Living Legends Foundation To Celebrate 35th Anniversary in Atlanta

 

The Living Legends Foundation, Inc. (LLF) proudly announces its highly anticipated 35th Anniversary Awards Dinner & Gala, set to take place on Friday, October 2, 2026, in Atlanta, GA. To celebrate this milestone year, the Foundation returns to Flourish by Legendary for another unforgettable evening honoring the influential leaders shaping the music, radio, and entertainment industries.

"Time not only flies when you’re having fun but when you’re doing something noble. For 35 years, the Living Legends Foundation has been honoring and protecting the men and women who bring Black music to the world, while funding the future of the industry with scholarships," said Living Legends Foundation Chairman, David C. Linton. “We are delighted to be returning to Atlanta for a celebration not many thought we’d be seeing back in 1991 when we started. The industry has undergone and is still going through many changes. Many organizations have come and gone yet the Living Legends Foundation has stood the test of time!  I’m delighted as Chairman to invite you all to join us on October 2nd,  as we honor & celebrate a special group of professionals who continue to make Black music culture the envy of the world." 

A cornerstone event for over three decades, the Living Legends Foundation Gala continues to serve as a premier gathering for industry executives, creatives, and changemakers from across the country—celebrating excellence while supporting the next generation of leaders.

This year’s distinguished honorees represent a dynamic cross-section of visionaries and innovators whose impact continues to shape the culture and business of entertainment:

Ray Harris Lifetime Achievement Award — Louis Carr, President of BET

A.D. Washington Chairman’s Award — Black Promoters Collective

(Shelby Joyner, Gary Guidry, Troy Brown, William “Bill” Ingram, Sulaiman Mausi, Shahida Mausi, Lionel Bea, Janice Cotton, Walt Reeder Jr.)

Jerry Boulding Radio Executive Award — Kenny Smoov, Vice President of Urban Programming, Cumulus

Frankie Crocker Radio Personality Award — Greg Street, Air Personality, V-103 Atlanta

Impact Player Award — Juliette Jones, COO, Alamo Records

Music Executive Award — Tim Reid, SVP, Repertoire & Marketing, BMG Recorded Music

Mike Bernardo Female Executive Award — Phylicia Fant, Global Head of Music Industry & Culture Collaborations, Amazon Music

Kendall Minter Entertainment Advocate Award — James McMillan, Esq., CEO, ART@WAR Entertainment

Hip-Hop Visionary Award — Ted Lucas, Founder & CEO, Slip-N-Slide Records

Entrepreneur Award — Ralph McDaniels, Executive Producer, Video Music Box

The 2026 celebration builds on the momentum of last year’s powerful honoree class, which included industry icons such as Multi-GRAMMY® Award-winning producers and Rock & Roll Hall of Fame inductees Jimmy Jam and Terry Lewis, recipients of the Living Legends Foundation Lifetime Achievement Award. That moment reinforced LLF’s ongoing commitment to recognizing excellence, celebrating cultural impact, and elevating leaders across every facet of the music and entertainment industry.

The Living Legends Foundation has long served as the premier advocate for diversity, mentorship, and recognition within the black music and entertainment industries, cementing an enduring legacy since its founding in 1991. The Annual Awards Dinner & Gala remains a marquee, must-attend event—bringing together luminaries, executives, and cultural leaders to celebrate not only individual achievement, but the collective impact shaping the future of music, media, and entertainment.

For more details about the Dinner and Gala, please visit livinglegendsfoundation.com. 

Tony Saunders Teams Up With Gerald Albright

 

SAN FRANCISCO, CA - During January’s NAMM Show, two‑time EMMY‑winning bassist Tony Saunders played a demo mashup of Mark Morrison’s “Return of the Mack” that weaves in El DeBarge’s “I Like It” for 9‑time GRAMMY® nominee Gerald Albright. The saxophonist instantly heard its radio potential and agreed to play on the recording. The newly released single is now climbing the Billboard and Mediabase charts. 

