To celebrate long Black artists on Broadway and Black History Month, HOT97 caught up with James Monroe Iglehart (A Wonderful World: The Louis Armstrong Musical), Brandon Victor Dixon (Hell’s Kitchen), Harry Lennix (Purpose), and Elijah Rhea Johnson (MJ: The Musical). We spoke to acclaimed actors about their journeys, what inspires them, and why the arts are so important to Black culture.

When did you all first discover your love for acting and performing on stage?

Iglehart: I grew up in church. My mom was a singer, and my dad was a public speaker. And I knew I wanted to do that. I had a wonderful school teacher in my elementary school and she gave me a solo. I was a big cartoon fan of Bugs Bunny, making Bugs Bunny and Donald Duck. I remember saying I was a little nervous about singing this solo and she said, ‘What would Bugs Bunny do? I’ll never forget her saying that. And I said, bugs would just get up there and do it. The rest is history.

Dixon: I knew at a very young age that I wanted to be a performer for a living. My mother says that I told her when I was three years old, so I’ve known my whole life.

Lennix: I became fascinated with acting at age 15 while doing the musical GUYS & DOLLS in high school. This would have been about 1980.

Johnson: As a child, I remember that after watching a commercial on television that I liked, I would immediately run to my mom or dad and recite the entire thing back to them (trying to make them laugh the entire time, of course). I think I was about 6 years old then, and I had a TON of energy with not a lot of places to put it. That wanting to make people laugh and “perform” definitely informs a lot of what I love to do now with acting. 

You all are a part of fantastic shows about the complexities of Black life. How did everyone land the current role?

Iglehart: I never told the story before but I didn’t audition. During the pandemic I was watching a Ken Burns documentary on jazz. The first couple of episodes were about Louis Armstrong. I found out someone was doing a musical on the Louis Armstrong musical in Miami. I told my agent that I’d like to be a part of a Louis Armstrong musical in some way, as a creative producer or whatever I could do. But deep down, I really wanted to play Louis. I started practicing the voice, just in case they came around. When my representation told them I was interested, I had already found Louis’ two autobiographies when they came back to talk to me. That’s how I became a part of the show.

Dixon: For me, I did a couple of the early readings of the script just to support the production. And then, you know, when it came time for them to go to Off Broadway, you know, I was available and happy to join them.

Lennix: My friend, Glenn Davis, called and offered me this role just over a year ago. We performed PURPOSE in Chicago at Steppenwolf Theatre last year where it had its world premiere. Glenn is the co-artistic director there.

Johnson: I was involved in the early workshops for the show, where I played the role of “Middle Michael.” Eventually, I replaced Myles Frost on the production in 2023

For you, why is Black theater so important to the arts and Black culture?

Iglehart: These stories need to be told because they’re humanistic stories told from a different perspective. I think when we tell Black stories, they’re just good stories, everybody can understand. As long as it’s a human story, other cultures and other people who see our shows and see or hear our stories. Why do we need these Black stories? We need these stories out so that other Black folks know these stories exist so when they look up there, they see themselves in these stories and realize that, no, we’re not erased from history.

Dixon: It is important that black people be in a diversity of spaces to establish, a community of Black people who can pay attention to the needs of the black people and there and also bring, bring the needs of black people to the attention of the other demographic groups represented in whatever industry or group. 

Lennix: Black people, like any other people, become more connected to reality when they see their stories reflected through the performing arts. Reification through authentic drama is vital to proper functioning in the world.

Johnson: It’s all about representation! So much of what you see in entertainment is centered solely on whiteness and white stories. Black theater, really any type of Black art, allows us to change the narrative, be vulnerable, and tell our truths. It’s so important to see yourself, your stories, reflected to you in the media. Being able to tell Michael’s story, which is so important to Black history and culture, is such an honor. As I progress throughout my career, I want to continue to help bring Blackness to the forefront of all things entertainment.

What advice would you offer up and coming actors who aspire to Broadway?

