A capacity crowd filled the Martha's Vineyard Performing Arts Center for a screening of Luther: Never Too Much, a new documentary chronicling the life and career of soul and R&B icon Luther Vandross. The event, held last week at the 2024 Martha's Vineyard African American Film Festival and presented by the Recording Academy’s Black Music Collective and Cîroc Limonata, was a celebration of Vandross' legacy in music and culture as well as the Academy's impact in underrepresented communities across the music industry.
Award-winning filmmaker Dawn Porter, who directed the film, kicked off the screening with a heartfelt memory: "When I first came here in 1998, never in my wildest dreams could I have imagined that a film that is so special to me, I would be able to share with you on this island that I love."
She also gave the audience, which included former Chair and CEO of BET Networks Debra Lee and Universal Music Group executive Jeff Harleston, permission to release. "You are free to sing, dance, and we will be back for you after this," she said.
Not skipping a beat, Luther takes things all the way back to the beginning. It details Vandross' early influences including the Supremes, the Temptations and the Sweet Inspirations, as well as Dionne Warwick and Aretha Franklin, the latter of whom both became collaborators. As Vandross' many hits — "Ain't No Stoppin' Us Now," "Bad Boy/Having A Party," "Stop To Love," "Til My Baby Comes Home," title track "Never Too Much," and more — weaved in and out of the comprehensive doc, the audience moved and grooved.
Vandross' decades-long career unfolds in full scope across Luther, highlighting his own group, Shades of Jade; the musical ensemble Listen My Brother, a one-time Apollo Theater fixture that also appeared in early "Sesame Street" episodes; his work on David Bowie's legendary Young Americans album, which boosted Vandross' solo career; his many jingles; his days as a backup singer for Bette Midler and Roberta Flack; and much more. The film's use of amazing archival footage tracing these eras wowed the audience.
In addition to penning his own hits like "Give Me the Reason" and other classics, such as "Everybody Rejoice/A Brand New Day" from the Broadway musical "The Wiz" and Aretha Franklin's Jump To It, Vandross was a vocal perfectionist and a showman, which Porter reflects in the film through rehearsal footage and sketches of the costumes he designed for his tours. Luther producer and fan Jamie Foxx even offers his own testimony to the vital assist Vandross gave his early romantic life.
Porter does not shy away from Vandross' dark points in Luther. At the height of his fame, for example, he was involved in a car accident that killed a friend. Insightful interviews with lifelong friends and music peers dating back to high school, including folks like Carlos Alomar, Fonzi Thornton, Robin Clark, Valerie Simpson, Dionne Warwick, Mariah Carey, Nile Rodgers, his niece Seveda Williams, and longtime assistant Max Szadek uncover Luther Vandross, the person. Some of the most heartbreaking personal revelations revolve around his weight and the emotional toll that media scrutiny took on him as well as persistent rumors about his sexuality, which his closest friends continue to guard, even in death.
Patti LaBelle, to the dismay of Vandross' friend and writing partner Richard Marx, who considers such acts a betrayal, did speak publicly on the topic via a clip. Vandross' inability to find love, as detailed in "Any Love," a song he once described to Oprah as his most autobiographical track, is most heartbreaking.
In a Q&A panel following the film, Porter shared how she pulled off such a wonderful tribute to Vandross in Luther.
"What really works for this movie is having all that music," she said. "I watched this movie like a fan. I want to hear those songs. I want to sing those songs. So having the ability to let them play out, having the archive, having the estate images and rehearsal footage" was invaluable, she stressed. "When you have all those elements, you feel like you can do justice to a story. And if anybody deserves justice to his story being done, it's this man."
The panel — which also featured guest Ryan Butler, Vice President of Diversity, Equity & Inclusion for the Recording Academy, and author, professor and radio host Dr. Nii-Quartelai Quartey as moderator — also highlighted the notable steps and initiatives the Academy has launched to advance a diverse, inclusive music community.
"[Around the] last GRAMMYs, we launched Academy Proud, which is what we call a membership resource group for LGBTQ artists, creators, [and] professionals, so that they also have a safe space," Butler, who is openly gay, reflected. "I think that a lot of times, the Academy felt unapproachable. It felt like it was the castle on top of the hill behind the gate. So I think what I really do, as the leader of our diversity efforts, is come out of the castle and go into the communities where people are."
Porter regretted that Vandross, whose health challenges as a diabetic and stroke survivor contributed to his early death in 2005 at the young age of 54, never got to experience today's industry. "Don't we all wish Luther lived now?" she lamented to the audience.
Vandross' fight to cross over and expand his audience features prominently in the film. He achieved some of that goal with his very personal, chart-topping single "Dance with My Father," which he penned with Marx; the song won the GRAMMY for Song Of The Year at the 2004 GRAMMY Awards while he was recovering from a stroke he suffered in 2003. (Earlier, the crowd gasped upon learning that Vandross won his first GRAMMY after nine previous nominations.)
"In 2020, a group of us at the Recording Academy got together [and] we created the Black Music Collective, which is really about honoring and celebrating the contributions of Black creatives," Butler said in response.
"As soon as I saw the film," he continued, "I thought, 'What if the Black Music Collective existed when Luther was here? Would he have been nominated nine times before he won? Or would he have enough Black voters in the [Recording Academy voting] membership?' When I arrived at the GRAMMYs, Black representation in voting membership was around 9%, which was indexing lower than U.S. census data. We set an aggressive goal of 33% and we're [now] at 22%," he announced to applause.
Porter closed out the panel by announcing that Luther: Never Too Much would hit select theaters in October before its official premiere in 2025 on CNN, OWN and Max.
Attendees at the Luther: Never Too Much private reception | Photo: Corey Fletcher
Elsewhere throughout the festival, the Recording Academy's DEI team participated in multiple panels and events, including the DEI is Alive panel, which discussed the impact and importance of DEI work in the entertainment industry; a screening of and conversation about Billy Preston: That’s The Way God Planned It, a new documentary celebrating GRAMMY-winning R&B, rock, soul, funk, and gospel legend Billy Preston, which Butler moderated; and a welcome and toast celebration for Oscar nominee Colman Domingo.
Diageo, who partnered with the Recording Academy's DEI team to produce the Luther: Never Too Much screening, conversation and private reception, has supported the Black Music Collective and the Academy's DEI initiatives on an ongoing basis.
Learn more about the Recording Academy's Diversity, Equity & Inclusion (DEI) initiatives, recent DEI achievements, and year-round work to support artists, creators and music professionals of all backgrounds.