On April 16th, 2025, Mass Appeal announced the launch of the ‘Legend Has It’ series: a procession of albums curated from seven of New York’s most highly regarded stalwarts, to be released by the label in monthly succession. This series would mark the grand return of storytelling rap forefather Slick Rick after a 25-year absence; the resurgence of Wu-Tang Clan lead member Raekwon; the reinvigoration of rap music’s very own Iron Man, Ghostface Killah; the divinely inspired final offering from Mobb Deep; the posthumously peerless resurrection of Big L; and the emotionally charged, melancholic, but ultimately optimistic opines of De La Soul. All of these albums are quality listens, with each artist doing what they do best at the highest levels of lyrical craft and sonic vision.

But there was one final album to be released; an album that famously (or infamously) stood as a Holy Grail within the pantheon of the so-called “Hip Hop Head’s” mantle of dreams. An album whose lore bordered on a mythology fit for King Arthur’s roundtable, with the stoking fires of its possible existence dating back twenty years to a now-defunct magazine’s cover article. An album started and stopped, teased and dismissed, promised and disavowed, perhaps more so than any Hip Hop album not named Detox: the Nas/DJ Premier collab album.

In 2022, at the artistic peak of what would become his six-album tour de force with Californian super-producer Hit-Boy, Nas—on the song “30” from King’s Disease 3—slyly let it slip that the “Premier album still might happen,” putting fans and the hip-hop world at large on notice that he was very much aware of what they wanted. He spent the next year putting the finishing touches on his Hit-Boy era, releasing two more albums before quietly spending 2024 conceptualizing and strategizing the ‘Legend Has It’ series. With the announcement of the series, Nas spent the majority of 2025 unleashing a volley of feature verses so potent in their delivery and epochal in their execution that, even had he failed to deliver an album, he would still be in serious contention for the year’s rap MVP.

There was the scene-stealing verse on Slick Rick’s “Documents,” where Nas essentially tells a story about becoming one of rap’s most celebrated storytellers. Then there was his feature on Ghostface’s “Love Me Anymore,” where he admonishes friends-turned-haters embittered by their failure to take advantage of the opportunities he gave them. There was the ferocity and viciousness of his turn on Big L’s “U Ain’t Gotta Chance,” where he dismissively brushes off the challenges of lesser rappers, and the more buoyant showing on De La’s “Run it Back,” where Nas imagines himself as the group’s fourth member (as well as that of the Bee Gees, ZZ Top, and The Fugees). Similarly excellent verses on Raekwon’s “The Omerta” and three songs on Mobb Deep’s Infinite LP culminated in a feverish anticipation for a new Nas album.

And finally, on December 12th, almost 24 years since Premier graced his iconic scratches on a Nas album, it was delivered: Light-Years, 15 tracks of raw, unfiltered beats and rhymes presented by none other than the men born Christopher Martin and Nasir Jones. Myth had finally become reality as the clock struck midnight and the opening piano keys of intro “My Life Is Real” blared across smartphones, car speakers, and stereo systems across the world. Nas opens this song confidently reinterpolating lyrics from his 1996 It Was Written album cut “Live Nigga Rap,” updating his swagger and acuity in self-assured proclamation: “Wavy hair, mystique / up in this bitch deep / Chain with some sick feet / corner of 10th street / Scoop me in the MPV / I’m holdin’ big heat / Soloist vocalist, maestro / this fish grease.”

On the song’s second verse, Nas boldly trumpets the new album as a classic—a term he is overly and overtly familiar with, as his storied discography contains a multitude of them. It is a testament to Nas & Premier’s chemistry that the production and lyrics feel seamless. Premier’s beats are minimalist in execution, allowing Nas the space to tell stories, edutain, and just talk his shit. The second track, “Git Ready,” is a perfect example of the latter as Nas flexes his wildly publicized investment achievements in both tech and Coinbase: “Serial investors, serial killer threat / Turn Ether to Ethereum, y’all wanna bet? / I got a crypto key, it come with a password / Then I flipped that key to digital cash, word / But then I get bored of that, it’s too small, I’m off of that / Cigars in the roof now, midtown, where the office at.”

Things take a turn for the bold on the third track, “N.Y. State of Mind Part 3.” Instead of the familiar piano sampling of Joe Chambers’ “Mind Rain” that accompanied the previous two versions, Nas & Premier chose to incorporate Billy Joel’s 1976 original, creating a harsh but ultimately hopeful amalgam between Joel’s fairy tale and Nas’s reality: “Stress’ll cut your life short, I’m from egg rolls and duck sauce / Where the feds rolled on Dutch Schultz, City Island, and Sei Less / Plenty talent, the kids stay blessed, gamble and make bets / Throw on some DMX, his words, they live in all of us / Some get deported, some die young, but it’s all a rush / On part two, I left you with two of my friends / And now our goals is that our sons don’t end in juvenile pens / Rikers should be closed, MDC to Beacon / Wear ice if you real, or they’ll rob you and pawn your piece in / If you was locked down for a while, it’s a different place now.”

