Vanessa Bell Calloway is a queen. She is unproblematic, ages like the best of wine (she's 67, whaaaaat!?), and is a gem to the culture. When she speaks up with that very distinguishable voice, we don't question. We just shut up and listen. Mostly because we've all basically grown up with her.
From What's Love Got to Do with It, all the way to Shameless, sis has been a household staple in many television shows and movies since I can remember--with one of her most notable, being her portrayal of Imani Izzi in the original production of Coming to America. Although small, her role was one of the most memorable, as even today, we're still hopping on one leg and barking like a dog a whole 33 years later. 33 years! *Randy Watson stomps*
But listen, as it turns out, Calloway originally auditioned for the role of Lisa McDowell.
coming to america veil GIFGiphyShe recently disclosed to PageSix that says she auditioned for the lead female role of Lisa (eventually played by Shari Headley), and believes her complexion played a role in not getting the part.
"When you have white people hiring black people in movies, sometimes a certain look is wanted. I just wasn't light enough, even though Eddie had the final say on who played Lisa. [But] I didn't want the part of Imani, I wanted to be Lisa — I had read the script and I wanted the bigger role."
She continued:
"That's something that we've always dealt with within our race: A lot of men were indoctrinated by having a white woman or light-skinned woman on their arm."
Well, tell us how you feel then, auntie!
DFree / Shutterstock.com
And according to the star, after much back and forth, her instincts led her to believe that the casting team "wanted a light-skinned girl," especially once production asked her to read for the part of Imani.
"At that point, I knew I was not going to get Lisa. So I went outside in the hallway, looked over the part with five minutes of preparation, went back in, and did the best I could."
Coming to America still
But don't misconstrue, Calloway is by no means bitter about their ultimate decision, she's just shedding more light on a very real issue. And she believes that despite her experience with colorism, the opportunity outweighed her emotions and she ultimately accepted.
"The real deal is, when you're in a situation like that, you wanna be a part of an Eddie Murphy movie. I wasn't gonna say no! I would've loved to have had the lead part, but I was very happy to be in the movie. I can't lie about that. I said, 'I'll make the best out of this and I'll be the best.' It was a smaller role but it was a glamorous part to play. And Shari did a great job."
Which turned out to be a great decision because the role's influence has proven to be legendary to black culture.
Coming to America still
Celebrities have rocked their best costumes as an ode to the role, with mega-spawn, Blue Ivy, famously dressing as the royal character in 2015. Blue Ivy! *Randy Watson stomps*
Danai Gurira attended Lupita Nyong'o's 2017 Coming to America-themed birthday party dressed as Imani as well.
--
Calloway has been tapped to make an appearance in the sequel to the cult classic, which I'm sure will be just as scene-stealing as the original. The movie premieres on March 5 on Amazon Prime.
*hops on one leg and barks like a big dog*
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Featured image via DFree / Shutterstock.com
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A Goddard College graduate, who earned an MFA from Pratt Institute and was awarded an honorary doctorate from Marymount Manhattan College, Mahogany offers unapologetic realness with a side of grace and empowerment. "I started touring locally. I started creating chat books so that those poems will go in the hands of the people who were sitting in the rooms," she shared.
"And then I started facilitating poetry workshops, so I used my chat books as curriculum. And that, in turn, allowed me to further invest in my art and show the community and people who were hiring me that it wasn't just a one-off, that it's not just, you know, a fly by night—that I am invested in this art as much as I am invested in your community, in your children's learning, in our growth."
Mahogany has a special way of moving audiences, and her superpower sparks shifts in perspective, post-performance introspection, and strengthening of community bonds, especially among Black women. (One can undeniably recognize her gift for arousal of the spirit and mind merely from her listening to her insights from the other side of a Google Hangout call. I can only imagine the soul-stirring, top-tier sensory encounter when watching her perform in person.)
In this chat with xoNecole, Mahogany reflects on sustaining a creative career, the aftermath of writing a banned book, and using poetry for both healing, community-building, and activism.
Anthony Artis
xoNecole: What are three key things that have laid the foundation for a sustainable creative career for you?
Mahogany L Browne: What has helped me is that I'm willing to go in being an expert at knowing poetry and knowing the way in which art can change the landscape of our lives, not just as a poet, but also as a poetry facilitator. How you move through classes, those things are mastered, right? So when I go into another space that's maybe tech-heavy, I don't mind learning and being, you know, a student of the wonder of how we can make this magic, work together.
