Entertainment
Ice-T proves he's still 'Merciless' on Body Count's latest attack of gory hip-hop metal with a message
“You don’t know me, fool / You disown me, cool,” Ice-T snarls in the 1988 hip-hop gang treatise “Colors.” The Afrika Islam-produced cut, the title track from the film of the same name, boosted the Jersey-born, then-L.A.-dweller out of the underground, kick-starting a multifaceted career that today finds Ice sitting on a curved couch in the bright open kitchen/family room of his Edgewater, N.J., home, daughter Chanel’s mostly pink toys carefully stacked nearby.
These days, fans of his music are used to seeing the rapper-turned-actor in mainstream commercials that would’ve been too scared to cast him back in the day. O.G. Ice-T wouldn’t have been caught dead shilling for Cheerios (Ice teaches yoga); Tide (Ice “cold calls” chef Gordon Ramsay); or GEICO (Ice at a lemonade stand). But if the leap from gangster to gladhander wasn’t part of a master plan, it’s not a far stretch.
“First, people don’t know who you are,” he explains of his early career. “The neighborhood knows, but the people don’t. So you got to make them understand that you’re a serious person. Before we can have fun, you have to understand that I’m not all fun, right? So now people meet me. They go, ‘you’re nice.’ I’m like, ‘Well, you’re not my enemy. There’s another Ice. You don’t want to meet him.’ ”
Today’s Ice-T — in the month prior to the U.S. election and before the death of one-time collaborator Quincy Jones — speaks eloquently on both those subjects. As well as on his Harley-Davidson-riding father-in-law, meeting Presidents Clinton (“That motherf— was charming as f—”) and Trump (pre-first presidency, “his character alone is piece of s— to me”), and the Constitution, before joyfully breaking into the chorus of the New Radicals song he hopes to cover, “we only get what we give.”
It’s a day off from the 66-year-old’s role as NYPD detective/sergeant Odafin Tutuola on NBC’s “Law & Order: Special Victims Unit,” a role he’s played for 24 years. The irony of the “Cop Killer” — the song by his heavy metal band Body Count that resulted in a parting of ways with Warner Bros. Records — playing a cop on TV is lost on no one.
“It’s like they think it’s a snuff record something. Like they really believed I was telling people to go kill cops, which I wasn’t,” Ice-T says, not for the first time since the track’s 1992 release. “I was acting a character out. But f— it, I call that a badge of honor. Like the new ‘Merciless’ album cover, Japan says they don’t want it.” (The band logo is in blue and red; giving both Crips and Bloods and Democratic and Republican connotations; Ice is in a blue surgical cap, blood-covered and holding a bone saw in front of a blond man in a Ku Klux Klan robe tied to a chair.)
The 12-track record is Body Count’s eighth album, with Ice and Crenshaw high school pal guitarist Ernie C (Cunnigan) and turntablist/keyboard player Sean E Sean its original members. Bassist Vincent Price, drummer Ill Will and rhythm guitarist Juan of the Dead round out the lineup with Ice’s son, Little Ice, his middle child, the band’s hype man and backing vocalist since 2016.
“Merciless,” like its predecessors, is full of sound and fury, signifying much that Ice finds wrong with the world, his evenhanded, intelligent opinions writ loudly, if graphically. The record was influenced by the COVID pandemic, but not in the way one might imagine.
“The whole ‘Merciless’ album is based on my love of horror movies. The last four albums have been the rebirth of Body Count with Will Putney producing. We went from ‘Manslaughter’ to ‘Blood Lust’ to ‘Carnivore,’ ” Ice says. “So this is ‘Merciless,’ this is all the saga. When ‘Carnivore’ hit last year, we did well, we won the Grammy. Everything’s hot. The label goes, ‘OK, give me another album.’ ”
Ice’s voice rises. “We just s— an album out!’ I’m like, ‘How the f— imma do another?’ We never got to perform because the album dropped the day COVID hit.” Ice, who takes riffs and songs written by his band and rearranges them to his liking before coming up with lyrics, adds, “People don’t understand that when you make a record, you might put on 12,13, songs, but you made 27 that didn’t make it because they weren’t good enough. You don’t want to use them for the next album. You have to start from scratch.”
With a shuttered New York City across the Hudson River, Ice, wife Coco (née Austin) and daughter Chanel spent COVID lockdown in Jersey. “I was watching horror movies, serial killers, all this s—. So before you know it, there’s a song called ‘The Purge.’ There’s a song called ‘Psychopath.’ I’m looking at this new election coming. I’m like, ‘these motherf—s are gang banging.’ All these different topics are coming to my head, and we make the next record.”
