Demi Dabady, singer/songwriter and artist was born and raised in Brooklyn N.Y. to parents of Haitian descent.
Staff
Summer is South Asian mango season. Indian grocery stores carry sweet, fragrant varieties like Kesar and Alphonso. And if you’re lucky, you can sample velvety, out-of-this-world Pakistani mangoes. Priced at $10 per mango, at least in some shops in the Chicago area where I live, they are a luxurious treat – practically the equivalent of dessert at a fancy restaurant.
My mother-in-law, who grew up in Pakistan, has been buying up Indian and Pakistani mangoes for her dairy-free version of lassi, a popular South Asian smoothie. With homemade almond milk in place of yogurt, her recipe is less mango lassi and more milkshake, and takes just minutes to make. The almond milk is nearly instant, prepared in a blender with soaked, peeled almonds just before tossing in the mangoes, and tastes infinitely better than anything store bought.
Recipe
4 mangoes, preferably an Indian or Pakistani variety, peeled and cut into pieces
1 cup almonds, soaked overnight in water and peeled
Water, to cover the almonds
- Place peeled almonds (with soaking water removed) in the bowl of a blender. Add enough water to fully cover the almonds. Blend well. Strain almond and water mixture through a cheesecloth, nut milk bag, or fine mesh strainer. Save almond pulp for use in another recipe, if desired.
- Rinse blender, and pour in almond milk. Add mango pieces, and blend until smooth. If using a less-sweet mango variety, add sugar to taste. Refrigerate until serving.
Liana’s Kitchen is a column by Chicago-based chef and foodie Liana Grey. Check out her food blog Bakerwithoutborders.
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The Distorted People fashion streetwear launch party held at Ganga Tattoo (www.gangatattoo.com) in Los Angeles took place on Saturday, June 4th, 2022. www.distortedpeople.us
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On May 11, the cast of Sneakerella (along with Disney executives) attended the world premiere at Pier 17 in NYC.
The blue carpet arrivals included stars Chosen Jacobs who plays El, Lexi Underwood (Kira King), John Salley and more who celebrated the theme by walking the carpet in their favorite kicks.
The rooftop was transformed into a giant outdoor screening space with many Instagrammable photo opps along its perimeter. Next to the bar and food area was a 3-D photo fixture where guests could capture their “Sneakerella moment” in the air, showcasing their festive kicks, along with a graffiti wall and plenty of sneaker displays throughout, including the iconic kicks from the movie!

Credit: Disney/Jeffrey Neira
We spoke with Chosen Jacobs, Lexi Underwood, John Salley, Bryan Terrell Clark, and more about their role in the movie and their modern spin on the classic Cinderella story, Sneakerella.
This story is so much about confidence and going after what you’re passionate about. Can you tell me about a time you went after something and failed? How did you regain the confidence to keep going?
Bryan Terrell Clark: “This week! I was a part of probably one of the most important Broadway shows in my life, Thoughts of a Colored Man—we made history in the first show on Broadway with director, writer, producer, designers, and actors, all people of color. And we didn’t get one Tony nomination. And it was a moment where I had to look at myself and thank God for the village that was around me to say that the work itself in who we are is worthy and enough. And I think that that’s what [Sneakerella] tells us. You know, at the end of this, our protagonist, lets everybody know, be yourself. You know, all you have to do is be yourself and that’s enough. And so sometimes we’re shooting for the stars and we don’t feel recognized. We feel overlooked. But what’s important is not that you get the validation outside of yourself, what’s important is that you learn how to validate yourself from within. You have to be able to tell yourself that you’re worthy to tell yourself that you are enough.”
Tell me about your character and what your character embodies on screen.