Iglehart: Here’s the advice I give to those young folks: if this is what you want to do, if you feel it every morning, go for it. And if you don’t know what you want, try it. You never know this might be the place for you. And also, just in case, we do this with black folks all the time. Are you a good artist? You can build a set.  Do you like colors? You can make lighting. You could build costumes. You can draw costumes. You can be on the deck crew. You can be the one that puts the mics on people, runs the microphones. You can be the one backstage who does all the props. There are so many places for us to be on Broadway that we need to be.

Dixon: I would say focus on educating yourself in the environments that are geographically located in the industry you want to participate in. Also, make sure that you network. The vast majority of our businesses are about who you know, as much as it’s about your talent. Then, find a way to create and operate in the space in a diversity of ways. You don’t just be a performer. Be a designer, be a writer, be a producer, because you have to just keep creating. Keep creating until something sticks. Maybe the second and the third one, but then the fourth might, and because the fourth does, then, you know, suddenly there’s this catalog of things that you’ve been a part of.

Directed by Tony Award winner Kenny Leon, the revival features Washington alongside Jake Gyllenhaal, who portrays the duplicitous Iago. With this remarkable casting and a visionary creative team, the production is already one of the most anticipated theatrical events of the year. Washington, embodying the Moorish general, is poised to deliver a powerful performance in a role that seems tailor-made for him. His previous Shakespearean performances include Julius Caesar on Broadway in 2005 and Richard III at The Public Theater, showcasing his fluency with the Bard’s language and emotional depth. Now, Gyllenhaal steps into the shoes of one of literature’s most cunning antagonists, adding to the production’s allure.

Denzel Washington Revives Othello in a Bold New Vision

Leon’s involvement carries added significance, as he is renowned for reinterpreting classic works with a contemporary lens. His direction promises to infuse Othello with new relevance, exploring themes of race, desire, and betrayal. For Washington, this production represents a return to his artistic roots.

Although his Hollywood career has solidified his status as a global star, the stage has always been central to his artistry. His presence in Othello not only revitalizes this Shakespearean masterpiece but also reaffirms Broadway as a platform where Black artists can deliver career-defining performances. With two of the industry’s top talents in the lead roles and one of theater’s most innovative directors at the helm, Othello is set to become a defining cultural landmark of the 2025 season. Tickets are expected to sell out quickly, as audiences eagerly anticipate witnessing Washington’s unique blend of strength and vulnerability unfold on one of the theater’s most revered stages.

Off the field, Smith brings the same standards of excellence he had as an NFL player to the world of business. A successful entrepreneur with an extensive business portfolio,  one of his latest endeavors was the opening of his restaurant in Las Vegas, Emmitt’s Vegas. In less than a year since opening, Emmitt’s Vegas has earned two OpenTable Diners’ Choice Awards, and is becoming a must-visit destination in the heart of Fashion Show Las Vegas. As one of the few Black-owned restaurants in this highly-sought after locale, Smith is making Black history every day in “Sin City.”

In an exclusive interview, HOT97 spoke with Smith about how he got into the restaurant industry, his advice for Black entrepreneurs, and his views on the current state of the NFL.

Since you opened Emmitt’s Vegas last March, how are things in the restaurant business?

Smith: The restaurant is doing well. We’re gaining momentum in terms of the number of seats per day, but we still have a ways to go. But overall, the restaurant is doing well. The food has been great, I’ve been hearing that the service has been great, and we’ve been getting rave reviews. We just need to continue to tap on doors, and continue to have patrons come in and enjoy the food, and enjoy the atmosphere.

Did you always aspire to get into the restaurant business?

Smith: No way (Laughs). That’s the God’s honest truth. What convinced me to do it and to take advantage of the opportunity when I saw the location, and I was very impressed. It’s a Grade A commercial real estate location right there on the strip, right across from the Wynn where there’s 5000 hotel rooms, looking back onto the strip and down at the Palazzo which has 10,000 to 14,000 rooms right there with the Fashion Show Mall. The location made the decision a little easier. Now it’s not as easy to get to because you have to get dropped off at Nordstrom and walk through, but you can find your way to the restaurant.