It’s an attestation to Nas and Premier’s creative vision that, instead of giving fans the sonics they’d expect from an entry into the “NY State” series, they chose to go with a less aggressive, rugged beat—opting for something orchestral yet grainy, akin to a score from an early Spike Lee joint. As the song ends, we get the familiar “Flight Time” monotone chirps sampled from Donald Byrd, a sort of farewell nod to the legacy of the original, as Nas & Premier have confirmed that Part 3 marks the capstone of the series. This also concludes the “here & now” portion of the album, as the fourth track, “Welcome to The Underground,” kicks off a new chapter: the celebration of hip-hop’s origins and a dedication to the four elements. Starting with an intro from rap video icon Ralph McDaniels and featuring a scratched hook from Ice Cube, Nas rejects the glitz, glimmer, Grammy-pandering, and anything associated with mainstream pop appeal. He wants to take the listener back to 1986—a year that saw the debut of luminaries Salt-N-Pepa, 2 Live Crew, and Beastie Boys, and also the year Run-DMC became rap’s first superstars with their Raising Hell album. Nas boasts that even without fancy equipment or a studio, he and Preme can make magic beatboxing and banging on tables.

The ode to the good-ole-days continues on the fifth track, “Madman.” Over a sinisterly affecting beat, Nas eulogizes Sacha Jenkins (whose early-‘90s hip-hop focused magazine Ego Trippin’ was the first publication to feature Nas as a cover story), reminds us that he was the first to start the trend of artists recruiting super-producers together for one project, and affirms his relevance predates that of contemporaries Wu-Tang Clan and The Notorious B.I.G.

The sixth track, “Pause Tapes,” is a lesson in early-‘80s production and beat-making. Nas takes us back in time to when he was a young teenager living in Queensbridge Housing Projects and dreaming of being a rapper. Here he meticulously lays out how he and hundreds of kids without access to MPC workstations utilized the tools at hand, demonstrating how the combination of youth, ambition, and African-American ingenuity gave rise to a sound that would, in the not-too-distant future, define a generation: “Pickin’ up the stereo’s remote control, quickly / Ron G’s in the cassette deck, rockin’ the shit, G / A surprise – I opened up, bombshell in my mind / Tells me I could hook a beat up for myself to rhyme / My mom’s hall closet, in boxes, all kinda shit / Johnnie Taylor records and some good Grover Washingtons, I’m lockin’ in / Grab a piece of vinyl, drop the needle at the top / Listen for a beat to rock, 90 minute tape, I got enough time / Play it one time, four bars / Press Record, then press Pause, then restart / Record, loop, repeat / Do that ’bout twenty times – yo, I made my first beat / Pause tapes!”

The story of hip-hop’s most overlooked element, graffiti writing, is given its flowers on the seventh track, “Writers.” Over a mystical and drum-laden production (heavy with Premo’s signature scratches), Nas waxes poetic about his profound admiration for graffiti’s greatest bombers, shouting out unheralded names such as Dondi, Ecko, Totem, and Tracy 168, as well as better-known legends such as Dez (AKA Kay Slay), Lee Quiñones, and the immortal Samo (Jean-Michel Basquiat).

The eighth track, “Sons (Young Kings),” serves as a companion piece to the 2012 single “Daughters” and is one of Nas’s more personal and heartfelt performances on the album. On the first verse, Nas talks about the precarious balance a father faces in attempting to both parent and guide a young son—too much direction can become micromanagement, whilst too little can lead to incompetence. Nas runs down a list of advice he wants to impart before surmising that a focus on health, both mental and physical, is the most important tip he can voice. The second verse flashes back to Nas’s own childhood as he reminisces about life with his mother and how her protection allowed his whimsical fantasies and musings to flourish: “Plenty stuff I used to see I often thought was an image of us / Getting off the city bus, all the memories rush / I used to look up at the crossing sign / A child with a grown-up hold in his arm while I was walking with my mom / I pointed at it, automatic / I saw it as a little boy who was the baddest / Like don’t let him run in traffic / I really thought the crossing sign was me and my mom / Like who thought we was that important for a street sign / One year, she told me that sign was for everybody / I’m like, ‘We ain’t everybody, nah, we special, Mommy.’”

The visual illustrated here is exemplary of the why and how of Nas as hip-hop’s greatest writer. The ability to capture a child’s naivete as it pertains to himself and his place in the world – a world far bigger than the crosswalk on which he and his mother stand, yet narrow to the point where he sees himself at the center of it – is a skill unmatched by anyone before or since.

The dedication to craft and skill continues with the ninth track, “It’s Time,” where Premier samples the classic Steve Miller Band hit “Fly Like an Eagle.” Here Nas weaves in and out of the beat with a lyrical dexterity that defies time itself. From his voice to his flow, it’s hard to tell the 52-year-old mogul apart from the 17-year-old wunderkind who burst forth in spectacular fashion on 1991’s “Live at The Barbecue.” Nas may no longer be snuffing religious figures or kidnapping heads of state (with or without a plan), but his sense of cadence and timing remains pristine.

