Torrence Brannon-Reese and His Everything With Soul Band: A Delectable New Orleans Soiree

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Date: September 24, 2023

Venue: Catalina Jazz Club, Sunset Blvd, Los Angeles

Sydney Chandler

Freelance Entertainment Journalist

September 25, 2023

Last night, the Catalina Jazz Club on the legendary Sunset Blvd in Los Angeles, California, witnessed a musical journey that traversed the soulful streets of New Orleans and paid homage to the legendary Al Green and other artists such as Otis Redding and the Beatles. Torrence Brannon-Reese and his Everything With Soul Band made their debut in a blaze of musical glory, leaving the audience utterly captivated by their versatility and sheer talent.

The theme of the evening was New Orleans, and from the first note, it was evident that this band was committed to bringing the soul of the Crescent City to the heart of Los Angeles. Torrence, with his rich, velvety voice, channeled the spirit of New Orleans like a true musical shaman. His voice resonated throughout the venue, carrying the raw emotions and storytelling that define the soulful traditions of this iconic city.

But what truly set this performance apart was the band’s ability to seamlessly blend diverse musical styles into a cohesive, soulful tapestry. Torrence’s history in music, which includes stints with the magnificent Acapella group “Street Corner Renaissance” and the renowned R & B group “The Delfonics Experience”, shone through. His experience was evident as he effortlessly transitioned from captivating sweet harmonies to the gritty, emotive stylings of R & B.

After opening the show with “Fiya on Da Bayou,” a loving tribute to the famous Neville Brothers, the band eventually segued into their homage to the late R & B balladeer, Al Green. The tribute was nothing short of spectacular. Torrence paid tribute by delivering a rendition of Green’s classics -“Let’s Stay Together” and “Love & Happiness”, that could have easily been mistaken for the original recordings. His voice was pure honey, infusing each note with an emotional depth that left the audience hanging on to every word.

Throughout the evening, Torrence Brannon-Reese and his Everything With Soul Band showcased their versatility. They ventured beyond the New Orleans theme to explore a range of musical genres, proving that their talent knows no bounds. From sultry ballads including this fabulous duet – “Precious Love” by Motown’s Marvin Gaye and Tammie Terrell, performing it with the talented Phajah Dawn, classic R & B diddies like “Groove Me” by King Floyd, traveling to Jamaica with “Stir It Up” by Bob Marley, original compositions “Shrimp & Grits and You Know I Love You”…they flawlessly navigated it all, leaving no doubt that this band is a musical force to be reckoned with.

Beyond his musical prowess, Torrence’s commitment to the arts and mentoring was evident. As the founder of FAMLI, Inc. (Foundation for Arts, Mentoring, Leadership, and Innovation), a nonprofit agency established in 1992, he has dedicated his life to nurturing and mentoring young people from underserved communities. This dedication to uplifting the next generation with his vast amount of knowledge about music, history, the personal details of his own life, and positive affirmations, added an extra layer of depth to the evening’s performance, because he was raising funds for a noble cause.

In conclusion, Torrence Brannon-Reese and his Everything With Soul Band’s debut at the Catalina Jazz Club was nothing short of a triumph. They transported the audience to the vibrant streets of New Orleans and paid homage to some of the legendary greats in music, while showcasing their incredible musical diversity. With Torrence’s soulful vocals at the helm and a band that can effortlessly traverse genres, this group is poised to make a significant impact on the world of music. Keep an eye out for their future performances, as they are undoubtedly a musical force to be reckoned with.

#TorrenceBrannonReese #EverythingWithSoulBand #NewOrleans #CatalinaJazzClub #RandB #SoulMusic #Jazz

The Offer – Flawed and Bloated…I’m IN!

I was immediately pulled in with The Offer. This limited series on Paramount + has Incredible sets and it’s definitely period correct. Yes there’s some exaggerated performances, and it’s bloated as Hell with numerous head-scratching and eyebrow-raising subplots, however, I don’t know why, but that’s what makes The Offer a lot of old school fun. I’m hooked…flaws and all. I love period pieces, I’m a movie and a The Godfather lover from way back, and if you don’t take this series so seriously to the point of bending yourself into knots and nitpicking it to death, you’ll enjoy the wild nostalgic ride.

