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That is to say, the fearless gun-slinger, Omar Little, is a homosexual.
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The 12-gauge-wielding Omar, renowned and feared throughout the ramshackle streets of Baltimore, is shown to the audience as a loving, loyal man with an affinity for transgressing more than just the normative rules of the street. Known by everyone in Baltimore as simply Omar, Williams’ portrayal of the proverbial port city Robin Hood, perceived by some as being a vicious and “predatory motherfucker,” was nevertheless an artful illustration of the dialectic of the thug with a heart-the mad villain with a golden soul. And it’s no contest that Williams’ greatest contribution was his role as The Wire’s infamously brutal, ineffably complex and cunning Westside stickup kid Omar Little. However, what he did manage in his extensive career was as great a contribution to culture as any number of successful artists or actors.
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Aside from other notable performances in films such as 12 Years a Slave, When They See Us, the 2015 Bessie Smith biopic Bessie, as well as a brief but appropriately humorous cameo in Dan Harmon’s irreverent TV show Community, Williams never truly enjoyed the prolificacy that perhaps he deserved as a masterful actor. Unlike other Williams characters, Chalky White takes up the role as a politically savvy and uncompromising leader of the Black community-albeit a crafty bootlegger. For example, his role as Chalky White on HBO’s slow-burning, Boardwalk Empire, beautifully displayed his range. Throughout the landscape of film and television, he was known as portraying a range of dynamic and formidable figures. We all know that Williams played other roles besides Omar Little. A life of heartache, struggle, lofty heights, and profound talent. Where the sawed-off 12 gauge and austere duster were mere props of the story he so brilliantly told, that scar was the imprint of a reality he braved his entire life. Born out of this welter of something we might have expected to see in an episode of the television show he would become so famous for: the face of the man we’ve all grown to love. His mug would be marked by that permanent, defined scar-top of forehead to center-left cheek-and he would nearly lose his life from another blow that just barely missed his carotid. He was positioning the razor in his mouth to get it between his middle finger and ring finger. “The dude wiped his hand across his mouth and smacked me,” he said. Noticing the tense situation, Williams attempted to diffuse anxieties when someone snuck up from behind. He stepped out of the joint to “get some air,” he told NPR, when he saw that some of his friends were about to get jumped by another group of guys. Despite a burgeoning career, Williams’ whole life trajectory would change one tumultuous night at a party in Queens. Williams did just that on The Wire.Įarly on in his career, however, Williams managed to find work as a backup dancer for such notable performers as Madonna and George Michael, eventually breaking into acting alongside names like Tupac Shakur, as well as the distinguished acting troupe the National Black Theatre Company. Many actors play roles that leave an impression, however, few play roles that mean something greater than their immediate effect. He died in early September of a drug overdose, but not before leaving an imprint on popular culture that has left many of his contemporaries-and predecessors for that matter-nervously tending their achievements, gawking at his legacy of powerful, boundless acting. Walker Armstrong likes his pit beef with extra horseradish.īorn Michael Kenneth Williams in Flatbush, New York, the man who played one of Barack Obama’s favorite characters was as much a part of the fabric of culture, as he was the communities he portrayed.
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