Busta Rhymes Archives – CULTURE MIX

Review: ‘The Naked Gun,’ starring Liam Neeson

July 30, 2025

by Carla Hay

Pamela Anderson and Liam Neeson in “The Naked Gun” (Photo courtesy of Paramount Pictures)

Directed by Akiva Schaffer

Culture Representation: Taking place in the Los Angeles area, the action comedy film “The Naked Gun” (the fourth film in “The Naked Gun” franchise) features a predominantly white cast of characters (with some African Americans, Latin people and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: Police detective Frank Drebin Jr. investigates the suspicious death of a technology programmer while he also getting romantically involved with the programmer’s sister, who suspects the cause of death was murder.

Culture Audience: “The Naked Gun” will appeal primarily to people who are fans of “The Naked Gun” movies, the movie’s headliners and comedies that have jokes filled with puns and slapstick.

Danny Huston and Liam Neeson in “The Naked Gun” (Photo courtesy of Paramount Pictures)

Not all of the jokes are great, but “The Naked Gun” is a worthy continuation of the comedy franchise in this story of police detective Frank Drebin Jr. investigating a mysterious death. The puns and sight gags range from goofy to raunchy. Before the last 15 minutes descend into wacky chaos, “The Naked Gun” is a steady stream of hammy hilarity that could get even the most die-hard cynic to crack a smile or chuckle.

Directed by Akiva Schaffer, “The Naked Gun” was co-written by Shaffer, Dan Gregor and Doug Mand. The trio teamed up in the same capacities for the Emmy-winning 2022 Disney+ movie “Chip ‘n Dale: Rescue Rangers.” “The Naked Gun” is the fourth movie in “The Naked Gun” movie series, which is a spinoff the 1982 comedy TV series “Police Squad!,” starring Leslie Nielsen. (Nielsen died in 2010, at the age of 84.)

The first three movies in the series starred Nielsen reprising his “Police Squad!” detective character Frank Drebin. This trilogy consists of 1988’s “The Naked Gun: From the Files of Police Squad!,” 1991’s “The Naked Gun 2 1/2: The Smell of Fear” and 1994’s “The Naked Gun 3 1/3: The Final Insult.” It’s not necessary to see any of these movies before seeing 2025’s “The Naked Gun,” but seeing these movies can be recommended for anyone who is curious to compare them to “The Naked Gun.”

In “The Naked Gun,” Frank Drebin is deceased, and the main character is Frank Drebin Jr. (played by Liam Neeson), a widower who has followed in his father’s footsteps as a detective for the Los Angeles Police Department. Frank is a respected and diligent cop in the department, with a reputation for catching many criminals. There’s a department celebration for him at LAPD headquarters, with a sign that says, “Congratulations, Frank. 1,000 Bad Guys Caught.”

In the beginning of “The Naked Gun,” Frank and his LAPD colleagues respond to a bank robbery, where Frank has disguised himself as a girl in a school uniform to gain access to the building. It’s the beginning of many visual effects that give the movie a surrealistic tone. The robbers are apprehended after a messy fight. However, Frank gets pulled off the bank robbery case because some of the arrested robbers have filed a police brutality lawsuit against the LAPD.

Frank’s stern boss Chief Davis (played by CCH Pounder) assigns Frank to the deal with vehicle collisions. But trouble seems to find Frank anyway. At a single-car crash in Malibu, the body of 57-year-old bachelor Simon Davenport is found. Frank barely investigates before declaring the death to be a suicide.

Someone who doesn’t agree with this decision is Frank’s closest surviving relative: his divorcée sister Beth Davenport (played by Pamela Anderson), a blonde bombshell with a breathy voice. Beth, who is a crime novelist, visits Frank and his office and tells him that Simon’s murder was a homicide. Frank is immediately smitten with Beth.

Beth tells Frank that Simon was a programmer for technology billionaire Richard Cane (played by Danny Huston), the smooth-talking and slippery CEO of a company named Edentech. Richard made his fortune in online retail and other ventures. Beth invites Frank to a reading of her latest novel “The Killer Wore Lipstick.” Beth is supposed to be a spoof of retro femme fatale characters, kind of like a combination of Lana Turner and Jessica Rabbit.