What’s an important lesson that you learned since the grand opening of Emmitt’s?

Smith: People are your greatest liability as well as your greatest asset. We’re only as good as our personnel and our people who are serving the customers in a way that’s exciting and making them feel warm and welcoming, the quality of food and all those things. We had a rough start, but now that we’re open, it’s about marketing to the local community, as well as every person that’s traveling in and out of Vegas, encouraging them to stop and eat at Emmitt’s.

Tell me the importance of having a Black-owned restaurant in Fashion Row in Las Vegas.

Smith: I’m proud of the fact that I have had the opportunity to do that because as a culture, we need to see business success. I think it has to go beyond being an athlete in the sports world or the entertainment world. There are so many great African American entrepreneurs, but they are not highlighted enough. They highlight sports like you won’t believe.  Business people are oftentimes left in the dark. Our people need to see that success. I think one of the biggest tragedies that came out of Rosewood and the bombing of Black Wall Street, because the vision of what African American people can do when they are together was destroyed.  That vision of business success or seeing it in our community be successful is what Black Wall Street was all about and what Rosewood was all about. So for me to be able to be where we are right now, I’m hoping to continue to have more success and have a restaurant that’s open for the next 25-30 years.

What advice do you have for Black entrepreneurs?

Smith: First of all, being an entrepreneur is already hard as it is. If you’re able to gain success, develop consistency, and as you start to pick up volumes, find different locations that could benefit from your services. But don’t try to expand too fast. Control growth is what we call it, and make sure that you have the right hands on deck to help. Like I said, people are your greatest asset and liability, depending on how and who they are in terms of helping you. Sometimes it’s not family, and sometimes it can be family members. It’s not everybody, but it is some folks that believe in the vision that you’re going after.

Lastly, what do you love about the NFL today?

Smith: There’s not a lot I love about the game because it’s changed so much. I understand protecting players, but it’s only certain players that are truly protected. The quarterback is protected but everyone else is exposed. There’s always going to be head-to-head collisions in the game of football, but the past interference calls against the defensive backs are killing the game. The unnecessary roughness calls on the quarterback, sometimes even on the accidental stuff, is crushing the game, because it’s giving the offense automatic first downs, which promotes exactly what the league wants anyway, high-scoring games. Vegas wants high scoring games so they can get the overs and unders and everything else. In my opinion, it’s eroding what the game is all about. I still love the game, but I don’t have to appreciate where the game is right now.

“My background at BET Networks gave me a foundation in understanding how culture and entertainment intersect. Working with artists like Coco Jones, Pooh Shiesty, and Kevin Gates taught me that authentic storytelling transcends traditional marketing boundaries” Jaide shares on her journey. “The New Edition Story campaign was a turning point that showcased our ability to bridge generational and cultural divides.”

On Her Journey & Leadership: 

“We’re reimagining how labels approach cultural marketing by bringing data-driven insights to creative execution. Our campaigns consistently outperform industry benchmarks because we understand the nuanced cultural conversations happening across platforms. When you have a seat at all three major label tables, you can drive industry-wide change rather than isolated success stories.”

On Her Future Vision:

“This is just the beginning of transforming how the industry approaches marketing. We’re already developing new campaign frameworks that leverage our unique position across all three major label groups” Jaide says of her future. “The next phase includes building a pipeline for diverse talent in music marketing and executive leadership.”

He was a series regular on the MTV2 shows Guy Code and Hip Hop Squares and hosted Ain’t That America on MTV2.

As a comedic actor, Duval has appeared in Meet The Blacks, Grow House, The Trap, and many more.

In 2018, he released “Smile B*itch (Living My Best Life)” featuring Snoop Dogg and Ball Greezy which peaked at number 56 on the Billboard Hot 100.