While both metal and hip-hop audiences are quick to call out posers, Ice-T comes by his rock ‘n’ roll bona fides thanks to his teens in L.A., the city he moved to after both his parents passed away. “I had a cousin when I lived in L.A. who thought he was Jimi Hendrix and would keep the radio on KMET and KLOS. I heard everything from Pink Floyd to J. Geils Band to Boston to ELO to Mott the Hoople to Edgar Winter,” he recalls. “I started to get into groups like Blue Oyster Cult, Deep Purple and of course, Sabbath. I started to like the darker stuff, right?”
While there remains precious few Black rock and metal bands, Ice-T says the initial goal with Body Count was “to find an audience to play for so Ernie could play his guitar.” Ernie C and late drummer Beatmaster V began pro careers on Ice-T’s 1987 debut studio album for Sire, “Rhyme Pays.” “We used the Sabbath hook from ‘War Pigs,’ but it was live drums, Beatmaster V. Then I did “The Girl Tried to Kill Me” (1989). Ernie played on that.” At the time, hip-hop was very sample-based. But a creative spark was lighted when Ice-T went on tour with Public Enemy. He saw “kids moshing off of ‘Bring the Noise’ and ‘[Welcome to the] Terrordome.’
“I’m like, ‘We’re gonna take the punk sensibility of Suicidal [Tendencies],’ who already had a gangbanger look,” says Ice-T, excited at the memory. “I said, ‘We’re gonna take the speed of Slayer and the impending doom of Black Sabbath, mash that together, and I’m gonna sing about the same s— that I sing about in rap. But I’m not gonna rap it. Imma bark it. I call it ‘barking’ because I was listening to New York hardcore, like Madball and groups like that. They’re not singing. I can’t sing like Journey, but yeah, this vocal delivery isn’t out of my range.’ So I said, ‘Let’s go.’ ”
More than 30 years later, Body Count has not run out of heavy riffing ideas or equally weighty lyrical topics. The new song “Do or Die” isn’t from his horror movie binge; it’s the frontman’s view on guns. Ice-T isn’t necessarily pro-gun, rather, the former Army infantryman clarifies: “I walk into a room, and nobody’s got a gun, OK. But if I walk in the room and somebody’s got a gun, I want a gun. I don’t want to be the guy with the butter knife.”
Thanks to his common sense approach to life, people tell Ice-T he should be in politics. The one-time gangster’s retort? “I got out of crime. I’m on a soapbox. I can say whatever the f— I want. I’ve pretty much said everything I wanted to say. I think in my history, you can look at Ice-T and say, ‘Ice-T has done some crazy s—.’ But I doubt if you find something I done stupid.”
The father of three and husband of 22 years’ time denies having any secrets. “I never been to no Diddy parties; not my scene. Honestly, I come from so much drama and chaos that when I finally got a chance to get out of it… I don’t jaywalk in New York. I don’t break the law. I don’t do that,” he adds, “because I used to do it every day. I was deep in, and I could have caught a life sentence. I’ve been so blessed and so lucky. if I did anything illegal, if I lied to somebody, if I did something crazy, I think I’d die. I think I would suffer Instant Karma.”
Elder statesman Ice-T is also OK that he’s no longer speaking to the youth. “You have to embrace your evolution and understand that the torch has to be passed. Like Chuck D told me, ‘At this point, if you’re not having fun, you did all this for nothing.’ I think what we did,” he concludes, “was the heavy lifting. We did enough to change the world. To me, Barack Obama was a hip-hop president. He was the president of the kids who voted for him, that grew up with us. Those white kids didn’t exist before hip-hop, you know? We created a surge of young white youth who weren’t racist.”
And while he’s happy to “talk s—” to his longtime fans via “Merciless,” he says, “we did our part. It’s now time for young kids to do their part. We need a new young PE. A new young Ice-T. Because now, I’m sorry, but I’m the old guy.” He’s glad to still hold — and step over — the line, while understanding he’s not influencing young people “the way a 21-year-old or youngster would if he was saying it. It hits them harder because it’s their peers.”
That’s not to say a Body Count show is anything short of raucous or provocative, Ice-T bringing the noise and intensity with his equally pumped high school OGs in the band. “When I play a song, the audience goes back to the day they first heard that song. And then for me to perform it correctly, I have to go back to that moment when I wrote ‘Colors,’ ” he says. “So now I’m a 16-year-old dude on a stage, gangbanging, because to perform it correctly, I have to get into that place. So music is the fountain of youth.”
