Disney's first black princess

ENTERTAINMENT/POLITICS - Get in line, black women are apparently kewl in the United States of America. And around the world too, as I will demonstrate.

First there is Princess Tiana, the first black princess in a Disney film, which debuts in "The Princess and the Frog" on November 25th and in wider release on December 11th just in time for the Christmas rush.

The film is already getting lots of attention from children and parents, even though Tiana spends most of the film in frog shape (she kisses the Frog Prince and instead of transforming him back into a human, she tranforms into a frog).

Which begs the question, when will we get our first real Princess? Technically Tiana isn't a real princess. But then again neither was Belle, Cinderella, Mulan or Pocahontas. I suppose Pocahontas was at least a chieftain's daughter... And Belle and Cinderella only marry princes, starting off poor. Whatever, its really a moot issue.

Secondly there is Mattel's new "So In Style" line of black Barbie dolls which have various skin colour tints allowing little girls and collectors to choose between a dark chocolate to a light mocha. (The biggest complaint however is that the hair is too easy to come through.)

The hair issue is nothing new. That complaint has been around for decades.

Mattel first made a black Barbie in 1967. They also made black and Hispanic versions in the 1980s, a Kenyan Barbie in 1994, and so on. In 1992 they made a Teen Talk Barbie which would talk and say "Math class is tough." which sparked outrage.

According to designer Stacey McBride-Irby: "As far as the hair, I wanted to create dolls little girls would play with. They couldn't have as much fun playing with an Afro." A wardrobe of hair extensions might have been useful and more authentic.

There is a lot of politics around African hair and accepting the way it is. (You will note nobody is complaining that Princess Tiana's hair is mostly straight and only a wee bit curly.)

Thirdly there's what I'd call the "Michelle Obama" effect... black women, young and old, jockeying for position on how to best help humanity and other women. For example singer Rihanna says she wants to be a role model:

"I’ve always been a role model for young women so it’s only natural that I continue to set the right example and encourage them and give them insight," says Rihanna. "It doesn’t have to be a specific topic, but whatever it is I want to help young women."

Overseas there is also Senegalese-French novelist Marie NDiaye, who recently became the first black female to win the Prix Goncourt for her best-selling work Trois Femmes Puissantes (Three Powerful Women). She has been openly vocal and critical of French President Nicolas Sarkozy, sparking rumours she might run for the French presidency. MPs loyal to Sarkozy have been trying to muzzle her ever since.

And in Oklahoma Senator Connie Johnson and members of the Legislative Black Caucus are taking the Oklahoma Department of Transportation to federal court over discriminatory practices against both women and minorities.

The list goes on and on. It is as if collectively black women around the world suddenly all stood up and said "Yes, We Can." Maybe they were taking action before too, but the mass media just wasn't paying attention. Regardless, black women are now in vogue.

Kirikou and the Sorceress

ENTERTAINMENT - I came across this wonderful film called "Kirikou and the Sorceress" while browsing and decided to see if I could find a copy of it. Lo and behold, YouTube provided me the whole film.

And thus I am passing it onto friends. I think its an amazingly adorable, funny and witty film. I hope you enjoy it.

Kirikou and the Sorceress is the story about a newborn baby who saves his village from an evil sorceress. Despite his small size he manages to outwit her and save all the villagers. The story is based on a West African folk tale and was so popular in France it was made into a stage musical. I admit there is a lot of singing in the film, but it doesn't distract from my enjoyment of it (I normally hate musicals).

New In Town

A funny thing happened to the movie New in Town on the way to your local multiplex: Angela Bassett morphed into Gabrielle Union, who then became Renée Zellweger.

This is not entirely shocking. "Colorblind" casting has been around for a while. Remember that the drill sergeant in An Officer and a Gentleman was slated to go to a white actor, until Louis Gossett Jr. (who won an Academy Award for best supporting actor) read for the part. Sylvester Stallone was supposed to play the not-by-the-book fuzz in Beverly Hills Cop, a role that went to Eddie Murphy, and the rest, as they say, is history.