For his latest endeavor, Duval is a part of the star-studded “We Dem Ones Comedy Tour.” The tour features some of the best comics in the game including. Mike Epps, Kountry Wayne, Karlous MillerTony Roberts, Bubba Dub, and HaHa Davis.

HOT97 caught up with Duval and we spoke about what inspired him to pursue comedy, being an early content creator, and the future of Black comedy.

When did you know you were funny?

Lil Duval: I grew up where you rank on people all day and talk sh*t. I didn’t realize I was the littlest one in my school. I grew up around big motherf**kers, like Brian Dawkins, who played with the Philadelphia Eagles, went to my school. He was actually a little compared to all the other big ni**as in school. I’ve always been funny because I had to roast people because I was small. I went from that to seeing Chris Rock or Chris Tucker . on Def Comedy Jam. When I saw him on Friday, I was like, “Oh, so that’s how you get in the movies being a stand-up comedian.” So that’s how that came about.

Was Chris Tucker an early influence on your comedy?

Lil Duval: He was one of my influences but I really was influenced by Deion Sanders because he was one of the first ones out of Florida to make it as a big superstar. So he was one of my major influences and stuff like that. So I was influenced by everything he did and it’s reflected in my comedy because it’s more than just stand-up. It’s everything.

You were one of the first known comics to use social media platforms to share your content. What made you go in that direction?

Lil Duval: My man Spain from Philly told me that I should do a website like 20 years ago. He said you can do a website get on are on MySpace or Black Planet. And I was like, ’Which one gets the most girls? He told me Myspace so I went with MySpace. I hit the ground running. That’s when I realized, “Oh, this is the world.”

There ain’t too many people who can say that it made it from the 90s to now and has been relevant this long. I’ve been relevant most of my and I’ve been doing for 26 years, and I’ve been relevant for at least 24 of them. For the comedians coming after me, I’m one of the first to open that lane where you don’t have to be a traditional stand-up comedian. Now you got people like Druski who is considered a comedian. You don’t have to so much do stand-up comedy to be considered a comedian. So I’m a part of that transition into what it is now.

How was it when you performed comedy for the first time?

Lil Duval: My first time on stage, I ripped. I’m glad because iI did. If I didn’t do good on my first time on stage, I probably wouldn’t be doing a stand-up today. I’m not one of those people that can keep getting beat up.

When you made “Smile” did you expect it to take off and become such a big hit?

Lil Duval: I already had the concept and I hit Snoop up. I told him, “I got this song, and it’s hard.” I let him hear the hook and he sent it right back to me. It was divine destiny. Honestly, God used me to send that energy out. That’s why people are still rocking with it since 2018.

What excites you about being on the We Dem Ones Tour?

Lil Duval: It’s about passing the passing the torch to the next generation. That’s what Mike did for me. He always treated me like a little brother. Over time, I became an OG so it’s the same thing. We have a lot of hot new comedians. They always talk about the old school and the old school comedian. I am old school, but not old school in the ranks of what a comedian is because I’m still young in it.  But to this generation, I’m old. A lot of people think that the old school and new school don’t get along. This tour is proof that we show love and show unity.

When you made “Smile” did you expect it to take off and become such a big hit?

Lil Duval: I already had the concept and I hit Snoop up. I told him, “I got this song, and it’s hard.” I let him hear the hook and he sent it right back to me. It was divine destiny. Honestly, God used me to send that energy out. That’s why people are still rocking with it since 2018.

Along with the tour, what else do you have going on in 2025?

Lil Duval: But I got this movie called The Contract on All BLK or wherever you steal your movies from. It’s a romantic comedy about threesomes. I got Duval Day coming up in July so stay tuned. 

From Soul Hustle to Rap’s First Hit: Sylvia’s Game-Changing Run

When her duo faded, she teamed with Joe Robinson—a Harlem operator with cash and hustle—and they launched All Platinum Records in Jersey. Sylvia was in deep, producing soul cuts, even dropping “Pillow Talk” in ’73—a steamy, funky joint that hit Top 3. Then, in ’79, she’s at a pizza spot, clocks Big Bank Hank rhyming over “Good Times,” and knows it’s go time. She grabs him, Wonder Mike, and Master Gee, cuts “Rapper’s Delight” in one take—15 minutes of unfiltered heat. It moves 2 million units, cracks the Hot 100 as rap’s first big swing, and flips Bronx parties into a global force.

Through Sugar Hill Records, she signed Grandmaster Flash, and unleashed “The Message”—a street chronicle that redefined the game. Sylvia scrapped with execs and doubters, but by ’86, Sugar Hill sank under debt. She stepped back, passing in 2011 at 76. Her legacy’s ironclad—every MC stacking paper today owes her. From Harlem’s stoops to the world stage, Sylvia built the lane. HOT 97’s here for it—she’s the architect who made hip-hop a business and a voice.

In her illustrious career, Janet has sold over 100 million records, won five Grammy Awards, eleven American Music Awards, an Academy Award nomination, has a star on the Hollywood Walk of Fame, and in 2019, she was inducted into the Rock and Roll Hall of Fame. But what makes Janet a true icon is her live performances. When it comes to hitting the live stage, she is pure magic.

At the 5,000-seat Resorts World Theater in Las Vegas, the greatness of Janet Jackson was on full display. As soon as she arrived on stage, she held the captivated audience in the palm of her hands for the next two hours and it was everything one could imagine from the iconic performer. 

The opening set included “Go Deep”, “Got Till It’s Gone”, and “That’s The Way Love Goes” which set the tone for the rest of the night.

In her second set, she reeled off even more hits such as “Escapade”. “All For You”, and “Miss You Much”, taking the audience down memory lane.

But the climax of the performance was the high energy of the third set.  The choreography went up a few notches, the band was in a groove, and flawless blends of DJ Aktive. Janet performed “Nasty”, “Pleasure Principle”, “When I Think of You,” ‘Control”, and “Son of a Gun. When she went into “Rhythm Nation”, the crowd went into a frenzy.

The epic show also included lasers, fireworks, amazing designer costumes, impeccable choreography, and stunning visuals. Showcasing her enormous discography, Jackson performed songs, ranging from her number-one hits to deep album cuts, and B-side favorites that only her “Day One” fans would know. In total, Jackson performed segments of almost 50 songs.

Jackson’s performance not only offered a stunning visual but also an incredible sonic experience. The impeccable sound was provided by renowned French company L-Acoustics whose innovative L-ISA Hyperreal sound technology curated an immersive audio experience for those in attendance. Laurent Vaissié, Co-CEO of L-Acoustics, spoke about the company’s impact on audio technology and its commitment to providing Janet with residency.

“L-Acoustics is the leader in sound reinforcement for live shows. The goal of Janet Jackson’s performances was to reconnect the artistry with the audience through great sound,” Vaissié told HOT97.com.

Caram Costanzo, Janet’s sound engineer, spoke about how the venue and the sound system are the perfect combination for an unbelievable performance by Ms. Jackson.

“There’s not a bad seat here, because you’re getting the full spectrum of sound all the time,” Costanzo said. “It’s an incredible system. It’s the best in the world if you want that full-on immersive sound, this  is the only option.”

At 58 years old, Jackson looks fabulous, sounds amazing, and has not missed a beat. She doesn’t lean on her celebrity friends and any gimmicks to make the show palatable. It’s just her and an immense catalog that spans more than four decades of music and it’s more than enough.

While she doesn’t give much commentary or share background about the creation of her songs during the concert, she lets her body of work as one of the greatest artists of all time do the talking.

It’s fitting that Jackson’s residency took place during Black History Month because she embodies Black excellence. She has used her voice to address racism, sexism, and classism but also continues to give the world the quintessential essence of what Black joy is. Without question, Janet Jackson is a one of one.

If you missed Janet this go-round, she’ll be back for the second wave of her residency on May 21, 24, 25, 28, 30 & 31, 2025.