Joining Saunders and Albright on the track is GRAMMY®-winning keyboardist Michael Mani (Carlos Santana, Eric Clapton, Tori Kelly), who produced the single with Saunders, along with playing keyboards, synths, key bass, vocal processing, drum programming, and guitar synths. John Mitchell added live drums to anchor the rhythm track.   

“I’ve always loved ‘Return of the Mack’ — the groove is off the hook — and I knew I’d record it someday. ‘I Like It’ has also been one of my favorites, and because it’s in the same key, the mashup came together naturally. The reaction from fans when we play it live is incredible,” said Saunders, who records for the Baja/TSR label and received clearance to release the single on his own imprint. 

Saunders dedicates the new single to the memory of two of his cousins, Kurt Kaywood and Oliver Rodgers. They passed away two weeks apart as Saunders was finishing up work on the track. “They played an important part in my life, always introducing me to new things.” 

“Return of the Mack” peaked at No. 2 on the Billboard Hot 100 in 1996. El DeBarge’s “I Like It” was the group’s breakthrough hit, peaking at No. 2 on Billboard’s R&B chart in 1982.  

Last week, Saunders was on-set in Sacramento shooting a cameo appearance in the Belton Mouras Entertainment film Fingers: The Vegan Zombie Musical, which is expected this Halloween. In addition to scoring several films, Saunders made his big screen debut in 1986 in the Francis Ford Coppola blockbuster Peggy Sue Got Married, playing in a scene as a band member with Nicolas Cage.

Saunders’ musical path began with taking piano lessons from Herbie Hancock. He was gifted with an organ by Sly Stone and received his first bass from Creedence Clearwater Revival’s Tom Fogerty. His professional career began when he was invited to play in his father’s band. His father was Merl Saunders, and the co-band’s leader was Grateful Dead legend Jerry Garcia. Tony Saunders’ diverse musical journey spans jazz, funk, rock, R&B, and Latin music. He also composed the musical Rock Justice with Jefferson Starship’s Marty Balin. 

Saunders debuted as a solo artist with 2011’s Romancing the Bass. His latest collection, 2024’s The Romance Continues, spawned multiple Billboard Top 10 hits. Over the years, Saunders has collaborated with contemporary jazz luminaries Jeff Lorber, Paul Brown, Paul Jackson Jr., Nils, Jeff Ryan, Randy Crawford, Blake Aaron, and Adam Hawley.

In addition to releasing more new music this year, Saunders is eager to perform with his new band: Mitchell on drums, bassist Vernon Hall (Tony! Toni! Tone!), guitarist Tim Landis, and keyboardist Ray Roland. 

“I have played with a lot of musicians in my life, but this group really gets the Tony Saunders vibe!” 

For more information, please visit www.tonysaunders.com. 

 

Ugo Chukwu Is Bringing 'Primary Trust' To Life

Ugo Chukwu

 

By Darlene Donloe

In the midst of Los Angeles' vibrant theater scene, Ugo Chukwu is preparing to make his mark on the Mark Taper Forum stage in Eboni Booth's Pulitzer Prize-winning play, ‘Primary Trust,’ running May 20-June 28. 

Chukwu, a Bronx native and Manhattan-raised actor, will bring Bert, the charming best friend of the lead character Kenneth, to life.

"The play is about a young man named Kenneth who lives his life a certain way," Chukwu said. "One day, his routine is thrown for a loop and forces him to step out into the world. As he goes through his journey, you understand why he has been living the way he lives."

Chukwu's journey to the Taper stage began in 4th grade, when he declared his desire to become an actor.

A Brooklyn College theater major, Chukwu has honed his craft through years of hard work, including stints as a bartender, server, and teaching artist.

Ugo Chukwu in 'Give Me Carmelita Tropicana!'

Some of his credits include Oklahoma! (Broadway National Tour), Give Me Carmelita Tropicana! (Soho Rep), Lunch Bunch (Clubbed Thumb/Play Company), and What To Send Up When It Goes Down (Movement Theater). He has also appeared in commercials for State Farm and Spectrum Mobile.  