But with this romantic comedy, which opens today and stars Zellweger and Harry Connick Jr., the lead was supposed to be a black actress and the writer had someone in mind from the very beginning. "I initially wanted Angela Bassett," says Kenneth Rance, the screenwriter. "I’m a big fan of her work. And Gabrielle Union was initially cast."

Rance, 38, who graduated from Howard University with a degree in film, based the story on a woman he met in his native Minneapolis over 16 years ago. "I was at the Riverview Supper Club where I see this fine woman — I mean this girl is fine — dancing like there’s no tomorrow. I bought her a drink— I knew she wasn’t from there."

"She was a quality control engineer at Kraft. We talked, exchanged numbers, and she would come to the city. It started off kinda platonic. She was dating a guy she thought she would marry, then she got the opportunity to be promoted to New Ulm and took the position in haste."

I thought, "That’s a movie." I wanted to do a movie on loneliness. I didn’t quite know what the story was, but I was like, "That’s a movie." I was at CBS in 1995 and the whole time I was thinking about the idea of being 32 and single. I was thinking, "Can a sister have it all?" I also wanted to examine if a sister could date a blue-collar guy and how that would work out. Monica Tate was her name and she would not give a brother the time of day. Stripped of pretension, she falls in love with a highway patrolman with two kids — he was a widower.

Though his agent initially didn’t think anyone would buy it, the script was snapped up by Universal five years ago. The studio then promptly excused Rance and brought in another writer. Rance was later recalled by Gold Circle Films and Lionsgate to be his own script doctor. (The other writer, C. Jay Cox, also gets billing credit.)

But by then, the black woman from North Carolina was a white woman from Miami, and voila, Fargo meets Baby Boom. Rance admits some disappointment at the turn of events, but he's a practical man. "When you start looking at who can open a film, the marketing, worldwide distribution etc., it makes sense," he says. "That’s not how I felt personally about it, but it shouldn’t be called show business but ‘business show.’"

It has been repeatedly noted that outside of Will Smith and maybe Murphy, no black actor—no, not even Denzel or the ubiquitous Samuel L. Jackson, and certainly no female black actress, even the exquisite Halle Berry—can open a film with the big box office bang that Hollywood now demands, and none can be counted on for the huge sales overseas that are now critical to a movie's success. Sure, it happens in buddy films (see: Chris Tucker with Jackie Chan). But by their lonesome? Not a chance.

"It wasn’t until Halle won the Oscar for ‘Monster’s Ball’," says Rance, "that I thought people were ready for a black female lead." Obviously, they are not. Even as actresses such as Taraji P. Henson (The Curious Case of Benjamin Button) and Viola Davis (Doubt) prove their mettle with Oscar nominations, albeit for supporting roles, the movie terrain remains uneven for black talent, particularly black female talent. At least during the Blaxploitation heyday, Tamara Dobson and Pam Grier got top billing.

Still counting goose bumps in the wake of the film’s well-received premiere in his hometown, Rance is hopeful that other black filmmakers would get more opportunities, whether they were culturally specific or not. "It does give me hope that the industry is becoming more open-minded," he says. But on the other hand, in the age of Obama, "the world is browning. Yet the images that we see are more conservative."

Caesar and Cleopatra

ENTERTAINMENT - There's a new movie about "Caesar and Cleopatra" starring Christopher Plummer and Nikki M. James in the lead roles.

Its actually a Stratford play that has been adapted as a film for the theatres, but its getting rave reviews from many sources ranging from Four to Five stars out of Five.

In addition to being an interracial love story it is also an examination of power structures in a cross-generational romance between teenage sex kitten Cleopatra and the aging lion Caesar.

Christopher Plummer, like Sean Connery, just seems to get better with age and his co-star Nikki M. James is spectacular in the role of Cleopatra.

Eartha Kitt - January 17, 1927 to December 25, 2008

ENTERTAINMENT - Kitt was born Eartha Mae Keith on a cotton plantation in the town of North, South Carolina, a small town in Orangeburg County near Columbia, South Carolina. Her mother was of African-American and Cherokee descent and her father of German and Dutch descent.