Synopsis: The Offer is based on Al Ruddy’s chaotic behind-the-scenes experience making the 1972 film “The Godfather” with Francis Ford Coppola. Ruddy is an Academy Award winning film producer.

I know there’s some whining, rich, painfully out-of-touch “Hollywood” folks and their progeny having convulsions about The Offer. I just CAN’T with some of these folks. And I’ve heard it all a million times about how this isn’t true, it’s all lies, and then there’s others on a real tear, these are the ones who are completely annoying, who have posted and written what’s tantamount to long rambling treatises on how their family members and friends knew the real people being portrayed in the series; then name-dropping, posting photos (which only says they took a photo with the person in question, believe me, we live in the groupie social media era, tons of people have photos with the rich, famous and infamous, but that doesn’t confirm that you were privy to the intimate details of a person’s life or the incidents in The Offer, particularly if you were too young at the time all of this happened).

Now hear THIS, no one ever said The Offer was a Ken Burns documentary series, this is Al Ruddy’s recollection and he’s telling HIS truth. Get over yourselves. But for the rest of us who love period pieces, sometimes you just want to time travel for some retro escapist fun. The Offer takes place right in the middle of the early 70s when women, minorities, LBGTQs, Native Americans and other marginalized people were done with being second class citizens. Many Americans were fed-up with the Vietnam War, Nixon and all Hell was about to break loose with Watergate. And studios were in flux as well. The films of old weren’t working for young people, but the studio heads hadn’t gotten that memo yet. So take the bad reviews with a grain of salt, because some of these professional movie critics know the salty rich people complaining, and want to stay in their good graces. It is what it is, just watch it for yourself and formulate your own conclusions.

Miles Teller is superb as Al Ruddy and Juno Temple nails per part as his trusted sidekick/secretary/friend and shrink. And though Giovanni Ribisi is getting savagely dragged for his portrayal of an Italian crime boss, I think he’s perfect in that role. Matthew Goode as Robert Evans is hilarious, and from what I’ve heard, he’s also spot-on. There is no bad casting in The Offer. This series harkens back to an era of pure hedonistic pleasure, early 70s fashion and a studio system that had no real vision or at the very least, an old vision, and The Godfather scared them because it stepped outside of the norm. Times were changing and they either had to change with it, or they would be left behind. Thank goodness all of the parties involved got out of their own way, because The Godfather is a tour de force in filmmaking and will forever be recognized as one of the greatest films ever made. My score for The Offer is somewhere between a B+ and a A-.

#TheOffer #ParamountPlus #AlRuddy #MilesTeller #JunoTemple #MatthewGoode #TheGodfather #FrancisFordCoppola #PatrickGallo #DanFogler

Review – Judy

Let me say that if Renée Zellweger isn’t nominated for a Golden Globe, Oscar, BAFTA and any other award along the way for “Judy”, it’ll be criminal. Zellweger, after a long hiatus from films, showed us why she is one of the best actors of the modern era. I never thought that anyone could out-Judy, Judy Garland, but Zellweger came awfully close. She brought Garland to life, and it was as if we were flies on the wall watching Garland go through all of her highs and lows (unfortunately more lows than highs in this last chapter of her life and career). Out of the performances I’ve seen this year, Zellweger as Garland is one of the best, if not THE best. When Zellweger launches into Garland’s songs, it’s a bravura performance. Zellweger is actually singing all of the songs in the film and I think she’s done Garland proud.

“Spoiler Alert”

Judy Garland was a victim of a brutal inhumane Hollywood studio system, that was particularly destructive (physically and mentally) for young girls and women. She never experienced a real childhood, LB Mayer was a brutish authoritarian figure in her life and drove her past what anyone, especially a child, should ever endure just to make a film. And we see a lot of this torture and psychological assault in flashback scenes during the time she was cast in the Wizard of Oz. They plied a young Judy Garland with prescription drugs to keep her up (19 hour days were commonplace), they gave her pills to sleep, they deprived her of food because in that era, starlets and full-blown female stars were never small enough for the big screen (not much as changed, though it is a little better now). Garland was mocked because of her looks, and according to the studio bigwigs, she wasn’t a great beauty like Lana Turner, Ava Gardner or Elizabeth Taylor (she attended the studio school with them) and her low self-esteem, insecurity, coupled with her drinking and drug addiction plagued her for the rest of her all too short life.