All of that experience shines through in his nuanced portrayal of Bert, a sounding board for Kenneth's struggles and an embodiment of the play's themes of loneliness, connection, and community.

"I'm drawn to Bert's grounding presence," Chukwu said. "He's a space where Kenneth can find solace. That's what I wanted to bring – the essence of true friendship."

As Chukwu navigates Bert's complexities, he finds personal connections to the play's themes. 

"We're living in a world where people are lonelier than ever, despite being hyper-connected on social media," he said. "We're always searching for community." 

With a sense of humor and humility, Chukwu comes across as a down-to-earth, authentic guy who's passionate about his craft. 

"I think people should see the play because it's a funny and moving play," he said. "It surprises you in ways you wouldn't expect. It uplifts." 

Ugo Chukwu

Primary Trust promises to be a transformative experience, with Chukwu's ‘Bert’ anchoring the poignant story. 

“The Mark Taper Forum has always been known as the home to great American plays, and I’m thrilled that tradition continues this season with Eboni Booth’s Pulitzer Prize-winning play, Primary Trust,” CTG Brindell & Milton Gottlieb Artistic Director Snehal Desai said. “Knud (the director) has put together a luminous and fiercely talented ensemble to bring the rich characters that inhabit Eboni’s play to life. I can’t wait to share this gorgeous and moving play with CTG audiences.”

Winner of the 2024 Pulitzer Prize for Drama, Primary Trust by Eboni Booth and directed by Knud Adams, is an elegantly crafted story of an emotionally damaged man who finds a new job, new friends, and a new sense of worth, and illustrates how small acts of kindness can change a person’s life and enrich an entire community. 

The play features a talented ensemble, including Petey McGee, Rebecca S’manga Frankas Corinna, James Urbaniak, and Luke Wygodny. 

Primary Trust is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. concordtheatricals.com 

‘Primary Trust,’ Mark Taper Forum, 135 N. Grand Avenue, Los Angeles, 7:30 p.m. Tues.-Thurs, 8 p.m. Fridays, 2 and 8 p.m. Saturdays, and 1 and 7 p.m. Sundays, May 20 – June 28, $40.25, 213 628-2772 or CenterTheatreGroup.org.

 

 

 

 

 

 

'HYMN' Explores Friendship and Loss

  

(l-r) Chuma Gault and Jason DeLane in 'HYMN'

 

By Darlene Donloe

 

Lolita Chakrabarti's 'Hymn' is a soul-stirring exploration of Black male friendship, set to the rhythms of R&B and the bruised optimism of two men's lives.

 

The play unfolds like a slow-burning jam session, with Jason DeLane's ‘Benny’ and Chuma Gault's ‘Gil’ trading fides in a potent mix of humor, vulnerability, and desperation.

 

The setup is elegantly simple: two 50-year-old men who meet at a funeral, united by a presumed familial bond, forge an unlikely alliance in the shadow of mortality.

Gil (Chuma Gault) grieves his father's passing, while Benny (Jason DeLane) believes they're long-lost kin – Gil's half-brother, to be exact. Once the fraternal connection is confirmed, they play catch-up, cramming a lifetime of bonding into their remaining years.

Gil is the charismatic go-getter, and Benny is the introspective anchor. Together, they are an odd couple, but, for the most part, Chakrabarti's writing finds the beauty in their discord.

 

As they brawl, banter, and bond, Gault and DeLane inject a palpable physicality into their characters' dynamic, their chemistry crackling like live wires.

 

A bromance in the making, whenever the two men connect through their love of old school music, the play has high-energy.

(l-r) Chuma Gault and Jason DeLane

The play's structure, with its nifty time jumps and R&B-infused interludes, keeps the energy high, even when the plot veers into predictability.

 

Gregg T. Daniel’s direction, ably assisted by live-mixing wizardry, keeps the story hurtling forward, though occasionally, the whys of Gil and Benny's deepening connection feel a tad rushed.