Track 10, “Nasty Esco Nasir,” is a treat for fans of Nas’s creative writing experiments in the vein of “Rewind,” “Book of Rhymes,” and “Project Roach.” Nas inhabits his two most famous alter egos: the “Nasty Nas” that won him acclamation and a claim to hip-hop’s ever-competitive “King of New York” mantle, and that of “Nas Escobar,” the doppelganger that afforded him world-wide fame, fortune, and a place as one of the genre’s superstars. Over eerie strings and a thumping bass, Nas uses three distinct flows and vocal inflections to essentially battle himself. But when Nasty and Esco can’t come to terms and end up (spoiler alert) killing one another, it is Nasir Jones—the man who at once embodies both of them and neither of them—who rises from the proverbial ashes: “I’m a father, philanthropist, film director, an author / Tech impresario, Resorts World casino partner / A restauranteur, by the time you hear this song / I’ll probably open up a whole new store, get involved / I’m a mogul, massive with my moves, everything got appeal / I lead the way, I’m tryna see much more of us here / Even make our own cigars top tier / We do branding, expanding a thirty-year career / I’m just scratching the surface, the next phase of Nasir / Phase four, the fourth dimension, the legacy’s here / And other things I won’t mention, I’m winnin’ when I’m not even trendin’ / Trailblazin’, the message I’m sendin’ / When you evolve into your true growth, they say you can’t do both / Feed your soul and get money, I’m like two GOATs.”

Track 11, “My Story, Your Story,” marks the official reunion of one of rap’s most celebrated duos. Nas and Brooklyn wordsmith AZ team up for the first time since 2002’s Grammy-nominated single “The Essence” to remind everyone that their musical chemistry remains unmatched. As they go back-to-back, verse for verse, finishing each other’s lines like twin brothers connected as much by spirit as by blood, one can only hope that Nas’s fan-service era extends just a little longer to gifting us the long-asked-for Nas/AZ project.

Track 12, “Bouquet (To the Ladies),” makes use of a beautifully lush Eugene Record “Here Comes the Sun” sample, with Nas paying homage to almost every female MC of note across rap’s 50-year history (seriously, he raps about or shouts out over fifty female rappers), with a special nod going to Faith Newman, the Columbia Records executive who signed him when he was 18.

Track 13, “Junkie,” is another conceptual song where Nas utilizes the analogy of a drug addict to describe his addiction to rap music and inability to quit rhyming. One hopes Nas never kicks the habit, as again his lyrics and flow meld with such deftness to Premier’s hulking bass and ghostly strings that it is as if his voice is an instrument itself, bringing life to what the beat is attempting to convey: “Bruh, I’m suppose to been kick this habit / Done with it, havin’ fun with it / Hard to let it go, how could you when you in love with it? / Once upon a time, I couldn’t start my day without it / I played it every morning loud while I’m ironing my outfit / In my car just zonin’ out, straight hot-boxin’ / I need that real dope, I cannot fuck with Suboxone / Medications, they just don’t work, my body jerks.”

The penultimate track, “Shine Together,” sonically is probably the most reminiscent of past Nas/DJ Premier collaborations, with a cheery, bouncy sample of Sunbear’s “Let Love Flow for Peace” evoking cognizance of “Nas is Like.” Here Nas celebrates his and Premier’s longevity, reflecting on lessons learned and basking in the renown they’ve both earned from tireless work and dedication to the craft. On the last verse Nas spits: “This is my dissertation, displayin’ it at my leisure / Precious like postal cards written by slaves in secret / Black preachers castin’ spirits back into Hell / Hear the trumpets in the Bible as Joshua starts to yell / Easy money is robbery in broad day / Might call BET to play my videos all day / The cribs are mini-museums / The closets are more like small department stores / I drop that raw.” His are the words of a man who’s seen it all: war, death, joy, pain, triumph. And he delivers his message with a sense of biblical importance, not as a display of ego, but as a memorandum of hope. The hope that a kid from America’s largest housing projects can serve as the voice of a generation. The hope that aspiring artists can reach the same heights. The hope that black brilliance can be utilized as a stepping stone for black liberation (both economical and environmental). The hope that black voices continue to echo throughout time, in both song and rhyme.

Track 15, “3rd Childhood,” is a pseudo-sequel to 2001’s standout “2nd Childhood.” On the latter track, Nas muses on the endemic of immaturity that keeps young black men and women of the ghetto entrenched in a never-ending cycle of self-destructive Peter Pan syndrome. On “3rd Childhood,” Nas contemplates the inherent hypocrisy in admonishing rappers to “grow up, stand up, and clean up” when rock and pop stars are allowed to be “rebels” well into their middle years: “Is it time to take off the scully, the Timbs, and the fitted caps? / Time to let go of the weed, can’t let the jeans sag? / Ozzy Osbourne still got his fingernails black / Rock and rollers still rebels, any age that they at / But with rap, it’s a time limit? Never / I’m livin’ proof, I’m the truth ’til if I live a-hundred-and-two / When I was young, I knew nothing, but then here comes a new lesson / From a older gentlemen dressed in Dior, he flexin’ / He said, ‘It’s not how old you are, it’s how you feel’ / Look here, I’m in my Air Max ’87 still / Rastas still smokin’, secluded out in the bush / Pimps still wearin’ their derbies, people still dippin’ snuff / That’s how it stay true, ways we learn in the days of our youth / Seen a man, like eighty-two, he rocked his hat ace deuce / I’m goin’ out hood, different from bein’ a third childhood / Switched it up a little, but still, I’m goin’ out hood.”