Frank meets Richard for the first time at an Edentech party. Richard, who is the movie’s obvious villain, gives Frank a gift: an electric car that can be operated by voice-controlled commands. As already shown in the movie’s trailer, one of the first things that happens when Frank drives this car is that he accidentally leaves it attached to an electrical charging station near the front of the police station. As he drives off, it creates a domino effect where other charging stations fall down and crash into the wall, leaving a gaping hole where prisoners in the jail escape.

Frank agrees to investigate the death of Simon. And eventually, he lets Beth go undercover in the investigation, after they get romantically involved with each other. Beth’s undercover name, which Frank spontaneously invents, is Cherry Roosevelt Fat Bozo Chowing Down. You have to see the movie to find out why he came up with that alias.

Beth tells Frank that Simon told her that he was working on invention for Richard called the P.L.O.T. Device. (P.L.O.T. stands for Primordial Law of Toughness.) The investigation includes a few visits to Richard’s upscale Bengal Club, where Frank introduces Beth to Richard, by using her undercover name. At the Bengal Club, Beth pretends to be a singer and shows some unusual scat jazz singing skills.

Frank uncovers more information that leads him to believe that Simon’s death was a homicide. Frank also believes that illegal things have been happening at the Bengal Club. Douglas O’Reilly (played by Vincent Lascoumes), a journalist who writes for the Los Angeles Chronicle newspaper, might have some answers to this mystery. With Beth’s help, Frank goes into a Bengal Club back room to see if he can find surveillance video from the club.

During this entire investgation, Richard’s chief thug Sig Gustafson, (played by Kevin Durand) is sent to keep track of what Frank is doing. One of the funniest scenes in the movie is when Sig uses X-ray binoculars to spy on Richard and Beth on a date at Richard’s home. What’s happening inside the home looks very different through the binoculars. Some of this scene is already shown in the movie’s trailer, but the misinterpreted visuals get extremely cringeworthy when Frank’s dog appears in the room.

Many of the jokes in “The Naked Gun” depend on audiences knowing certain things about pop culture. In an early part of the movie, Frank utters, “I remember when the only things that were electric were chairs, eels and Catherine Zeta-Jones in ‘Chicago.'” In another scene, when Richard and Beth are at the Bengal Club, he gives her a glass of champagne that he brags is from Bill Cosby’s private estate. Beth chokes a little after hearing that comment.

Some celebrities have notable cameos in “The Naked Gun.” Busta Rhymes has a short scene as an unnamed bank robber in an interrogation room. Dave Bautista and “Weird” Al Yankovic make quick appearances as themselves. (There’s a very brief end-credits scene with one of these actors. It’s not worth watching unless you’re absolutely curious.)

One area where “The Naked Gun” falls short is that doesn’t have enough scenes of Frank working with his cop colleagues. Ed Hocken Jr. (played by Paul Walter Hauser) is a very underdeveloped character. He’s the son of the late Ed Hocken, the LAPD captain who was played by George Kennedy in the first three “Naked Gun” movies. (Kennedy died in 2016, at age 91.) Ed Jr. is a little too generic in this movie doesn’t really have enough screen time to be an important sidekick.

Not Nordberg Jr. (played by Moses Jones) is the LAPD cop son of Officer Nordberg, Frank Drebin Sr.’s best friend, who was played by O.J. Simpson in the first three “Naked Gun” movies. (Simpson, whose scandals most people know about, died of prostate cancer in 2024, when he was 76.) Nordberg Jr.’s funniest scene is already shown in the movie’s trailer, when his colleagues are crying in front of their cop father’s police portraits in a hallway at LAPD headquarters, while Nordberg Jr. looks at his father’s portrait and shakes his head no while looking embarrassed. Other LAPD characters who are vague side characters are Detective Barnes (played by Liza Koshy), Detective Taylor (played by Michael Beasley) and Detective Park (played by Eddie Yu).

As it stands, “The Naked Gun” succeeds because it stays true to the original spirit of the first three “Naked Gun” movies and because Neeson and Anderson are a dynamic comedic duo. Neeson’s 21st century actor roles have been mostly as “tough guys” in gritty action movies. Anderson has been living for years under the shadow of being mostly known as a sex symbol and a former “Baywatch” actress. In “The Naked Gun,” Neeson and Anderson use those stereotypes to their advantage by poking fun at their typecast images, thereby proving that they have the talent to be taken seriously as comedic forces in their own right.

Paramount Pictures will release “The Naked Gun” in U.S. cinemas on August 1, 2025.