 

When the play is bogged down in heavy dialogue, sans action, the show slows.

 

Still, 'Hymn' resonates, thanks to its occasional crackling dialogue, witty repartee, and – most crucially – its two stellar leads.

(l-r) Chuma Gault and Jason DeLane

Gault and DeLane are revelatory, imbuing their characters with a sense of lived-in reality that's both heartbreaking and heartening.

 

‘Hymn’ is an Odyssey/Lower Depth co-production.

‘Hymn,’ directed by Gregg T. Daniel and written by Lolita Chakrabarti, stars Jason DeLane and Chuma Gault.

 

The creative team for this production includes scenic designer Stephanie Kerley Schwartz, lighting designer Donny Jackson, sound designer Alma Reyes-Thomas, costume designer Wendell C. Carmichael, properties designer Jenine Macdonald, choreographer Toran Xavier Moore, and dialect coach Paul Wagar. The stage manager is Jenny Nwene. 

 

‘Hymn’ is produced by Sally Essex–Lopresti for Odyssey Theatre Ensemble and Drina Durazo for Lower Depth Theatre.

 

‘Hymn’ comes in at 95 minutes with no intermission.

 

‘Hymn,’ Odyssey Theatre, 2055 S. Sepulveda Blvd., Los Angeles, 8 p.m. Fridays and Saturdays, 3 p.m. Sundays, plus one Wednesday performance at 8 p.m. May 27, through June 14, $35. A $3 fee will be added to each ticket purchased with a credit card. Discounts are available for students and seniors. For more information and to purchase tickets, call (310) 477-2055 or go to OdysseyTheatre.com. 

On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likable), O (oh, yeah), and E (excellent), ‘Hymn’ gets an O (oh, yeah).

 

 

 

MANSA Is Expanding With 10 Micro-Dramas

David Oyelowo

LOS ANGELES, CA— Following the breakout success of its early micro-drama releases, MANSA is accelerating its expansion in vertical storytelling with the release of 10 original micro-drama series rolling out from May through July 2026 on its growing multi-drama platform.

The slate will launch with three original titles premiering next month: Playing the Field, a female-led flag football romance rivalry; Love Contract, a high-stakes contract marriage drama; and Battle for Center Stage, an HBCU dance team romance rivalry.

This announcement builds on the momentum of MANSA’s first wave of vertical series, including The Heiress, The Baller & The Secret Society, and Baselines, which have collectively garnered more than 6.5 million impressions and views across platforms in their first 30 days, reinforcing strong audience demand for short-form, episodic content.

Nate Parker

“Vertical storytelling has already shown us what is possible when you meet audiences in the format they are naturally leaning into,” said Nate Parker, Co-Founder and CEO of MANSA. “This slate is about scaling that insight into a repeatable system. We are building a pipeline where we can consistently develop, finance, produce, and distribute micro-drama series within our own ecosystem.”

The summer releases are part of Mansa’s broader 2026 slate of original micro-drama series, the majority of which are being developed, financed, produced, and distributed through its in-house studio, Mansa Studios, with the company planning to license and co-finance approximately 30% of the projects. Following the summer slate, Mansa will aggressively expand its global library through originals, strategic licensing and partnerships, further scaling its offering to serve diverse audiences worldwide.

Designed for speed, scale, and direct audience feedback, Mansa’s micro-drama model allows projects to move from concept to release on accelerated timelines. By integrating development, production, and monetization within a single platform, the company can test and refine content in real time while maintaining a steady release cadence.

“This is about building an engine for storytelling,” said David Oyelowo, Co-Founder of MANSA. “We are creating a system that allows us to develop and release micro-dramas at scale while staying closely connected to our audience.”

The 2026 slate will span a wide range of storytelling styles, from high-energy serialized dramas to cinematic, mobile-first narratives, all rooted in culturally resonant themes designed to connect with global audiences.