Nas refuses to allow society, which historically has berated hip-hop as unworthy of being sanctioned as art, to dictate the terms of what is appropriate behavior for the genre’s representatives. Rather, he leaves that to the culture itself, for the culture has always self-corrected, self-administered, and self-made any and all salves for its continued success and development. And here is where Nas and DJ Premier’s genius lays within the context of the album. They didn’t set out to “save” hip-hop. They didn’t set out to outdo their previous works. They didn’t even set out to make a classic. The mission of the album was to uplift that which needed upliftment, celebrate that which needed celebration, and shine a light on that which needed illumination: the living, beating heart of hip-hop itself. They chose to take their portion of God and praise Him for all that He is, all that He isn’t, and all that He will be.

According to NASA, a light-year is meant to describe a unit of length (distance) to stars and other galactic entities; it is not meant to describe or define a unit of time. When Nas chose the album title, he was trying to convey hip-hop’s distance from other genres or art movements. This is a distance measured in prophetic terms, as hip-hop has been so far ahead in its influence that its cultural relevance outpaces any artform nameable (there’s a reason why Jay-Z, in 2009, could boast that he’s a “small part of the reason why the President is black” and no one batted an eye). Time is undefeated, you can’t outrun it, out-think it, or out-gun it; it’s coming for us all. But Nas isn’t afraid of time; he embraces it like a friend. For time proves all theories either right or wrong, and Nas’s assertion that hip-hop will continue to evolve and thrive, continue to distinguish and distance itself from anything past, present, or future, is as prophetic as anything Nostradamus or Edgar Cayce could dream up. For he told us back in 1994, when he was that fresh-faced prodigious poet standing on the precipice of changing the world: “Time is Illmatic.” Or so legend has it.

SCORE

Lyrics – 5/5

Production – 4.5/5

Overall – 4.5/5

The post Nas & DJ Premier: Light-Years Album Review appeared first on JARO Magazine.

Taking place in the year 2100 Chicago, ‘The Uptown Chronicles’ follows the adventures of the Hamilton family, led by scientist father Dre and guardian mother Maya, as their five children – gifted chef Tasha, bookish introvert Sienna, slacker son Ty, and adolescent prodigies Jordan and Keira – learn from their parents about their destinies as the descendants of an ancient magical order tasked with maintaining balance in the world. The series looks to infuse elements of science-fiction, fantasy, and Afro-Futurism into a project that will both charm and thrill audiences in the vein of Black Panther, The Incredibles, and Avatar: The Last Airbender.

Rose is set to play Maya, whose magical abilities are linked to her ancestry as part of a group of noble guardians tasked with preventing calamity the world over. Once her children’s powers begin to manifest, Maya will stop at nothing to both guide and protect them in a world as dangerous as it is wondrous..

Last year Anika released a children’s book, “Tiana’s Perfect Plan,” and is working on her second book scheduled to be released in 2026. Onscreen, she recently voiced a character in Disney’s “Zootopia 2,” and best known for voicing the Disney princess Tiana in Disney’s “The Princess and The Frog”, as well as starring in the films “Mufasa: The Lion King,” and “Dreamgirls” and Christmas classic, “Jingle Jangle.” 

On television, you have seen Rose in series such as “Maid”,  “Let the Right One In”, “Little Fires Everywhere,” “The Quad,” “The Good Wife,” “Power”  to name a few.

Anika won the Tony Award for her role in the Broadway’s production of “Caroline, or Change,” also earning a Tony nomination for the revival of “A Raisin in the Sun.” She won the Lucille Lortel award for her portrayal of Carmen Jones, in the Off-Broadway production of the same name. 

She has been nominated nine times for an NAACP Image award for her various work on the big and small screens.  

She can be heard right now as Marion Lavorre, The Ruby of The Sea, In Critical Role’s new series, “The Mighty Nein,” on Amazon Prime.

Anika is repped by Innovative Artists, David Williams Management, GoodManagement, and Schreck Rose Dapello.

‘The Uptown Chronicles’ is created by Steven Goard, who is producing through SDG Quantum Productions. Goard is best known for voicing Kang the Conqueror for Disney’s Australia Cruise line. He is also the official voice for Google Fiber Tech Support in addition to voicing and narrating nationally aired commercials and programs for Gatorade, ESPN, and ID Discovery. Goard is repped by CESD Talent Agency. The series is written by Alonge Hawes, who will co-produce through A Million Stories One Pen Productions. Hawes is best known as the creator, writer, and director of the critically acclaimed digital series “Silver & Gold”, which has been the recipient of many awards including being named Best Web Series by the Oniros Film Awards and Hawes winning Best Director in a Thriller from the New Jersey Webfest and Best Series Script from the Minnesota Webfest. Goard & Hawes will serve as co-showrunners & directors for the series.

The post Anika Noni Rose to Star & Produce New Afro-Futurist Animated Series appeared first on JARO Magazine.

The Uptown Chronicles continues its stellar year, picking up the award for Outstanding Fantasy at the 7th annual New Jersey Webfest.

The award was bestowed upon the 5-minute series trailer, which showcases jaw-dropping computer visuals alongside a thrilling introduction to the world and lore of the upcoming series.