Review: ‘Piece by Piece’ (2024), starring the voice of Pharrell Williams

October 12, 2024

by Carla Hay

Pharrell Williams in “Piece by Piece” (Image courtesy of Focus Features)

“Piece by Piece” (2024)

Directed by Pharrell Williams

Culture Representation: The documentary film “Piece by Piece” features Grammy-winning artist Pharrell Williams and other people who know him telling his life story, in Lego anination form.

Culture Clash: Williams, a self-described music nerd, spent years struggling to break into the music industry, eventually found hitmaking success as one-half of the production duo the Neptunes and as a solo artst, and overcame a professional slump in the late 2000s for a major comeback in the early 2010s.

Culture Audience: “Piece by Piece” will appeal primarily to people who are fans of Pharrell Williams and documentaries about people who create mainstream pop music hits.

Pharrell Williams and Gwen Stefani in “Piece by Piece” (Image courtesy of Focus Features)

Pharrell Williams’ life story presented as a Lego animation documentary could have been a cynical and superficial cash grab. “Piece by Piece” is actually insightful, soulful and a delight to watch. It’s an entertaining kaleidoscope of sights and sounds where each interview subject’s personality shines through, despite being shown as a Lego toy.

Directed by Morgan Neville (who is also the documentary’s interviewer), “Piece by Piece” had its world premiere at the 2024 Toronto International Film Festival. The documentary’s visuals are great, and the music is very engaging, but they wouldn’t be as effective if the interviews weren’t candid. For example, he admits he’s always been afraid of having success as a solo artist. Williams says he reluctantly recorded his 2003 solo song “Frontin'” after he sent it to Prince, who didn’t respond.

Williams (who was born in 1973) was raised in his birth city of Virginia Beach, Virginia. He says he was a shy and insecure child, who never felt like he fit in anywhere except when he was listening to music or watching TV. He was also a big fan of Carl Sagan’s “Cosmos” science series. “I don’t know where it’s from,” Williams says, “but I always knew I was different.” He comments on being a loner as a child: “I was detached. I was in dreamland.”

Williams says that television became a magical place where he could escape to and let his imagination run wild. Although he didn’t mind being a loner, he was sensitive about what people thought of him. Williams comments that if people thought of him, “He’s an oddball,” then “that crushed my spirit.”

Williams declares that he knew from an early age that he wanted to make music and be in the music industry, but he often felt frustrated by the lack of opportunities in Virginia Beach, compared to bigger cities such as New York City, Los Angeles or Atlanta. He describes himself as a teenager as someone who spent many hours alone in his room, feeling transported to different worlds by the music he was listening to at the time. Growing up in a beach city, Williams says he’s had a lifelong fascination with the ocean and is particularly fixated on the fictional ocean kingdom of Atlantis.

When he was a teenager, his passion for music led him to meet and befriend another self-described “music nerd” named Chad Hugo, who is also interviewed in “Piece by Piece.” Williams and Hugo had a special chemistry working together as a music producer duo called the Neptunes. They also performed as a rock duo called N.E.R.D.

Hugo’s interview for the documentary was apparently done before his legal battle with Williams. In March 2024, Hugo sued Williams over their agreement that they would co-own the Neptunes’ name. In the lawsuit, Hugo accuses Williams of trying get to sole ownership of the name without Hugo’s consent. The lawsuit is not mentioned in the documentary. In a “Piece by Piece” interview, Williams descrbes Hugo as a “saint.”

Even though Virginia Beach is not a major hub in the music industry, some of Williams’ musical peers from Virginia Beach went on to have international success as hitmakers, including hip-hop star Missy Elliott and music producer/artis Timbaland, whose real name is Timothy Mosley. They are both interviewed for “Piece by Piece.”

The hits written and produced by Williams as part of the Neptunes or as a solo artist make up the soundtracks of many people’s lives. His first breakout hit was Wreckx-N-Effect’s 1992 single “Rump Shaker,” co-written by Teddy Riley, who got to know Williams after Riley set up a recording studio in Virginia Beach. Williams remembers this recording studio being a big deal because it was rare for a major star such as Riley to choose Virginia Beach as the headquarters for the star’s music production facilities.