The new micro-dramas will be available on the MANSA app, accessible across multiple markets including: the United States, the United Kingdom, Nigeria, Kenya, Uganda, South Africa, and Brazil, as the company continues to expand its international footprint.

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ABOUT MANSA STUDIOS

MANSA Studios is a global media company and studio showcasing diaspora-focused content for a worldwide audience. Co-founded by David Oyelowo and Nate Parker, Mansa develops, produces, and distributes film, television, and short-form content across a growing portfolio of platforms, including its free, ad-supported streaming service and FAST channels. Operating as a full-service studio and distribution company, Mansa supports projects across the entire lifecycle, from development through theatrical, digital, and emerging formats including vertical micro-dramas.

Cates Celebrates Wife With 'She's My Summer'

ORANGE COUNTY, Calif.: After spending last summer at his wife Judy’s side during life‑saving spinal surgery, contemporary jazz saxophonist Michael Cates is celebrating her full recovery with a new single, “She’s My Summer,” arriving May 1 via Sonic Redoubt Entertainment.

 

Cates wrote and produced “She’s My Summer,” playing most of the instruments on the track in addition to his tenor sax. He brought in guitarist Paul Pesco (Madonna, Hall & Oates, C + C Music Factory) and bassist Larry Antonino (Pablo Cruise, Air Supply, Ronnie Laws) to shape the melodies and rhythms. The buoyant midtempo R&B groove bursts into elation on every refrain of the sun-lit pop chorus layered with jubilant saxophone.

 

“This summer, Judy and I will celebrate our 30^th anniversary and after what we went through last summer when I faced the very real possibility that I may lose her, I’m determined to fill this summer with as much time with Judy as possible. She literally is my summer,” said Cates, who is coming off a successful chart run with an award-winning single about his wife titled “Judith Lorraine,” released late last year. “All my music comes back to Judy. She’s been my muse for a long time, and our love story continues to inspire new musical chapters.” 

 

“Judith Lorraine” won a World Entertainment Award as Best Smooth Jazz Song of the Year. The single comes from Cates’ Us album, a 2025 collection of intimate musical snapshots sharing special moments and memories from the couple’s storied romance. Cates recorded the album in response to Judy’s diagnosis. Earlier, during a prolific 2025, he released the Sunset Kiss album, which was named Best Smooth Jazz Album of the Year by the World Entertainment Awards.

 

“She’s My Summer” will begin collecting airplay and playlist adds on May 4. Two days later, Cates will launch “She’s My Summer” with two New York City shows at Chelsea Table + Stage at 7p.m. and 9:30p.m.

 

“I could not imagine a greater entrance for the campaign than to be the headliner in New York City. It reminds me of when I debuted at Carnegie Hall when I was 15 years old. I used to live across the street from the World Trade Center in the 90s and was a part of the studio scene there long before acting lured me to Los Angeles. I go back home to play occasionally, but never to break out a new release. This one’s incredibly special to me,” said Cates, who grew up in nearby New Jersey. 

 

Cates moved to Los Angeles, where he landed a series regular role for five seasons on the Emmy Award-winning Ally McBeal, on which he played “The Saxophonist.” As a recording artist, he’s released four albums and two EPs along with singles that consistently garner global airplay and hit the national charts. Cates has performed at premier jazz festivals at home and internationally. He’s played with or shared the stage with icons and legends, including Jennifer Lopez, Elton John, Barry White, Joe Sample, Tina Turner, and Mariah Carey.

 

At the heart of “She’s My Summer” is an artist grateful for a second chance with the woman who inspires all his music.

 

For more information, please visit https://michaelcates.com. 

 

 

 

 

A Timeless Masterpiece Reimagined: 'Master Harold and The Boys' at The Geffen, John Kani Reclaims the Stage

(l-r) Ben Beatty, Nyasha Hatendi, and John Kani
courtesy photo 

By Darlene Donloe

 

 

In the Gil Cates Theater at The Geffen, a poignant storm brews, courtesy of Athol Fugard's 'Master Harold… And The Boys'.