“Judy” turned a big glaring spotlight on a woman who had a great talent, and made millions of people around the world happy, but could never quite figure out how to actually live, and find the stability she craved and the happiness she wanted in her personal life. She had no support system and was left to her own devices. Garland was ill-equipped to deal with her problems because of how she was raised within the horrific Hollywood machine. “Judy” is both a tragic cautionary tale, and a horror story about how Hollywood can use a person’s talent to make lots of money, suck the life and soul out of them, then throw them out in a world that they’re unfamiliar with, leaving them to fend for themselves, and move on to the next victim.

Yes the film was a little slow, but Zellweger held your attention so astutely, that you simply overlooked a few continuity issues and some dangling subplots that could have been explored a bit more. Another standout in the film was Darci Shaw who played a young Judy. She showed a lot of range, showcasing a young Judy’s fear of LB Mayer and her rebellious streak with just wanting to be a teenager and do the things teenagers do…a very good performance.

Judy Garland died of a barbiturate overdose at only 47 years old after her 5 week engagement in London, which is where the film ends.

“We cast away priceless time in dreams, born of imagination, fed upon illusion, and put to death by reality”. – Judy Garland

SYDNEY CHANDLER is a Los Angeles based freelance journalist, essayist, screenwriter and producer. Sydney has written and produced documentaries, features, shorts, TV dramas and comedies. Follow her on Twitter, Instagram, Pinterest and Facebook.

Black People Need to Wake-up. We’re in a Fight for our Survival.

Photo Courtesy of Gallup News

OP-ED – Written By Sydney Chandler

I stumbled upon an op-ed on the NEWSONE website written by a very capable writer, and he was rattling off the multitudes of reasons why folks need to stop telling Black people to settle for a candidate just to beat Trump in 2020. Which in fact, this was the title of the op-ed. Well, I’m here to tell him that he’s full of as much shit as Trump bloviating ad nauseam daily about his ahem…greatness, intelligence, mastery of deal-making (excuse me for a moment, I have something caught in my throat), his being “the chosen one” (a true God Complex) and Jews thinking of him as the King of Israel. It’s painfully obvious this master scribe is floating along in his dimly lit bubble, and doesn’t fully understand what we’re dealing with in this new Trumpian, I wannabe a dictator, a thousand lies a day, dysfunctional reality.

Link: Stop Telling Black Folks To Settle For A Candidate Just To Beat Trump In 2020

Because I grew up around the military as well as having family and friends in local, state and federal law enforcement, I fully understand the mandate of something or someone being a “clear and present danger”. Trump is a threat to our Democracy, freedoms, national security and our American way of life. We need to stop this march toward authoritarianism in its tracks. We are heading in a dangerous direction that could result in a very real apocalyptic, Handmaids Tale, doomsday scenario as long as Trump is in the Oval Office, and feels that he is above reproach and untouchable. We are already in a “Constitutional Crisis” and the much ballyhooed and long-awaited Mueller Report is literally a blueprint for Congress to start an inquiry into impeachment.

Black people need to look at the BIG picture instead of looking at this presidential election cycle through the narrow scope of prior, normal presidential elections. Trump is not normal, his administration is not normal, he spews lies with wild-abandon, he incites hatred and avarice toward different races and ethnic groups, just this week he spouted a very disconcerting anti-Semitic trope that the Jewish people didn’t respond well to at all,  his supporters are rabid, violent and cult-like, the Republicans in Congress have been compromised because of their desire to push through their draconian legislation, and stack the federal courts with right-leaning judges and placing another conservative on the Supreme Court. That will not bode well for anyone in this country but ultra right-wing conservatives and evangelicals. Black people, YES, I’m talking directly to YOU…you must pull off the rose-colored glasses and really understand the threat.

Trump is showing everyone who he is and what he is capable of with his love affair with brutal dictators (Putin, MBS and Kim), and how he’s treating migrants and those defenseless children he has in deplorable conditions. When a dictator comes for one group, they will always find another group of people to hate and if necessary, dispatch. History bears this out. Countries have been destroyed and millions of people murdered under megalomaniacs like Trump. Out of the gate, he came for the Brown people (all Mexicans are murderers, rapists, criminals, etc), he’s going after women (wants to control our bodies and decisions), he came for LBGTQs (transgenders in the military), so what will stop him from coming for us? He’s still vilifying the Central Park 5 and they’ve been exonerated. Black people don’t have the luxury of being apathetic, indifferent, believing and spreading propaganda, not voting, hating candidates and announcing to the world we won’t vote for this one or that one because that’s not our candidate of choice, and we can’t be so blind and entrenched in our positions, to where we pretend that we do.