Series writer, co-director, and co-executive producer Alonge Hawes was on hand to collect the award, taking his moment to give thanks to the late Dwayne McDuffie, the creator and writer behind the popular comic book hero ‘Static Shock’, whom Hawes noted was the first African-American superhero to headline his own eponymously named animated series in the early 2000’s. Hawes also thanked Aaron McGruder, the creator behind the comic-strip turned Peabody Award winning animated series ‘The Boondocks’. Lastly, Hawes thanked Steven Goard, the creator, co-director, and lead voice actor of The Uptown Chronicles, “For allowing me to come play in his sandbox and write and co-direct this wonderful project.” 

Hawes was also on hand to help present that night’s Michael Ajakwe Jr, “Don’t Wait, Create” award. Having previously won the award at last year’s ceremony, Hawes stood alongside fellow award alumni Jessica Alexandra-Green, Joshua Pangborn, and Herman Wang; as the four presented creative duo Melissa Malone and Diann Filiatrault with the prestigious trophy. 

The Uptown Chronicles is described as “an ambitious multi-media project, encompassing cinema, television, comic books, and a podcast” The trailer for the project introduces viewers to a futuristic Chicago in the year 2100, where marvels such as flying cars and servant drones are a normal part of daily existence. It is in this setting that we are introduced to the Hamilton family. Led by genius-scientist father Andre and equally brilliant mother Maya, their 5 children – gifted chef Tasha, bookish introvert Sienna, slacker son Ty, and prodigies Jordan and Keira – learn from their parents about their destinies as the last descendants of an ancient magical order tasked with maintaining balance in the world. When a mysterious threat in the form of a giant robot called Neocron appears, the children awaken their powers of super strength, telekinesis, speed, and technological manipulation to face this devastating foe. The trailer can be viewed at the link below.

The Uptown Chronicles is created by Steven Goard, who also voices the lead character of Andre Hamilton. The upcoming film, series, and comic book are written by multi-hyphenate Alonge Hawes, who also co-directs and co-executive- produces alongside Goard. Art design is commissioned by Patrick King with animation provided by Dom Fred Films. The project features the vocal talents of Jasmin Richardson, who voices matriarch Maya. Major Attaway, who plays the villainous Victor Hyde. Maria Katre, who voices Tasha. Zane “Lil Zane” Copeland, who voices Ty. Shani Hawes, who voices Sienna. Mina Kraynak, who voices Keira. Arinze, who voices Jordan. And Jason C. Louder, who voices Tariq Lattimore. Goard produces through SDG Quantum Productions whilst Hawes produces through A Million Stories One Pen Productions. Jason C. Louder and Joshua Dennard also serve as producers. 

The New Jersey Web Festival, created and run by Neem Basha, launched in 2018 and has since become one of the biggest, most prestigious, and respected film festivals dedicated to supporting and honoring independent film makers in web and podcast mediums. In addition to digital series and podcasts, the New Jersey Web Festival also works to highlight pilots, scripts, trailers, podcasts, and music videos from independent creators nationwide and abroad. It is ranked as one of FilmFreeway’s best reviewed festivals and networking mixers. The festival’s long-standing adage is that “Quality Is the Only Criteria: We Want to Showcase the Very Best.”  

The post ‘THE UPTOWN CHRONICLES’ WINS BIG AT 7TH ANNUAL NEW JERSEY WEBFEST appeared first on JARO Magazine.

The post THE UPTOWN CHRONICLES SCORES 4 NOMINATIONS AHEAD OF 2025 NEW JERSEY WEBFEST appeared first on JARO Magazine.

SDG Quantum Productions ‘The Uptown Chronicles’ animated project is headed to Georgia’s foremost comic convention, with the announcement that the cast & creators will be present at the upcoming Atlanta Comic Convention.

The Uptown Chronicles is being developed as a multi-media franchise that includes a feature film, television series, podcasts, and comic books. In June of last year, a promotional trailer was released that featured celebrity voice work from the likes of Zane “Lil Zane” Copeland (BMF, Dr. Doolittle 2) Major Halloway (Dragonball Daima, One Piece) and Jason C. Louder (Wu-Tang: An American Saga, NCIS: Los Angeles) The trailer has gone onto win several awards from such prestigious festivals as the Oniros Film Awards and the Rome Prisma Awards. In April of this year, SDG Quantum Productions released the franchise’s first comic book, which is available in both print and digital editions on the official franchise website. 

Project stewards Steven Goard and Alonge Hawes will both be present at Atlanta Comic Con to speak on the franchises present and future. Fans will also get a sneak peek at the second issue of the ongoing comic series. 

ATL Comic Convention has been a popular annual comic and pop culture convention held in Atlanta, Georgia for the past 30 years. The convention celebrates fandoms across comics, movies, TV, anime, and gaming. Known for its energetic vibe and welcoming community, the convention brings together fans and creators alike to explore a variety of entertainment genres. It hosts an exciting lineup of celebrity guests, panels, cosplay contests, and artist exhibits. 

Attendees can meet actors, artists, and writers, attend Q&A sessions, and get photos and autographs with their favorite stars. The vendor hall offers a wide range of exclusive merchandise, collectibles, and artwork for fans to enjoy.  The 2025 showcase will take place July 18-20th at the Georgia World Congress Center. 