Williams is also a writer and/or producer for Nelly’s “Hot in Herre,” Mystikal’s “Shake Ya Ass,” Justin Timberlake’s “Rock Your Body,” Robin Thicke’s “Blurred Lines,” Kelis’ “Milkshake,” Gwen Stefani’s “Hollaback Girl,” No Doubt’s “Hella Good,” and Jay-Z’s “Give It to Me.” As a solo artist, Williams is best known for his Oscar-nominated song “Happy” (from 2013’s “Despicable Me 2”) and Daft Punk’s Grammy-winning 2013 smash hit “Get Lucky.”

Among the people interviewed in the documentary are artists who made hits with Williams, such as Jay-Z, Riley, Stefani, Timberlake, Snoop Dogg, Kendrick Lamar, Elliott, N.O.R.E. and Busta Rhymes. Behind-the-scenes music industry people who are interviewed include former Vibe magazine editor Mimi Valdés, who know works as a film producer with Williams; music executive Jimmy Iovine; songwriter Tammy Lucas; Deep Zen monk Kosho Loïc Vuillemin; music executive Jon Platt; and music manager Rob Walker, who introduced N.O.R.E. to the Neptunes. Williams and Valdés (who are two of the producers of “Piece by Piece”) were Oscar-nominated for Best Picture for being among the producers for 2016’s “Hidden Figures.”

Williams is particularly open about his love life and will only discuss his courtship and marriage to model/fashion designe Helen Lasichanh, whom he married in 2013. They have four kids: a son named Rocket (born in 2008) and triplets (born in 2017), whose names have been kept private. Lasichanh does a rare interview for the documentary. She describes Williams as the pursuer in their courtship, but she says it took him years before he said he was ready to commit to marriage. Williams is briefly seen in the documentary interacting with his kids as a doting father, who calls his son “sir.”

Also interviewed are Pharrell’s parents Pharoah Williams and Carolyn Williams, who says that they taught Pharrell the values of hard work. Carolyn also said on the partnership between Pharrell and Hugo: “To see them together, it was like they read each other’s minds.” Another family member interviewed is Bishop Ezekiel Williams (Pharrell’s uncle), who says that Pharrell’s paternal grandmother had a dream that Pharrell was lifted up and was given a special gift by God.

When someone has family members telling these stories, it should come as no surprise that someone might get a huge ego for it. Pharrell admits that his ego became enormous with all of his success, but he was humbled in the late 2000s, when he had a string of flops with audiences and critics. His comeback include career highs with “Happy” and “Get Lucky.”

Although Pharrell is also known for his business forays in the fashion industry, that part of his life isn’t really in the documentary. Don’t expect to hear stories about his fashion brands Bllionaire Boys Club and ICECREAM, or becoming creative director for Louis Vuitton’s men’s fashion, a position he was appointed to in 2023. His movie projects are also not gviven a spotlight in this documentary. “Piece by Piece” is a music-focused docmentary that gives some interesting stories about how Pharrell makes music, his life’s highs and lows and what other people have to say about him. Music is Pharrell’s first love. And “Piece by Piece” is a unique and charismatic way to share that love with an audience.

Focus Features released “Piece by Piece” in U.S. cinemas on October 11, 2024.

2019 Tribeca Film Festival movie review: ‘Devil’s Pie – D’Angelo’

May 2, 2019

by Carla Hay

“Devil’s Pie – D’Angelo”

Directed by Carine Bjilsma

Back in the mid-to-late ‘90s, the media singled out a select number of rising R&B artists and labeled them as part of a “neo-soul” movement—artists releasing music that had something more interesting to say than bump’n’grind of acts like Bobby Brown or Jodeci or safe crossover acts like Boyz II Men or Brandy. The so-called “neo-soul” artists included D’Angelo, Erykah Badu, Lauryn Hill, Maxwell, Angie Stone and Macy Gray. D’Angelo’s first album, 1995’s “Brown Sugar,” was a critical and commercial success. His follow-up was even bigger and remains his best-selling album. By the time D’Angelo’s Grammy-winning, chart-topping second album, “Voodoo,” was released in 2000, he was on a hot streak. And he became a bona fide sex symbol, thanks largely to his naked “Untitled (How Does It Feel)” video.

But then, fame, alcohol and drugs took their toll on D’Angelo (whose real name is Michael Eugene Archer), and he went on a very long hiatus. It took 14 years before his third album (2014’s “Black Messiah”) was released. D’Angelo went on a world tour in 2015 called “The Second Coming” in support of the album. The documentary “Devil’s Pie – D’Angelo” is a chronicle of that tour.