We are still the most hated and reviled race in this country. Hell, there’s so many preconceived ideas and stereotypes about Blacks in other countries, that when you don’t fit the images of what Europeans have in their heads, they’re blown away and speechless. Allow me to be clear…the very real issues we have now, will not be remedied with four more years of Trump. They will only become worse. As it is, racists feel emboldened to call the police on us for going about our everyday lives. Cops are murdering Black men without hesitation. This election in 2020 is not about the individual or their personal feelings, it is about the survival of our race. So we’d better register people to vote, then get them and us to those polls and vote down ticket in 2020 no matter who the Democratic candidate is, if we don’t want to find ourselves in a “Back to the Future” situation with our 21st century version of Jim Crow or worse.

SYDNEY CHANDLER is a Los Angeles based freelance journalist, essayist, screenwriter and producer. Sydney has written and produced documentaries, features, shorts, TV dramas and comedies. Follow her on Twitter, Instagram, Pinterest and Facebook.

Review: The Kitchen

Nothing was really cooking in this kitchen. #TheKitchen flamed-out with a dismal $5.5 million debut given the high-voltage cast (Melissa McCarthy, Tiffany Haddish and Elizabeth Moss) and a production budget nearing $38 million.

I went into the film expecting to be entertained, instead I was caught in a world-wind of inane dialogue and a storyline that is at the apex of improbability. There is so much to unpack with this film, where does one begin. It is set in New York’s Hell’s Kitchen in the 70’s. The story is about three women married to members of the Irish mob. Their husbands are arrested by the FBI, convicted and sent to prison. The mob is supposed to take care of them while the men are away, but it’s not quite turning out the way they thought, so the three women devise a grandiose plan to take care of themselves. They take over the protection rackets and then violently snuff-out the competition.

We saw a much MUCH better film of this nature in #ViolaDavis‘ #Widows. But in The Kitchen, we have a jumbled mob/crime thriller that is DOA, dead on arrival because it just doesn’t fit the era nor is it remotely believable. The 1970s was an era when patriarchy, sexism, misogyny and racism was still very much in-your-face. Here we have three women, with one being Black, who not only takes out members of the Irish mob to control Hell’s Kitchen, but they encroach upon the Italian mob’s territory, then forms a partnership with the Italian mob boss. Come on now. I know there were and are women in the mob, and many are prominent figures, but three ordinary housewives suddenly becoming hardened killers and taking all of five minutes to learn the business, is ridiculous. Then let’s not even get into all of the subplot’s twists and turns. It was dizzying and not in a good way. This film shows us that even when you have talented actors, they can’t save a bad script and bad direction.

#MelissaMcCarthy #TiffanyHaddish #ElizabethMoss

Review: Hobbs & Shaw

 

No shade, but I didn’t like Hobbs & Shaw as much as I thought I would. There were some elements in the film that were cool, but overall, it was just a meh action flick. I like Dwayne Johnson, Jason Statham and of course Idris Elba. But the preachy monologues about “family” were way too syrupy for me, the macho testosterone fueled banter and posturing was tedious, and though Vanessa Kirby was supposed to be a badass, they still found a way to sexualize her. Hell, instead of #HelenMirren’s character being in prison, she would have been more fun to watch kicking ass. But, the way this film was shot and written, Mirren was too old for the demographic Hobbs & Shaw is geared toward. On the surface, I appreciated the homage Johnson paid to his Samoan heritage, but it honestly felt forced and had the feeling of pandering.

 

The action was good, but there was nothing in this film that I haven’t seen before in other action/adventure films in one form or another. Hobbs & Shaw was truly made for 18-24 year old males because “macho and testosterone” was in overdrive. I know Hobbs & Shaw is under the banner of the Fast & Furious franchise, and I also know that it rankled many of those who feel that Johnson swooped in and basically made the franchise about him instead of about the ensemble. But Hobbs & Shaw is definitely a stand-alone film. Other than the eye-rolling family subtext, this film has absolutely nothing to do with the Fast & Furious franchise. And by the way, killing Idris Elba was a bit irritating. A film about his character and how he came to be that evil and murderous, would be great. But it is Hollywood, his character can always be resurrected.