‘The Uptown Chronicles’ is created by Steven Goard, who is producing through SDG Quantum Productions. He is repped by CESD Talent Agency. Alonge Hawes serves as writer, co-director, and executive producer through A Million Stories One Pen Productions. For the television series both Goard and Hawes will serve as Showrunners. For the comic series Goard serves as creative director, Hawes serves as writer, with Patrick King serving as artist.

The post THE UPTOWN CHRONICLES HEADED TO ATLANTA COMIC CON appeared first on JARO Magazine.

The animated project known as The Uptown Chronicles will be planting a flag in the tristate area, as it’s been announced that the inaugural trailer for the project has been named as an early selection to the New Jersey Webfest. 

This selection marks the first festival induction of the year for The Uptown Chronicles. The critically acclaimed trailer for the forthcoming movie, comic and television series had been previously selected by the 2024 iterations of the Rome Prisma Movie Awards, Oniros Film Awards, and Reims Red Movie Awards; winning Best Trailer for all three. 

The Uptown Chronicles is described as “an ambitious multi-media project, encompassing cinema, television, comic books, podcasts and games.” The nearly 5-minute trailer for the project introduces viewers to a futuristic Chicago in the year 2100, where marvels such as flying cars and servant drones are a normal part of daily existence. It is in this setting that we are introduced to the Hamilton family. Led by scientist father Andre and guardian mother Maya, their 5 children – gifted chef Tasha, bookish introvert Sienna, slacker son Ty, and prodigies Jordan and Keira – learn from their parents about their destinies as the last descendants of an ancient magical order tasked with maintaining balance in the world. When a mysterious threat in the form of a giant robot called Neocron appears, the children awaken their powers of super strength, telekinesis, speed, and technological manipulation to face this devastating foe. The trailer can be viewed at the link below.

The Uptown Chronicles is created by Steven Goard, who also voices the lead character of Andre Hamilton. The upcoming film, series, and comic book are written by award winning multi-hyphenate Alonge Hawes, who also co-directs and co-executive produces alongside Goard. Art design is commissioned by Patrick King with animation provided by Dom Fred Films. The project features the vocal talents of Jasmin Richardson, who voices matriarch Maya. Major Attaway, who plays the villainous Victor Hyde. Maria Katre, who voices Tasha. Zane “Lil Zane” Copeland, who voices Ty. Shani Hawes, who voices Sienna. Mina Kraynak, who voices Keira. Arinze, who voices Jordan. And Jason C. Louder, who voices Tariq Lattimore. Goard produces through SDG Productions whilst Hawes produces through A Million Stories One Pen Productions. Jason C. Louder and Joshua Dennard also serve as producers. 

The New Jersey Web Festival, created and run by Neem Basha, launched in 2018 and has since become one of the biggest, most prestigious, and respected film festivals dedicated to supporting and honoring independent film makers in web and podcast mediums. In addition to digital series and podcasts, the New Jersey Web Festival also works to highlight pilots, scripts, trailers and music videos from independent creators nationwide and abroad. It is ranked as one of FilmFreeway’s best reviewed festivals and networking mixers. The festival’s long-standing adage is that “Quality Is the Only Criteria: We Want ToShowcase The Very Best.”  

The New Jersey Web Festival will take place September 25-28th, with special screenings of official selections being held at the Clairidge Movie Theater in Montclair, New Jersey.

As an independent magazine with a small team, we rely on the support of our readers to keep JARO’s content free and accessible to everyone. Please support our ability to continue delivering the best of the African Diaspora with a donation as little as $1. Thank you!

The post The Uptown Chronicles Named an Early Selection to the 2025 New Jersey Web Fest appeared first on JARO Magazine.

Growing up in a nurturing neighborhood, Richard was influenced by the vibrant culture of New York City and the values instilled by his family. He pursued his education at St. John’s University and later earned his law degree from Georgetown University. Armed with knowledge and ambition, he embarked on a journey that would set the stage for remarkable achievements.

Parsons began his career in law at Paul, Weiss, a prestigious firm where his sharp intellect and dedication quickly propelled him forward. But it was in the realm of corporate leadership that he truly made his mark. In 1992, he took the helm at Dime Savings Bank, where he rejuvenated the organization, demonstrating his ability to make waves in a traditionally conservative sector.

His role as Chairman and CEO of AOL Time Warner in 2000 placed him at the forefront of a groundbreaking merger that sought to bridge traditional media with the burgeoning digital world. Despite the challenges that came with this unprecedented endeavor, Parsons’s leadership remained steadfast, navigating the complexities of an evolving media landscape. His vision was crucial in showcasing how technology could expand access to diverse stories and voices, affecting audiences nationwide.

Parsons didn’t stop there. He went on to serve as Chairman of Verizon Communications, advocating for innovations that transformed the way we consume media. He understood the importance of giving voice to varied narratives, especially those of marginalized communities. In an era where digital content was rapidly changing, his foresight helped pave the way for new opportunities in storytelling that resonate with our culture.

One of Parsons’s most enduring legacies is his commitment to diversity and inclusion. He believed that the stories told in media should reflect the rich tapestry of experiences within the African American community. His advocacy work extended beyond the boardroom—he actively supported initiatives aimed at uplifting underrepresented voices in media. Parsons championed several organizations, including the National Urban League, where he fought for educational programs that empower young people to take up space in media and beyond.

Richard Parsons’s influence was felt far and wide, and he earned respect from colleagues and communities alike. He passed away on December 26, 2024, after bravely battling cancer, leaving a vacuum in the media world but also a powerful legacy. Many in the industry and the African American community honored him, remembering his guidance and contributions that paved paths for future generations.

To continue his mission, institutions and organizations have begun establishing scholarships and initiatives in his name, aiming to foster opportunities that echo his commitment to diversity in media. Richard Parsons is remembered not just for his corporate achievements but as a beacon of hope and empowerment in the media landscape.

Richard Parsons’s journey is a testament to resilience, leadership, and the ongoing fight for representation. His story inspires us all, demonstrating that true leadership in media isn’t solely about profits—it’s about uplifting voices and shaping narratives that reflect the richness of our experiences. His impact will continue to resonate as we strive for a media landscape that embraces and empowers everyone.

As an independent magazine with a small team, we rely on the support of our readers to keep JARO’s content free and accessible to everyone. Please support our ability to continue delivering the best of the African Diaspora with a donation as little as $1. Thank you.

The post Celebrating Richard Parsons: A Trailblazer in Media and Empowerment appeared first on JARO Magazine.

The Origins of Kwanzaa

Kwanzaa was created in 1966 by Dr. Maulana Karenga, a longtime activist and scholar, as a way to bring African Americans together during the holiday season. The name “Kwanzaa” is derived from the Swahili phrase “matunda ya kwanza,” which means “first fruits.” The celebration draws on various African traditions and customs, making it a rich tapestry of cultural significance.

Dr. Maulana Katanga

The Seven Principles of Kwanzaa

At the heart of Kwanzaa are the Seven Principles, known as the Nguzo Saba. Each day of the celebration focuses on one principle, providing an opportunity for reflection and discussion.

1. Umoja (Unity): Emphasizes the importance of togetherness in families and communities. Families gather to discuss how they can strengthen societal bonds.

2. Kujichagulia (Self-Determination): Encourages individuals to define themselves and their communities, promoting self-awareness and pride.

3. Ujima (Collective Work and Responsibility): Focuses on building and maintaining the community. This can include volunteer efforts and local initiatives.

4. Ujamaa (Cooperative Economics): Encourages supporting Black-owned businesses to create economic viability within the community.

5. Nia (Purpose): Involves making our collective vocation the building and developing of the community, focusing on uplifting one another.

6. Kuumba (Creativity): Celebrates creativity in all its forms—art, music, and traditions—encouraging people to leave their communities more beautiful than they inherited it.

7.  Imani (Faith): Emphasizes faith in the people, their leaders, and the righteousness of the struggle undertaken.

Traditional Practices

Kwanzaa is observed through various rituals and activities that bring families and communities together. One of the central elements is the Kwanzaa altar, or Karamu, created with various symbolic items:

– Mishumaa Saba (Seven Candles): These candles are placed in a holder called a Kinara. The candles are colored black, red, and green, representing the African flag and reflecting the principles of Kwanzaa.

– Mkeka (Mat): A straw mat is used as the foundation for the display, symbolizing the foundation upon which African culture is built.

– Mazao (Fruits): Fruits symbolizing the harvest and the importance of the earth are placed on the altar, representing community wealth.

The evening celebrations often include storytelling, music, and dance, highlighting African heritage and traditions. Many families also celebrate by exchanging handmade gifts, focusing on the significance of thought and creativity rather than monetary value.

Modern Adaptations

While Kwanzaa continues to honor traditional practices, many families and communities have adapted the celebration to fit contemporary lifestyles. For instance, using technology for virtual gatherings has become increasingly common, allowing family members from different locations to participate in the celebration together.

Social media has also played a pivotal role for many, showcasing innovative ways to celebrate Kwanzaa with online discussions, challenges, and shareable content. Families may also incorporate modern elements such as writings and music from contemporary artists or films that celebrate Black culture.

Kwanzaa in the Community

In many urban areas, community centers and organizations host public Kwanzaa events, allowing individuals to participate even if they do not have a family tradition. These events often feature performances, workshops, and vendors that celebrate local artisans, fostering a strong sense of community.

Reflection and Future

Kwanzaa is not merely a holiday but a heartfelt reminder of the resilience, creativity, and unity of the African American community. As we celebrate the Seven Principles, families foster a greater understanding of their history and the importance of passing cultural traditions to future generations.

Modern adaptations ensure Kwanzaa remains relevant and accessible, allowing even those unfamiliar with African traditions to participate in the celebration. As we light the candles, enjoy the feasts, and engage in shared activities, we not only connect with our heritage but also with one another in a meaningful way.

As Kwanzaa approaches this year, let us honor its traditions and embrace the spirit of unity, creativity, and purpose it embodies. Happy Kwanzaa!

As an independent magazine with a small team, we rely on the support of our readers to keep JARO’s content free and accessible to everyone. Please support our ability to continue delivering the best of the African Diaspora with a donation as little as $1. Thank you!

The post Celebrating Kwanzaa: Traditions and Modern Celebrations appeared first on JARO Magazine.

