#NNPA BlackPress

TIFF 2019: In ‘Dolemite Is My Name,’ Eddie Murphy makes a way out of no way

NEW TRI-STATE DEFENDER — Directed by Craig Brewer, Dolemite Is My Name shares some familiar beats with your typical film about the movie business, namely a persevering protagonist who dreams of making it big but is down on his luck. This time, he’s played by Murphy, who stars as Rudy Ray Moore, the real-life figure who crafted the Dolemite character and the blaxploitation-era films centered on him. Moore is an over-the-hill vaudevillian with a potbelly who works as the assistant manager of a record store in Los Angeles and never seemed to catch a break. He sings, he dances, he tells jokes. When he left his sharecropping daddy back in Arkansas, he dreamed of becoming a movie star.

Published

7 years ago

September 19, 2019

Oakland Post

In Dolemite Is My Name, Eddie Murphy plays Rudy Ray Moore, who dreams of making it big but is down on his luck. (Photo Courtesy of TIFF)

Hollywood loves films about itself. Finally, we’ve got one from a black perspective.

By Soraya Nadia McDonald

TORONTO — If there’s one thing that Hollywood loves, it’s films about the hometown business. Once Upon a Time in Hollywood, Hail, Caesar!, La La Land, The Artist, Sunset Boulevard, Tropic Thunder, The Day of the Locust, Slums of Beverly Hills, Trumbo, Saving Mr. Banks and Hollywoodland, just to name a few. (Then there’s a subset of this genre dedicated entirely to stories about Marilyn Monroe, a well that never seems to run dry.)

There’s just one issue with these films: They suffer from a self-indulgent racial myopia. Films that tell stories of what it’s like to be a minority in Hollywood are all too rare. Enter Dolemite Is My Name, a new Netflix film starring Eddie Murphy that premiered at the Toronto International Film Festival (TIFF).

Directed by Craig Brewer, Dolemite Is My Name shares some familiar beats with your typical film about the movie business, namely a persevering protagonist who dreams of making it big but is down on his luck. This time, he’s played by Murphy, who stars as Rudy Ray Moore, the real-life figure who crafted the Dolemite character and the blaxploitation-era films centered on him.

Moore is an over-the-hill vaudevillian with a potbelly who works as the assistant manager of a record store in Los Angeles and never seemed to catch a break. He sings, he dances, he tells jokes. When he left his sharecropping daddy back in Arkansas, he dreamed of becoming a movie star.

Dolemite Is My Name tells the story of how that finally happened and the challenges that Moore faced getting Dolemite made. Although he didn’t know a thing about filmmaking, Moore miraculously assembled a team through his own grit, hustle and charisma. He persuades a hoity-toity thespian named Jerry Jones (Keegan-Michael Key) to co-write the first Dolemite film with him after the character he’s created becomes a hit on the black nightclub circuit. Dolemite wears a wig, carries a cane, dresses like a pimp and tells jokes in verse. Moore doesn’t have the looks, acting ability or panache of Harry Belafonte or Sidney Poitier, but he has something else: a tremendous knack for entertaining, and an understanding that sometimes a little crude humor makes you forget that you’re broke.

Moore’s director, D’Urville Martin (Wesley Snipes) is a lot like Jerry Jones: a black actor with real credits who can’t break out of the shadows and into the meaty, demanding roles that go to white leads. Snipes gives Martin an assortment of truly gut-busting affectations, from a pinkie nail perfect for escorting a bump of cocaine to his nose to an eye roll that’s just begging to be memed. It’s Snipes’ funniest and most inspired comic role since he played Noxeema in To Wong Foo, Thanks For Everything! Julie Newmar, which came out in 1995. He upstages Murphy, who plays Moore as a showman who’s been humbled but not broken, in just about every scene the two share.

Genocide, systemic injustice and police violence were among the themes that dominated the TIFF films I saw this year, and frankly, Dolemite offered a welcome reprieve. What a relief to see something so nakedly committed to entertaining its audience, and which made the case for doing so with such passion.

What a breath of fresh air to see a film in a genre that’s way too dominated by whiteness, revealing, in funny and stylish fashion, how black artists make a way out of no way.

But Dolemite Is My Name offered more than belly laughs and a light bit of popcorn fare about how a low-budget Shaft-inspired comedy came to be a hit. So many of Moore’s struggles, which largely center on drumming up the money to give himself work when no one else will, are still relevant for black artists trying to make it in the film business today. I’ve spoken to many promising black artists who, like Moore, have had to beg, borrow and steal to get their art made in front of people’s eyes. That’s the story of the early days of Numa Perrier, Ava DuVernay, Issa Rae, and of so many black directors of the L.A. Rebellion. So many talented black directors are forced into becoming new iterations of John Cassavetes because Hollywood still struggles to see how employing them is profitable.

Despite their limited viewpoint, I enjoy films about classic Hollywood more often than not. The best ones help us understand what an enormous undertaking it can be to make and release a feature film, and how many people and jobs are involved in such an enterprise. They shed light on eras gone by and the troubles that characterized them, such as the tyranny of the studio system and the struggles against McCarthyism. Plus, the costuming is just delicious.

Costuming, by the way, is essential to Dolemite Is My Name. Oscar-winning costume designer Ruth E. Carter makes the film a feast for the eyes with an array of 1970s trends, from wide-lapel suits in eye-searing colors to polyester getups that look as though they’ll burst into flames if they come too close to a naked lightbulb. What a breath of fresh air to see a film in a genre that’s way too dominated by whiteness, revealing, in funny and stylish fashion, how black artists make a way out of no way. With any luck, Dolemite Is My Name will make the case for more such films to come.

Soraya Nadia McDonald is the culture critic for The Undefeated. She writes about pop culture, fashion, the arts, and literature. She’s based in Brooklyn.

This article originally appeared in the New Tri-State Defender

Oakland Post

Posts by Oakland Post

Up Next

Historically Black Colleges give graduates a wage boost

Don't Miss

NOTMC and NOMTN to Host Workshop on Digital Marketing for Small, Diverse Businesses as part of “In It to Win It” Series

Oakland Post

Click to comment

#NNPA BlackPress

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

1 week 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.

AutoNetwork helps serious car shoppers inspect any new vehicle online before walking into a dealership. I’m Roosevelt — I’ve been reviewing cars and shaping digital car buying and credit union auto leasing since before YouTube car reviews existed.
You’ll find detailed walkaround reviews, POV test drives, and buyer-focused breakdowns covering comfort, space, features, and real-world value.
How to use the channel:

Watch the walkaround of the car you’re considering
Visit AutoNetwork.com for the full review
Check CouponsOffersAndDeals.com for current dealer specials
Walk in already knowing what you want — and what it should cost

Live talk show “AutoNetwork Reports” — Thursdays 3:00 PM ET.
AutoNetwork.com
CouponsOffersAndDeals.com
Affiliate disclosure: some links earn a small commission at no cost to you and help support the channel. Insta360 is one of those partners.

Oakland Post

Posts by Oakland Post

#NNPA BlackPress

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.

Published

1 week ago

May 3, 2026

admin

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.

admin

Posts by admin

#NNPA BlackPress

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.

Published

1 week ago

May 3, 2026

admin

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.

Excerpt:

Photo Captions:

Website Tags and SEO Keywords:

Twitter (X) Tags and Handles: