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	The Believer - Interview with Mario Van Peebles
		Mario went on to study at Columbia University and sharpen his business teeth working for the New York City mayoral office during the Ed Koch era before establishing himself as an actor and director with films like New Jack City, Panther, and Posse.
		Mario Van Peebles and I met for breakfast at a North Hollywood diner.
		MARIO VAN PEEBLES: I realized the only way I was going to make this film and not turn it into cinematic Wonder Bread was to do it myself.
	www.believermag.com /issues/200503/?read=interview_vanpeebles (465 words)

	Moviefone Q&A: Mario Van Peebles - Moviefone
		Van Peebles compares acting in a film he didn't direct to being a plumber vacationing in Hawaii: "the last thing [you] want to do is look under the sink." Van Peebles felt so passionately about the source material, however, that he wrote the foreword to Edward Torres' novelization.
		Mario Van Peebles:: I play this character "Early Earl" Bassey, and he's the brother that sort of teaches Carlito Gangsterism 101 and how to elevate his thug life into gangster life, and take advantage of the underworld, which was racially divided.
		Mario Van Peebles: Uh, yeah, well really what was interesting with him was he came there to do his job.
	movies.aol.com /carlitos_way_movie_mario_van_peebles_qa (1059 words)

	Mario Van Peebles
		Born in Chicago on August 21, 1932, Melvin Van Peebles is best known as the incendiary iconoclast who financed, wrote, produced, scored, edited, distributed and starred in Sweet Sweetback’s Badass Song (1971) the politically-progressive picture which single-handedly inspired the rise of the blaxploitation genre.
		MVP: That was why the Black Panthers made it mandatory viewing for all of their members, for its political content.
		MVP: It may seem soon to you, but when you’re waiting, brother, it doesn’t seem all that rapid, if you know what I mean.
	www.beansouptimes.com /Mario_Van_Peebles.htm (1611 words)

	COURT TV ONLINE - Mario Van Peebles
		Mario Van Peebles: I think that the First Amendment is the cornerstone of our democracy, as an artist it allows one takes on often politically charged or controversial material, and that's also important.
		Van Peebles I found the poem "Blew" to be inflammatory to most everybody.
		Mario Van Peebles: My answer is: Ken Jacobson of the ADL had some very salient points, and he speaks on them more eloquently than I do, in stating his objections to that line in Baraka's poem.
	www.courttv.com /talk/chat_transcripts/2004/1203vanpeebles.html (1631 words)

	Mario Van Peebles - Biography - MSN Movies
		In 1988, Van Peebles starred in a conformist TV comedy adventure series, Sonny Spoon, playing a glib private eye with a predilection for elaborate disguises; this brief series afforded him his first opportunity to direct.
		Van Peebles played a major role in New Jack City, as he would in his subsequent Posse (1993), a revisionist western about a Utopian all-fl community.
		Van Peebles' next directorial endeavor was Panthers (1995), a recounting of the Black Panther Movement that came under fire from several of the real-life activists depicted in the film despite the fact that Van Peebles steadfastly defended it as historically accurate.
	entertainment.msn.com /celebs/celeb.aspx?mp=b&c=204357 (384 words)

	How to Get the Man's Foot Outta Your Ass (2003)
		Director and co-writer Mario Van Peebles affectionately, but truthfully, chronicles a fictional telling of his father, Melvin Van Peebles' attempt to make "Sweet Sweetback's Baadasssss Song," modern fl cinema's groundbreaking film, which was compulsory viewing for the Black Panthers and paved the way for countless fl actors, filmmakers and film technicians.
		Mario Van Peebles' previous directorial efforts, "New Jack City" (1991), "Posse" (1993) and "Panther" (1995), showed potential, but were mired in clichés and turned out to be rather forgettable.
		Mario's reluctance about being forced to be in a "sex scene" in his dad's movie is one of the film's highlights.
	www.imdb.com /title/tt0367790 (876 words)

	May 2004 \| blackfilm.com \| features \| interviews \| an interview with Mario Van Peebles
		In 1971 Melvin Van Peebles took on the heavyweights of the Hollywood industry and decided to make a film on his own with his financing and his vision and the film, Sweet Sweetback's Baadassss Song, became an overnight hit and the catalyst for independent filmmaking.
		His son Mario was a part of that film and has since become a filmmaker as well having helmed "New Jack City" as well as act in numerous pictures.
		MVP: Although at age thirteen I had production assisted on SWEETBACK and played a couple roles in it including losing my cinematic cherry I was only peripherally aware of the slings and arrows my father was suffering during its making.
	www.blackfilm.com /20040521/features/mariovanpeebles.shtml (993 words)

	Blackflix.com: Interviews
		Van Peebles’ sweeping Sweet Sweetback’s Baadasssss Song, the first "commercially" successful fl-theme film that showed a fl man getting over on the white establishment, wasn’t groundbreaking — it was Earth shaking.
		To underline the fact, Van Peebles, 71, ended his film with his hero character Sweetback escaping from the clutches of "the man" (the all-purpose villain) as the words, "A bad ass nigger is coming back to collect some dues," is superimposed across the screen.
		That’s when Ossie Davis called Mario and said, "I’ll be in the film." Mario confessed to the legendary actor that he didn’t have the budget to place him in a hotel.
	www.blackflix.com /interviews/mario.vanpeebles.html (1049 words)

	Mario Van Peebles at Hollywood.com
		Van Peebles was showcased as detective "Sonny Spoon" (NBC, 1988) in the light-hearted Stephen J Cannell-produced TV series which featured his father in a recurring role as the hero's bartender father.
		Van Peebles associate produced, scripted and starred in the poorly received farce "Identity Crisis" (1989), under his father's direction, playing a white gay designer whose spirit is trapped in the body of a young fl rapper.
		Van Peebles wrote, produced and starred in "Los Locos" (The Movie Channel, 1997), a TV-movie sequel to "Posse" and completed his fourth film as director, "Love Kills" (lensed 1997, also produced, scripted and co-starred), about the relationship between an actress and her masseur.
	www.hollywood.com /celebrity/Mario_Van_Peebles/190416 (2534 words)

	"Legacy": Film Freak Central Interviews Baadasssss! Filmmakers Mario and Melvin Van Peebles
		The man behind the picture, writer/director/star Melvin Van Peebles, still has the sort of aura around him at the age of 72 that suggests just how good it is to be the king.
		MARIO: (laughs) Russell Wong, man. When he walked in I thought to myself, "Wait a minute, I thought I had a hard time getting taken seriously as a leading man?" and I hired him on the spot.
		MARIO: There's also the thought that a lot of those Asian martial arts epics coming over around that time were ultra-violent revenge fantasies: one guy gets his family murdered and then spends the rest of his life making the ruling party pay.
	filmfreakcentral.net /notes/vanpeeblesinterview.htm (2033 words)

	VAN PEEBLES, MARIO
		Melvin Van Peebles, sadly something of a forgotten firebrand in film history, fits in with the other real-life rebels his son has played in films—Malcolm X in Ali (2001) and Stokely Carmichael in Panther (1995), for two—but the reel life was surprisingly harder to catch.
		That's the danger of being too close to the subject—the perspective blurs—but there's an upside also, and it's visual: Mario Van Peebles is, astonishingly, the spitting image of his old man 34 years ago, all mustachioed and macho and manic, willing a movie into creation.
		Van Peebles p're et fils are busily ballyhooing the new flick like a father-and-son tag-team match, reveling in the Sweet Sweetback memories they both have.
	www.filmjournal.com /filmjournal/filmmakers/article_display.jsp?vnu_content_id=1000692690 (1387 words)

	Mario Van Peebles: "Panther"
		Based on the elder Van Peebles' book about The Black Panther Party, the father-son team has made a controversial film that has been slammed by members of the former Panther Party as well as conservatives who say the film is a romanticized version of a violent organization.
		Peebles said there's no debating that the film is fiction, but that it's true to the spirit of the Black Panthers.
		Peebles: "There's this quote that one of the things education is used for is to socialize the oppressed to the oppressor's point of view.
	jaehakim.com /articles/film/features/peebles.htm (1093 words)

	Melvin & Mario Van Peebles \| The A.V. Club
		Sweetback also marked the cinematic debut of Melvin Van Peebles' son Mario, who went on to follow in his father's cinematic footsteps, making his breakthrough as the director and co-star of the successful and influential 1991 crime drama New Jack City.
		Mario spent much of the rest of the '90s appearing in low-budget, B-movie fare, but he rebounded in 2001 with a revelatory performance as Malcolm X in Michael Mann's underrated biopic Ali.
		Mario: So when the reviewers came out and they saw Sweetback, whichever ones did, one of them said things about how the sound was garbled and didn't work and was technically flawed, but fl folks understood it exactly, because it was Ebonics.
	www.avclub.com /content/node/22997 (2970 words)

	Music
		This situation almost played as déjà vu since the elder Van Peebles faced a similar ordeal after completing Watermelon Man in 1970, which was followed shortly thereafter by Sweetback.
		If Mario had made the changes that the studio so desperately wanted, he would have totally changed the dynamics of the film and ultimately killed its spirit.
		Mario believes that if he or his friends want to make a film with people of color, you can’t make a Good Will Hunting because, as they were told by studio execs, the audience will have trouble following its complex storyline.
	www.campuscircle.net /interviews/badass.htm (979 words)

	Baadasssss! How to Get the Man's Foot Outta Your Ass Movie Review at Hollywood Video
		Mario Van Peebles' biopic about his father, Melvin, and the making of the latter's 1971 film, Sweet Sweetback's Baadasssss Song—an unlikely megahit that paved the way for indies in general and blaxploitation films in particular.
		In 1970, director Melvin Van Peebles was the great fl hope of Hollywood when his comedy Watermelon Man proved a winner for Columbia Pictures, who rewarded him with a three-picture deal.
		But when Van Peebles determined to make Sweet Sweetback's Baadasssss Song as his next film, the studio deemed that a movie about a man who kills two white cops for beating up a fl activist was too inflammatory.
	www.hollywoodvideo.com /movies/movie.aspx?MID=139079 (1302 words)

	Stones Throw Records
		Last night in Los Angeles, Melvin Van Peebles publicly announced his next project - a double album with Madlib to be released on Stones Throw.
		Van Peebles was in Los Angeles for an LA Film Festival screening of a new documentary covering his life story, "How to Eat Your Watermelon in White Company (and Enjoy It)".
		The making of "Sweetback" was fictionalized recently in his son Mario Van Peebles' film "Baadasssss!".
	stonesthrow.com /news/melvinvanpeebles (247 words)

	Mario Van Peebles Bio, News, Awards and Movie Credits - RopeofSilicon.com
		Never one to rest on his laurels, Mario Van Peebles has carved out a substantial career that is constantly redefining and inspiring modern cinema in the same revolutionary style his father pioneered in the 1970s.
		Mario received a Director's Guild Award nomination for his telefilm MALCOLM TAKES A SHOT, and he directed and co-produced the controversial, historical drama PANTHER, a film about the Black Panther Party for which he would win the Silver Leopard Award (among others) at the Locarno Film Festival.
		Van Peebles' stage work includes "Waltz of the Stork," which was directed by his father, "War Letters," and "Oak and Ivy" in which he portrayed the acclaimed turn-of-the-century poet Laurence Dunbar.
	www.ropeofsilicon.com /profile.php?id=3471 (362 words)

	Black and white cinema - Music - www.theage.com.au
		The studio heads were all nice gentlemen, Van Peebles says, but they tended to be old white guys with the typical Hollywood mindset.
		Van Peebles strove to reflect the film's influence in Badass!, as well as the strain the film's troubled production put on his father, whose vision suffered because of exhaustion.
		In conversation, Van Peebles liberally quotes Malcolm X and Martin Luther King (or "Dr King") and has a tendency to take winding side roads on his way to answering a question.
	www.theage.com.au /news/Film/Black-and-white/2005/03/17/1110913680668.html (1335 words)

	Mario Van Peebles Current Month TV Schedule
		Starring Jay Hernandez, Mario Van Peebles, Luis Guzman, Sean "Diddy" Combs, Michael Kelly, Jaclyn DeSantis, Mtume Gant, Burt Young, Juan Carlos Hernandez, Domenick Lombardozzi.
		Starring Mario Van Peebles, Holly Robinson Peete, Michael J Pagan, Hal Linden, Andrew Divoff, Josh Holland.
		Mario Van Peebles and Bobby Cannavale guest star.
	www.tv-now.com /stars/mariovan.html (517 words)

	dOc DVD Review: Baadasssss (2004)
		With Mario Van Peebles at the helm of Baadasssss, the film eschews being an over-the-top melodrama and focuses on one man's dream and the lengths that he had to go to achieve it.
		What Peebles does in both the script and his direction is that he gets the audience to sympathize with Melvin simply because he believes so much in his project, we are willing to overlook the methods he uses to achieve it.
		It is both frightening and eye-opening in its view of the legendary director Melvin Van Peebles, and his attempt to bring his vision to the screen.
	www.digitallyobsessed.com /showreview.php3?ID=6383 (1137 words)

	Documentary Film and DVD Reviews: Mario Van Peebles's Baadasssss!
		Mario Van Peebles has done his family proud by pulling together this flumentary that tells it like it was even as it falls into the trap of stereotyping others-ten steps forward, two back.
		Set in 1971 the narrative sections look and feel great: Mario's (Khleo Thomas, playing Melvin's son with innocent ease) Afro looks fine, the dog Nixon is an excellent metaphor and a long shot with the Capitol Records building in background adds discreet reinforcement of time and place.
		Peebles convinces the managers to show it by itself rather than sandwiched between two other "safer" entertainments: His story deserves to stand alone.
	www.jamesweggreview.org /reviews/filmdvdvideo/baadasssss.html (657 words)

	One bad dude -- and dad / Mario Van Peebles stars as his father Melvin in bittersweet tribute "Baadasssss!"
		The artist is director Melvin Van Peebles, and "Baadasssss!" is a dramatization of his struggle to make "Sweet Sweetback's Baadasssss Song," a landmark of fl cinema.
		But arguably the film's most irresistible virtue is that it's psychologically compelling, as well, with Mario Van Peebles starring as his own father, in a portrait not entirely flattering.
		Mario Van Peebles deserves credit for directing, co-writing and casting himself into a dream situation, in which he gets to mimic the old man, show him what a bullying jerk he was and settle old scores, while under cover of doing a tribute film.
	www.sfgate.com /cgi-bin/article.cgi?f=/c/a/2004/06/04/DDG316VU3G1.DTL (931 words)

	mario van peebles movies
		Mario Van Peebles stars as a force of one in SOLO, the high-tech adventure about an Army android who learns to think - and kill - for himself.
		Just as such indelible films as Melvin Van Peebles' 'Sweet Sweetback's Baadasssss Song' and Gordon Parks' 'Shaft' were reactions to Hollywood's inability or unwillingness to portray strong, sexy Black characters in the early 70s, Kesselman's 'Hammer' is his way of creating a new hero for a new generation.
		Critics and audiences alike have gotten behind Mario Van Peebles' candid portrait of his father Melvin's struggle as a young, fl director during the society-shifting early '70s.
	www.allmovieportal.com /b/mariovanpeebles.html (857 words)

	Urbandisc-Mario Van Peebles
		At that time, Van Peebles had no burning desire to become a performer, choosing instead to study economics at Columbia University.
		In 1988, Van Peebles starred in the TV comedy adventure series, Sonny Spoon, playing a glib private eye with a predilection for elaborate disguises; this brief series afforded him his first opportunity to direct.
		Van Peebles played a major role in New Jack City, as he would in his subsequent Posse (1993), a revisionist western about a Utopian all-fl community.
	www.angelfire.com /jazz/e_iray/mario_van_peebles.html (740 words)

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