Starring the talented Brad James and Erica Hubbard. This festive film produced by Len Gibson and Wayne Overstreet takes audiences on a journey that beautifully showcases the rarity and unpredictability of love.

“He Who Findeth” features Brad James, known for his roles in “A House Divided” and “For Better or Worse,” as Daniel, the handsome billionaire heir who is closing in on his 30th birthday with no girlfriend in sight. Cue the hilarity! Daniel’s well-meaning but overbearing family is determined to help him settle down. They plan an extravagant holiday party under the guise of launching a charity initiative, but their real strategy is to play matchmaker, filling the guest list with countless ex-girlfriends and ambitious hopefuls ready to win Daniel’s heart.

Enter the charming event planner Lizzie, played by the talented Erica Hubbard of “Lincoln Heights” and “Let’s Stay Together.” As Lizzie navigates the chaos of the charity event, she crosses paths with Daniel, sparking an unexpected romance that takes them both by surprise. The chemistry between James and Hubbard ignites a heartwarming connection that will leave audiences rooting for their love story.

Written by the creative Ramona DeBreaux Overstreet and skillfully directed by Michael A. Pinckney, “He Who Findeth” brings together a witty script and delightful performances from an ensemble cast, including the hilarious Rodney Perry, Nevaina Rhodes, Javon Johnson, LaKeta Booker, and Rod Minger.

This enchanting Christmas film isn’t just about finding love, but also recognizing it when it arrives unexpectedly. “He Who Findeth” promises to be a must-watch for the holiday season, streaming on the JAROGo platform—an exciting collaboration between  JARO Media Services and GO Media Productions.

Ready to dive into this holiday love story?  Check out the full trailer and prepare to be charmed by “He Who Findeth.” Your heart will thank you!

As an independent magazine with a small team, we rely on the support of our readers to keep JARO’s content free and accessible to everyone. Please support our ability to continue delivering the best of the African Diaspora with a donation as little as $1. Thank you!

The post Discover the Magic of Unexpected Love in “He Who Findeth” This Christmas Season appeared first on JARO Magazine.

Alonge Hawes, the multi-hyphenate behind Jaro Media’s hit heist series ‘Silver & Gold’ was announced as the winner of the Best Series Script category at Saturday night’s Minnesota Webfest awards ceremony. Marking the second consecutive victory for both him and the series in that category.

Held at Duluth Minnesota’s Blacklist Brewing Co. The awards ceremony featured a who’s who of the web/digital series and Audio Podcast industry’s A-list talent. Veronica Maccari (Best Comedic Performance in a Series) Richard P. Doyle (Best Thriller/Horror Podcast) and Blake Pfeil (Best Drama Podcast/Best Podcast Editing) were all on hand to accept their awards. Host Lori Hoovers and Minnesota Webfest founder/CEO George Reese kept the roughly 35 category awards ceremony brisk and entertaining throughout the night. Past winners Dipu Bhattacharya, Melissa Malone, and Diann Filiatrault were also on hand providing support and encouragement throughout the night’s festivities. Hawes and Silver & Gold entered the night as 5-category nominees, having picked up additional nods in Best Mystery/Thriller Series, Best Dramatic Ensemble in a Series, Best Dramatic Performance, and Best Representation of Communities of Color.

When Hawes was announced as the winner for Best Series Script, he thanked his late mother Pantheah Hawes for being “The first character in his life who believed in him” as well as series co-executive producer Eduardo Bryant and every creative in attendance, remarking “I am you and you are me,” before ending his speech with a quote from James Baldwin. The entire acceptance speech can be viewed at the link below.

Hawes’s winning script was for the first season’s third episode, “The Brilliance Meijin Affair”. In which the series protagonists must solve an increasingly complex array of riddles and in search of a stolen diamond necklace. The adventure takes them across various landmarks in Atlanta that serve as clues to a larger puzzle. The episode was acclaimed upon its release, with critic Corey Ware stating that it was “lively and engaging.”  Hawes’s previous win in the category was in 2022 for the series pilot episode “The Birth of The Cool.” The award was not presented during the 2023 Minnesota Webfest, making this year’s win Hawes’s consecutive victory.

‘Silver & Gold’ is created, written, and directed by Hawes. It stars Quentin Williams as gentlemanly thief Charles Goldar. Brittaney Traylor as his seductively charming paramour Bahiya Payne. Shani Hawes as brilliant computer hacker Cierra Valentine. And Roberto Cruz Jr as stoic conman Sosa Gerena. Julian Robinson, Joshua Quinn, Eduardo Bryant, Roxzane T. Mims, Pantheah Hawes, Angela Van Tassel and Hawes himself round out the supporting cast. The series is executive produced by Hawes, Bryant, Mary Bouche, and Richard DeVaughn. Joshua Dennard, Jamal Mcclendon, Shani Hawes, Cordarol Sanders, Rodderick Fedd and Quentin Williams serve as producers.

The ten-episode first season is available to stream via Jaro Media. 

As an independent magazine with a small team, we rely on the support of our readers to keep JARO’s content free and accessible to everyone. Please support our ability to continue delivering the best of the African Diaspora with a donation as little as $1. Thank you!

The post Alonge Hawes Repeats as Writing Awards Champion at The 2024 Minnesota Webfest appeared first on JARO Magazine.