Movie Reviews
Bandar Movie Review: Bobby Deol roars in Anurag Kashyap’s unsettling legal thriller that refuses to spoon-feed
Name: Bandar
Director: Anurag Kashyap
Cast: Bobby Deol, Sanya Malhotra, Sapna Pabbi, Saba Azad, Jitendra Joshi, Raj B Shetty
Writer: Sudip Sharma, Abhishek Banerjee
Rating: 3.5/5
Plot:
Bandar follows Sameer Mehra’s character, essayed by Bobby Deol, a fading star who is desperately clinging to his past glory. Just as he attempts to rebuild his life and finds solace in a new relationship, his world comes crashing down. A former girlfriend files a heinous allegation against him, dragging him into a vicious, high-profile legal battle. Written by Sudip Sharma and Abhishek Banerjee, the film moves away from standard Bollywood courtroom setups. Instead, it dives straight into the murky waters of social media trials, public perception, and a sluggish judicial system where the truth gets buried under layers of gray.
What works:
Known for his chaotic energy, Anurag Kashyap takes a remarkably mature and controlled approach here. He avoids sensationalizing a highly sensitive topic, choosing instead to focus on the psychological claustrophobia of the protagonist. The prison sequences are exceptionally well-shot. They create a suffocating, raw atmosphere that makes you feel the weight of the character’s confinement. The script successfully avoids preachy, black-and-white monologues. It bravely forces the audience to confront their own biases regarding modern-day public trials and the digital judge-and-jury culture.
What doesn’t:
Clocking in at nearly two hours and twenty minutes, Bandar feels heavily weighed down in the second half. The narrative stretches thin, and a few subplots demand too much patience, making you wish for a tighter edit. The film stubbornly refuses to take a definitive moral stance or offer a neat resolution. While film enthusiasts might appreciate the complexity, mainstream viewers looking for a clear-cut ending or emotional payoff might walk away feeling detached and frustrated.
Performances:
- Bobby Deol is the beating heart of this film. Stripping away the massive macho swagger and menacing villainy of his recent hits, he delivers a deeply vulnerable, understated performance. He plays Samar with a mix of arrogance, confusion, and raw helplessness, proving his immense range.
- Sanya Malhotra anchors her screen time with her trademark reliability, turning in a grounded and impactful performance.
- Saba Azad and Sapna Pabbi excel in their respective roles, bringing genuine nuance to characters that could have easily been sidelined.
- Jitendra Joshi is an absolute scene-stealer, commanding your attention every single time he steps into the frame.
- Indrajith Sukumaran and Raj B Shetty are absolute show stealers with their raw acting.
Final Verdict:
Bandar is an unsettling, morally complex thriller that refuses to spoon-feed its audience. It isn’t a comfortable watch, nor does it try to be. While the sluggish pacing in the second half prevents it from being an absolute masterpiece, it is worth a watch for Bobby Deol’s spectacular acting reinvention and Anurag Kashyap’s gritty, thought-provoking storytelling.
Disclaimer: The views and opinions expressed in this article are solely those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.
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Kathy Hilton will no longer be the grand marshal of West Hollywood’s pride parade.
The city and WeHo Pride on Wednesday released a joint statement, announcing that “The Real Housewives of Beverly Hills” star would no longer serve as the Grand Marshal Icon for the 2026 WeHo Pride Parade. The event is scheduled for Sunday.
“After thoughtful discussions, the City of West Hollywood, the WeHo Pride production team, and Kathy Hilton have determined that the 2026 WeHo Pride Parade will not designate a Grand Marshal Icon honoree,” read the statement.
The decision comes less than a week after Hilton was announced. That May 28 announcement was met with swift backlash from the LGBTQ+ community and allies, who called out Hilton’s ties to President Trump and alleged MAGA-leaning politics. Critics also cited accusations that the socialite had used a homophobic slur while on a trip with other cast members of “The Real Housewives of Beverly Hills,” an action she has previously denied.
In their joint statement, West Hollywood and the WeHo Pride team expressed their appreciation for “the respectful and sincere dialogue” around both the event and the “role and significance” of Pride honorees.
“The City of West Hollywood has always believed that Pride belongs to the community,” the joint statement said. “Since its earliest days, Pride has served as both a celebration and a platform for activism, visibility, resilience, and the ongoing pursuit of equality, dignity, and justice for LGBTQ+ people. … These conversations reflect the passion people have for WeHo Pride and underscore the importance of ensuring that WeHo Pride continues to honor the history, values, and diverse voices of the LGBTQ+ community.”
In a statement, Hilton expressed gratitude for being considered for grand marshal and reaffirmed her commitment to the LGBTQ+ community and causes.
“My reason for wanting to be involved in this year’s WeHo Pride weekend was simple: to celebrate, support, and share in the joy of a community that means a great deal to so many people,” Hilton said. “Pride is, and always will be, about celebrating and uplifting LGBTQ+ voices, experiences, and achievements. … My support for the community and WeHo Pride is unwavering.”
She also mentioned several queer advocacy organizations and events she has supported over the years, including GLAAD, the Elton John AIDS Foundation, the Elizabeth Taylor AIDS Foundation, Dr. Mathilde Krim, God’s Love We Deliver and Project Angel Food.