Lexi Underwood: “The fact that for the first time in ever or quite a while, you get to see a princess who’s not a damsel in distress waiting for a man to rescue her. She knows what she wants, and it’s also that imagery of seeing a young black girl going out and setting after what she wants and not allowing anybody to distract her or to get her off the lane. That kind of imagery is really important, especially seeing her thrive in a space that women have oftentimes really been left out of when it comes to the sneaker industry. I feel really grateful for the fact that I was able to bring her to life and I’m really excited for young girls, especially to see the role because I think that it’s really inspiring. There’s some really beautiful messages.”
Chosen Jacobs: “I think it just reflects our world. You know, we have such a diverse world with so many different characters, and ideas and mindsets, and I think our film should reflect that. I’m just appreciative to be a part of such a beautiful story like Cinderella with our own spin and our own sauce.”
John Salley: “My character embodies black excellence and it shows power and it shows a concerned family and it shows a loving family. It shows a family that doesn’t believe in lack, doesn’t believe in second class. It believes in first class and believes respect. That’s an important thing.”
Kolton Stewart: I think in this movie, Zelly and Stacy play the evil step siblings, which, obviously in history have been the evil siblings. But I think we all did a really great job in this movie crafting these characters in a way that they don’t actually come across as super villains. I think they also have a bit of heart and they have their own goals and ambitions and maybe they get a bit blinded. They obviously do some things that are not great and they are the evil step siblings, but they also have a bit of heart as well and a lot of comedy. …When you read the script. It’s like, Zelly’s not a bad guy, he wants what he wants. He wants to go back to New Jersey. So it really was the proof in the pudding in that way. And then we worked really hard, me and Hayward as a team, and Director Liz and all of us really chatted a lot about making these roles with the perfect amount of evilness and also comedy and fun. Yeah, so it was a really great role. I’m really, really honored to play the role.”
Hayward Leach: “Stacy embodies ambition and perfectionism in all of us that can drive us to places that we didn’t intend to go. But if we had a good friend by our side, we would not end up [in those bad places]. But you know, can we fault him for just wanting something really, really bad? So yeah, Stacy is just somebody who’s trying to get back to his community in Jersey, trying to live his life, trying to not be in the streets of New York. [He’s saying] what is this place? I want my suburbs. I want my school, my friends. Yeah, I wish Stacy had a friend that said, New York City is big. You can find a lot of life here. It’s not that deep. You’re probably gonna go off to college in a couple of years anyways. But no, he’s driven. He’s gonna get what he wants.”
So, you’ve just finished an amazing run on Broadway, what has the transition to TV/film been like for you?
Bryan Terrell Clark: “It’s interesting. I’m a little bit of a theater baby and a television and film baby. I remember growing up, bouncing in front of television, so I think TV was my first love. But I’m a theater baby to my core. So Motown the Musical was my first show in 2012. And now we’re doing way more TV and film. What’s great about doing something for Disney, and a piece like this is that it’s a little bit of a hybrid. I’m a Broadway baby, but I don’t really sing a lot in this, maybe in part two. But I do feel like the musical element of it, the fairytale element of it is perfect for a Broadway actor to transition into a piece like this.”
And what about this Cinderella story makes it perfect for this generation? We’ve heard the classic Cinderella story many times.
Bryan Terrell Clark: “We have heard the Cinderella story, but I think that’s why it’s time to change the storytellers. I work with this amazing company called Real Works. And they’re a nonprofit here in New York City, working with young people to tell their stories and their slogan is when you change the storytellers, you change the world. And I think what’s different about watching Sneakerella is you’re watching it being told through a different lens. The moment you change these genders, the moment you make these people of color, we bring with us a history and a story that cannot be told any other way but by us and so I’m excited that on Friday, my little niece is going to get to see a princess that’s not begging for you know, the prince’s attention, but has agency and is fly, and if anything, she can offer something to her potential friends you know… It’s watching an empowered young woman of color. That’s what I’m excited for my niece to see. And that’s why I’m excited to be a part of something like this.”
