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Jitney Poses Old Questions to New Audiences

THE AFRO — Modern audiences are all too familiar with topics regarding racial inequities, widespread gentrification, car service regulations, senseless violence, PTSD and unhealthy relationships with parents and children, which is why it is a true testament that August Wilson’s “Jitney,” set and written in the late 1970s, is a timeless story that resonates across backgrounds, demographics and generations.

Published

7 years ago

October 8, 2019

Oakland Post

“Jitney” by legendary writer August Wilson runs at Arena Stage until Oct. 27. (Photo by: Joan Marcus)

By Micha Green

Modern audiences are all too familiar with topics regarding racial inequities, widespread gentrification, car service regulations, senseless violence, PTSD and unhealthy relationships with parents and children, which is why it is a true testament that August Wilson’s “Jitney,” set and written in the late 1970s, is a timeless story that resonates across backgrounds, demographics and generations.

An intergenerational story in itself, Wilson meshes social justice and civil rights challenges with characters, all who have their personal quirks and challenges that make them important to the storytelling of Arena Stage’s 70thAnniversary Season performance of “Jitney.”

Wilson’s words are penetrating, particularly in the sense that over 40 years later, “Jitney,” has a way of perfectly resonating with audiences.

“There are few voices that articulate the American experience with the honesty and the bittersweet beauty of August Wilson,” Arena Stage Artistic Director Molly Smith wrote in the play’s program notes.

In an exclusive interview with the AFRO, Wilson’s wife Constanza Romero Wilson explained how the play’s story lines connect with modern day audiences.

“[It’s a] lot of characters that everybody recognizes–their nosey uncle, their very stubborn or authoritative father. August wrote recognizable humans that have a lot of passion for life and they want justice in their daily lives,” said Wilson’s widow, who is a costume designer. “On the other hand, the topics that are being talked about in 1970s Pittsburgh are present today in 2019. We have cycles of young violence, young people that are aimless. They don’t have a clear path for life, and they can offer so much. And we also have disillusioned parents. And then we have young people who have fallen in love and they have a hard time starting their lives.”

Romero Wilson noted that the directing also contributes to the way modern audiences in D.C. can connect with late 1970s Pittsburgh.

“I think that a wise director directs the play so that it speaks to the modern audiences,” she told the AFRO “We’re still trying to introduce August Wilson to younger audiences, to younger generations, and it speaks as loudly now as it did then.”

Directed by multifaceted artist and performer Ruben Santiago-Hudson, who was also at the helm of the 2017 Tony-Award winning revival, “Jitney,” is an honest portrayal of people who desire to fight past challenges, celebrate triumphs, move onto new opportunities and create their own paths.

With an intricate, yet practical set designed by David Gallo, audiences are immediately welcomed into the jitney, a car service, with a desk, couch, refrigerator, ride tallying board, checkers board and chairs. It’s clear that the car service office has seen better days, newer floors and more business through the technical elements and the casts’ recognizable desire to balance desperation, frustration, hope and a yearning for more. Even through the play’s sound (designed by Darron L. West and Charles Coes), opening with original Blues music by Bill Sims Jr., audiences can understand that this play will show the bewildering beauty in pain and hardship.

The jitney drivers provide rides where taxis won’t go. Much like today’s modern car and ride share services, jitneys turned people with cars to honorable and reliable businessmen for their communities.

Despite the looming threat of gentrification and loss, watching the characters battle personal and financial frustration, celebrate beautiful moments, and seek more for their lives is what keeps audiences engaged in the storytelling of “Jitney.”

Santiago-Hudson found a way for the actors to work cohesively on stage and command the set, as if they actually experienced working in a 1970s car service office.

While it may have taken the first few minutes to adjust to the dialects, and interesting speech idiosyncrasies’ of the characters, each actor lived in the truth of Wilson’s words. These veteran artists, many of whom have spent much of their careers tackling the playwright’s words, quickly transported the 2019 D.C. audience to 1977 Pittsburgh.

Turnbo (Ray Anthony Thomas), Youngblood (Amari Cheatom), Doub (Keith Randolph Smith) and Fielding (Anthony Chisholm) are the drivers who set the tone of the life of jitney drivers, while Becker (Steven Anthony Jones), who runs the service, is an example of the man who never stops working and sacrificing. Each driver had their own stories and strong acting choices that led them to be fully developed characters, with feelings and goals.

Thomas as Turnbo, the slick, nosy figure, who might come off as annoying and a troublemaker, shows that even with these less than desirable qualities, the man just wants to be accepted.

Youngblood might be hot-tempered with a smart mouth, but audiences empathize with Cheatom’s portrayal as he shows the young man’s fears and desires for greatness.

Doub-who is somewhat of the car service’s moral compass- is not just the good guy, because in Smith’s portrayal of the role, audiences can see a man who overcame a lot of trauma, who works hard to make good choices, and who wants the best for the generation behind him.

Then there’s the sweet, drunk Fielding, who, as an actor has the hard challenge of “playing drunk,”- which is difficult because people who are inebriated work to show they are not intoxicated. Chisholm’s Fielding is quite believable as he balances the drunk, old man gurgle in his voice, well-meaning actions, struggle of fighting alcoholism, and clinging to memories past.

Jones as Becker is like watching an acting workshop, as his bold clear choices show a man who is battling with secrets, feelings of betrayal, responsibility, good intentions and pain. The entire theatre shifts once Jones reveals that he is not just a good guy, but is also an unforgiving, belligerent and disappointed parent. Jones is able to simultaneously balance and portray both sides of his character until his last moment on stage.

Francoise Battiste as Booster gives audiences chills. Although his character enters later into the play, his presence immediately commands attention and lingers even when he’s gone. Watching Battiste and Jones play off one another is like watching a close tennis match, as heads move from man to man, actor to actor, hurt person to hurt person, and audiences are treated to real truths and human experiences.

Strong performances by Harvy Blanks as Shealy and Brian D. Coats as Philmore add color and comedy to the drama, and keeps audiences missing them when they’re gone.

Nija Okoro holds it down as the only woman in the cast, Rena, and she is representing for strong, intelligent, creative and well-dressed Black women. Each time Okoro stepped on stage there was a shift. Her presence required anyone in the room to pay attention to her words and empathize with her desires, and through Okoro’s honest portrayal of Rena, audiences are treated to powerful monologues and perfectly timed comedic relief.

Elements of theatricality such as well-executed and believable fight scenes (Thomas Schall) and tableaus heightened the stakes of the play and kept audiences interested in each actors’ movements.

The costumes (Toni-Leslie James) and lights (Jane Cox) were also beautiful, becoming characters in themselves, and added a value that set the mood and tone of the time period, while also appealing to the eyes of modern audiences.

“Jitney,” will have audiences considering their own ways of dealing with life’s lemons and showcases how these Black people in Pittsburgh tackled challenges- with tropes that cross demographics.

“When August wrote this play, the Black community took matters into their own hands- and it’s a story about determination. And they said, ‘Well, if taxis aren’t going to come to our side of town, we are going to start having these jitney cabs. It’s a story about self-determination,” Romero Wilson told the AFRO. “There’s so many other human stories that run through the play, that I think that there’s plenty of story lines and moments that people can relate to.”

Due to popular demand, “Jitney” has been extended to Oct. 27 at Arena Stage, 1101 Sixth Street, S.W., Washington, D.C. 20024.

This article originally appeared in The Afro.

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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.

Published

2 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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2 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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2 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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