The latest Pride-related dust-up follows the abrupt cancellation of the Long Beach Pride Festival in May. The city’s Pride Parade took place as planned.
Both snafus have occurred as conservative politicians and advocates continue to attack LGBTQ+ rights and visibility nationwide. Some Republican governors have even pushed for conservative alternatives to Pride month festivities. A recent Gallup poll has found that after years of steady gains, support for marriage equality and same-sex relationships has slipped, particularly among Republicans.
Movie Reviews
Movie Review: Travolta’s “Propeller: One-Way Night Coach” is One for the Ages — All Ages
Back in the good ol’days — the ’90s — John Travolta would love to get off the topic of “Michael,” “Pulp Fiction” or “Get Shorty” in interviews with film journalists like me and regale us with how utterly besotted he had been with his first flying experience, how that drove his passion for piloting and buying planes and airfield-adjacent luxury houses.
He didn’t even seem to mind having to move house when this or that development balked at him flying his Boeing 707 out of there on the way to locations.
Travolta would tell any journalist who asked that he was writing a kid-friendly book, “Propeller: One Way Night Coach,” based on his first flights as a child in old propeller driven airliners — cheap red-eye overnight treks with too many connections for your average jet age traveller to tolerate.
I remember picking up the book when it came out later in the ’90s — at an airport gift shop — and thinking “Well, that’s as cute as I figured.”
And now, decades later and trapped in the B-movie hell of his post “Gotti” career, Travolta’s turned that cute book into the most delightful, fanciful and colorful bon bon of a movie.
“One Way Night Coach” is a child’s fantasy of flight and flying the way it used to be — with pristine, uncrowded, futuristic airports, an early ’60s era of jets and prop planes with over-uniformed stewardesses in white gloves, the days “Back before every Joe Sweatsock could wedge himself behind a lunch tray and jet off to Raleigh-Durham,” as Sideshow Bob memorably sneered on “The Simpsons’.”
It’s a fictionalized account of Travolta’s childhood about an only child (at least two Travolta siblings have bit parts in this movie) of a never-made-it/never-will actress/single-mom (Kelly Eviston-Quinnett) who indulges her aviation-obsessed eight-year-old with a cheap cross-country overnight flight.
Little Jeff (Clark Shotwell) will revel in almost every Idlewild to Pittsburgh to Dayton to Chicago to Kansas City to Denver and Los Angeles minute. He strolls into the cockpit to meet pilots, charms the stewardesses and checks out the sleeping bunks on the TWA Lockheed Super Constellation, loving even the delays if not the Chicken Cordon Bleu he’s offered on legs of the journey that offer a meal.
And as he’s an observant child, he comments (Travolta narrates) on his 50ish mother’s vamping and posing, her choice of cigarettes (Newports) and drinks, the solo traveling men whose attention she pursues and earns.
“I was her best audience,” adult Jeff remembers of the mother who’d read him plays as bedtime stories and delusionally hopes that this trip to Los Angeles might be her “big break” even though she’s pushing 50.
“Hollywood called,” she’d explain about their overnight cheap flight arrangements to ticket agents and crew. “They told me to take the next flight!”
At every turn, Jeff meets or sees kindness — stewardesses who indulge his many questions and bump them up to first class on the mostly-empty planes, a captain who fixes his toy model of a Constellation, a mentally ill flyer who flips out but is calmed by a flight attendant who isn’t overworked and frazzled in jet-powered tin-can jammed with Joe and Jane Sweatsocks who think nothing of traveling in their pajamas.
Normally, I cringe at pictures this reliant on voice-over narration. I recoil from stars who populate their picture with Sandler etc. offspring. But “Propeller” is unfailingly sweet and never cloying.
Sure, it’s fictionalized. But if you’ve followed Travolta’s life and career, a lot of him is in this — his raptoruous engagement with flying, an indulged child who developed a taste for fine food and creature comforts, a mother who was his guiding star as an actor.
I get why there are less adoring reviews than mine floating around “Propeller.” It’s unfailingly sweet. Mom’s man-hunting is seriously dated. This TWA tale is decorated with Gershwin’s majestic “Rhapsody in Blue” — United Airlines’ signature tune. And Travolta’s been around long enough for recent generations to come up and not feel a connection to the “Saturday Night Fever/Get Shorty” star whose career has fallen off and life has been visited by too much tragedy.
But I’d hate to be seated next to anybody who doesn’t appreciate this adorable, pristine and nearly perfect aviation fantasy on any flight, much less an overnight one.
Rating: TV-PG
Cast: Clark Shotwell, Kelly Eviston-Quinnett, Ellen Travolta, Ella Beau Travolta, Olga Hoffmann and John Travolta.
Credits: Scripted and directed by John Travolta, based on his book. An Apple TV+ release.
Running time: 1:01
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