There’s a long history of “urban” and black cartoons in the U.S., most of which I don’t know, so I won’t get into it. Needless to say, the lo-fi web series Orlando’s Joint, about a young man who inherits a second-rate coffee shop, is an interesting contribution to a genre now dominated by Aaron McGruder’s Boondocks. Orlando’s Joint — as in a shop, but also, you know, that other kind of joint — is a comedic series that explores running a local urban business, growing up, and being not-so-rich in contemporary Los Angeles. Oh yes, it’s also pretty funny.
Orlando Reed, our protagonist, is a “stoner” (something of a slacker), but he inherits a coffee shop — that isn’t Starbucks — and clearly intends to reinvigorate it with the help of two friends–a few kooky characters. The series creator Terence Anthony said in the interview below he wanted to buck stereotypes and be a bit provocative.
I spoke with Anthony about the show, being independent, and what it means to make a black web series today.
Where did the idea for the show and its characters arise? What are its inspirations?
Terence Anthony: I wanted to do an edgy animated show — something politically incorrect like South Park was — that spoke to the hip-hop generation. Since I really dig wasting time in coffee shops — 5th Street Dicks and Lucy Florence were two of my favorite South L.A. spots — I knew a coffee shop in the ‘hood would be a great setting.
What led you to the web?
TA: The web is a great way to get your shit out there for the world to see. I was tired of killing myself to write a script or a pitch and feeling lucky if one or two execs would look at it — and then nothing would happen. With web content blowing up like it has, my series has been seen by people all over the world, and I haven’t had to deal with any kind of censorship, which is great given the content of Orlando’s Joint.
How did you put together a crew for the show (actors, editors, etc.)?
TA: Straight up nepotism! Most of the actors I’d worked with on theatrical projects so I knew they were funny and would be able to really bring the crazy characters to life. I’ve known Boima Tucker, who composed the theme song for years — he’s a great DJ and musician. Everyone else has been recommended through friends. When you’re asking people to work on a project for little or no $$ you need to find people who share your passion that you can trust.
I also love the extra content on the website, the interviews with the characters. What’s the rationale behind this?
TA: Mainly, I’ve got a lot of ideas and have to cut a lot of stuff to keep the episodes short enough for the web. So I use the orlandosjoint.com site to develop things that don’t make it into the episodes, and to give fans a little something else to do between shows.
What are your loftiest dreams for the show? Are you hoping to get picked up by a larger entity (TV, bigger websites, etc.)? Is this an industry calling card (to get other gigs)? Or something else all together?
TA: I would love to see it picked up by a larger entity because I’ve got plenty more stories for Orlando and his crew. I love the freedom of the web, but I could also see the show on cable. But this is a complete grassroots production — I animate it on my home laptop — so even if it stays underground I still plan to put out more episodes.
Does Orlando’s Joint contribute to a broader conversation about race and class in America today? If so, what does it say?
TA: I’ll leave that for smart dudes like you to figure out. I will say that while I dig pushing the envelope and playing with stereotypes and expectations with this series, the heart of Orlando’s Joint is about a young black man trying to run a business in his community. And they’re all crazy.
What’s your professional background?
TA: I was a Fellow at the Guy Hanks and Marvin Miller Screenwriting Program at USC (funded by Bill and Camille Cosby). I am also a playwright, my latest play is currently running at Moving Arts in Los Angeles (www.movingarts.org).