The concert scenes are very good, but the main reason why people want to see this film is to hear D’Angelo answer this question: “What really happened when you disappeared from the spotlight for all those years?” You have to sit through the expected footage of tour rehearsals and concert performances before “Devil’s Pie” director Carine Bjilsma gets to the heart of the matter about halfway through the movie. Watching the film, it’s apparent that it took a while for D’Angelo to open up to her on camera.

D’Angelo talks about his downward spiral, which included a serious car accident and arrest for DUI and marijuana possession in 2005. He was devastated by the deaths of his beloved grandmother Alberta, his Uncle Cece, and a close friend (not mentioned by name in the film but it’s widely believed to be MTV executive Fred Jordan), who all passed away within a short period of time of each other in the early 2000s. In 2010, D’Angelo was arrested again, this time for soliciting an undercover cop posing as a prostitute. He doesn’t talk about those arrests in the film, but he does admit that his addictions were the main reasons why he faded from the public eye.

“I started going down a dark path,” D’Angelo says in the movie. “I started drinking and getting high. It was tough to get out of it.” He also says that the car accident was a “second chance” at life, and he went to rehab three times before he could get his life back in order. However, D’Angelo says with his eyes tearing up, he can’t talk about certain things because “they’re too deep.”

One of D’Angelo’s personal issues is dealing with anxiety, according to him and people interviewed in the documentary. Questlove, who was a drummer in D’Angelo’s band on the “Voodoo” tour, says of his longtime friend: “It’s a struggle for him to do simple stuff, like leave his apartment and coming somewhere to play. He has fears about being the chosen one.”

Through flashback archival footage, which is shown at different parts of this non-chronological story, we see what this “chosen one” description is all about. Raised in a strict, religious family in Richmond, Virginia, he was the son of a Pentecostal minister, and expectations were high for D’Angelo from a very early age. There is footage of him performing in church.

He was considered a musical prodigy by people close to him (he won The Apollo’s amateur contest three times in a row at the age of 13), and there was a lot of pressure put on him to pursue a religion-related career as a minister or a gospel singer. But D’Angelo chose R&B music, much to the disapproval of many of his family members. One of the key influences on him was his feisty grandmother Alberta Cox, who encouraged him to do his own thing, while other people in his family warned him not to do the “devil’s music.” (This movie’s title come from the D’Angelo’s song “Devil’s Pie” from the “Voodoo” album. “Devil’s pie” is also a phrase that can be found in the Bible’s Revelation 13 chapter describing the apocalypse.)

As for how he feels about religion now, D’Angelo says that “God, not religion” feeds his soul. We see early on in the film that he still prays (there’s the expected prayer session with his band), and he says of this ritual: “When we pray at night, it’s not a game.”

In addition to showing how religion still impacts D’Angelo’s life, this movie has a lot of talk (mostly from Questlove) about D’Angelo’s soul. Questlove says of D’Angelo: “He’s Superman, but a Kryptonite-filled Clark Kent is trapped in his soul.” In another scene, Questlove has this to say about D’Angelo’s sex-symbol status that began to overshadow the music: “Part of his soul was being consumed.” And then Questlove offers this explanation for D’Angelo’s tormented soul: “Survivor’s guilt is what every black genius wrestles with.” If D’Angelo needs someone to write a book about his soul, he might want to ask Questlove to do it.

There’s also some rare archival footage of D’Angelo in the studio recording his “Voodoo” album, with Questlove and Q-Tip hanging out in the background. Questlove says that it took a while for him to get used to D’Angelo’s avant-garde musical style: “He was blatantly, beautifully disrespectful of rhythm structure.”

Feeling emotionally paralyzed by intense pressure is a recurring theme in the story of D’Angelo, as he tells of wasted recording sessions in the years that people were expecting him to release the follow-up to “Voodoo.” There are also scenes of him backstage, usually accompanied by his hovering tour manager Alan Leeds, where it looks like D’Angelo is silently coping with stage fright before the concert starts.

There are a few signs that D’Angelo’s long hiatus means that he’s still catching up to a lot of the technological changes that affect how artists get feedback about their shows. After a concert, instead of waiting for critics’ reviews, his manager Kevin Liles explains to D’Angelo that he can just check out social-media comments about the show. Liles then shows the singer some of the comments on his phone.

The documentary also shows some of the famous guests who visited backstage during the tour, including Busta Rhymes, Dave Chappelle and Bobby Seale. Chappelle is seen asking D’Angelo how it feels to be back, which is somewhat ironic, since Chappelle took his own break from showbiz in the 2000s, after freaking out over being famous, and then made a comeback in the following decade.