 

This Tony-winning production, Fugard’s apartheid-era classic from 1982, reunites the legendary actor, playwright, director, cultural activist, and Tony Award-winner John Kani with the role of Sam, which made him a star 40 years ago. This time, he shares the stage with Nyasha Hatendi, who plays Willie, and Ben Beatty, who plays Hally, a privileged, rich, white kid, under the spirited and commanding co-direction of Emily Mann and Tarell Alvin McCraney.

 

The intimate setting of a 1950s South African tea shop becomes a crucible for exploring themes of power, betrayal, and the complexities of human relationships.

Ben Beatty is Hally in 'Master Harold...and The Boys'

Hally (Master Harold), a conflicted white teenager, navigates his tumultuous emotions amidst the warmth and wisdom of Sam and Willie, two Black waiters who've become surrogate fathers to him.

 

As the afternoon unfolds, Fugard's masterful writing lays bare the festering wounds of apartheid and racism, exposing the fragility of human bonds.

John Kani is Sam in 'Master Harold.... and The Boys'

 

Kani's (‘Sizwe Banzi Is Dead,’ ‘The Island’) return to the role is nothing short of revelatory, bringing depth and nuance to Sam's quiet strength. He’s a wonder to watch.

 

Witnessing Kani's mesmerizing stage presence is akin to attending a virtuoso masterclass, as he effortlessly navigates the spectrum of emotions, weaving seamlessly from sidesplitting humor to poignant introspection with the finesse of a seasoned maestro.

Nyasha Hatendi plays Willie in 'Master Harold....and The Boys'

 

Hatendi and Beatty are equally impressive in their roles.

They both deliver performances that elevate the production, bringing nuanced depth and emotional resonance to their roles. Hatendi's portrayal of Willie is both grounded and dignified, while Beatty's Hally is a complex bundle of contradictions, radiating vulnerability and fragile masculinity. Together, they form a formidable ensemble, expertly balancing each other and amplifying the drama's raw emotional power. Their interactions with Kani's Sam are electric, creating a sense of authentic connection that draws the audience into the world of the play.

Ben Beatty, John Kani, and Nyasha Hatendi

John Kani and Nyasha Hatendi

Ben Beatty

The 90-minute production, sans intermission, crackles with tension, its unflinching examination of racial dynamics still resonating powerfully today.

 

This revival is essential viewing, not only for its luminous cast, but for its unflinching resonance in an era marked by division and uncertainty – a timely reminder that great art can illuminate even the darkest corners of our shared humanity.

 

Fugard, who died last year, wrote a deliciously disturbing play that, although it is set in the 1950s, is still a thought-provoking heartbreaker today.

 

Kudos to Beowulf Boritt (scenic designer), Susan Hilferty (costume designer), Adam Honore (co-lighting designer), Spencer Doughtie (Co-lighting designer), Uptownworks – Noel Nichols Bailey Trierweiler, and Daniela Hart (sound design), Koko Iwasaki Nyemchek and Kiki Myemchek (co-choreographers), and Deborah Hecht (dialect and voice coach). Boritt’s light rain pouring downstage and in the background was relaxing and effective.

 

Running time: 95 min, no intermission.

 

‘Master Harold and The Boys,’ The Geffen, Gil Cates Theater, 10886 Le Conte Avenue, Los Angeles, CA, through May 10, no performance on Mondays and Tuesdays, 7:30 p.m. Wed.-Thurs., 8 p.m. Fridays, 3 p.m. and 8 p.m. Saturdays, and 2 p.m. and 7 p.m. on Sundays, $36-$139, 310 208-2028, www.geffenplayhouse.org.

 

All Geffen Playhouse productions are intended for an adult audience; children under 10 years of age will not be admitted.

 

On the DONLOE SCALE (D) don’t bother, (O) oh, no, N (needs work), L (likeable), O (oh, yeah), and E (excellent), ‘Master Harold…..and The Boys’ gets an E (excellent).

All photos are courtesy photos.