challenge. The Minnesota Legislature is considering letting an important tax policy expire: the Pass-Through Entity tax option.

Here’s what that means in plain terms.

Many small businesses, including mine, are pass-through businesses. That means the business itself doesn’t pay income tax. Instead, the owners report the income on their personal tax returns. But under current federal rules, there’s a limit on how much state tax we can deduct. That often leads to higher federal tax bills.

The Pass-Through Entity option fixes that. It allows the business to pay the state tax directly, which means the business can fully deduct those taxes on its federal return and lower the total amount of income taxed federally. The result is straightforward: small business owners pay less in federal taxes, without reducing what the state collects.

This policy is not new or controversial. Thirty-six states already offer it. It doesn’t cost Minnesota anything, it’s revenue neutral. And it benefits more than 66,000 businesses across the state.

In a state where the cost of doing business is already high, it’s hard to understand why we wouldn’t offer the same basic tax treatment as states like California and Illinois.

Small businesses have carried a heavy load in recent years, through a pandemic, rising costs and public safety disruptions. We’ve adapted, reinvested and stayed committed to our communities. What we need now are practical policies that support that work, not make it harder.

If the Minnesota House does not act soon, many businesses will face significantly higher federal tax bills. That’s money that could otherwise be used to hire workers, raise wages or reinvest in local neighborhoods.

I urge Gov. Tim Walz and members of the House Tax Committee to pass House File 3127 and extend the Pass-Through Entity election.

Small businesses are the backbone of our communities. We’ve proven our resilience. Now we need our state leaders to show the same commitment to us.

Daniel Hernandez is the owner of Colonial Market located at 2100 E. Lake St.

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