Directed by David Leitch. Starring #DwayneJohnson,
#JasonStatham, #IdrisElba, #VanessaKirby.

 

Synopsis: Hobbs (Johnson), a loyal agent of America’s Diplomatic Security Service, and lawless outcast Shaw (Statham), a former British military elite operative join forces again, when cyber-genetically enhanced anarchist Brixton (Idris Elba) gains control of an insidious bio-threat that could alter humanity forever — and bests a brilliant and fearless rogue MI6 agent (The Crown’s Vanessa Kirby), who just happens to be Shaw’s sister — these two sworn enemies will have to partner up to bring down the only guy who might be badder than themselves.

#HobbsandShaw

Arte Johnson, Emmy-winning star of the 60’s and 70’s comedy sketch show “Laugh-In, Dead at 90

Arte Johnson, Emmy-winning star of the 60’s and 70’s comedy sketch show “Laugh-In,” died July 3 in Los Angeles of heart failure. He was 90.

Arte Johnson was born on January 20, 1929 in Benton Harbor, Michigan, USA as Arthur Stanton Eric Johnson. He was an actor and writer, known for Love at First Bite (1979), Rowan & Martin’s Laugh-In (1967) and The President’s Analyst (1967). His best-remembered characters on Laugh-in were a German soldier with the catchphrase “Verrrry interesting…”, and an old man who habitually propositioned Ruth Buzzi’s spinster character.

In 1972, Johnson guest-starred in an episode of The Partridge Family as Nicholas Minsky Pushkin in the episode, “My Heart Belongs to a Two Car Garage”. In 1973, Johnson guest-starred in an episode of the situation comedy A Touch of Grace. In 1974, he appeared in the first season of the Detroit-produced children’s show Hot Fudge. He also appeared, for one week, as a celebrity guest panelist on the game show Match Game. In the late 1970s, he was a semi-regular celebrity guest panelist on The Gong Show.

In 1976, he played the animated cartoon character “Misterjaw”, a blue, German-accented shark (with a bow tie and top hat), who liked to leap out of the water and shout “HEEGotcha!” or “Gotcha!” at unsuspecting folks on The Pink Panther Laugh-and-a-Half Hour-and-a-Half Show. He also voiced the character “Rhubarb” on The Houndcats. Also in 1976, he appeared as a guest on Canadian TV show Celebrity Cooks with host Bruno Gerussi and a clip from his episode was featured in the opening credits until the show ended in 1987.

In September 1977, Johnson appeared on an episode of the NBC daytime version of Wheel of Fortune as a substitute letter-turner, both to fill-in for an injured Susan Stafford, and to promote his short-lived NBC game show Knockout, which aired through early 1978. Instead of being introduced by the show’s announcer, he would start the show with a small monologue, then the announcer would introduce the day’s contestants. In 1979, he was cast as “Renfield,” the comic sidekick of George Hamilton’s Dracula in the surprise box office smash, Love At First Bite. The following year he appeared in the all-star television disaster movie Condominium.

In 1985, he voiced “Weerd” in The 13 Ghosts of Scooby-Doo, and played a disgruntled employee denied severance pay in an episode of Airwolf. He also voiced several characters, such as: Dr. Ludwig Von Strangebuck and Count Ray on two episodes of Ducktales, Devil Smurf on The Smurfs, Top Cat and Lou on Yo Yogi!, Newt on Animaniacs, and many other shows.

In 1987, Johnson guest-starred in the Murder, She Wrote episode, “No Laughing Murder.” Johnson’s character, Phil Rinker, is a guest at a wedding engagement party of the children of a legendary, but bitterly estranged, comedy team, Mack & Murray (played by Buddy Hackett & Steve Lawrence and based loosely on the genuinely legendary Dean Martin/Jerry Lewis split). After discovering that their on-going dispute is a result of the theft of a video deal’s residuals, Johnson’s character is murdered but the death is made to look like a suicide.

In 1990, Johnson appeared in an episode of Night Court. From 1991 to 1992 Johnson appeared in multiple episodes of General Hospital as Finian O’Toole. In 1996, he played the old laboratory head of a team of scientists working on a serum of youth in Second Chance. He has performed more than 80 audio-book readings, including Gary Shteyngart’s Absurdistan (2006) and Carl Hiaasen’s Bad Monkey. In 2005, he appeared in the Justice League Unlimited episode “The Ties That Bind” as the voice of Virman Vundabar.