Two, you’ve got to know how to pivot. Sometimes we say, ‘Alright, this is what my life is going to be. I'm going to be a New York Times best-selling author. I'm going to, you know, have an album that's Grammy-nominated. And then, say you get dropped from your record label. That doesn't mean you can't make an album anymore. You can also still create an album that can be submitted to the Grammys. So, what does a pivot look like as an artist who doesn't have an institution behind them? Pivot being a student of the wonder.
Relationships also really help. How do I serve the community? And in turn, that tells me how the community can show up. For me, I have long-standing ties with a community that will outlast my one life. So, what does it mean to create space where these relationships can develop, can be nurtured, can be rooted, can be cultivated? Creating space—it happens through relationships.
xoN: With today’s economic challenges, what does your current creative process look like, and what are you working on?
MB: I’m always thinking five years ahead. I just reviewed the pages for two children’s books and recently released a YA novel. I’m drafting an adult fiction manuscript now.
Anything I create is founded with the root of poetry, but it can exist in captions. It can exist in commercials. It can exist as a musical. So that's where I’m at now.
xoN: You started performing "Black Girl Magic" in 2013, had an acclaimed performance of it via PBS and the work went on to viral success shortly after. Talk more about the inspiration. And what do you think about the continued relevance more than a decade later?
MB: I wrote it as a rally cry for the mothers who had been keeping themselves truly in harm's way by, you know, being a part of the community right after the death of their child or their loved one. They are usually mothers of victims of police brutality—and just seeing how they showed up in these community spaces, they are devout to the cause but obviously still grieving.
"I wanted this poem to be just a space of reclamation, of joy and of you, of your light, of your shine, of your brilliance, in any which way in which you fashion. Every room you enter is the room you deserve to be in. What does it mean to have a poem like that that exists?"
And the first time I did the poem, the Weeping that occurred, right? It was like this blood-letting of sorts. The next time I performed it, I'm moved to tears because I'm seeing how it's affecting other women who have just been waiting to hear, ‘You belong. You deserve. You are good. We see you. Thank you, despite everything that they said to make you regret being born in this beautiful brown, dark-skinned, light-skinned, but Black body.’
Black women are the backbone—period. Point blank. And so, that that poem became a necessity, not just to the fortitude of Black women in the community, but like you know, in service of healing the Black women.
xoN: One of your books was banned at a school in Boston, and it was later reinstated due to parental and activist support. What was that experience like?
MB: Well, I think it happened because they were racist. That's it. Point blank. The reversal of it was empowering, right? I realized, oh, I thought we just had to sit here and be on a banned book list. But no, parents are actually the leaders of this charge.
So to see that, the parents said, ‘Nah, we're not gonna let you take this book out of my baby’s school just because it's a Black kid on the front saying, ‘Woke’ and they're talking about being a global citizen. They're talking about accountability. They're talking about accessibility. They're talking about allyship, and you don't want them to have compassion or empathy or have even an understanding, right? So no, we rebuke that, and we want this book here anyway.’ To see that happen in that way. I was, like, reaffirmed. Absolutely.
xoN: You recently organized the Black Girl Magic Ball at the Lincoln Center in New York. Honorees included author and entrepreneur Rachel Cargle and National Black Theater CEO Sade Lythcott. What impact did it have and what expanded legacy do you hope to leave with your creative works?
MB: I was really interested in not celebrating just the book, but celebrating the community that made the book possible. And so I gave out five awards to women doing that thing, like, what does it mean to be a Black girl in this world?
I just thought it was gonna be an amazing time. Everybody's gonna dress up—we're gonna celebrate each other. And boom, I then realized that it responded to like a gaping hole. There was a missing thing for Black girls of all walks of life, all ages, right?
"It's very intergenerational. That was intentional to come together and celebrate just being us."
You have all these instances where just being you is either the butt of a joke or it's diminished and not worthy of a specific title in these larger institutions. So what does it mean to just to be loved up on and celebrated?
It felt like a self-care project at first. You know, for the first couple of years, folks were coming and they were getting that sisterhood. They were getting that tribe work that they were missing in their everyday lives.
I love the Black Girl Magic Ball because we got us. If I go out with a bang, they'll remember that Mahogany worked her a** off to make sure all the Black girls everywhere knew that she was the light. We are the blueprint.
For more information on Mahogany L. Browne, her work, and her future projects, visit her website or follow her on IG @mobrowne.
Featured image by Anthony Artis
