Age: 62
male
Wendell Edward Pierce (born December 8, 1963) is an American actor and businessman. Having trained at Juilliard School, Pierce rose to prominence as a character actor portraying roles on both stage and screen. He first gained recognition portraying the role of Detective Bunk Moreland in the acclaimed HBO drama series The Wire from 2002 to 2008. His other notable television roles include the trombonist Antoine Batiste in Treme (2010–2013), James Greer in Tom Clancy's Jack Ryan (2018–2023), the attorney Robert Zane in Suits (2013–2019), and Clarence Thomas in Confirmation (2016). He earned Independent Spirit Awards nominations for his film roles in Four (2012) and Burning Cane (2019), on which he also served as a producer. Other notable film roles include Malcolm X (1992), Waiting to Exhale (1995), Ray (2004), Selma (2014), The Gift (2015), and Clemency (2019). Pierce made his Broadway debut in John Pielmeier's 1985 play The Boys of Winter, followed by Caryl Churchill's Serious Money in 1988. As a theatrical producer, he earned a Tony Award for Best Play nomination for August Wilson's Radio Golf (2007), then won for Bruce Norris's Clybourne Park (2012). He performed the lead role of Willy Loman in the revival of Death of a Salesman on the West End in London in 2019 and on Broadway in New York in 2022, for which he earned Laurence Olivier Award and Tony Award nominations. Description above from the Wikipedia article Wendell Pierce, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Coonskin is a 1975 American adult animated satirical crime film written and directed by Ralph Bakshi. The film references the Uncle Remus folk tales and satirizes the blaxploitation film genre as well as Disney's racially controversial film Song of the South, also adapted from the Uncle Remus folk tales. The film's narrative concerns three anthropomorphic Uncle Remus characters, Br'er Rabbit (referred to as Brother Rabbit), Br'er Fox (referred to as Preacher Fox), and Br'er Bear (referred to as Brother Bear). They rise to the top of the organized crime racket in Harlem, encountering corrupt law enforcement, con artists, and the Mafia, in a satire of both racism within the Hollywood film system, and America itself. Originally produced under the titles Harlem Nights and Coonskin No More... at Paramount Pictures, Coonskin encountered controversy before its original theatrical release when the Congress of Racial Equality accused the film of being racist. When the film was released, Bryanston gave it limited distribution and it initially received mixed reviews. Later re-released under the titles Bustin' Out and Street Fight, Coonskin has since been re-appraised, recontextualizing the film as the condemnation of racism that the director intended, rather than a product of a racist imagination, as its detractors had claimed.