Raised by her mother's sister, Anna Mae Riley, an African-American woman whom she believed to be her mother. Kitt claimed that she suffered abuse and neglect at the hands of a family to whom Anna Mae Riley entrusted her—"given away for slavery," as she described it in many interviews. Kitt said that as she was given away, she always wondered who would accept her and was afraid of being rejected. After Riley's death, she was sent to live in New York City with Mamie Kitt, who she learned was her biological mother; she had no knowledge of her father, except that his surname was Kitt and that he was supposedly a son of the owner of the farm where she had been born. Newspaper obituaries state that her white father was "a poor cotton farmer.

Eartha Kitt began her career as a member of the Katherine Dunham Company and made her film debut with them in Casbah (1948). A talented singer with a distinctive voice, her hits include "Let's Do It", "Champagne Taste", "C'est si bon", "Just an Old Fashioned Girl", "Monotonous", "Je cherche un homme", "Love for Sale", "I'd Rather Be Burned as a Witch", "Uska Dara", "Mink, Schmink", "Under the Bridges of Paris", and her most recognizable hit, "Santa Baby", which was released in 1953. Kitt's unique style was enhanced as she became fluent in the French language during her years performing in Europe. She had some skill in other languages too, which she demonstrates with finesse in many of the live recordings of her cabaret performances.

In 1950, Orson Welles gave her her first starring role, as Helen of Troy in his staging of Dr. Faustus. Orson Welles called her "the most exciting girl in the world". A few years later, she was cast in the revue New Faces of 1952 introducing "Monotonous" and "Bal, Petit Bal", two songs with which she continues to be identified. In 1954, 20th Century Fox filmed a version of the revue simply titled New Faces. Though it's often falsely alleged that Welles and Kitt had an affair during her run in Shinbone Alley, Kitt categorically denied this in a June 2001 interview with George Wayne of Vanity Fair. "I never had sex with Orson Welles," Kitt told Vanity Fair, "It was a working situation and nothing else". In 1958, Kitt made her feature film debut opposite Sidney Poitier in The Mark of the Hawk. Throughout the rest of the 1950s and early 1960s, Kitt would work on and off in film, television and on nightclub stages. In 1964, Kitt helped open the Circle Star Theater in San Carlos, California. Also in the 1960s, the television series Batman featured her as Catwoman after Julie Newmar left the role.

However, in 1968, during the administration of President Lyndon B. Johnson, Kitt encountered a substantial professional setback after she made anti-war statements during a White House luncheon. "In 1968 she was invited to a White House luncheon and was asked by Lady Bird Johnson about the Vietnam War. She replied: 'You send the best of this country off to be shot and maimed. No wonder the kids rebel and take pot.' The remark reportedly caused Mrs. Johnson to burst into tears and led to a derailment in Ms. Kitt's career." The public reaction to Kitt's statements was much more extreme, both for and against her statements. Publicly ostracized in the US, she devoted her energies to overseas performances.

During that time, cultural references to her grew, including outside the United States, such as the well-known Monty Python sketch "The Cycling Tour", where an amnesiac believes he is first Clodagh Rodgers, then Trotsky and finally Eartha Kitt (while performing to an enthusiastic crowd in Moscow). She returned to New York in a triumphant turn in the Broadway spectacle Timbuktu! (a version of the perennial Kismet set in Africa) in 1978. In the musical, one song gives a "recipe" for mahoun, a preparation of cannabis, in which her sultry purring rendition of the refrain "constantly stirring with a long wooden spoon" was distinctive.

In 1984, she returned to the music charts with a disco song, "Where Is My Man", the first certified gold record of her career. "Where Is My Man" reached the Top 40 on the UK Singles Chart, where it peaked at #36. The song also made the Top 10 on the US Billboard dance chart, where it reached #7. The single was followed by the album "I Love Men" on the Record Shack label. Kitt found new audiences in nightclubs across the UK and the US, including a whole new generation of gay male fans, and she responded by frequently giving benefit performances in support of HIV/AIDS organizations. Her 1989 follow-up hit "Cha-Cha Heels" (featuring Bronski Beat), which was originally intended to be recorded by Divine, received a positive response from UK dance clubs and reached #32 in the charts in that country.