Because D’Angelo has a reputation for being unpredictable, there’s a sense that his handlers are always on edge that he might disappear or be very late for a public appearance. Instead, toward the end of the movie, D’Angelo’s keyboardist Cleo “Pookie” Sample is the one who has a major flake-out, by disappearing right before D’Angelo is supposed to hit the stage at the high-profile Montreux Jazz Festival. A frantic search ensues, but they don’t find him before showtime, and D’Angelo and the band have to go on without him. The missing keyboardist isn’t seen for the rest of the movie, which means the split was not a good one.

“Devil’s Pie” ends with a mention that D’Angelo is working on his fourth studio album, but—D’Angelo fans are used to hearing this by now—no one knows yet when it will be completed or released. In the meantime, this movie will likely end up being a direct-to-video release, since a documentary about a faded R&B star’s tour from several years ago isn’t going to sell a lot of movie tickets. “Devil’s Pie” is what it is—a niche documentary made in a conventional (but not bad) way that might not have much appeal outside of die-hard D’Angelo fans.

October 14,2025 UPDATE: D’Angelo died of pancreatic cancer on October 14, 2025. He was 51.

2018 Coachella Festival: Heineken House performers include Busta Rhymes, 12th Planet, Funtcase

April 9, 2018

Heineken House

The following is a press release from Heineken:

Heineken^®, the official malt beverage sponsor of the Coachella Valley Music and Arts Festival, returns for the 17^th consecutive year with the fan-favorite Heineken House April 13–15 and April 20–22. This year’s weekend one line-up features headliner and Hip-Hop Icon Busta Rhymes. Consumers ages 21 and over can engage with Heineken in exciting ways with a weekend of performances from top artists and DJs, and many other engagements and activations.

Other Heineken House exclusive performances include 12^thPlanet, Wuki, Funtcase B2B Cookie Monsta, LAXX and more.

“This year’s Heineken House at Coachella will be bigger and better than ever before. We’ve expanded our footprint to allow even more attendees inside the House for a truly unforgettable experience and atmosphere,” said Pattie Falch, brand director for sponsorships and events, Heineken. “For the fifth year in a row, we’ve secured a unique lineup of top DJ’s, EDM artists and rappers, with a few surprises and new additions to the Heineken House that festival-goers will certainly not want to miss.”

In addition to the unforgettable musical performances, the Heineken House, open to those 21+, is the perfect destination for refreshing AC, Wi-Fi and perfectly chilled Heinekens. Additionally, Heineken is offering several enhancements including a unique and social-worthy backdrop for the ultimate “Grammable moment” curated by graffiti artist Adam Lucas (Hanksy), sustainable charging bars for iOS and Droid devices using energy generated by the movement on the Sustainable Dance Floor and free cups of water throughout the entire duration of the festival as a part of Heineken’s “This One Is on Us” initiative.

Attendees camping out on the Festival campgrounds will have the opportunity to use Heineken Cold Storage On-Demand, where campers’ cold beer will be stored for them and delivered directly to their campsites upon request. Taking advantage of Heineken Cold Storage also makes campers eligible for other on-site perks including prizes, beverage tickets or front-of-line access during a performance of their choice at Heineken House.

To participate in Heineken Cold Storage, campers 21+ can drop off their beverages and register for the text message-based service. Beverages will be delivered daily from 12-7p.m. and all requests must be submitted no later than 6 p.m.They can also schedule ahead of time by visiting this website.

To experience the festival with Heineken, follow the brand on Twitter or Instagram, @Heineken_US, use the hashtag #HeinekenHouse, or visit the Heineken Facebook page, www.facebook.com/Heineken for performance schedules and updates.

About HEINEKEN USA
HEINEKEN USA Inc., the nation’s leading high-end beer importer, is a subsidiary of HEINEKEN International NV, the world’s most international brewer. Key brands imported into the U.S. are Heineken®, the world’s most international beer brand, the Dos Equis Franchise, the Tecate Franchise and Strongbow Hard Apple Ciders. HEINEKEN USA also imports Amstel Light, Amstel Xlight, Indio, Carta Blanca and Bohemia brands. For the latest information on our company and brands, follow us on Twitter @HeinekenUSACorp, or visit HEINEKENUSA.com.