Director Elizabeth Allen Rosenbaum: “Well for me, I grew up on Cinderella and I love it. But the fact is the character was passive and there was a fairy godmother who, like, waved her wand and suddenly she had a cool dress and a prince. And in our case, because I feel like it’s a chance to create something new for the next generation, we kind of turn that on its head a bit. And it’s really about finding it from within and being proactive and trusting your creative instincts and really getting up the guts to pursue your dreams.”
The original movie Sneakerella launches May 13, exclusively on Disney+.
“It’s about a Black gay man writing a musical about a Black gay man who’s writing a musical about a Black gay man who’s writing a musical about a Black gay man, etc.,” or in short, it’s about life. That’s what 25-year-old Usher (Jaquel Spivey), the main character of Strange Loop says.

Photo credit: Marc J. Franklin, 2022
The “big, Black, and queer-ass American Broadway show” by Michael R. Jackson (writer, music, lyrics) opened on April 26 at the Lyceum Theatre and it just might be the most self-reflective piece currently on Broadway. Behind the raw and self-deprecating comedy, Strange Loop still manages to address serious issues of identity, racism, religion, and the politics of being fat, Black, and queer, but somehow the delivery is more entertaining than offensive.
Well, don’t fall asleep but it’s a cognitive-science term that was coined by this guy named Douglas Hofstadter. And it’s basically about how your sense of self is just a set of meaningless symbols in your brain pushing up or down through one level of abstraction to another but always winding up right back where they started. It’s the idea that your ability to conceive of yourself as an “I” is kind of an illusion. But the fact that you can recognize the illusion kind of proves that it exists.
We watch Usher, who is himself a Broadway usher and musical theater writer, get in his own way of writing musicals with his self-doubt and unresolved trauma of growing up big, Black, and queer. Those struggles provide the meat for the production, but the core is truly Usher’s inner thoughts, which gives the show its movement.
It is hard to imagine Jaquel Spivey’s portrayal of Usher being his Broadway debut. As Usher, Spivey is powerful, smart, transparent, comical, and familiar as he confronts the audience with queer conversations and a visual representation of trauma through musical numbers and monologue.

Photo credit: Marc J. Franklin, 2022
Technically, Usher is the only character in the show, but he’s far from lonely as six “Thoughts” (portrayed by James Jackson Jr., John-Michael Lyles, L Morgan Lee, John-Andrew Morrison, Jason Veasey, and Antwayn Hopper) surround his every move from the start of the show until the end. These “Thoughts” also come in as Usher’s mom, dad, doctor, dating app prospects, ancestors, self-loathing, financial struggle, sexual ambivalence, etc., and they never leave the stage (at least not completely). And with the pressure from his mom, Usher is writing a Tyler Perry-like gospel play (per her request) which becomes a huge parody scene of its own, revealing stereotypes and downright abuse both in Usher’s family and religious community.
By this end, everything falls apart, both the play we’re watching from the audience and the play Usher is writing (and the one he’s not). It all falls apart or it all comes together in one large number, “AIDs is God’s Punishment.” By this time, the question is finally raised: “So that’s it? That’s really how the show ends? He just turns his back?”
You’ll have to decide whom the aforementioned question refers to once you see the show. And as far as the question of whether he’ll heal, change or be utterly overcome by his own sabotaging thoughts, whether he’ll succeed as a writer or continue to shy away from writing his dark truth, well, these things are all outside the bounds of a very, very strange loop because inside that loop, it seems as if change is just an illusion. And if change is an illusion, what does that make of Usher’s thoughts? What does that make of Usher?

Photo credit: Marc J. Franklin, 2022
Starring ANTWAYN HOPPER, L MORGAN LEE, JOHN-MICHAEL LYLES, JAMES JACKSON, JR., JOHN-ANDREW MORRISON, JASON VEASEY, and introducing JAQUEL SPIVEY
Book, Music, & Lyrics by MICHAEL R. JACKSON
Choreographed by RAJA FEATHER KELLY
Directed by STEPHEN BRACKETT
For tickets, click here.