In 1992, Kitt had a supporting role as Lady Eloise in the hit film Boomerang starring Eddie Murphy. In the late 1990s, she appeared as the Wicked Witch of the West in the North American national touring company of The Wizard of Oz. In 2000, Kitt again returned to Broadway in the short-lived run of Michael John LaChiusa's The Wild Party opposite Mandy Patinkin and Toni Collette. Beginning in late 2000, she starred as the Fairy Godmother in the US national tour of Cinderella alongside Deborah Gibson and then Jamie-Lynn Sigler. In 2003, she replaced Chita Rivera in Nine. She reprised her role as the Fairy Godmother at a special engagement of Cinderella, which took place at Lincoln Center during the holiday season of 2004.

One of her more unusual roles was as Kaa the python in a 1994 BBC Radio adaptation of The Jungle Book. Kitt lent her distinctive voice to the role of Yzma in Disney's The Emperor's New Groove, for which she won her first Annie Award, and returned to the role in the straight-to-video sequel Kronk's New Groove and the spin-off TV series The Emperor's New School, for which she won two Emmy Awards and two more Annie Awards (both in 2007–08) for Voice Acting in an Animated Television Production. She had a voiceover as the voice of Queen Vexus on the animated TV series My Life as a Teenage Robot.

In recent years, Kitt's annual appearances in New York made her a fixture on the Manhattan cabaret scene. She would take the stage at venues such as the Ballroom and the Café Carlyle to explore and define her highly stylized image, alternating between signature songs such as Old Fashioned Millionaire, which emphasized a witty, mercenary world-weariness, and less familiar repertoire, much of which she performed with an unexpected ferocity and bite that presented her as a survivor with a seemingly bottomless reservoir of resilience: her version of "Here's to Life", frequently used as a closing number, was a sterling example of the latter. This facet of her later performances was reflected in at least one of her recordings, Thinking Jazz, which preserved a series of performances with a small jazz combo that took place in the early 1990s in Germany and which included both standards ("Smoke Gets in Your Eyes") and numbers ("Something May Go Wrong") that seemed more specifically tailored to her talents; one version of the CD includes as bonus performances a fierce, angry Yesterday and a live rendering of "C'est Si Bon" that good-naturedly satirized her sex-kitten persona.

From October to early December, 2006, Kitt co-starred in the Off-Broadway musical Mimi le Duck. She also appeared in the 2007 independent film And Then Came Love opposite Vanessa L. Williams.

In 1978, she did the voice-over in a TV commercial for the album Aja by the rock group Steely Dan.

After romances with the cosmetics magnate Charles Revson and banking heir John Barry Ryan III, she was married to John William McDonald, an associate of a real-estate investment company, from June 6, 1960, to 1965. They had one child, a daughter, Kitt (b. 1962, married Charles Lawrence Shapiro). Eartha had two grandchildren, Jason and Rachel Shapiro. A long-time Connecticut resident, Kitt lived in a converted barn on a sprawling farm in the Merryall section of New Milford for many years and was active in local charities and causes throughout Litchfield County. Subsequently moving to Pound Ridge, New York, then in 2002 Kitt moved to the southern Fairfield County town of Weston, Connecticut to be near her daughter's family.

Kitt became a vocal advocate for gay rights and publicly supported same-sex marriage, which she believed to be a civil right. She had been quoted as saying: "I support it [gay marriage] because we're asking for the same thing. If I have a partner and something happens to me, I want that partner to enjoy the benefits of what we have reaped together. It's a civil-rights thing, isn't it?"

Kitt wrote three autobiographies – Thursday's Child (1956), Alone with Me (1976), and I'm Still Here: Confessions of a Sex Kitten (1989).

Kitt was the spokesperson for MAC Cosmetics' Smoke Signals collection in August 2007. She re-recorded "Smoke Gets In Your Eyes" for the occasion, was showcased on the MAC website, and the song was played at all MAC locations carrying the collection for the month.

Kitt died from colon cancer on December 25, 2008 at her Weston, Connecticut home at the age of 81.