For her latest project, Pretty Vee has authored her first book The Pretty Victory: 100-Day Guide to Recenter Yourself and Find Your Purpose. The book is described as  “a guided journal to help you define your goals, find the strength to reach them, and unapologetically go out and get what you’ve been dreaming of.”

HOT97 caught up with Pretty Vee and spoke about writing her first book, what fuels her creativity, and how she makes Black History every day.

How did going to an HBCU impact your perspective?

Pretty Vee: I went to an HBCU, St. Augustine’s University in North Carolina. I’m so grateful for my alma mater and what they taught me. I mean, everything that I was taught, I’m actually using the tools out in the world. But being from Miami and going to school in North Carolina was a big difference for sure.

What did you know you wanted to be an entertainer?

Pretty Vee: Oh, my God, I’ve always wanted to be in the entertainment industry. I wanted to do radio to be like Angie Martinez, Ludacris, and Wendy Williams. But God said otherwise and put me in front of the camera. There was no other industry that I wanted to be in. I always wanted to entertain people because I love making people laugh and making people feel good.

After making a name for yourself on social media, how did you land on  Wild ‘n Out?

Pretty Vee: I lied to get on Wild ‘n Out [Laughs]. I said, “Hey, I’m DC Young Fly’s cousin, I’m Chico Bean’s auntie.” I really wanted to be on the show. I sent a DM and they emailed me. They were already fans of my work. Unfortunately, the audition didn’t go well and I didn’t make it in the first round. I felt like I was lying to get on the show. When you trust God, sometimes God will sit you down so you can work on your craft, your creativity, and on your confidence, and on yourself. A year later, I got on the show and I’ve been on the show for 10 years.

Along with all of your success, you’re outspoken about your faith. When did you become serious about your faith?

Pretty Vee: Before I got into the entertainment industry, I was depressed and had anxiety. In middle school, my mom told me I was gonna be the artist. I thought maybe a painter or drama, it could be this, it could be that. I just wanted to be in entertainment. But God had a bigger blessing coming and a breakthrough happening, God was like, “You got to know me first before I give you what you want so you’ll give me all the glory. But I need to get you into a quiet place so you can know who I am.” So I was in that still place in 2016. That’s when I was able to go to Charlotte and start my career there. That’s when my faith was activated.

What inspired you to write “The Pretty Victory?”

Pretty Vee: My mom was the inspiration. She’s a pastor and she inspired me to write it. She was around me to help me get through my depression. At the time, I just was frustrated because I was in everything. I was posting stuff on campus, and I was involved in every curricular activity. But when I didn’t get the same energy coming out of college, I became depressed. My mom had to remind me of the promise that God told me that I was going to be an artist. So the inspiration for the book is my mom.

How did you go up writing the book and what did you learn about yourself during the process?

Pretty Vee: It was a long process and it was a big moment for me. My publishers took a chance on me and I took a chance on myself too. I was excited to do it. Writing was a hard process because you still go through things. And you have to make sure your pre-orders are okay. But I’m grateful for it.

What do you want readers to take away from the book?

Pretty Vee: I want them to leave with just knowing that they can be victorious. The 100-day devotional is reset yourself, define your purpose, be inspired, and be encouraged by my words. I understand what depression looks like, having thoughts of suicide, anxiety, and nervousness. But I didn’t give up. And there’s a lot of people like me out in this world that’s not going to give up. They just need somebody to push them. So this book is going to be a tool for people to be pushed a little bit more. I have a lot of great people in my book that I call my “Victorious Friends.” I got Dwyane Wade, Shaquille O’Neal, Issa Rae, B. Simone, and Kierra Sheard.

Lastly, how does it feel to release the book during Black History Month?

Pretty Vee: As far as Black History goes, I believe we make it every day, not just in February. That’s a part of my vision. Whether in business, writing, or comedy, I want to give God glory and keep making Black history.

The Pretty Victory is available wherever books are sold.