He retired from acting in 2006.

Made It To The 2018 Cannes Film Festival

 

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The Cannes Film Festival is one of the most prestigious events within the entertainment industry. Careers are made, others are reignited and all are vying for the adulation of the press and fans, as well as validation from their peers. It’s like the qualifying rounds for the Olympics, except in this case, it’s next year’s Oscars.

One day soon, I’ll be on the other side of the camera because my projects will be contending for a nod from power-players as well as distribution. But at least after years of covering celebs and working in this industry, I know the pressure they’re under and how to handle the press.

But out of all of the premieres, award shows, various industry events, including the Oscars, Golden Globes and other film festivals, the Cannes Film Festival is still my absolute favorite. There’s something about the history and how everything about it, harkens back to that quintessential old Hollywood glam. I can almost see Elizabeth Taylor, Ava Gardner, Dorothy Dandridge, Lana Turner, Cary Grant, Audrey Hepburn, Paul Newman, William Holden, Marilyn Monroe, and the rest of the true old school  Hollywood glitterati, dressed in their finest gowns, dripping in diamonds and wrapped in furs, with the men in their dapper tuxedos, behaving in a manner that us mere mortals would imagine movie stars should…regal, otherworldly and what fantasies and dreams of a film career are made of.

Even walking through the corridors of iconic hotels like The Martinez and the Intercontinental Carlton Cannes (formerly just the Carlton Hotel), are filled with history. Alfred Hitchcock’s To Catch A Thief starring Grace Kelly and Cary Grant has the Carlton  featured prominently. It really is true when people say…if walls could talk.

1950s

Present day

The Martinez

 

At the Red Carpet Hollywood Premiere of Avengers: Infinity War

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Women’s March LA – 2018

I arrived at the Women’s March VERY early with my staff because it was important to show support for what women, minorities and immigrants are facing in this country. While I was chatting with all of the wonderful men and women who came to march and protest, my god-daughter sent me a text that she and her friends were somewhere in the madness at 20 strong. I was more than proud of her because millennials are the group that will be negatively impacted the most with this administration’s policies. I was also proud of all the women, men, teens and younger kids gathering to make this year’s march a success, as well as to make their voices heard, not just in this country, but around the world.

If my mom were still alive, that first sign above referencing the 1960s, is the one she’d be holding. She believed in equality, was a staunch feminist and would have been at this march, or some march across this country. But she also would have been thoroughly pissed-off that we’re back at square one. But believe this, we’ll make it right mom, one day soon! We cannot and must not continue to allow history to keep repeating itself.

Today women and our allies, came together across this nation and around the world for the Women’s March. Let’s get something done. Rallies and protests are great, but we need to come together as a cohesive unit every single day and not just one day out of the year. I don’t want my nieces, god-daughter or any young girl in and outside of this country, to still be fighting the same fights we’re fighting today, and the fights our ancestors thought would be in my generation’s rearview mirror, against an extremist, patriarchal government who wants to have total control over women, our reproductive rights and how high up the ladder of success we can go. Our gender should NEVER be a deciding factor on any achievement in our lives, and our bodies and what’s inside of them, are our own to govern. The Handmaid’s Tale is a work of fiction and we should never EVER allow something like that to become a life imitating art moment.

As for immigration, everyone should be welcome in this country no matter what race, creed, ethnicity or religious affiliation. The Statue of Liberty says: Give me your tired, your poor, Your huddled masses yearning to breathe free, The wretched refuse of your teeming shore. Send these, the homeless, tempest-tossed to me, I lift my lamp beside the golden door!”

There’s no caveat in that statement which says you’re only welcome if you’re White. This is only one of a multitude of reasons why we’re marching, protesting, resisting and signing people up to vote. The very heart and soul of this country is dependent upon reclaiming our right to call ourselves decent and moral people. We cannot and will not allow a small group of racist oligarchs and kleptocrats to reverse the progress we’ve made in the US regarding race, religious freedom, immigration and women’s rights just because they long for a bygone era of White Male Supremacy. The buck stops with each and everyone one of us and by now, we should have all had ENOUGH!